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  • Ed Roth

    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: Ed Roth
  • City/Place: Los Angeles
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Keyboardist Ed Roth’s feel, spirit, and touch have made him a top choice of renowned artists, producers, and musicians worldwide. Utilizing acoustic and vintage keyboard instruments, Roth creates memorable, soulful, melodies that sing, as well as adding deep, organic grooves with his playing.

    The L.A. based arranger, keyboardist, musical director, and producer has played and/or recorded with a very diverse range of artists, including Grammy winners: Annie Lennox, the Brothers Johnson, Mya, Taylor Dayne, Rob Halford, the Avett Brothers, Coolio, and Tom Morello.

    Other artists Roth has played and/or recorded with include Shuggie Otis, Angus and Julia Stone, Suor Cristina, Ronnie Montrose, Glenn Hughes, Jimmy Barnes, Flogging Molly, Maia Sharp, and the Divas of Disco featuring Thelma Houston, Cece Penniston and A Taste of Honey.

    Even with his mastery behind the scenes, Roth shines the most as a solo artist. His latest solo album, "Mad Beatnik," released on Warrior Records, was top 25 iTunes jazz USA, and spent 9 weeks on the USA Jazzweek top 100 chart. The single “Mad Beatnik” was #1 iTunes Jazz in Greece, and #6 iTunes jazz Italy. The album features 3-time Grammy winning saxophonist Tom Scott, as well as Grammy winning drummer, Chad Smith.

    "This is a truly organic album," notes Roth. "There is no programming, no midi, no sequencing, no beat detective, no auto tune. Every keyboard instrument is real -- acoustic pianos, electric pianos, clavinets, or analog keyboards, and you feel that. All real instruments, drums, sax, trumpet, percussion, guitar, trombone, and electric bass or keyboard bass...and you certainly feel that too."

    Prior to “Mad Beatnik,” Ed’s debut album, a self-titled funky instrumental collection, spent 8 weeks on the Billboard Top 40 Smooth Jazz charts. “Music needs to make the world a more beautiful place, but sometimes it’s gotta have some fire to it as well,” says Roth. It’s been said that his instrumental music emotes lasting melodies and solos that speak to the listener like a short story.

    Ed Roth is also a featured member of the Bombastic Meatbats, led by Red Hot Chili Peppers drummer Chad Smith (two Top 10 iTunes Jazz and Top 25 Billboard charting albums), and CTA with Chicago founder/drummer Danny Seraphine and 2-time Grammy winner Bill Champlin. Roth co-wrote and recorded with Arun Shenoy on his 2013 album, which was nominated for a Grammy for Best Pop Instrumental Album, and co-produced Kristine W’s #1 iTunes jazz single, “What I like About You.”

    Another career highlight for Roth has been his tenure as the longest running member of the house band for L.A. top rock station, KLOS. In that band, Roth has played with such rock legends as Paul Rodgers, Peter Frampton, Edgar Winter, John Waite, Joe Perry, Keith Emerson, and Eddie Money.

    As a longtime session player, Ed Roth has numerous soundtrack, video game, and commercial credits including Touchstone Pictures, BET, Sony Pictures, Hanna-Barbera, Disney, Guitar Hero 3, History Channel, Honda, Tropicana, Kenwood, Roland, QSC, and JBL.

    East Coast raised and of Brazilian heritage, Roth grew up in a home where only Brazilian and classical music were allowed. He built his love for R&B staying up late listening to Howard University's radio station WHUR on headphones, after his parents went to sleep. This exposure set up his lifelong commitment to ‘the groove’.

    Roth regularly contributes as music director for the Southern California based charity, Safety Harbor Kids, which works to enrich the lives of orphans, foster and homeless children through education in the areas of College, Career, and the Arts.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: officialedroth
  • ▶ Instagram: officialedroth
  • ▶ Website: http://www.edrothmusic.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCwpZD6d6r1uK8X8-wcjI5Ng
  • ▶ Spotify: http://open.spotify.com/album/6jEMNeh6vas1915kMMzQiH
  • ▶ Spotify 2: http://open.spotify.com/album/4OSh9aA7nQH9qwqvaqT9FT

More

  • Quotes, Notes & Etc. "Ed's got the style, Ed's got the grace. He's got funky clav,
    Rhodes and B3 up in your face. This man can do it all... with love and soul...My friend always take the music to a higher place."
    - Chad Smith: Drummer, 5-time Grammy Winner, Red Hot Chili Peppers

    "Ed has the kind of ears that not only come up with great stuff for him to play but somehow connect it with all the other guys' stuff. He's always cognizant of dynamics and keeps himself and everyone else honest. A great musician who accomplishes everything with that rare quality: Finesse. Plus, he's a great guy to hang with on breaks. Oh, and his chops? Forget it!!!!
    - Bill Champlin: Grammy winning songwriter/artist, Sons of Champlin, Chicago

    Ed Roth has been an essential component of several of my film scores. His instincts, and facilities, both on his instrument and from his lust for the right gear make him invaluable. There is nothing like Ed Roth because he is the real thing.
    - John Swihart: Napoleon Dynamite, The Perfect Host, How I Met Your Mother

    "I have managed for 17 years and the best man I have worked with is Ed. He is a true keeper as a musician and co-worker. When you need him he is there in a pinch, and when there is trouble he is very level headed and loyal. He is a great player and musician and I can't tell you how much I depend on him for my clients as well as now with the Room 105, the musical I am directing on Janis Joplin. Ed always comes through!"
    - Gigi Gaston: manager, writer and director

    "Ed is a super talented keyboard player who can play any style of music and is full of soul and personality... I love playing music with him live or in the studio."
    - Kenny Aronoff, session drummer: John Mellencamp, Rod Stewart, Willie Nelson, John Fogerty, Avril Lavigne...

    "Ed Roth has an incredible combination of chops and soul that can add dimension to a song without necessarily calling attention to the parts. That said, he'll also tear your head off with some of the funkiest playing you'll ever hear!"
    - Ryan Hewitt: Rick Rubin,Red Hot Chili Peppers, Blink 182, Erykah Badu

    "Ed Roth puts the fun in funky. His pocket is so deep that you can't find any loose change. A true master of groove, your track will holla if you pay him the dolla - your sound will be phat if you hire this cat! Seriously, Ed Roth is the best there is."
    - Peter Fish: 6-time Emmy Award Winner/writer/producer/keyboard player for Carly Simon, Phoebe Snow

    "I feel very blessed to have met Ed Roth. He not only a great player, you can communicate your ideas to him and he implements them . This is a rare gift to be able to understand another persons musical vision instinctively. We have traveled all over the world together. He makes me laugh at rehearsals but can also bring me close to tears when he plays. Ed is a talented gem."
    - Kristine W, Recording Artist: 16 #1 billboard dance hits

    "I have been in the music business all of my life and have been fortunate to have worked with some of the most talented musicians in the world. Ed Roth is indeed one of these. His passion and love for music always brings new life to a song and makes one thing very clear: Ed Roth was put on this earth to enchant our ears and make producers' lives a lot easier through his talent on the keys."
    - Josh Tone - producer/songwriter/engineer for Santana, Green Day, Chris Isaak...

    "Ed is a great musician with the chops, intuition and sensitivity to add authenticity to any project. I would use him without hesitation."
    - Martin Davich: Composer, 2-time Emmy winner; E.R., Third Watch, Beverly Hills 90210, Trinity

    "One of the best keyboard players in the world!"
    - Coolio: Grammy award winning artist

    "Ed is truly the jack of all trades and the master of them as well. There isn’t a style, texture or groove that he can’t play and play well. Rock, jazz, smooth jazz, funk, old school, hip hop and jazz/rock."
    - Danny Seraphine: Multiple Grammy winner, original drummer and founding member of the group Chicago

    "Ed is not only my first call, he is my only call. I've used him on recording sessions for albums as well as many TV & FIlm projects. He has a great ear & a fantastic collection of great vintage instruments."
    - Mike Baiardi: Music producer/ composer

    "Ed is a consummate professional that not only has the chops to cover anything I throw at him, but the experienced ears to capture fantastic tones that compliment the recording. Ed is fast, efficient, friendly and easy to work with and he has saved the day more than once for me. I will most certainly be working with him again!"
    - Steve Ouimette: Guitar Hero, Rock Revolution, composer/artist/producer

    "Ed Roth is both proficient and prolific in the studio. The ideas run like a river and the experience is always both professional and fun. Whenever I need keys whether it be Rock, Jazz, Funk, Latin the first call always goes to Ed, he has the gear, the ears and the vibe. Enough said!"
    - Roy Z: Producer/writer Judas Priest, Sebastian Bach, Bruce Dickinson, Rob Halford

    "Ed possesses the enviable ability to attack any style of music be it funk, rock, jazz, pop, latin, blues, etc. and make it seem as if he had been raised on that particular brand alone. He has always connected with any musical combination I've thrown at him which is why I'm still working with him after 17 years."
    - Marc Bonilla: Emmy nominated guitarist/producer/film and television composer

    "Eduardo Roth...musicianship is one thing...personality is another...Eduardo has both! Very easy to work with. He's a pleasure to be around, and a genius in contributing to any musical situation!!!"
    - George Johnson: Grammy winner, The Brothers Johnson

    "Hi Ed, Thanks for all the effort. I just loaded the tracks into my protools session, they sound absolutely fantastic. Cheers!"
    - Andrew Layfield: recording artist/internet customer

    "Your fantastic keyboards are highlighting five of the eleven songs. They really do add something special. I'm really impressed with the sound of the Hammond especially!"
    - Charlie Betts: recording artist/internet customer

Clips (more may be added)

  • Robby Krieger "Green Onions" (Cover) Live at Custom Vintage Keyboards
    By Ed Roth
    292 views
  • Ed Roth - Mad Beatnik (Featuring Tom Scott)
    By Ed Roth
    345 views
  • Ed Roth - Live Performances
    By Ed Roth
    416 views
Previous
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Ed Roth Curated
pathways in

  • 1 Keyboards
  • 1 Los Angeles
  • 1 Music Producer
  • 1 Songwriter

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  • Ed Roth
    A category was added to Ed Roth:
    Songwriter
    • April 11, 2020
  • Ed Roth
    A category was added to Ed Roth:
    Los Angeles
    • April 11, 2020
  • Ed Roth
    A category was added to Ed Roth:
    Music Producer
    • April 11, 2020
  • Ed Roth
    A category was added to Ed Roth:
    Keyboards
    • April 11, 2020
  • Ed Roth
    A video was posted re Ed Roth:
    Robby Krieger "Green Onions" (Cover) Live at Custom Vintage Keyboards
    "Green Onions" composed by Steve Cropper / Al Jackson, Jr. / Booker T. Jones / Lewis Steinberg Cover performed by: Robby Krieger - Guitar Ed Roth - Keys Kevi...
    • April 11, 2020
  • Ed Roth
    A video was posted re Ed Roth:
    Ed Roth - Mad Beatnik (Featuring Tom Scott)
    “Mad Beatnik (feat. Tom Scott)” by Ed Roth from the Warrior Records album release entitled, “Mad Beatnik.”
    • April 11, 2020
  • Ed Roth
    A video was posted re Ed Roth:
    Ed Roth - Live Performances
    Ed Roth, sought after keyboardist, producer, arranger and musical director, returns with the release of his second solo album romp, "Mad Beatnik!
    • April 11, 2020
  • Ed Roth
    Ed Roth is matrixed!
    • April 11, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

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, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"Fico muitíssimo feliz em receber seu e-mail! 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: Soa assim: O que a música que você ama diz sobre você

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.

"Fico muitíssimo feliz em receber seu e-mail! 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.

 

  • Lucinda Williams Nashville, Tennessee
  • Gerônimo Santana Salvador
  • Dexter Story Record Producer
  • Yazz Ahmed Composer
  • Luiz Inácio Lula da Silva Servidor Público, Public Servant
  • H.L. Thompson Hip-Hop
  • Tshepiso Ledwaba Steinway Piano Technician
  • Alex Hargreaves Bluegrass
  • Jess Gillam London
  • H.L. Thompson Artist Development
  • Paulinha Cavalcanti Rio de Janeiro
  • Liz Dany Barranquilla
  • Luíz Paixão Cavalo Marinho
  • Rhuvaal Argyll
  • Myron Walden Piccolo
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