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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 Frank London:

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  • 3 Multi-Cultural
  • 3 Trumpet

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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



  • Frank London
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Frank London
  • City/Place: New York City
  • Country: United States

Life & Work

  • Bio: The word prolific doesn’t even begin to describe Frank London. Of course, there is the Klezmatics, which he co-founded in 1986. Frank plays trumpet and keyboard and sings with the group and he’s written many of the Klezmatics’ most popular songs. But his mile-long resumé has also seen London adding virtuosity to hundreds of concerts and recordings by everyone from John Zorn to They Might Be Giants, Mel Torme to Iggy Pop, Pink Floyd, Youssou N’dour, LaMonte Young, Allen Ginsberg and LL Cool J! Called the “mystical high priest of Avant-Klez jazz,” Frank has made 30 solo recordings and is featured on over 400 CDs. His current projects include the dance theater work Salomé, Woman of Valor (with Adeena Karasick), the Yiddish-opera-in-a-Cuban-nightclub, Hatuey (with Elise Thoron), Astro-Hungarian band Glass House Orchestra, Sharabi (bhangra-klez with Deep Singh), Ahava Raba (with Cantor Yanky Lemmer), and Vilde Mekhaye (Eleanor Reissa + Frank’s Klezmer Brass Allstars). He’s a regular face on New York’s cutting-edge downtown club scene and music festivals everywhere, and has written dozens of scores for theater, film and dance. He collaborated with Judith Sloane on 1001 Voices: A Symphony for a New America for the Queens Symphony Orchestra and choir. He was music director for David Byrne and Robert Wilson’s The Knee Plays, collaborated with Palestinian violinist Simon Shaheen, taught Jewish music in Canada, Crimea and the Catskills, and produced CDs for Gypsy legend Esma Redzepova, and Algerian pianist Maurice el Medioni. He was even featured on the soundtrack to Sex and the City!

    Of course London is mainly known for his contribution to contemporary Jewish music. When he first heard klezmer music, Frank says, “I was very blown away by the funky rhythms, the polyphony, the wild old-world, old school ornamentation, the particular way it expressed its Jewishness and how the instrumental music was not at all kitschy or corny the way most Jewish music I had heard up to that point was.”

    Frank London graduated from New England Conservatory with a degree in Afro-American music. While living in Boston, he played with a host of diverse groups, from the Klezmer Conservatory Band (a founding member, playing on their first six recordings) to the Haitian band Volo-Volo to the salsa band Los Hermanos Pabón, Mark Harvey’s new music big band Aardvark, the world music group Les Misérables Brass Band, and the improvisational Ensemble Garuda. “Playing a genre or style of music is like learning a language,” he says. “You need to know the vocabulary, grammar, syntax, content, history, idioms and inflections in order to become fluent. But improvisation is outside of style; it focuses on the sonic ontology of music. What is sound? What are the aesthetics of sound and silence? These questions are at the center of all my music.”

    After settling in New York City in 1985, London began working with the all-star ensemble led by auteur Kip Hanrahan (which also included Jack Bruce of Cream), and then started working with Hasidic wedding musicians and learning the style and repertoire of Jewish music, as well as becoming involved in Hasidic philosophy and community. He also became a member of Lester Bowie’s Brass Fantasy. Then, after answering an ad for klezmer musicians, Frank met Lorin Sklamberg and the Klezmatics came to be.

    Among London’s other projects are the internationally acclaimed folk-opera A Night In The Old Marketplace, Davenen for Pilobolus and the Klezmatics, Great Small Works’ The Memoirs Of Gluckel Of Hameln and Min Tanaka’s Romance. His Klezmer Brass Allstars‘ CD Carnival Conspiracy was awarded the German Grammy; the Hasidic New Wave’s entire recorded oevre has been released as a box set on Tzadik Records, he completed two commissions for Carnegie Hall and served as an artist-in-residence in Krems, Austria. Green Violin, his musical theater piece about the Soviet Yiddish theater written with Elise Thoron, won a Barrymore Prize for best new musical. London is on the faculty of SUNY Purchase, and is currently Artistic Director of KlezKanada. With each new undertaking, London brings his knowledge of the music’s traditions and aesthetics with him, “showing a way for people to embrace Yiddish culture on their own terms as a living, breathing part of our world and its political and aesthetic landscape.”

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Website: http://www.franklondon.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCcOdHQK8lnkO93TvrEU9rdA
  • ▶ YouTube Music: http://music.youtube.com/channel/UC4MydpjthHp9ouqZHF9eRJw
  • ▶ Spotify: http://open.spotify.com/album/7mt80c3d3yBD1WJR4l69Pt
  • ▶ Spotify 2: http://open.spotify.com/album/1VJimOmmKq0B5GrXK7Z3tP

Clips (more may be added)

  • Davenen
    By Frank London
    345 views
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