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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.


Appear below by recommending David Greely:

  • 1 Author
  • 1 Cajun Fiddle
  • 1 Louisiana
  • 1 Songwriter
  • 1 University of Louisiana at Lafayette Faculty

What's Up

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  • David Greely
    A category was added to David Greely:
    Author
    • September 28, 2020
  • David Greely
    A category was added to David Greely:
    Songwriter
    • September 28, 2020
  • David Greely
    A category was added to David Greely:
    Louisiana
    • September 28, 2020
  • David Greely
    A category was added to David Greely:
    University of Louisiana at Lafayette Faculty
    • September 28, 2020
  • David Greely
    A category was added to David Greely:
    Cajun Fiddle
    • September 28, 2020
  • David Greely
    A video was posted re David Greely:
    Cajun Fiddler David Greely--A Minor Waltz
    Cajun fiddle maestro David Greely records the A Minor Waltz at the Tiki Parlour. filmed by David Bragger
    • September 28, 2020
  • David Greely
    A video was posted re David Greely:
    The Bayou meets Brazil: Scott Kettner & David Greely (fiddle pandeiro duo)
    David Greely (fiddle) and Scott Kettner (pandeiro) playing a traditional Creole tune (Paul Junius Malveuax's Tune). From the Cajun Duo concert in Brooklyn, NY. This tune was learned from a Lomax recording from the '30s, where it was played on harmonica by...
    • September 28, 2020
  • David Greely
    David Greely is matrixed!
    • September 28, 2020
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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.

 

@ 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...

 

It 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...

 

From Harlem to Bahia



  • David Greely
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: David Greely
  • City/Place: Breaux Bridge, Louisiana
  • Country: United States
  • Hometown: Baton Rouge, Louisiana

Life & Work

  • Bio: David Greely’s French Louisiana music is opening a new wing in his tradition. David has taken the swampy syncopations of Cajun music and its renaissance French dialect to new level of sophistication without losing its urgency and texture. In solo acoustic performance, he sounds like two or three fiddles, weaving accompaniment to his vocals as if it’s someone else singing. Presenting his concerts in English or French, he embraces all the aspects of his heritage that a fiddle and voice can reach- ancient ballads, cane field blues, yearning waltzes and fiery two steps, and melds his ancestral legacy with his own adroit compositions and stories of the rich souls who kept this music and language alive.

    David was born in Baton Rouge of Cajun and Irish ancestry, and learned Cajun music on dance hall stages throughout South Louisiana, in the archives of Cajun and Creole music at the University of Louisiana in Lafayette, and from his apprenticeship to Cajun fiddle master and National Heritage Fellow Dewey Balfa. As a founding member of Steve Riley and the Mamou Playboys, David toured Folk Festivals worldwide for 23 years, and was nominated for four Grammy Awards. He has received the Louisiana Artist Fellowship Award for Folklife Performance, and is an adjunct instructor of Cajun fiddle at the University of Louisiana.

Contact Information

  • Management/Booking: For Booking:
    David Greely
    [email protected]
    216 Martin Street
    Breaux Bridge, Louisiana 70517

Media | Markets

  • ▶ Book Purchases: http://davidgreely.com/books
  • ▶ Website: http://davidgreely.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UC-j4ekuGxnAebh1_epOjqfg
  • ▶ YouTube Music: http://music.youtube.com/channel/UC-xn0a5DkyWazJKY4fcggcw
  • ▶ Spotify: http://open.spotify.com/album/2EPhpTh5w1o38CGIVoKofc

My Writing

  • Publications: Books

    The Balfa Brothers Play Traditional Cajun Music
    A French/English Interlinear Translation- 22 songs

    The Songs of Iry Lejeune
    A French/English Interlinear Translation- 25 songs

    Transcriptions and Translations
    by
    David Greely

    These books contain transcriptions and translations of the Cajun French language found in the lyrics of the Balfa Brothers’ magnificent two first albums, and Iry Lejeune’s classic recordings.

    Transcription and translations for these recordings are already available elsewhere, but these books take a radically different approach.

    Here the translations are interlinear (between each line) and painstakingly literal. The reader will immediately know the meaning of each word as well as the syntax of the French spoken by the Cajuns of South Louisiana.

    For example, lines like :
    O, bébé, oublie pas, viens me rejoindre
    Oh baby forget not come me rejoin

    …have always been translated elsewhere on the page, in smooth English, with all the foreign arrangements of the words converted to the accustomed English ways of expression, like this :

    Oh, baby, don’t forget, come back to me

    The interlinear method may seem awkward, but it gives a much clearer picture of the structure of French expression, such as reflexive phrases like viens me rejoindre, normally translated as come back to me, when the French words are actually in this order, come me rejoin.

    There are parts of words in subscript to highlight letters that are uniquely silent in the Cajun French dialect. Liquid syllables like the re in rejoindre are not often pronounced in this dialect, and are usually rendered as r’joind’. The subscript highlight leaves the word properly spelled, to help the singer learn how to write and read French, and at the same time clearly helps the singer pronounce Cajun French convincingly and helps the words fit the rhythms of the song as intended by the original singers.

    The song titles are numbered according to their appearance on the track list of the CD, The Balfa Brothers Play Traditional Cajun Music Volumes I and II (SW-6011,) minus the instrumental tracks.

    The Iry Lejeune lyrics are for all his recordings, and the book corresponds to the CD, Iry Lejeune: The Definitive Collection (Ace CDCHD 428)

    It is highly recommended to learn while listening to the Balfa Brothers, or to Iry Lejeune’s recordings, so that you can imitate their accent and pronunciation, and thereby create a convincing Cajun French vocal.

Clips (more may be added)

  • 2:41
    Cajun Fiddler David Greely--A Minor Waltz
    By David Greely
    137 views
  • 3:06
    The Bayou meets Brazil: Scott Kettner & David Greely (fiddle pandeiro duo)
    By David Greely
    139 views
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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