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  • Duncan Chisholm

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Duncan Chisholm
  • City/Place: Inverness, Scotland
  • Country: United Kingdom

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Duncan Chisholm is one of Scotland’s most recognised and accomplished fiddle players and composers. Born and brought up near Inverness in the Highlands of Scotland, Duncan has spent most of his life developing his unique musical voice. Fiddle playing at its best, Duncan’s feather-light handling of dynamics and ornamentation, allied with his pure-distilled tone, lend his characteristic spine-tingling magic to his music.

    Taught to play by the great Donald Riddell, few can match Duncan’s expressive feel for a Highland air. Duncan’s well-established musical career has taken him throughout the UK, Europe and the USA, both through his solo work and while playing with other musicians and bands. Duncan plays regularly with gaelic singing sensation Julie Fowlis, sets the heather on fire with his folk rock band Wolfstone and is much sought after as a composer and accompanist.

    Duncan’s latest release Live at Celtic Connections, was recently awarded ‘Album of the Year’ at the Scots Trad Music Awards in December 2014. Performed at an exclusive concert as part of the world famous Celtic Connections Festival in Glasgow, Duncan recorded this special event where he played music from his acclaimed Strathglass Trilogy of albums, as part of a six piece traditional band who were backed by an orchestral ensemble.

    The culmination of six years work, The Strathglass Trilogy – Farrar, Canaich and Affric, is Duncan’s musical representation of the ancient Chisholm Clan lands. With such a personal interest in and connection to these Highland glens, Duncan has worked hard to instil great pride and passion into three individual but very much connected musical masterpieces. This unique and inspired idea of producing a suite of fiddle music recordings, influenced by one of the most beautiful wilderness areas of Scotland, gives a solid representation of Duncan’s ability to get right to the heart of a tune, and communicate the emotion behind it, in what seems a totally natural way.

    Duncan’s first solo album, Redpoint catapulted his solo career into the public eye. The Door of Saints closely followed Redpoint; a beautiful album inspired by the music of Northern Spain. Duncan then embarked on his Strathglass Trilogy, mixing traditional tunes with contemporary sounds. Having composed music for several BBC documentaries and written more than half of the tunes presented on his latest release, Duncan has been labelled “the new sound of traditional Scotland.”

Contact Information

  • Contact by Webpage: http://www.duncanchisholm.com/contact/
  • Management/Booking: [email protected]

    Spanish Representation
    El Cohete Internacional, c/ Mendizabal 4
    33003 Oviedo – Asturias, SPAIN
    Tel: +34 985 205 396
    Fax: +34 985 205 481
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.duncanchisholm.com/product-category/cds/
  • ▶ Buy My Music 2: (downloads/CDs/DVDs) http://www.duncanchisholm.com/product-category/digital-downloads/
  • ▶ Twitter: duncanwchisholm
  • ▶ Instagram: duncanchisholm
  • ▶ Website: http://www.duncanchisholm.com
  • ▶ YouTube Channel: http://www.youtube.com/user/duncanchisholmfiddle
  • ▶ YouTube Music: http://music.youtube.com/channel/UCtvsmC3Kbi-dBC8p6yRNi0A
  • ▶ Spotify: http://open.spotify.com/album/1LFHmWrvRQeoZJatu7QLed
  • ▶ Spotify 2: http://open.spotify.com/album/30tgv19xBvJcMhyBmch8Em
  • ▶ Spotify 3: http://open.spotify.com/album/0NgYEWJIN0KbAk7XB48sEy
  • ▶ Spotify 4: http://open.spotify.com/album/4a6W4nzKZR4yxssGd93FsD
  • ▶ Spotify 5: http://open.spotify.com/album/7yJMF2q0VGA3O9hkOMDFwi
  • ▶ Spotify 6: http://open.spotify.com/album/1y6rtMUueWk6vV7KO524gX
  • ▶ Articles: http://www.duncanchisholm.com/reviews/

Clips (more may be added)

  • 0:25:01
    Duncan Chisholm with Hamish Napier on the Isle of Mull
    By Duncan Chisholm
    297 views
  • 0:07:46
    Mallai Chroch Shli by Duncan Chisholm
    By Duncan Chisholm
    347 views
  • 3:19
    The Erchless Scout by Duncan Chisholm
    By Duncan Chisholm
    353 views
  • 0:08:21
    Caoineadh Johnny Sheáin Jeaic by Duncan Chisholm
    By Duncan Chisholm
    358 views
  • 3:41
    Camhanaich Air Machair by Duncan Chisholm
    By Duncan Chisholm
    335 views
  • 2:23
    Rubha Nam Marbh by Duncan Chisholm
    By Duncan Chisholm
    344 views
  • 6:00
    Lorient Mornings by Duncan Chisholm
    By Duncan Chisholm
    340 views
  • 2:40
    The Farley Bridge by Duncan Chisholm
    By Duncan Chisholm
    329 views
  • 4:35
    Unknown Air by Duncan Chisholm
    By Duncan Chisholm
    390 views
Previous
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Duncan Chisholm Curated
pathways in

  • 2 Composer
  • 2 Fiddle
  • 2 Scotland
  • 2 Traditional Scottish Music

What's Been Happening?

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  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Duncan Chisholm with Hamish Napier on the Isle of Mull
    Performance at An Tobar Arts Centre, Tobermory - October 2020
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Mallai Chroch Shli by Duncan Chisholm
    This set starts with 'Mallai Chroch Shli', a beautiful Irish song and second up is a jig written by Gordon Duncan called 'The Soup Dragon' The final tune is called 'The Flooded Meadow' and is the title music to BBC Scotland's 'Landward' programme. At the...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    The Erchless Scout by Duncan Chisholm
    The first tune was written in honour of my grandfather, Duncan Chisholm. He lived most of his adult life at Erchless in Strathglass, where he worked as a gamekeeper. During the early part of WW2 he served with the B.E.F as a sniper and managed to escape...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Caoineadh Johnny Sheáin Jeaic by Duncan Chisholm
    This beautiful lament was written by my friend Allan MacDonald. The second part for me is reminiscent of Gaelic keening and the melodic construction is truly magnificent and unique. "Nuair Bhios Mi Leam Fhin' is a Gaelic song taught to me by Allan MacDona...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Camhanaich Air Machair by Duncan Chisholm
    When recording the 'Canaich' album I imagined a journey from one end of Glen Cannich to the other, with the music recorded providing the soundtrack to that journey. 'Camhanaich Air Machair' written by Donald Shaw put together with Willie Lawrie's magnif...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Rubha Nam Marbh by Duncan Chisholm
    The translation of 'Rubha nam Marbh' is 'The Headland of the Dead' and can be found on the Monach Isles in the Outer Hebrides. This beautiful air was written by my friend Éamon Doorley, an outstanding Irish musician and producer. The tune originally app...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Lorient Mornings by Duncan Chisholm
    'Lorient Mornings' was the first tune I recorded for the 'Farrar' album. The tune was written by my great friend Gordon Duncan and is beautiful in its construct and simplicity. The inspiration for the second tune, 'Waltz of the Grey River' is the River ...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    The Farley Bridge by Duncan Chisholm
    The Farley Bridge - This tune originally recorded on the ‘Farrar’ album was written for my great friends, Iain MacFarlane, D J Robertson and Donald Fraser. The bridge that inspired the tune was built on an old track leading to a bothy at Farley, near Beau...
    • May 5, 2021
  • Duncan Chisholm
    A video was posted re Duncan Chisholm:
    Unknown Air by Duncan Chisholm
    "An ancient melody which always takes my imagination to the wild country between Glen Affric and Kintail. This tune was originally recorded on the 'Affric' album, the concluding part of The Strathglass Trilogy. The track is performed live on this clip, a...
    • May 5, 2021
  • Duncan Chisholm
    A category was added to Duncan Chisholm:
    Traditional Scottish Music
    • May 5, 2021
  • Duncan Chisholm
    A category was added to Duncan Chisholm:
    Scotland
    • May 5, 2021
  • Duncan Chisholm
    A category was added to Duncan Chisholm:
    Composer
    • May 5, 2021
  • Duncan Chisholm
    A category was added to Duncan Chisholm:
    Fiddle
    • May 5, 2021
  • Duncan Chisholm
    Duncan Chisholm is matrixed!
    • May 5, 2021
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, for incandescent Brazil, for the entire creative world, new ways...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington



Bahia is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's 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.

 

Brazil 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 — the hand drum in the opening scene above — 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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, para o Brasil incandescente, pro mundo criativo inteiro, novos caminhos...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


A Bahia é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

Por que Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 

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