Ferenc Nemeth
This Brazilian cultural matrix positions Ferenc Nemeth globally...
Curation
CURATION
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from this page:
by Augmented Matrix
The Integrated Global Creative Economy
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Name:
Ferenc Nemeth
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City/Place:
New York City
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Country:
United States
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Hometown:
Keszthely, Hungary
Life & Work
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Bio:
FERENC NEMETH is an accomplished and versatile musician who continues to push the boundaries of jazz drumming and composition. Nemeth has since the early days of his career, been one of the most sought after drummers both, in his native Hungary as well as in the United States. Coming from a musical family, his unique dynamism and versatility was fostered from a very early age. An exciting performer and imaginative collaborator, Nemeth is well regarded for his work with the Lionel Loueke Trio and GilFeMa and has also travelled, performed and collaborated extensively as a bandleader, co-leader, sideman and educator as well as initiating creative projects of his own.
From his early days at the Berklee College of Music in Boston and the Thelonius Monk Insitute of Jazz in Los Angeles, Nemeth has learned from and worked with the world’s finest jazz musicians and groups including Herbie Hancock, Wayne Shorter, Terence Blanchard, the Billy Childs Trio, Bob Sheppard, Dave Carpenter, John Clayton, Jimmy Heath, The Henry Mancini Orchestra amongst others. Relocating to New York in 2003, Nemeth’s distinctive energy and drive saw his career continuing with many of the same musicians, and also expanding to include the likes of Christian McBride, John Patitucci, Lionel Loueke, John Abercrombie, Dave Samuels, Mark Turner, Hal Crook, David Benoit, Bud Shank, Greg Hopkins, Phil Wilson, Dave Grusin, Eddie Daniels, Eddie Henderson, Ron McClure, Chris Cheek, Aaron Goldberg, Kenny Wheeler, Eli Degibri, Jonathan Kreisberg, John Ellis, Omer Avital, Ilayaraja, the Kenny Werner Coalition and most recently Dhafer Youssef.
Many of his collaborations have become long-standing partnerships spanning over a decade. 2003 was also the start of Nemeth’s involvement with GilFeMa, a trio also featuring Lionel Loueke and Massimo Biolcati. The trio, who had been playing together since the Berklee days continued their creative efforts in this format with all three contributing compositions to the 2004 album, eponymously titled, GilFeMa (ObliqSound). Notwithstanding, college fraternity and friendship, Nemeth’s natural great range coupled with his dynamism, complexity and improvisation makes him a perfect partner in the Loueke-Biolcati-Nemeth cooperative. His contribution here as well as with other collaborations is evidence of his great versatility, which informs a unique musical personality. His expertise and vast knowledge beyond traditional jazz, has also seen him move effortlessly through contemporary jazz as well as pop, rock, electro-pop, hip hop and increasingly into ethnic and culturally diverse disciplines.
Beyond the extensive repertoire of performance and recording, Nemeth has also established his own label, Dreamer’s Collective Records and in 2007, released his debut album of original compositions, “Night Songs” to much accolade and features such luminaries as John Patitucci, Chris Cheek, Mark Turner, Lionel Loueke and Aaron Parks. Displaying sophistication and self-assurance, the recording has established Nemeth as a composer and arranger in his own right. A second project for the label “Triumph” was released in the autumn of 2012, sees Joshua Redman, Kenny Werner, Lionel Loueke as contributors, as well as a small wind orchestra. For over 10 weeks the album was among the Top 15 on the CMJ Jazz Charts. Both of his albums were finalist at the Independent Music Awards in 2008 and 2012, respectively. “Imaginary Realm”, the third album for the label was released in 2013 and it features a duo with Javier Vercher, one of Nemeth’s long time friend/bandmate. The fourth album of the label was released on the fall of 2014 and it’s a collaboration with Hungarian legend, guitarist, Attila Laszlo and features two Grammy winning musicians, Jimmy Haslip and Russell Ferrante, besides two incredible vocalists, the Hungarian Charlie Horvath and the Spanish Lara Bello.
An ever-present thirst for exploration and experimentation has seen Nemeth travel widely and play with musicians from a variety of backgrounds and countries. This occupation in turn, has also resulted in Nemeth’s regular participation in workshops and teaching programs in the United States and internationally, the most recent being stints at the University of Siena, the Swarnabhoomi Academy of Music in India, the Kodolanyi University in Hungary, the Bartok Conservatory in Hungary, the Asheville Percussion Festival in North Carolina and the Wheeler School in Providence.
In addition, in 2011, Ferenc has launched an app at the Mac AppStore called “Drum School,” that is an educational tool, including over 400 drum grooves and hand exercises. This app is a rhythm library, an instructional DVD and a method book, all in one.
More
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Quotes, Notes & Etc.
Drum School App
Drum School app is now available at the AppStore and the Google Play Store! More info: www.drumschoolapp.com
About the App:
Advanced groove library and drum learning tool for all levels.
Whether you’re a beginner or a pro Drum School is the perfect tool for advancing and expanding your skills. With a large selection of grooves, exercises and practice ideas Drum School will continue to take you to the next level.
It is also the perfect tool for easy access to a large library of professional sounding grooves for play along and as a reference library.
Drum School contains two sections, one with over 260 grooves and the other with 64 drum practice exercises.
All grooves and exercises support the following features:
– Standard drum notation with high quality graphics in portrait or landscape mode.
– High quality audio made from real drum samples that loop for play along practice.
– Variable tempo range of 30 to 300 bpm without any loss of audio quality.
– Audio isolation of what each limb is playing, allowing the student to break down the groove into its basic components, learn them separately, and finally put them back together in various combinations.
– Bass lines that help learning and experiencing the relationship between the drums and the bass in each style in a fun way.
– Extended high quality video performance by the author of the app, established and world renowned drummer, Ferenc Nemeth.
– Extra videos at slower tempo for the more advanced grooves.
– Detailed descriptions of performance details, learning tips and historical notes about each style.
– Photo instructions for proper posture and hand technique.
– Grooves include styles: Rock, Rock ’n' Roll, Alternative Rock, Heavy Metal, Punk, Blues, R&B, Hip Hop, Funk, Reggae, Ska, Disco, Drum’n Bass, House, Techno, Country, Bluegrass, Jazz, Swing, Dixieland, Ragtime, Fusion, New Orleans, Tango, Bossa Nova, Samba, Afro Cuban, Soukous, Calypso, Waltz and many more.
– The practice section offers 64 drum exercises divided into: Basic Rudiments, Rolls, Flams, Drags and Hand Exercises.
The development of Drum School continues and will add more grooves and features.
Drums School was developed by drummer Ferenc Nemeth
in collaboration with Massimo Biolcati.
Clips (more may be added)
The Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... concatenating branches of a virtual rainforest tree rooted in Bahia, canopy spreading to embrace the entire planet...
Ex Terra Brasilis
A starting point for this project was the culture born in Brazil's quilombos (in Angola a "quilombo" is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu above — occupied by such after abandonment by the ruling class)...
...theme music for this Brazilian Matrix, from an Afro-Brazilian Mass by
From inside this Matrix, all creators-creative entities everywhere — empowered by the mathematics of network theory — become potentially discoverable by all people worldwide. Go straight to one of the (randomly selected) creators-creative entities below to see how their Matrix Page — information and media, outgoing and incoming curation — works (reload to feature other artists/creators), or find out below the black line below what unsung (metaphorically only) brilliance this is all about:
More on these profound incubators of Afro-Brazilian culture at:
Os Quilombos da Bahia
The Quilombos of Bahia
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
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 (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet ... in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
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 — 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.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers worldwide.
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX