What's Up?
The New York Times notes, “...Castaneda... engage[s] modern jazz in ways that honor...cultural origins, and [he has] the capacity to astonish by virtue of [his] fingerstyle technique.”
Moses Sumney highlights his “5 Favorite NPR “Tiny Desk Concerts” and says, “My brain cracked open when I first saw this. Some classical instruments are so ingrained in our heads for sounding one way; Edmar restructures what we know of harp, defiantly expanding the bounds of the instrument.”
NPR’s “Fresh Air” touts, “...his technique is the real astonishment. Castañeda juggles lead, rhythm and bass lines, using a variety of hard and soft string attacks to keep those voices distinct — all without giving up the groove...His amazing technique...raises the bar for every harpist.”
Life & Work
Bio:
Upon arriving in the United States in 1994, Colombian-born Edmar Castañeda has made a name for himself as the preeminent jazz harp virtuoso. Castañeda brings forth a brilliance that beautifully merges the jazz tradition with a diverse set of styles and genres while bringing unbridled attention to a somewhat unfamiliar instrument: the harp. Singlehandedly, Castañeda has cemented the harp’s place in jazz with innovative technique and heartfelt creativity from a wealth of formidable collaborations with music titans such as Sting, Bela Fleck, John Scofield, Ricki Lee Jones, Hiromi, John Patitucci, Pedrito Martinez, Marcus Miller, Gonzalo Rubalcaba, Ivan Lins, The Yellowjackets, Paco De Lucia, and Paquito D’Rivera.
Contact Information
Management/Booking:
USA - EUROPE - LATIN AMERICA - ASIA
Arpa Y Voz Productions
Tel : 1+516-6060795 | [email protected]
Except ITALY
Francesco Cammalleri [email protected]
Edmar Castaneda/ Arpa llanera
Andrea Tierra / Vocal
Shlomi Cohen/ Soprano sax
Rodrigo Villalon / Drums
Zeudi Castaneda/ Coros
Zamir Castaneda/ Coros
Canción con todos by Armando Tejada Gómez (letra) y César Isella (música). Arranged by Edmar Ca...
Edmar Castañeda (harp) performs his composition "For Jaco" with Helio Alves (piano), Terri Lyne Carrington (drums), Grégoire Maret (harmonica) and Pedrito Martinez (percussion) as part of the International Jazz Day 2022 All-Star Global Concert on April 30...
Open pathways: Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps.
Raymundo Sodré Global
THE MATRIX IS THE MOTHERSHIP (it carries all the culture people everywhere wish to put aboard it)
THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)
THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)
Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix. — Susan Rogers (personal recording engineer for Prince; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)
Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)
This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)
This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.
The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...
WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.
Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.
But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.
By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.
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.