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  • Fernando Brandão

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

CURATION

  • from this node by: Matrix+

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
    294 views
  • 0:08:58
    Alma Quintet - Awake (Fernando Brandão)
    By Fernando Brandão
    299 views
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Fernando Brandão Curated
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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
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    • June 25, 2020
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    • June 25, 2020
  • Fernando Brandão
    A category was added to Fernando Brandão:
    Brazil
    • June 25, 2020
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    A category was added to Fernando Brandão:
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    Fernando Brandão is matrixed!
    • June 25, 2020
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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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