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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 Dhafer Youssef ظافر يوسف:

  • 1 Composer
  • 1 Multi-Cultural
  • 1 Oud
  • 1 Singer
  • 1 Tunis
  • 1 Tunisia

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  • Dhafer Youssef ظافر يوسف
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    Dhafer Youssef live at L'Olympia ( Diwan Of Beauty and Odd)
    Live at the mythical Olympia concert hall Dhafer Youssef oud, Vocal Aaron Parks, piano Matt Brewer, Bass Justin Faulkner, Drums Ambrose Akinmusire , Trumpet ...
    • January 17, 2020
  • Dhafer Youssef ظافر يوسف
    A video was posted re Dhafer Youssef ظافر يوسف:
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    A category was added to Dhafer Youssef ظافر يوسف:
    Composer
    • January 17, 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



  • Dhafer Youssef ظافر يوسف
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Dhafer Youssef ظافر يوسف
  • City/Place: Tunis
  • Country: Tunisia
  • Hometown: Téboulba, Tunisia

Life & Work

  • Bio: Dhafer Youssef is a Tunisian Oud master, vocalist and composer born in November 19th, 1967 in Teboulba. The son of a modest family from this Tunisian Center-Eastern fishing village, he comes from a long line of muezzins. Mastering vocal performances is to him a heritage and a family tradition.

    At an early age, his grandfather initiates him to quranic recitals. He starts discovering the potential of his voice and finds his calling. Far from quranic school benches and his grandfather’s hard discipline, Dhafer Youssef tests his voice singing the songs played on his mother’s radio set. His mother’s kitchen becomes his first experimental laboratory, away from rigorist methods. At the age of 6, he discovers the echo of his voice and its resonances. He remembers spending hours singing in the Hammam of the local village. The resonances produced by his voice in that cavernous place fascinate him, nourishing his ardent juvenile curiosity: young Dhafer discovers his favorite toy.

    Moved by the child’s beautiful voice, the local muezzin encourages him to record the call to prayer for the village’s mosque. Dhafer undertakes the task using a cheap plastic microphone. His voice flows from the top of the minaret. Its resonances gain altitude. It is his first encounter with an audience, an experience that will remain engraved in his memory seven studio albums and hundreds of world live performances later.

    A few years later, Dhafer Youssef joins the local liturgical song troupe as a vocalist. However, this experience does not last long because of the increasing politicization of the group’s activities. Far from places of worship, Dhafer now tries the Oud at the youth center in Teboulba. This is where he discovers the electric bass and the groove, which leads him to play at local weddings before joining the Radio Monastir singing troupe. Young Dhafer is selected to join the orchestra by its founder, Mesbah Souli, a violin player, member of the Tunisian National Troupe and music professor.

    Aspiring to explore new horizons, Dhafer Youssef leaves his home village for the capital. In Tunis, he joins the musical conservatory at Nahj Zarkoun. Dissatisfied with the quality of teaching, he moves to Austria with the ambition to complete his musical training. The creative exaltation provided by multiculturalism in Vienna and the multiple encounters he has there open for him a new world of possibilities.

    After he starts studies in musicology, Dhafer realizes that he is not interested in academic training anymore. Seduced by jazz and other musical genres such as Indian music, he takes part in numerous jam sessions and encounters at different bars and clubs with for instance Wolfgang Pusching. He finally meets Gerhard Reiter, the Austrian percussionist with whom he founds his first band, “Zeryab”. In 1996, his multiple discoveries and experiences in Vienna give birth to his first album “Musafir” (The Traveler, in Arabic). This album is the result of an atypical encounter with Anton Burger, Achim Tang, Jatinder Thakur and Otto Leichner. He presents his project at Porgy & Bess, the renowned Viennese club. After a successful first night, he is offered a carte blanche and starts a series of monthly concerts at the club. There he meets Nguyen Lê, the French guitarist of Vietnamese origins but also Italian trumpeter Paolo Fresu who invites him to several performances throughout Europe.

    Dhafer gains in maturity over the concerts and confirms his steady development with the release in 1998 of “Malak” under the Label Enja Records. In this album, the European jazz melodic structures meet a Mediterranean groove of a particular form. This marks the beginning of an authentic musical identity impregnated with the artist’s origins without falling into typical Orientalism. Joind by Nguyen Lê on the guitar, Markus Stockhausen on the trumpet, Achim Tang on the bass and Patrice Heral on the drums, Dhafer is propelled towards an international career. Acclaimed by the critics, he goes on a successful European tour before going back to the studio with a new project.

    In 2001, he records “Electric Sufi,” his second album with Enja Records where he collaborates with Wolfgang Muthspiel (guitar), Markus Stockhausen (trumpet), Deepak Ram (bansuri), Dieter Ilg (bass), Mino Cinelu (percussions), Rodericke Packe (electronics) as well as Will Calhoun (drums) and Doug Wimbish (bass). In this first experiment with electronic music, the sound mixture is exalting. A result of his interest in vocal undulations and resonance, the jazzy music of “Electric Sufi” is an opportunity for the artist to experiment with his voice and use it further as an instrument. Dhafer’s distinctive signature is confirmed during an inspiring tour.

    Back to the studio in 2003, Dhafer Youssef records “Digital Prophecy”. In this album, the search for new sounds intensifies and the result is exhilarating. The symbiosis between the Oud and electric sounds is increasingly organic, and alchemy operates between great artists from the electro-jazz Scandinavian scene: Nils Petter Molvaer (trumpet), Bugge Wesseltoft (piano), Eivind Aarset (guitar), Auden Erlien (electric bass) and Rune Arnesen (drums). As Dhafer’s music acquires more height, he is nominated twice in 2003 for the BBC Awards for World Music.

    After these unlikely encounters between Oud and electronic music, Dhafer Youssef sets a new challenge for himself: introducing more string instruments in his creative universe. This surreal equation is resolved with the release of “Divine Shadows” in 2005. The sound is resolutely thrilling without losing its ethereal quality. Spiritualism is asserted, manifesting itself unapologetically and far from stereotypes. The album is marked with the sounds of Arve Henriksen and Marilyn Mazur, together with Dhafer’s now longtime companions Eivind Aarset, Audun Erlien, and Rune Arnesen. After the 2003 nominations for the BBC Awards for World Music, “Divine Shadows” secures Dhafer a third nomination in 2006.

    After Djalal Eddine Rûmi, Al-Hallaj and other Sufi philosophers and poets that have inspired Dhafer, the artist turns to the texts of Abu Nawas, a Persian VIIIth century poet renowned for his odes to wine in a conservative society. Released in 2010, “Abu Nawas Rhapsody” is the artists’ 6th album. It is also a musical manifesto which removes the barriers between the notions of sacred and profane. Accompanied with pianist Tigran Hamasyan, drummer Mark Giuliana and double bass player Chris Jennings, Dhafer Youssef goes back in this album to a more jazz and groove style. Dhafer’s powerful voice is introduced subtly before starting a vigorous fusion with the instruments. Without forgetting the artistic identity that he has forged through his experience and a continuous search for sounds, Dhafer Youssef transcends genres.

    Dhafer’s extraordinary career is punctuated by several collaborations that have added to his experience. Dhafer thus alternates musical projects and collaborations such as a duet with the legendary tabla player Zakir Hussain with whom he performs on a sold-out tour in Europe and India, a duet with Dave Holland, and a Digital'Africa project with the great kora master Ballake Sissoko and Eivind Aarset ... These collaborations are sources of development and inspiration for the artist who is always insatiable for new sounds. This is also often an opportunity for him to meet exceptional musicians with whom he develops relationships and artistic exchanges that go beyond these collaboration to integrate his own creations. Dhafer has indeed displayed since the beginning of his career an unbridled curiosity and a constant search for renewal and discovery, which is reflected his collaborations with artists of plural origins: India, Norway, Armenia, Turkey Austria, USA, Mali...

    Dhafer’s talent extends to the world of film music. Critics note his outstanding performance in the soundtrack of "Black Gold" composed and conducted by the legendary James Horner in 2011. The latter invites Dhafer to a new collaboration in 2012 for the soundtrack of "The Amazing Spider-Man ". Other examples include "Luna" by Dave McKean and collaboration with Alberto Eglesias for "Gods and Kings" by Ridley Scott both in 2014.

    When Dhafer Youssef receives an invitation to perform in the All-Star Global Concert on International Jazz Day 2015 it is another highlight of the artist's career. Dhafer’s participation in this grand, global concert which brings together every year the living legends of jazz and world class musicians is a testimony to his talent and contribution to music. Indeed, he is today considered to be the most inventive Oud player, and a leader of the movement referred to as contemporary music, which fuses Eastern and Western music. He has managed the feat of bringing the Oud, an instrument foreign to the jazz to get it out of its traditional role and form and creatively confront it with various musical genres from electro music to jazz.

    What a sign of recognition then it is for Dhafer to play that night in a duo with none other than the ambassador of International Jazz Day, master Herbie Hancock and to be later accompanied by Wayne Shorter in his rendition of “Haystan Dance.”

    In 2011, he invites Turkish clarinetist Hüsnü Senlendirici and Kanun player Aytaç Dogan to a performance in Ludwigsbourg-Germany.In 2013 and inspired by this encounter, Dhafer Youssef releases "Birds Requiem." The success of this album immediately praised by critics is unprecedented, with a triumphant international tour of about 100 concerts, over 50,000 records sold and performances by several orchestras including the London Symphony Orchestra. Constructed as a film soundtrack, “Birds Requiem” is a very personal album that was recorded at a turning point of the artist's life. Dhafer Youssef's voice accompanies the clarinet of Husnu Senlendirici and the Kanun of Aytaç Doğan. He also collaborates again with his comapnions Eivind Aarset on the electric guitar, Nils Petter Molvaer on the trumpet, Kristjan Randalu on the piano, Phil Donkin on the bass and Chander Sardjoe on drums. “Birds Requiem” is ranked among the ten best jazz albums in France and elsewhere, and included in the list of "Best 20 male vocalists" by DownBeat Magazine. It is a new milestone in Dhafer’s career and musical research.

    The atypical artistic adventure of Dhafer takes him back to New York in 2016, a city where he lived for a few years in his beginnings, and that he is particularly fond of. It is in this vibrant city that the genesis of the most anticipated album of 2016 takes place: “Diwan Of Beauty and Odd” is recorded in the legendary Sear Sound studio, with undoubtedly the finest musicians the New York jazz scene could offer: Aaron Parks on the piano, Ben Williams on the bass, Mark Guiliana on the drums and Ambrose Akinmusire on the trumpet.

    The 11 compositions of “Diwan Of Beauty And Odd” are an exploration of one of most attractive dualities, that of the beautiful and the strange. With his extraordinary ability to transcend genres and the limits of simple meters, Dhafer plays with the asymmetrical quality of odd meters to deliver a musical feat of intriguing complexity that yet remains infinitely beautiful and apprehensible. That is where the genius of the composer resides. “Diwan of Beauty And Odd” is a fusion of oriental influences and the urban groove of New York. It is a vibrant encounter of tradition and contemporary influences, a universal call for peace subtly delivered. The album to be released on September 16, 2016 is a feat of musicianship where the consummate Tunisian composer asserts his position as one of the most innovative musicians of the last decade.

Contact Information

  • Management/Booking: MANAGEMENT
    Mme Shiraz Fradi
    Odd Factory Productions
    Mobile : + 216 52 86 07 25
    [email protected]
    www.dhaferyoussef.com

    EUROPE BOOKING AGENT
    Mr Reno Di Matteo
    Anteprima Productions 

    Phone/Fax: +33 (0) 1 45 08 00 00


    [email protected]
    www.anteprimaproductions.com

    GERMANY, SWITZERLAND, AUSTRIA BOOKING AGENT
    Mr Peter Hohensee
    Bremme & Hohensee

    Phone/Fax: +49 (0)6221 25672


    [email protected]
    www.Bremme-Hohensee.de

    USA, CANADA, South America, AUSTRALIA, NEW ZELAND AND FAR EAST BOOKING AGENT
    Mme Mina Tosti
    Animanagement Inc
    Mobile : + 191 74 54 83 44
    [email protected]
    www.dhaferyoussef.com

    TURKEY BOOKING AGENT
    Mr Serhan Lokman / Mr Ahmadcan Tasdemir
    Gulbabamusic
    Tel: +90 212 244 12 01
    Fax: +90 212 244 12 03
    Mobile: +90 532 241 51 28
    [email protected]

    MIDDLE EAST, AFRICA BOOKING AGENT
    Mme Shiraz Fradi
    Odd Factory Production
    Mobile : + 216 52 86 07 25
    [email protected]
    www.dhaferyoussef.com

    SOUND ENGINEER
    Mr Giulio Gallo
    Odd Factory Productions
    Mobile : + 39 392 9769 635
    [email protected]
    www.dhaferyoussef.com

    FILM SCORES/ PROMOTION
    Dhafer Youssef Productions - Khira music
    Mobile : + 216 71 74 89 25
    [email protected]
    www.dhaferyoussef.com

Media | Markets

  • ▶ Twitter: DhaferYoussef
  • ▶ Instagram: dhaferyoussef
  • ▶ Website: http://www.dhaferyoussef.com
  • ▶ YouTube Channel: http://www.youtube.com/user/dhaferoussef
  • ▶ YouTube Music: http://music.youtube.com/channel/UCcMF9P09_MS8wLh22BJ7TeQ
  • ▶ Spotify: http://open.spotify.com/album/5xnvyCANwvNgTsR8nWGfpf
  • ▶ Spotify 2: http://open.spotify.com/album/4RgbDDGwmTiA8ypNDSoEc6
  • ▶ Spotify 3: http://open.spotify.com/album/3G531AVKSiGn2oU6UjrICy
  • ▶ Spotify 4: http://open.spotify.com/album/4FkLkc7VwDv3B6FF0PiehD
  • ▶ Spotify 5: http://open.spotify.com/album/4iwU4rmHPrApGT7isexQ8J
  • ▶ Spotify 6: http://open.spotify.com/album/7wXEtDHY33DpOcyPAi5a04

Clips (more may be added)

  • Dhafer Youssef live at L'Olympia ( Diwan Of Beauty and Odd)
    By Dhafer Youssef ظافر يوسف
    264 views
  • Dhafer Youssef, Zakir Hussain, Husnu Senlendirici Sounds Of Mirrors Live
    By Dhafer Youssef ظافر يوسف
    299 views
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