Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

This is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Dave Holland
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Dave Holland
  • City/Place: Hudson Valley, NY
  • Country: United States
  • Hometown: Wolverhampton, England

Life & Work

  • Bio: Dave Holland is a bassist, composer, bandleader whose passion for musical expression of all styles, and dedication to creating consistently innovative music ensembles have propelled a professional career of more than 50 years, and earned him top honors in his field including multiple Grammy awards and the title of NEA Jazz Master in 2017.

    Holland stands as a guiding light on acoustic and electric bass, having grown up in an age when musical genres—jazz, rock, funk, avant-garde, folk, electronic music, and others—blended freely together to create new musical pathways. He was a leading member of a generation that helped usher jazz bass playing from its swing and post-bop legacy to the vibrancy and multidiscipline excitement of the modern era, extending the instrument’s melodic, expressive capabilities. Holland’s virtuosic technique and rhythmic feel, informed by an open-eared respect of a formidable spread of styles and sounds, is widely revered and remains much in demand. To date, His playing can be heard on hundreds of recordings, with more than thirty as a leader under his own name.

    Holland first rose to prominence in groundbreaking groups led by such legends as Miles Davis, Stan Getz, Sam Rivers, Betty Carter, and Anthony Braxton—as well as collaborations with the likes of Chick Corea, Gary Burton, Jack DeJohnette, and John McLaughlin. Carrying such an enviable history Holland does with little fanfare and extreme humility; to him what matters most is the immediate musical project at hand. Fittingly, he is today more celebrated for the bands that he continues to assemble, record and perform with—ensembles which range from duos and trios to big bands, and often feature musicians like Steve Coleman, Robin and Kevin Eubanks, Jason Moran, Chris Potter, Eric Harland, among many others who were bound for their own headline-status. The consistent priority connecting all of Holland’s projects is an abiding sense of challenge—to himself, his fellow musicians, and his listeners. His comments on this driving force in his career serve as a personal credo:

    “My take on the relationship with the audience is that you don’t want to underestimate their ability to hear the music. You want to be as clear as possible in your musical statement and not be obscure in terms of what it is you’re doing. At the same time, you don’t want to compromise on your creative ambitions because that’s the driving force that’s going to develop the music and keep it relevant for me. Outside of the audience, there’s the aspect of me needing to be interested in what I’m doing and be stimulated by it in a challenging situation which is going to continue to allow me to grow as a player and composer.”

    Holland was born in Wolverhampton, United Kingdom in 1946, and even before reaching puberty played ukulele and then guitar, having fallen under the spell of skiffle music like most British youth during the 1950s and early ‘60s. As an adolescent, he switched over to the low end of the string family, an uncle fabricating his first “tea-chest bass” out of the thin wooden crates in which tea was shipped. The bass ultimately proved the instrument that steered him away from a working-class destiny. At the ripe age of 14, he began playing R&B, rock and pop tunes for dances and in clubs with local bands, and visiting U.S. artists like Roy Orbison, Chet Atkins, and Johnnie Ray. By his late teens Holland began exploring an expanding palette of jazz styles and it was clear that music was Holland’s calling.

    The search for more opportunities, experience, and advanced music education led the young bassist to journey from The Midlands to work in London in 1964, where he began to study with James Edward Merrett, the principal bassist with the London Philharmonic. A year later, Merrett recommended him for a scholarship to the Guildhall School of Music and Drama and Holland was on his way.

    The mid-‘60s were an exciting time to be in “Swinging” London: the U.K. was pulling itself free from an extended postwar, economic decline and a whirlwind of fresh, cultural ideas (especially musical) was in the air. Holland was soon exploring more advanced classical and avant-garde music, as well as the work of jazz bass masters from Ray Brown, Leroy Vinegar and Charles Mingus, to Scott LaFaro, Jimmy Garrison, Ron Carter and Gary Peacock. He began to perform regularly with bands fronted by leaders at the cutting edge of the U.K. jazz scene: Tubby Hayes, Ronnie Scott, Chris McGregor, Evan Parker, and John Surman.

    Holland was a mere 19 years old when he began to appear at Ronnie Scott’s jazz club in London’s Soho district, supporting touring jazz veterans like Ben Webster, Coleman Hawkins and Joe Henderson. That was the venue in which famed trumpeter Miles Davis—who was about to transition from purely acoustic music to more electric instrumentation in 1968, including rock and funk influences—first heard Holland. Davis asked him to take over the bass chair in his band at a time when generations of musicians and music fans were intensely focused on every step the trumpeter was taking.

    Joining Davis’s groundbreaking, semi-electric band was the catapult that launched Holland’s career to the international stage. As the world watched and listened, he contributed to albums that pointed the way to the future—Filles De Kilimanjaro, In A Silent Way, Bitches Brew—and performed in jazz clubs and rock festivals, helping to lay the groundwork for the rise of Fusion jazz, an important member of a brotherhood of innovators adept at older and newer jazz vocabularies. While still with Davis, Holland gigged and recorded with other musicians as well, including the Thad Jones/Mel Lewis Orchestra, Chick Corea, and Joe Henderson.

    Holland left Davis’s employ in 1970 and immediately co-founded Circle—the influential if short-lived free-jazz quartet, with Corea, Anthony Braxton and Barry Altschul. After the breakup of Circle in late ’71, Holland found himself working in bands led by the likes of Stan Getz, Thelonious Monk, Braxton, and initiating an enduring relationship with saxophonist/bandleader Sam Rivers.

    By 1972, Holland relocated to upstate New York, and began recording under his own name, beginning a long-standing association with the Munich-based ECM label. It was during this period of re-establishment that he began participating with vibraphonist Karl Berger’s Creative Music Studio, and co-founded the Gateway Trio with John Abercrombie and Jack DeJohnette. Holland later joined Betty Carter’s group for a year, and served as a sideman on a wide range of recording projects that featured blues singer/guitarist Bonnie Raitt, vocalist Maria Muldaur, and bluegrass heavyweights John Hartford, Norman Blake, and Vassar Clements. In ‘77, Holland began performing solo bass concerts, which led to the studio album Emerald Tears, which he later followed with the solo cello recording Life Cycle in ’83.

    As the ‘80s began, Holland stepped forward with a working band of his own for the first time. The Dave Holland Quintet was comprised of alto saxophonist Steve Coleman, trumpeter Kenny Wheeler, trombonist Julian Priester, and drummer Steve Ellington. Their 1984 debut was well-received critically, and initiated a long run of groups that varied in musical approach—smaller lineups focusing on lengthy improvisations, larger ensembles dealing with intricate arrangements— and evolved as new arrivals, like drummer Marvin “Smitty” Smith and guitarist Kevin Eubanks, who all became part of Holland’s creative circle.

    In 1990, Holland debuted Extensions—a quartet album featuring Kevin Eubanks, Coleman and Smith—that was voted Album of the Year by Downbeat magazine. A year later, on the same week, he recorded World Trio, featuring Eubanks on acoustic guitar and percussionist Mino Cinelu, and Phase Space, a duo album with Steve Coleman. These were followed in ’93 by Holland’s third solo effort, Ones All (both World Trio and Ones All were originally released on the Intuition label.)

    By ’97, the Dave Holland Quintet included a mix of younger and veteran players, with vibraphonist Steve Nelson and trombonist Robin Eubanks (Kevin’s brother) alongside saxophonist Chris Potter and drummer Billy Kilson (and later Nate Smith.) While most of his creative choices as a bandleader are the result of feel and intuition, Holland admits a conscious decision when it comes to combining musicians of varying levels of experience. “I’m an equal opportunity employer. I don’t think about anything to do with gender, race or age. I’m looking for the music. I listen to the music with my ears, but at the same time, I am also conscious of the fact that it’s very important that there is intergenerational contact in the music. Older players should play with younger players and vice-versa so we have a chance to cross-pollinate our influences and backgrounds. This is how the music grows and expands.”

    In the 1990s, Holland’s desire to focus on his compositional and arranging skills led to the formation of the Dave Holland Big Band, a group that that led to his notching two Grammy awards for Best Large Jazz Ensemble. Around the same time, he earned a third for an all-star quintet with old colleagues Burton, Corea, Pat Metheny and Roy Haynes. During the ‘90s, Holland also revisited a number of historic collaborations—including the Gateway Trio, and working with Herbie Hancock—and in the 2000s, Holland expanded his focus to new collaborations: the comically named “ScoLoHoFo” quartet featuring Joe Lovano, John Scofield, and Al Foster; as well as a duo with Jim Hall.

    In 2003, Holland departed ECM and formed his own label, Dare2 Records, on which he has issued almost all of his recent recordings. In 2005, Dare2 premiered with Overtime, a big band project including music commissioned by the Monterey Jazz Festival. A year later, Critical Mass featured his Quintet (the first with Nate Smith), and Pass It On in 2008, a sextet performing arrangements in a mini-big band style (with, among others, Robin Eubanks, pianist Mulgrew Miller, drummer Eric Harland.)

    In 2010, Holland released two recordings: the live octet album Pathways, and Hands, a duet with flamenco guitarist Pepe Habichuela. In 2013, Holland dug deeper into his Fusion roots, unveiling his quartet Prism with Harland, Kevin Eubanks, and keyboardist Craig Taborn; and a year later, Holland teamed up with pianist and longtime friend Kenny Barron to record The Art Of Conversation for the Blue Note label.

    The remarkable rate at which Holland leads or collaborates his way into fresh and exciting projects proves he has no plans to diminish the range nor frequency of his creative drive. His band lineups reveal that his ear is still to the ground, listening for and recognizing fresh and deserving talent, and that many are the musicians who are happy to perform or record with him. As Holland prepares to celebrate his 70th year, he is currently playing with a new group, the Aziza quartet, co-founded with Harland, saxophonist Chris Potter, and guitarist Lionel Loueke.

    As a leader and collaborator, Holland continues to tour the world and it comes as no surprise that he has and still serves the music in an educational role, having worked during the 1980s as artistic director of the Banff Centre’s jazz summer program (Canada), and as a faculty member for two years at the New England Conservatory of Music in the ‘90s, where he still serves as an artist in residence (as he does at the Royal Academy of Music.) He has also been elected a Fellow of the Guildhall School—his alma mater—and has received honorary doctorates from Birmingham Conservatoire (UK), Berklee College of Music, and the New England Conservatory.

    Most recently, Holland was made an Honorary Member of the Royal Academy of Music (UK)—a rare honor as membership is limited to 300 living musicians—and he’s been named a 2017 Jazz Master by the National Endowment for the Arts.

    Over the years and through countless musical experiences, Holland has come to define his purpose as a musician—and he articulates it well: “I’m trying to create music that exists on multiple levels, such as simpler elements along with more complex elements. To me, a lot of great art, whether it’s visual, musical or written, has an ability to do those things—to offer some fundamental truths that echo in people, yet at the same time, introduce them to a new way of looking at those fundamentals that gives them a little different perspective…

    “It’s the human condition: joy, loneliness, love, companionship, communion, and hope. The things by which we live. The fundamentals that make us what we are as humans. They cross over gender, race and everything. The more I travel, the more I understand that fundamentally, everyone is the same…cultural orientations may be different, but the fundamental truths people function under are still the same. It’s about their family, their love, their nurturing, their wanting to belong, and their wanting to have hope.”

Contact Information

  • Contact by Webpage: http://daveholland.com/contact/
  • Management/Booking: Management
    Vision Arts Management
    Louise Holland
    [email protected]

    Booking
    Music Works International (Europe)
    [email protected]
    International Music Network (rest of world)
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://daveholland.com/lojac
  • ▶ Twitter: thedaveholland
  • ▶ Instagram: davehollandjazz
  • ▶ Website: http://daveholland.com
  • ▶ YouTube Channel: http://youtube.com/channel/UCfYPAE4k83SMv52tv0d0NDQ
  • ▶ YouTube Music: http://music.youtube.com/channel/UCfYPAE4k83SMv52tv0d0NDQ
  • ▶ Spotify: http://open.spotify.com/album/087w8KfPdY6x0wuDV6YcGt
  • ▶ Spotify 2: http://open.spotify.com/album/17BiOpPnez7L0w8r0yRp9Y
  • ▶ Spotify 3: http://open.spotify.com/album/0Lx4v896QuUIV7yd5aeI4Y
  • ▶ Spotify 4: http://open.spotify.com/album/5YWeP5tF7PoSJOBghw0O7B

Clips (more may be added)

  • Zakir Hussain and Dave Holland: Crosscurrents | JAZZ NIGHT IN AMERICA
    By Dave Holland
    199 views
  • Dave Holland / Zakir Hussain / Chris Potter Trio - Heineken Jazzaldia 2018
    By Dave Holland
    238 views
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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


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