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  • Gretchen Parlato

    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: Gretchen Parlato
  • City/Place: New York City
  • Country: United States

CURATION

  • from this node by: Matrix+

Current News

  • What's Up? Gretchen Parlato has returned, not only to the recording industry but to herself, with her new Brazilian-inspired project, Flor. Portuguese for “flower”, Flor is the artistic embodiment of the GRAMMY®-nominated singer’s deep dive into motherhood over the last six years, a metamorphic interval of space that allowed Parlato to discover the fullness of her essence through a new lens. In this season of epiphany, Parlato reaps her most personal harvest yet, which she refers to as, “a blossoming, an opening, an offering, a return.”

    A gorgeous synthesis of original material, American popular music, European classical music, and Brazilian standards, Flor exemplifies the many ways in which motherhood has reconnected Parlato to her own inner child, revisiting the enchantment of falling in love with music for the first time, particularly the various Brazilian genres she became enamored with as a young teenager. “This is music that I’ve always wanted to honor,” says Parlato. “What I’m trying to find isn’t outside of myself. It’s not out of reach, it’s actually that internal revealing of what already exists.”

Life & Work

  • Bio: In the time since her arrival in New York City, Gretchen Parlato has emerged as one of the most inventive and mesmerizing vocalists of her generation. In an artful communion of space, texture and a genre-bending repertoire, she has introduced a musical sea-change, making the power of subtlety front and center in jazz.

    Parlato's new album and DVD set, Live in NYC, serves as both a gift of gratitude for those loyal fans and a window into her captivating concert performances. Style Weekly gives insight to her live performances, saying "in performance, jazz vocalist Gretchen Parlato is a revelation… her diaphanous voice expands into an instrument of impressive range, rhythmic sophistication and emotional power." The Jazz Breakfast even picks up on the differences between her records and live performance, commenting, "the New York-based Californian and her band are terrific on record, but in live performance they fill the music with even more energy, stretching it like some magic pliable plastic into new and exciting forms. The rhythmic and dynamic expertise of all four is extraordinary. They shift the accents around, they pause, and fall back in perfectly, they deepen the groove and then ´shallow´ it gently again." This set truly exemplifies the evolution of these songs since their inception years ago.

    For Parlato, the release of Live in NYC is an opportunity to take a pause and look back over what has been a remarkably active and creative decade, and also to pay tribute to the city that has made it possible. "This album represents the beloved live performances we've shared over many years of playing together all over the world," says Parlato. "Though, it´s especially personal for me to have recorded in New York City, as 2013 marks 10 years of calling NYC my home after moving from Los Angeles."

    While Parlato has performed on some of the world´s most prestigious concert halls including Carnegie Hall, Hollywood Bowl, London Jazz Festival, North Sea & Montreal Jazz Festival, she chose the intimacy of Rockwood Music Hall for this special recording. Two different incarnations of Parlato's transfixing working bands came together for two nights in December 2012 to record Live in NYC. "Over these years of touring together, two specific bands have stood out to me: Taylor Eigsti, Alan Hampton, and Mark Guiliana, and Eigsti, Burniss Earl Travis II, and Kendrick Scott. Each band has their own unique dynamic and approach to the music. I knew I had to feature both. I've spent so many years touring with these wonderful musicians," she explains. "I've always wanted to capture and share the magical energy, connection, and interaction of a live performance. Singing with these musicians has uplifted and inspired me, each of them supporting and challenging me as a singer."

    The album's nine live tracks (four of which appear on the accompanying DVD) are culled from Parlato's three albums but all of the material has been significantly transformed in the years since it was recorded. While her artistic growth has been evident on each successive album, it´s particularly enlightening to have the opportunity to revisit this material and witness first-hand how it has changed over years of bandstand evolution. It also allows Parlato's dedicated fans to carry home the experience they've only been able to share in nightclubs or via festival stages.

    "I thought of featuring the songs that been reworked into versions that are different from how we recorded them in the studio," reflects Parlato. "So much of what we do is about the interpretive and improvisatory element each time we approach the music. The live album is accompanied by a DVD, as I wanted to make sure there was a visual component to enhance the aural experience. I find it especially fascinating to watch performers live, and get a detailed look into how they approach and play their instruments, and the dynamic and often subtle interplay between musicians," says Parlato.

    Herbie Hancock´s "Butterfly," which opens the album, has changed from In a Dream´s intimate trio performance with guitarist/vocalist Lionel Loueke and bassist Derrick Hodge, to a simmering, soulful full-band treatment here. "Alô Alô" from The Lost and Found, has intensified from its original multi-layered track of Parlato's voice and percussion, to a driving rhythmic showcase, each band member playing their instruments percussively. One of Parlato's most popular covers, a Robert Glasper re-arrangement of SWV's "Weak," played live moves with a spacious, shifting, and elusive groove that spotlights the band´s elastic cohesion. Live in NYC closes with Parlato's original "Better Than," with the audience singing along, almost chanting together in this spellbinding arrangement.

    In documenting the evolution of song and artist, Live In NYC both captures the kinetic energy of the room and reveals the tender relationship between artist and audience. It is, at its core, a joyful expression of Parlato's heartfelt appreciation for those she has met along the way.

Contact Information

  • Management/Booking: management –
    Karen Kennedy
    24 Seven Artist Development
    6 Richmond St.
    Newark, NJ 07103
    tel: 973.230.3160
    fax: 973.353.9477

    booking –
    Myles Weinstein, President
    Unlimited Myles, Inc.
    6 Imaginary Place
    Aberdeen, NJ 07747
    tel: 732.566.2881
    fax: 732.566.8157
    [email protected]
    www.unlimitedmyles.com

    France, Belgium, Netherlands -
    Reno Di Matteo
    Anteprima Productions
    22 Rue de Navarin
    75000 Paris, France
    tel: +33 (0) 1 45 08 00 00
    [email protected]
    www.anteprimaproductions.com

    Germany, Austria, Switzerland -
    Amaya Collantes
    F-Cat Productions
    Pohlstraße 39
    10785 Berlin
    fon: +49 30 261032920
    [email protected]
    www.f-cat.de
    [email protected]

    record label –
    Obliqsound
    Port Authority Financial Center
    PO Box 30166
    New York, NY 10011 U.S.A.
    tel: 212.274.8640
    fax: 212.274.8641
    contact: Kevin Calabro
    sales: Stacey Taylor
    press and promo: Kevin Calabro
    artist booking: Emilie Manchon

    56 rue de Paradis
    75010 Paris, France
    tel: +33 (0)1 48 24 77 49
    fax: +33 (0)1 78 41 67 48

    ObliqSound GmbH
    Jakobikirchhof 9
    20095 Hamburg, Germany
    www.obliqsound.com
    www.karenkennedy.net

    publicity –
    Jordy Freed, Account Publicist
    DL MEDIA
    124 N. Highland Ave.
    Bala Cynwyd, PA 19004
    Office: 610.667.0501 I
    Mobile: 267.274.7368
    [email protected]
    www.jazzpublicity.com

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://gretchenparlato.bandcamp.com/album/flor
  • ▶ Buy My Music 2: (downloads/CDs/DVDs) http://myiesstore.com/gretchenparlato/
  • ▶ Buy My Merch: http://myiesstore.com/gretchenparlato/
  • ▶ Twitter: gretchenparlato
  • ▶ Instagram: gretchenparlato
  • ▶ Website: http://www.gretchenparlato.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCO0oEPeUtYJboimlXWhR8qw
  • ▶ YouTube Music: http://music.youtube.com/channel/UCqBqIOLrQ9iSJSp0TtuSICA
  • ▶ Spotify: http://open.spotify.com/album/0zf7XCW761Gswh5sxQBduz
  • ▶ Spotify 2: http://open.spotify.com/album/2ICyVq5DV2u7is3AMLXxuZ
  • ▶ Spotify 3: http://open.spotify.com/album/3RzIu8LThvyRGzWorhCWRH
  • ▶ Spotify 4: http://open.spotify.com/album/21D8tcBqXe5R753Hq658W7
  • ▶ Spotify 5: http://open.spotify.com/album/4mzWnRHrgRMcUKtvqNW6eB
  • ▶ Spotify 6: http://open.spotify.com/album/6T8aPdSkARdpkaK1BqU1rz
  • ▶ Article: http://downbeat.com/news/detail/gretchen-parlato-in-bloom

More

  • Quotes, Notes & Etc. “In an inconspicuous way, Gretchen Parlato knows
    how to play the same instrument that Frank Sinatra played. There’s no one out there like Gretchen.”
    – Wayne Shorter

    "a singer with a deep,
    almost magical connection to the music.”
    – Herbie Hancock

Clips (more may be added)

  • FLOR
    By Gretchen Parlato
    565 views
Previous
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Gretchen Parlato Curated
pathways in

  • 8 Composer
  • 8 Jazz
  • 8 MPB
  • 8 New York City
  • 8 Singer

What's Been Happening?

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  • Gretchen Parlato
    Eric Roberson → Singer-Songwriter has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Eric Roberson → Record Producer has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Eric Roberson → R&B has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Eric Roberson → Neo Soul has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Eric Roberson → Keyboards has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Eric Roberson → Drum Machine has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Eric Roberson → Berklee Faculty has been recommended via Gretchen Parlato.
    • September 2, 2022
  • Gretchen Parlato
    Sara Gazarek → Vocal Instruction has been recommended via Gretchen Parlato.
    • June 10, 2022
  • Gretchen Parlato
    Sara Gazarek → USC Thornton School of Music Faculty has been recommended via Gretchen Parlato.
    • June 10, 2022
  • Gretchen Parlato
    Sara Gazarek → Singer has been recommended via Gretchen Parlato.
    • June 10, 2022
  • Gretchen Parlato
    Sara Gazarek → Los Angeles has been recommended via Gretchen Parlato.
    • June 10, 2022
  • Gretchen Parlato
    Sara Gazarek → Jazz has been recommended via Gretchen Parlato.
    • June 10, 2022
  • Gretchen Parlato
    Aaron Parks → Ropeadope has been recommended via Gretchen Parlato.
    • January 18, 2022
  • Gretchen Parlato
    A category was added to Gretchen Parlato:
    MPB
    • April 18, 2021
  • Gretchen Parlato
    A category was added to Gretchen Parlato:
    Composer
    • April 18, 2021
  • Gretchen Parlato
    Immanuel Wilkins → Saxophone has been recommended via Gretchen Parlato.
    • April 1, 2021
  • Gretchen Parlato
    Immanuel Wilkins → NYU Faculty has been recommended via Gretchen Parlato.
    • April 1, 2021
  • Gretchen Parlato
    Immanuel Wilkins → New York City has been recommended via Gretchen Parlato.
    • April 1, 2021
  • Gretchen Parlato
    Immanuel Wilkins → New School Faculty has been recommended via Gretchen Parlato.
    • April 1, 2021
  • Gretchen Parlato
    Immanuel Wilkins → Jazz has been recommended via Gretchen Parlato.
    • April 1, 2021
View More
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


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 below — 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.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & 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


RESPLENDENT 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.

 

 

PORTUGUÊS (to English →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


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.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) 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


RESPLANDECENTE 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.

 

 

  • David Kirby Writer
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