CURATION
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from this page:
by Matrix
Network Node
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Name:
Flávio Venturini
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City/Place:
Barueri, São Paulo
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Country:
Brazil
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Hometown:
Belo Horizonte, Mina Gerais
Life
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Bio:
Nascido em Belo Horizonte em 23 de julho de 1949, Flávio Venturini manifestou seu amor pela música desde os tenros três anos de idade. Aos 15, deu os primeiros passos em sua formação musical, tendo o acordeão como seu instrumento inicial. Logo, seu pai presenteou-o com um piano, o que marcou o início de seus estudos na Fundação de Educação Artística em Belo Horizonte, onde mergulhou na percepção musical e no domínio do piano.
Durante os anos 60 e 70, participou ativamente de diversos festivais de inverno. Foi nesse período que teve a oportunidade de estudar composição e arranjos com renomados mestres, tais como Walter Smetak, Ernest Widmer, Bruno Kiefer, Ailton Escobar, Cláudia Cimbleris e Rogério Duprat.
Paralelamente, imergiu no efervescente caldeirão cultural de Belo Horizonte. Nos anos 70, além de se apresentar em bailes com grupos como The Shines, Os Turbulentos e Crisalis, destacou-se em festivais como o Festival Estudantil da Canção e o Festival Universitário de Belo Horizonte, onde conquistou o segundo lugar. Sua participação no Festival Internacional da Canção de 1970, no Rio de Janeiro, também marcou sua trajetória.
Nessa mesma época, uniu-se aos novos compositores mineiros, realizando apresentações conjuntas em shows conhecidos como "Fio da Navalha", ao lado de artistas como Lô Borges, Beto Guedes, Tavinho Moura, Toninho Horta, Vermelho e Zé Eduardo, antecipando o movimento que mais tarde seria consagrado como "Clube da Esquina".
Em 1974, a convite de Milton Nascimento, integrou o grupo carioca "O Terço", radicado em São Paulo, onde se destacou como compositor e participou da gravação de dois álbuns de sucesso, "Criaturas da Noite" (1974), que ultrapassou a marca de 100 mil cópias vendidas, e "Casa Encantada" (1975), ambos com arranjos do maestro Rogério Duprat.
Em 1977, deixou o Terço e, no mesmo ano, gravou o LP "A Página do Relâmpago Elétrico" com Beto Guedes. Sua música "1974" foi coreografada pelo argentino Oscar Araiz para o Royal Ballet do Canadá, resultando em uma turnê pelo Canadá e Estados Unidos.
Em 1978, participou do histórico álbum "Clube da Esquina II" de Milton Nascimento, contribuindo não só com a faixa "Nascente", mas também como músico em outras composições.
Sua trajetória seguiu com o lançamento da banda 14BIS, fundada em 1979 junto com Vermelho, rendendo oito discos de sucesso. Durante esse período, sua carreira solo também despontou com os álbuns "Nascente" (1982) e "O Andarilho" (1985).
Em paralelo, aprofundou seus conhecimentos musicais participando de um curso de música para cinema promovido pelo National Film Board do Canadá. Compôs trilhas para filmes premiados como "Quando os Morcegos se Calam", "Viagem de Ônibus" e "Instinto Animal".
Em 1988, deixou o 14BIS e continuou sua carreira solo. Destacou-se no Free Jazz Festival de 1989 e realizou shows memoráveis com músicos como Toninho Horta, Lô Borges e Zé Renato.
Ao longo dos anos 90, lançou diversos álbuns solo, incluindo "Cidade Veloz" (1990) e "Noites com Sol" (1994), este último rendendo-lhe disco de ouro. Sua presença nos palcos foi marcante, participando de eventos como o Rio Show Festival e realizando turnês pelos Estados Unidos, Canadá e Europa.
No novo milênio, fundou a gravadora independente TRILHOS.ARTE em 2003, lançando novos talentos e álbuns próprios, como "Porque não tínhamos bicicleta". Sua música continuou presente na mídia, com faixas incluídas em trilhas sonoras de novelas da Rede Globo e do SBT.
Ao completar 50 anos em 1999, realizou um grande show no Metropolitan/RJ, que se tornou um especial de TV e foi lançado em CD, VHS e DVD. Sua influência e talento foram reconhecidos em tributos aos Beatles e a Renato Russo.
Flávio Venturini continua a ser uma figura proeminente na cena musical brasileira, mantendo-se ativo na criação, produção e performance, enriquecendo a cultura nacional com sua arte e talento.
English:
Born in Belo Horizonte on July 23, 1949, Flávio Venturini expressed his love for music from the tender age of three. At 15, he took his first steps in musical education, starting with the accordion as his initial instrument. Soon after, his father gifted him a piano, marking the beginning of his studies at the Artistic Education Foundation in Belo Horizonte, where he delved into musical perception and piano mastery.
During the 1960s and 1970s, he actively participated in various winter festivals. It was during this time that he had the opportunity to study composition and arrangements with renowned masters such as Walter Smetak, Ernest Widmer, Bruno Kiefer, Ailton Escobar, Cláudia Cimbleris, and Rogério Duprat.
Simultaneously, he immersed himself in Belo Horizonte's vibrant cultural scene. In the 1970s, besides performing at dances with groups like The Shines, Os Turbulentos, and Crisalis, he stood out in festivals like the Student Song Festival and the University Festival of Belo Horizonte, where he won second place. His participation in the 1970 International Song Festival in Rio de Janeiro also marked his trajectory.
During this period, he joined forces with the new composers from Minas Gerais, performing joint shows known as "Fio da Navalha" alongside artists like Lô Borges, Beto Guedes, Tavinho Moura, Toninho Horta, Vermelho, and Zé Eduardo, foreshadowing the movement later known as "Clube da Esquina."
In 1974, invited by Milton Nascimento, he joined the Rio-based group "O Terço," where he stood out as a composer and participated in the recording of two successful albums, "Criaturas da Noite" (1974), which sold over 100,000 copies, and "Casa Encantada" (1975), both with arrangements by maestro Rogério Duprat.
In 1977, he left "O Terço" and, in the same year, recorded the LP "A Página do Relâmpago Elétrico" with Beto Guedes. His song "1974" was choreographed by Argentine Oscar Araiz for the Royal Ballet of Canada, resulting in a tour across Canada and the United States.
In 1978, he participated in the historic album "Clube da Esquina II" by Milton Nascimento, contributing not only with the track "Nascente" but also as a musician on other compositions.
His journey continued with the formation of the band 14BIS in 1979, founded alongside Vermelho, resulting in eight successful albums. During this time, his solo career also flourished with albums like "Nascente" (1982) and "O Andarilho" (1985).
In parallel, he deepened his musical knowledge by participating in a film music course promoted by Canada's National Film Board. He composed soundtracks for award-winning films like "When the Bats Fall Silent," "Bus Journey," and "Animal Instinct."
In 1988, he left 14BIS and continued his solo career. He stood out at the 1989 Free Jazz Festival and performed memorable shows with musicians like Toninho Horta, Lô Borges, and Zé Renato.
Throughout the 1990s, he released several solo albums, including "Cidade Veloz" (1990) and "Noites com Sol" (1994), the latter earning him a gold record. His stage presence was remarkable, participating in events like the Rio Show Festival and touring the United States, Canada, and Europe.
In the new millennium, he founded the independent label TRILHOS.ARTE in 2003, launching new talents and albums like "Porque não tínhamos bicicleta." His music continued to be present in the media, with tracks featured in soap opera soundtracks on Rede Globo and SBT.
Upon turning 50 in 1999, he held a grand concert at Metropolitan/RJ, which became a TV special and was released on CD, VHS, and DVD. His influence and talent were recognized in tributes to The Beatles and Renato Russo.
Flávio Venturini remains a prominent figure in the Brazilian music scene, actively contributing to creation, production, and performance, enriching the national culture with his art and talent.
Clips (more may be added)
The Integrated Global Creative Economy
Wolfram Mathematics
From Salvador, Bahia, Brazil, the unprecedented integration of the creative economy. Creators planet-wide positioned within reach of each other and the entire world by means of technology + small-world theory (see Wolfram above). Bahia was final port-of-call for more enslaved human beings than any other place on earth throughout all of human history. It was refuge for Sephardim fleeing the Inquisition. It is Indigenous both apart and subsumed into a sociocultural matrix which is all of these: a small-world matrix. Neural structures for human memory are small-world. This technological matrix is small-world...
In small worlds great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"I'm truly thankful ... Sohlangana ngokuzayo :)"
—Nduduzo Makhathini (JOHANNESBURG): piano, Blue Note recording artist
"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...
Dear friends & colleagues,
Having arrived in Salvador 13 years earlier, I opened a record shop in 2005 in order to create an outlet to the wider world for Bahian musicians, many of them magisterial but unknown.
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 Bahians and other 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 (people who have passed are not removed), 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 "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.
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Recent access to this matrix and Bahia are from these places (a single marker can denote multiple accesses).
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
Nduduzo Makhathini
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX