Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ 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...

 

This 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...

 

Harlem to Bahia to the Planet



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...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist 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.

 

  • Harold López-Nussa
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Harold López-Nussa
  • City/Place: Havana
  • Country: Cuba

Life & Work

  • Bio: For more than a half-century, the embrace between Cuba and the United States has been subject to an odd dance of politics, including a still-standing embargo. Nevertheless, the bond between the two nations is deep and strong as ever, expressed most forcefully through the dance of culture—especially music.

    It’s hard to imagine the U.S. jazz scene without the influence of the many Cuban musicians living here. Yet the musicians who remain in Cuba—whose relationship with jazz and other musical forms stays grounded in their native island’s cultural traditions and daily life—maintain a unique perspective. They tell a specific story.

    Un Día Cualquiera, pianist HAROLD LÓPEZ-NUSSA‘s second release for Mack Avenue Records, represents this musical vantage point with force and innovation. He tells this story—his story—with drama, heartfelt emotion and consummate skills.

    López-Nussa was born 1983 in Havana, where he still lives. “I need the kind of relaxed life that Havana gives me,” he said. For López-Nussa, whose award-winning music has led to international tours and who holds dual citizenship in Cuba and France. “Every time I return to Cuba, I feel something special—not just a connection with my family and friends, but with the place itself. This is where my music comes from, what it talks about.”

    His previous Mack Avenue album, El Viaje (The Journey), was released on the heels of President Obama’s historic 2016 visit to Havana, against a backdrop of newly relaxed trade and travel restrictions. Un Día Cualquiera arrives as U.S. restrictions regarding Cuba again tighten under the Trump administration; considered in that light, the album is an affirmative statement that music will always cross borders and defy obstacles. “I want to grow closer to the American people,” López-Nussa said. “This has always been an important desire for Cubans, especially musicians. It’s impossible for us to be separate because we have so much in common, so much to share.”

    Musically, Lopez-Nussa’s last album augmented his band with additional instruments and influences, including Senegalese bassist Alune Wade, to achieve a globalized sound. For “Un Día Cualquiera,” Lopéz-Nussa sticks to his core trio, with his younger brother Ruy Adrián López-Nussa on drums and percussion, and bassist Gaston Joya—a group the pianist first convened a decade ago in Cuba.

    “These are my closest friends and two of the greatest musicians of my generation in Cuba,” he said. “We’ve played a lot together through the years, but this is the first time that we’ve toured and recorded as a working trio. When we play to together, something special always happens and I feel comfortable and free, because they know how my music works and where I will go even before I get there.”

    The island of Cuba is dotted with families known for musical achievement. López-Nussa grew up in one such home. On May 18, 2018, Washington D.C.’s Kennedy Center will pay tribute to this legacy within its sprawling “Artes de Cuba Festival” through a concert showcasing the Lopéz-Nussa family. Harold Lopéz-Nussa and his brother will perform alongside their father, Ruy López-Nussa, an esteemed drummer and educator, and their uncle, Ernán López-Nussa, an acclaimed pianist. (Their late mother, Mayra Torres, was a highly regarded piano teacher.)

    Harold López-Nussa’s music reflects the full range and richness of Cuban music, with its distinctive combination of classical, folkloric and popular elements, as well as its embrace of jazz improvisation and interaction. His career gracefully spans styles. Early on, he recorded Heitor Villa-Lobos ́ Fourth Piano Concerto with Cuba’s National Symphony Orchestra (2003) and won First Prize at the Jazz Solo Piano Competition at the Montreux Jazz Festival, Switzerland (2005). He was featured on the album Ninety Miles, playing alongside jazz stars David Sánchez, Christian Scott and Stefon Harris, and Esencial (of compositions by revered Cuban classical guitarist, composer and conductor Leo Brouwer). He spent three years in the touring band of the beloved Cuban singer Omara Portuondo.

    At the age of eight, López-Nussa began studying at the Manuel Saumell Elementary School of Music, then the Amadeo Roldán Conservatory and finally graduating with a degree in classical piano from the Instituto Superior de Artes (ISA). On two tracks here, he dips into the repertoire of Ernest Lecuona—“one of the greatest Cuban composers of all time,” he said, who, like Gershwin in the U.S., brought indigenous and popular forms to bear on classical repertoire. Lopez-Nussa’s interpretations of “Danza de los Ñañigos,” which is based on Afro-Cuban religious rituals, and “Y la Negra Bailaba,” which, he said, “is somewhere between Cuban son and danzón styles,” represent less liberties taken than the unfolding of a deep understanding of Lecuona’s towering legacy.

    López-Nussa grew up in Centro Habana, a neighborhood known for its folkloric Afro-Cuban ceremonies. “There would be two or three ceremonies each week, and I could hear them from my house,” he recalled. “What I soaked in there has never left me.” His original composition, “Elegua,” translates batá drum rhythms and chants for a Yoruba deity to a jazz-trio format, and forms one of the album’s dramatic high points.

    The ease and invention with which he improvises at the piano, and the suppleness with which his trio swings make it hard to believe that López-Nussa didn’t really take up jazz until he was 18 years old. “Jazz was scary,” he said. “Improvisation was scary.” Yet he felt emboldened by Herbie Hancock’s 1996 album, The New Standard, of jazz interpretations of pop, rock and R&B songs. “That gave me new ideas about what was possible, and what I could do,” he said. He found inspiration, too, from Cuba’s great jazz pianists—the ongoing work of the reigning master Chucho Valdés, as well as recordings of Chucho’s father, the late Bebo Valdés. Here, López-Nussa’s composition, “Una Tarde Cualquiera en Paris,” pays homage to the calm, reflective quality of Bebo’s pianism. Another López-Nussa original, “Mi Son Cerra’o” is meant to evoke the sound and spirit of the early descargas (jam sessions) on which Bebo played, the earliest Cuban jazz recordings. López-Nussa’s tender rendition of “Contigo en la Distancia” a bolero written by Cuban singer-songwriter César Portillo de la Luz in 1946 (covered in the decades since by singers ranging from Plácido Domingo to Christina Aguilera) reveals lessons learned on bandstands accompanying Omara Portuondo. “She showed me how to put all of your passion, your whole existence, into a single song,” he said.

    Un Día Cualquiera is a forceful statement from a Cuban musician leading his tight-knit Cuban band, recorded in the U.S. (at WGBH Studios in Boston, Mass.), and influenced by music from both countries in ways that transcend narrow notions of “Latin jazz.” The album nods to classic Cuban composers and musicians but it focuses mostly on pianist Harold López-Nussa’s original compositions and his distinctive trio concept. These compositions are mostly new, save for one or two, such as the opener, “Cimarrón,” which are older pieces reinvented for the present moment.

    López-Nussa chose the new album’s title, which means “Just Another Day,” because, he said, “the idea is to put the music and the trio together in a studio and just play, the way we three do every day, any day—like a concert in the living room of your house.”

Contact Information

  • Management/Booking: MANAGEMENT:
    The Kurland Agency
    Boston, MA
    Ted Kurland
    1-617-254-0007
    [email protected]
    www.thekurlandagency.com

    FOR BOOKINGS IN NORTH AMERICA:
    Epstein & Company
    1-256-344-7469
    [email protected]
    www.epsteinco.com

    FOR ALL OTHER INTERNATIONAL BOOKINGS:
    The Kurland Agency
    Boston, MA
    Ted Kurland
    1-617-254-0007
    [email protected]
    www.thekurlandagency.com

Media | Markets

  • ▶ Twitter: haroldlopeznuss
  • ▶ Instagram: haroldlopeznussa
  • ▶ Website: http://www.haroldlopeznussa.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCEJt8lO-E2nfLKS7QKltXwQ
  • ▶ YouTube Music: http://music.youtube.com/channel/UCI6hhiuqKI9sQNSKqAbLZpQ
  • ▶ Spotify: http://open.spotify.com/album/5WWJRrJ5ab6bgrshEBnXLW
  • ▶ Spotify 2: http://open.spotify.com/album/3HIIXCUAjYQBd5cOzmgRpc
  • ▶ Spotify 3: http://open.spotify.com/album/2ZH7qQzTTOf6Qefuf9IyeO
  • ▶ Spotify 4: http://open.spotify.com/album/1g3B6p8foE7fICe5Jc2PAW
  • ▶ Spotify 5: http://open.spotify.com/album/2TLlmjoVNIJG3POdAQzigS
  • ▶ Spotify 6: http://open.spotify.com/album/3KnacXsgXb8XRHHkzo07wu

Clips (more may be added)

  • Harold López-Nussa Trio — 'Conga Total'
    By Harold López-Nussa
    242 views
  • Paseo
    By Harold López-Nussa
    251 views
  • Hialeah - Harold López-Nussa
    By Harold López-Nussa
    278 views
  • Harold Lopez-Nussa Trio: NPR Music Tiny Desk Concert
    By Harold López-Nussa
    225 views
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YOU RECOMMEND

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 Harold López-Nussa:

  • 1 Composer
  • 1 Cuba
  • 1 Havana
  • 1 Piano

Nodes below are randomly generated. Reload for a different stack.

  • João Bosco Brazil
  • Lenine Recife
  • Plinio Oyò Brasil, Brazil
  • Zebrinha Coreógrafo, Choreographer
  • Jorge Glem Mandolin
  • Mary Stallings San Francisco
  • Iuri Passos Bahia
  • Denzel Curry Los Angeles
  • Yo La Tengo Experimental Rock
  • China Moses Voiceovers
  • Tommaso Zillio Metal
  • Bill Frisell Composer
  • Andrew Finn Magill Violin
  • Bruce Molsky Banjo Instruction
  • Ed Roth Songwriter
  • Sameer Gupta Jazz
  • Miguel Atwood-Ferguson Music Producer
  • Michael Janisch Bass
  • Cory Wong Jazz
  • Tom Schnabel DJ
  • OVANA Singers-Songwriters
  • Michael Cuscuna Jazz
  • Celso Fonseca Record Producer
  • Courtney Pine London
  • Menelaw Sete Cubismo Afro-Brasileiro, Afro-Brazilian Cubism
  • Luiz Brasil Brazil
  • Paulo Aragão Arranger
  • Mestrinho Sergipe
  • Gilberto Gil Salvador
  • Dr. Lonnie Smith Jazz
  • Kim Hill Entrepreneur
  • Nicole Mitchell Jazz
  • Jovino Santos Neto Piano
  • Camille Thurman Composer
  • Musa Okwonga Writer
  • Burhan Öçal Divan-Saz
  • Toumani Diabaté Bamako
  • Michael Pipoquinha Brazil
  • Cuong Vu Trumpet
  • James Martin Singer-Songwriter
  • Rogê Brazil
  • Huey Morgan DJ
  • Jeremy Danneman Composer
  • Oscar Bolão Samba
  • Jared Sims West Virginia University Faculty
  • Manu Chao Singer-Songwriter
  • Yosvany Terry Percussion
  • Rosa Passos Salvador
  • Márcia Short Bahia
  • Alan Bishop Cairo
  • Egberto Gismonti Piano
  • Mestre Nelito Salvador
  • Jonathon Grasse California State University, Dominguez Hills Faculty
  • Guinha Ramires Multi-Instrumentalist
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  • Ben Harper Reggae
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  • Chad Taylor Composer
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  • Nate Chinen Jazz
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  • Lenny Kravitz Songwriter
  • Oscar Bolão Author
  • Sérgio Mendes Rio de Janeiro
  • Papa Mali Record Producer
  • Alex Conde Spain
  • Greg Kot Journalist
  • Gustavo Caribé Baixo, Bass
  • Muri Assunção Rio de Janeiro
  • Cimafunk Cuba
  • Tom Green Writer
  • Ray Angry Songwriter
  • Keshav Batish North Indian Classical Music
  • Herbie Hancock Composer
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  • Mona Lisa Saloy Storyteller
  • Nahre Sol Piano
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  • John Harle Record Producer
  • Osvaldo Golijov Argentina
  • Warren Wolf Vibraphone
  • Yelaine Rodriguez African Diaspora Culture
  • Christopher James Musicologist
  • Samuel Organ Composer
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  • Ilê Aiyê Salvador
  • Arthur Verocai Piano
  • Yasmin Williams Alexandria, Virginia
  • Sunna Gunnlaugs Composer
  • Dave Douglas Multi-Cultural
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  • Alex Cuadros Journalist
  • Matt Glaser Violin
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  • Stuart Duncan Fiddle
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  • Ron Blake Saxophone
  • Jean-Paul Bourelly Guitar
  • Joey Alexander Jazz
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  • Jeffrey Boakye Educator
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  • Victor Gama Experimental Music
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  • Larissa Luz Actor
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  • Deborah Colker Dancer
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  • James Brandon Lewis Essayist
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  • Felipe Guedes Guitar
  • Larry Grenadier Composer
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  • Bertram Writer
  • Alita Moses Singer-Songwriter
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  • Paulinho Fagundes Guitar
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