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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  • (Bahia)
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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.

 

  • Dr. Lonnie Smith
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Dr. Lonnie Smith
  • City/Place: Fort Lauderdale, Florida
  • Country: United States
  • Hometown: Buffalo, New York

Current News

  • What's Up? Dr. Lonnie Smith is now with God.

Life & Work

  • Bio: Dr. Lonnie Smith is an unparalleled musician, composer, performer and recording artist. An authentic master and guru of the Hammond B-3 organ for over five decades, he has been featured on over seventy albums, and has recorded and performed with a virtual “Who’s Who” of the greatest jazz, blues and R&B giants in the industry. Consequently, he has often been hailed as a “Legend,” a “Living Musical Icon,” and as the most creative jazz organist by a slew of music publications. Jazz Times magazine describes him as “a riddle wrapped in an enigma wrapped in a turban!” Always ahead of the curve, it is no surprise Dr. Smith’s fan-base is truly worldwide.

    Born in Buffalo, New York, Lonnie was blessed with the gift of music. Through his mother, he was immersed in gospel, blues and jazz at an early age. In his teens, he sang in several vocal groups including his own–the Supremes–formed long before Motown’s eventual iconic act of the same name. Lonnie also played trumpet and other instruments at school and was a featured soloist. In the late ‘50s– with the encouragement of Art Kubera, who owned a local music store that he would visit daily–young Lonnie was given the opportunity to learn how to play a Hammond organ. By completely immersing himself in the records of organists such as Wild Bill Davis, Bill Doggett and Jimmy Smith, as well as paying rapt attention to the church organ, a young Lonnie began to find his musical voice. “Even though I didn’t know how, I was able to play right from the beginning,” Dr. Smith reflects. “I learned how to work the stops and that was it. It’s a passion for me, so everything else came naturally.” Because of Mr. Kubera’s kindness, Dr. Lonnie often refers to Art as his “angel.”

    The Doctor’s first gigs were at Buffalo’s hottest jazz club, the Pine Grill, where he rapidly garnered the attention of folks like Jack McDuff, Lou Donaldson, George Benson and the booking agent Jimmy Boyd. George Benson was looking for an organist for his quartet and enlisted Lonnie. The group soon relocated to New York City, where they quickly established a reputation as innovators in Harlem clubs and throughout the area. After appearing on several Benson albums, Lonnie went on to make his first recording as a leader—Finger Lickin’ Good–for Columbia Records in 1966. Shortly thereafter, Smith was scooped up to record by saxophonist Lou Donaldson, for whom Lonnie would appear on several epic Blue Note LPs, including the million-seller, Alligator Boogaloo. Blue Note clearly liked what they heard and inked the organist to his own recording contract, a deal which would produce the soul jazz classicsThink!, Turning Point, Move Your Hand, Drives and Live at Club Mozambique (released many years later).

    Since leaving the Blue Note stable in the ‘70s, Dr. Smith has recorded for a slew of record labels, including Kudu, Groove Merchant, T.K., Scufflin’, Criss Cross and Palmetto, ascending the charts many times. His unpredictable, insatiable musical taste illustrates that no genre is safe, as Lonnie has recorded everything from covers of the Beatles, the Stylistics and the Eurythmics, to tribute albums of Jimi Hendrix, John Coltrane and Beck–all by employing ensembles ranging from a trio to a fifteen-piece big band. Moreover, many of Doc’s recent compositions reflect dramatic ethereal qualities and orchestration that elicit movie scores or soundtracks.

    Dr. Smith has been amused to find himself sampled in rap, dance and house grooves while being credited as a forefather of acid jazz. When questioned about his consistent interest in music some consider outside the jazz “mainstream,” Lonnie shrugs. “Jazz is American Classical,” he proclaims. “And this music is a reflection of what’s happening at the time… The organ is like the sunlight, rain and thunder…it’s all the worldly sounds to me!”

    In 2012, Dr. Smith launched his own record label Pilgrimage Inc., and in 2015, resigned with the iconic Blue Note Records label. Dr. Lonnie Smith’s latest CD has been released on Blue Note. (2016)

    Many awards have followed since 1969, when Downbeat magazine named Dr. Lonnie Smith “Top Organist” of the year. 2003-2014 he was awarded “Organist/Keyboardist of the Year” by the Jazz Journalist Association. The Buffalo Music Hall of Fame and Jazz Organ Fellowship have also inducted Dr. Lonnie, and in 2015 he received the Village Music Legends Award.

Contact Information

  • Management/Booking: MANAGEMENT
    Holly Case
    [email protected]

    BOOKING
    Myles Weinstein / Unlimited Myles
    P: 732.566.2881
    [email protected]
    www.unlimitedmyles.com

    PR / PRESS
    Cem Kurosman, Blue Note Records
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.drlonniesmith.com/cds
  • ▶ Twitter: drlonniesmith2
  • ▶ Instagram: drlonniesmith
  • ▶ Website: http://www.drlonniesmith.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCis-douipczmxp-G2OmSNgg
  • ▶ Spotify: http://open.spotify.com/album/0anjMU3ensntiJOq3SCjij?si=5b47ec3bc0b44c8a
  • ▶ Spotify 2: http://open.spotify.com/album/0zUuWtkpkv4L7fbylF7lld?si=e2707ed1ec534612
  • ▶ Spotify 3: http://open.spotify.com/album/3vcrRL21IUz8T6ftBQwIN9?si=492d36fb4e5448b1
  • ▶ Spotify 4: http://open.spotify.com/album/5NsQfvkq3WEeo7n4N8ZAT7?si=165facbf3b554c37
  • ▶ Spotify 5: http://open.spotify.com/album/5eck05esulqJ9ZoMRPQOtL?si=c71f1d55bbef4e11
  • ▶ Spotify 6: http://open.spotify.com/album/21iRkqTniwTtEkAVg2GAsk?si=fa7b801bbb364b02

My Recordings

  • Discography: DR. LONNIE SMITH AS LEADER:
    All IN MY MIND: Live at the Jazz Standard (Blue Note Records/2018)
    EVOLUTION (Blue Note Records/2016)
    IN THE BEGINNING VOL 1 & 2 (Pilgrimage Records/2013)
    THE HEALER (Pilgrimage Records/2012)
    SPIRAL (Palmetto/2010)
    THE ART OF ORGANIZING (Criss Cross Jazz/issued 2009)
    RISE UP! (Palmetto/2009)
    JUNGLE SOUL (Palmetto/2006)
    TOO DAMN HOT! (Palmetto/2004)
    BOOGALOO TO BECK (Scufflin’/2002)
    PURPLE HAZE (Venus/MusicMasters – 1994)
    FOXY LADY (Venus/MusicMasters – 1994)
    AFRO BLUE (Venus/MusicMasters – 1993)
    THE TURBANATOR (32 Jazz/1991)
    LENOX AND SEVENTH with Alvin Queen (Black & Blue/1985)
    GOTCHA (LRC/1978)
    FUNK REACTION (LRC/1977)
    KEEP ON LOVIN’ (Groove Merchant/1976)
    AFRO-DESIA (Groove Merchant/1975)
    MAMA WAILER (Kudu/1971)
    LIVE AT CLUB MOZAMBIQUE (Blue Note/1970)
    DRIVES (Blue Note/1970)
    MOVE YOUR HAND (Blue Note/1969)
    TURNING POINT (Blue Note/1969)
    THINK! (Blue Note/1968)
    FINGER-LICKIN’ GOOD SOUL ORGAN (Columbia/1966-67)

    DR. LONNIE SMITH COLLECTIONS:
    AFRODESIA (LRC/2003)
    AFRO-DESIA/KEEP ON LOVIN’ (Connoisseur/2000)
    AFRODESIA (LRC/1996)
    LONNIE SMITH (LRC/1991)
    LONNIE SMITH/GEORGE BENSON (Europa Jazz/1981)
    FLAVORS (1980/1998)
    WHEN THE NIGHT IS RIGHT (Chiaroscuro/1980)
    LONNIE SMITH (America/1979)

    LONNIE WITH OTHERS:
    DAY BREAKS - Nora Jones (Blue Note/2016)
    I DIDN'T KNOW WHAT TIME IT WAS - Jazz Orchestra of Concertgebouw (JOC/2016)
    THAT'S WHAT YOU SAY - JazzInvaders (Unique Germany/2012)
    NOTHING BUT THE TRUTH - Soul Sugar (Freestyle/2009)
    FRIENDS AND FAMILY – Ray Brown, Jr. (SRI Jazz/2008)
    SWEET MISSY – Gloria Coleman featuring George Coleman (Doodlin’/2007)
    LITTLE TINY – Sari Yano (Savoy/2007)
    LEGENDS OF JAZZ WITH RAMSEY LEWIS (LRSmedia/2006)
    NOW – Javon Jackson (Palmetto/2006)
    SO WAR’S – VOLL DANEBEN – Olaf Kübler (ACT/2005)
    GREASY STREET – Richie Hart (Zoho/2005)
    STRAIGHT FROM THE SOURCE – Cyrus Pace (Bright Soul/2005)
    HAVE YOU HEARD – Javon Jackson (Palmetto/2005)
    NEW YORK TIME – Frode Kjekstad (Curling Legs/2004)
    THE DOCTOR IS IN – Crash (Cellar Live/2003)
    COAST TO COAST – Red Holloway (Milestone/2003)
    HAMMOND RENS – Kresten Osgood (ILK Music/2002)
    EASY DOES IT – Javon Jackson (Palmetto/2002)
    THE BRIDGE – Karl Denson’s Tiny Universe (Relaxed/2002)
    DR. LONNIE SMITH MEETS MARTIEN OSTER AND THE ORIGINAL GROOVES (2001)
    GOES BLUE – THE JAZZ GUITAR TRIO VOL. 3 – Ximo Tébar (Nuevos Medios/2001)
    SOUL MANIFESTO – Rodney Jones (Blue Note/2001)
    THE SPIRIT SPEAKS – Ed Cherry (Justin Time/2000)
    MODERN MAN – Bobby Broom (Delmark/2000)
    RELAXING AT SEA: LIVE ON THE QE2 – The Lou Donaldson Quartet (Chiariscuro/1999)
    McGRIFF’S HOUSE PARTY – Jimmy McGriff (Milestone/1999)
    HOMEPAGE – Ximo Tébar (WEA/1998)
    AFTER HOURS – Eric Allison (Contemporary/1997)
    CHARLES EARLAND’S JAZZ ORGAN SUMMIT (Cannonball/1997)
    SO WHAT! – THE JAZZ GUITAR TRIO VOL. 2 – Ximo Tébar (WEA/1997)
    BONGOBOP – The Essence All Stars (Hip Bop Essence/1997)
    ONE FOOT IN THE BLUES – Johnny Adams (Rounder/1996)
    SOUL SERENADE – Jesse Jones (Contemporary/1996)
    THE TRUTH – Turk Mauro (Milestone/1996)
    POLKA DOTS AND MOONBEAMS – David “Bubba” Brooks (TCB/1996)
    MEAN STREETS BEAT – Eric Allison (Contemporary/1996)
    A LOOK WITHIN – Javon Jackson (Blue Note/1996)
    ORGANIC GROOVES – Essence All Stars (Hip Bop Essence/1996)
    SOUL MATES – Terry Myers (Contemporary/1995)
    MATING CALL – The Chartbusters (Prestige/1995)
    BOILING POINT – Melton Mustafa Orchestra (Contemporary/1995)
    HITTIN’ THE JUG – Turk Mauro (Milestone/1995)
    STRUTTIN’ – Ron Holloway (Milestone/1995)
    CHARTBUSTERS VOLUME 1 – Chartbusters (NYC/1995)
    THE BLUE NOTE YEARS VOLUME SEVEN: BLUE NOTE NOW AS THEN (Blue Note/1994)
    ROUND THE OUTSIDE – Olaf Kübler (RUM LK/1994)
    SENTIMENTAL JOURNEY – Lou Donaldson (Columbia/1994)
    PLAY THE RIGHT THING – Lou Donaldson (Milestone/1993)
    CARACAS – Lou Donaldson (Milestone/1993)
    SECRET AGENT MEN – Secret Agent Men (Akira Tana) (Paddle Wheel/Sons of Sound – 1992)
    GOTO – Teruo Goto and the Harlem Art Ensemble (Ninety-One/1992)
    NATIVE SON – Gerry Eastman (Williamsburg Music Center/1992)
    LIVE JAM – Jazz Funk Masters featuring Lonnie Smith (P-Vine/1992)
    COME ON DOWN – Jimmy Ponder (Muse/1990)
    LIVE IN NEW YORK – The Harlem Art Ensemble (Explore/1990)
    REMEMBERING WES – Richie Hart (Compose/1988-89)
    BACK TO BECK – Joe Beck (DMP/1988)
    TO REACH A DREAM – Jimmy Ponder (Muse/1988)
    IN A JAZZ TRADITION – Eric Gale (EmArcy/1987)
    CHARLIE KARP & THE NAME DROPPERS (Grudge/1987)
    LIVE AT THE BLUE NOTE – Ronnie Cuber (ProJazz/1985)
    STATE OF THE ART – Jimmy McGriff (Milestone/1985)
    LABOR OF LOVE – Dave Hubbard (Sybarite Music/1985)
    SO MANY STARS – Jimmy Ponder (Milestone/1984)
    IN THE BLACK – Monty Guy (Evertone/1984)
    LIVE IN MONTREUX 1980 – Marvin Gaye (Eagle/1980)
    B. BAKER CHOCOLATE CO. – B. Baker Chocolate Co. (LRC/1979)
    BENSON BURNER – George Benson (Columbia/Issued 1976)
    RISING SUN – Teruo Nakamura (Polydor/1976)
    Lou Donaldson (unissued/1975)
    PRETTY THINGS – Lou Donaldson (Blue Note/1970)
    EVERYTHING I PLAY IS FUNKY – Lou Donaldson (Blue Note/1970)
    MIDNIGHT CREEPER – Lou Donaldson (Blue Note/1968)
    MR. SHING-A-LING – Lou Donaldson (Blue Note/1967)
    ALLIGATOR BOOGALOO – Lou Donaldson (Blue Note/1967)
    THE GEORGE BENSON COOKBOOK – George Benson Quartet (Columbia/1966-67)
    IT’S UPTOWN – George Benson Quartet (Columbia/1966)
    RED SOUL – Red Holloway (Prestige/1965)

Clips (more may be added)

  • 0:06:46
    Dr. Lonnie Smith - Sunshine Superman (Visualizer)
    By Dr. Lonnie Smith
    112 views
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YOU RECOMMEND

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 Dr. Lonnie Smith:

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