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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 Fernando Brandão:

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  • Fernando Brandão
    A video was posted re Fernando Brandão:
    Choro Democratico - Sedutora - Fernando Brandao
    Adam Bahrami - cavaquinho, Fernando Brandão - flauta, Luciana Araripe - bandolim, Tom Rohde - violao, Jason Davis - violao de 7 cordas, Keita Ogawa - pandeiro, Evan Harlan - accordion
    • June 27, 2020
  • Fernando Brandão
    A video was posted re Fernando Brandão:
    Alma Quintet - Awake (Fernando Brandão)
    With the Alma quintet at Berklee Performance Center
    • June 27, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Samba
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Choro
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Jazz
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Pífano
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Brazil
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Berklee College of Music Faculty
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
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    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Composer
    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Flute
    • June 25, 2020
  • Fernando Brandão
    Fernando Brandão is matrixed!
    • June 25, 2020
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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.

 

@ 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...

 

It 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...

 

From Harlem to Bahia



  • Fernando Brandão
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Fernando Brandão
  • City/Place: Boston, Massachussetts
  • Country: United States
  • Hometown: Rio de Janeiro

Life & Work

  • Bio: Flutist, composer, author and educator Fernando Brandão has performed extensively as a bandleader, sideman, chamber musician and as a soloist with several ensembles and prominent orchestras both in his native Brazil and the US. Using concert, alto, bass flutes and pífanos, Fernando performs across an eclectic repertoire of traditional and contemporary choros, sambas, bossas, frevos, ijexás, baiões, maracatus and other styles, allying jazz improvisations to an authentic Brazilian sound. He leads his own ensemble with formations that varies from Trio to Nonet, the bands Alma (contemporary South American music) and Bohemia Carioca (gafieira), and he is an active member of the groups Pablo Ablanedo Octet and Trio Choro Brasil.

    He has produced and co-produced 5 CDs, and his latest, Sem Tradução (Without Translation) features nine original songs with lyrics by carioca poet Pedro Lago, by Fernando Brandão, Rosangela Santiago and Robson Santiago, both from Bahia. It also features Marcella Camargo as the lead singer and 14 prominent musicians from the Boston area. His vocal and instrumental compositions are centered mostly around Brazilian styles, and feature traditional and contemporary language and arrangements. His compositions have been recorded by Choro das Três, guitarist Almir Cortes and New World Guitar Trio.

    As bandleader and soloist, he has been featured at the First Cambridge Jazz Festival, the Beantown Jazz Festival, the Isabella Gardner Museum, Hyde Park Jazz Festival, Jordan Hall, Pickman Hall, Berklee Performance Center, National Repertory Orchestra Festival in Colorado, White Mountains Jazz and Blues Festival in New Hampshire, Artes de las Americas Festival in New Mexico, The 1st Upstate New York Jazz Festival, Schubert Festival, Music of Latin America Festival, First Night of Boston, National Flute Association, and several universities and colleges across New England and the US. In Brazil, he has been featured at Festival Villa-Lobos, Bienal de Música Contemporânea, Casa do Choro, Centro Cultural Banco do Brasil, Sala Cecília Meirelles, Sala Guiomar Novaes, Teatro Municipal do Rio de Janeiro, All of Jazz in São Paulo, MASP in São Paulo, MAM in Rio de Janeiro, Palácio das Artes Belo Horizonte, among other venues.

    He has also played or recorded with Pablo Ablanedo Octet, Sergio Brandão and Manga Rosa, Brasileirinho, Guinga, Ivan Lins, Rosa Passos, Joyce Moreno, Oscar Castro-Neves, Toninho Horta, Filó Machado, Altamiro Carrilho, Leni Andrade, Kris Adams, John Stein Quartet, Matthew Nicholl and Michael Farquharson, Rogério Souza, Kiko Horta, Jurandir Santana, Marcos de Carvalho, Lupa Santiago, Paulo Sérgio Santos, Maria Teresa Madeira, Bill Pierce, George Garzone, Choro Democrático, Bruno Räberg Nonet, Leandro Braga, Noel Devos, Quarteto de Cordas de São Paulo, Emmanuel Music Orchestra with conductors Craig Smith, Seiji Ozawa, and pianist Russell Sherman as soloist.

    Mr. Brandão is a Professor at Berklee College of Music and a faculty member of the Community Music Center of Boston, both where he’s been teaching for over 20 years.

    A leading educator in Brazilian music, he has given many lectures about its music styles, history and composers, and he is the author of the play-along book Brazilian and Afro-Cuban Jazz Conception, published by Advance Music.

    He was the first prize winner of several national music competitions in Brazil, and the 1991 Pappoutsakis Flute Competition in Boston.

Contact Information

  • Email: [email protected]
  • Telephone: (617) 826-9018

Media | Markets

  • ▶ Charts/Scores: http://www.sheetmusicplus.com/instruments/flute/fernando-brandao/900039+1820948
  • ▶ Book Purchases: http://www.fernandobrandao.com/publications
  • ▶ Book Purchases 2: http://www.amazon.com/Brazilian-Afro-Cuban-Jazz-Conception-Flute/dp/B0083VDB54
  • ▶ Twitter: FluteBrandao
  • ▶ Website: http://www.fernandobrandao.com
  • ▶ YouTube Channel: http://www.youtube.com/user/fvgbrandao
  • ▶ Spotify: http://open.spotify.com/album/0fA5dEY0ztl2f4bAaOfi58

Clips (more may be added)

  • 3:42
    Choro Democratico - Sedutora - Fernando Brandao
    By Fernando Brandão
    179 views
  • 0:08:58
    Alma Quintet - Awake (Fernando Brandão)
    By Fernando Brandão
    182 views
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