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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 Issac Delgado:

  • 1 Composer
  • 1 Cuba
  • 1 Havana
  • 1 Salsa
  • 1 Singer
  • 1 Timba

What's Up

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  • Issac Delgado
    A video was posted re Issac Delgado:
    Issac Delgado ft. Gilberto Santa Rosa - El Que Siempre Soñó (Official Music Video)
    Subscribe for more releases here: http://bit.ly/2F6oCT3 Un homenaje y celebración a la vida, compuesto por Issac Delgado y Juan José Hernández presenta el te...
    • November 3, 2019
  • Issac Delgado
    A category was added to Issac Delgado:
    Singer
    • November 3, 2019
  • Issac Delgado
    A category was added to Issac Delgado:
    Composer
    • November 3, 2019
  • Issac Delgado
    A category was added to Issac Delgado:
    Timba
    • November 3, 2019
  • Issac Delgado
    A category was added to Issac Delgado:
    Salsa
    • November 3, 2019
  • Issac Delgado
    A category was added to Issac Delgado:
    Cuba
    • November 3, 2019
  • Issac Delgado
    A category was added to Issac Delgado:
    Havana
    • November 3, 2019
  • Issac Delgado
    Issac Delgado is matrixed!
    • November 3, 2019
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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



  • Issac Delgado
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Issac Delgado
  • City/Place: Havana
  • Country: Cuba

Life & Work

  • Bio: Without “son”, there would be no “salsa”. Issac Delgado is one of the greatest salseros of all time. A good “salsero” (salsa singer) carries the root of “son” deep in their heart.

    Issac Delgado, “El Chevere de la Salsa”, releases the long awaited Salsa album, “Lluvia y Fuego”—the 17th solo recording of a long discography. This new recording, a modern throwback, is distinguished by its rich compositions and arrangements written by the artist himself in collaboration with Jesus Cruz and Yusef Diaz. The Cuban vocalist sprinkles his album with vocal and instrumental special guests such as Gilberto Santa Rosa, Alain Pérez, Alexander Abreu, Pedrito Martínez, and Samuel Formell, among others. “Lluvia y Fuego”, offers the listener a smorgasbord of diverse sounds, passionate lyrics and the lush feelings of bolero, salsa and son.

    Born in Havana to a tailor father, and an actress-dancer-singer mother, Issac trained on violincello at the Almadeo Roldan Conservatory before transitioning to vocal training with one of the best vocal teachers in Cuba, Marian DeGonish. Soon after, he enrolled in the professional musicians school, Ignacio Cervantes. He became an active member of well-known salsa bands within the vast Cuban musical landscape such as Orquesta de Pacho Alonso and the progressive NG La Banda. NG La Banda was a salsa orchestra led by José Luis Cortes, and was the band that gave birth to “timba”, a genre within salsa music featuring faster tempos and more focus on timbales and percussion. Timba was the first new popular Cuban music genre in a generation, and lead vocalist Issac was on the cutting edge of Cuban dance music becoming one it’s best composers and melodic improvisers.

    Issac’s solo career began in the 90’s with the debut album entitled Dando La Hora followed by Con Ganas under the musical direction and collaboration of pianist, Gonzalo Rubalcaba. After the success of his solo debut, he garnered iconic status in the salsa and timba scenes of Latin America, stocking his bands with great improvisers and sophisticated jazz musicians. His sensuous and velvety voice gave his bands a distinct sound, and the unique arrangements characterized his performances and recordings. He had a string of hits such as the popular Sanduguita, Necesito Una Amiga and No Me Mires a Los Ojos which came from well-known recordings like En Primera Plana and Así Soy. His loving latin tribute to Nat Cole’s most popular songs were recorded on an album entitled Love and includes a classic duet with Freddy Cole on the famous tune Quizas, Quizas, Quizas.

    Prolific creative energy gave way to releases such as Made in Havana and Supercubano as wells as collabs with many illustrious artists including a maxi-single with La India (Que No Se Te Olvide); world tours with Celia Cruz; productions with famed producer, Sergio George;concert with Cachao;recordings with Ana Belén (Dos), Haila (Pensamiento), Cheo Feliciano (Amigo), Víctor Manuel (La Que Mas Te Duele), José Alberto “El Canario”, Pedrito Martínez (Habana Dreams), Alexander Abreu (Comentarios), Descemer Bueno (La Vida Es Buena), Gente de Zona (Somos Cubanos / Bailando), Pablo Milanés (Versos En EL Cielo), Los Van Van (Cubanos), and youngsters like Tony Succar (Sentimiento Original), to name just a few. Most recently, the smash duet with Gilberto Santa Rosa (El Que Siempre Soño) from Lluvia Y Fuego has become an anthem for dreamers around the world.

    Issac is an artist truly loved by his people. He is respected by musicians and bandleaders worldwide, and is known for his charisma and humble ways. Having played on world class stages and collaborated with big names in the Latin and international music world, Issac keeps his classic-modern Cuban essence intact. Citing distinctive syncopation, Issac pays homage to Spanish and African cultures with his own individual brand of Afro-Cuban music, bringing deep-rooted sentiment to modern Cuban music.

    As Issac would say: “Vaya que chévere”!

    Sin son, no hay salsa, algo que Issac Delgado tiene mas que claro. ¡Un buen salsero, es un sonero de corazón!

    Issac Delgado, “El Chevere de la Salsa”, regresa a la escena musical de la salsa de Cuba y del mundo, con su nuevo álbum “Lluvia y Fuego”, fonograma que destaca por sus composiciones, en su mayoría del propio artista en coautoría con Jesús Cruz y en coproducción musical con Yusef Díaz y nuevamente la colaboración de artistas como Gilberto Santa Rosa, Alain Pérez, Alexander Abreu, Pedrito Martínez, Ángel Bonne, Samuel Formell, Luis Quintero, y César López, “Lluvia y Fuego”, propone un recorrido por diversas sonoridades de la música cubana. Entonaciones propias del “feeling”, el bolero, y obviamente, la salsa y el son.

    “Lluvia y Fuego”, su producción discográfica # 17, recopila sus experiencias durante un periodo viviendo fuera de su Isla, durante el cual continuó nutriéndose de elementos sonoros y vivencias en España y los Estados Unidos. Ese retorno a sus raíces, a sus calles habaneras, a su gente, fue bienvenido con algarabía por su público posicionando a Issac nuevamente, como uno de los principales precursores y más populares intérpretes de la escena musical bailable.

    Nacido en La Habana, Issac formó parte de destacadas agrupaciones dentro del panorama musical cubano, tales como la Orquesta de Pacho Alonso y NG La Banda, ambas orquestas de gran renombre en el panorama la mayor de las Antillas. NG La Banda, orquesta liderada por José Luis Cortes alias “El Tosco”, flautista de formación y un jazzman a respetar, fue la cuna de lo que hoy se conoce como “timba”. “Nací en La Habana, soy Habanero…” cantaba Issac con NG La Banda, tema titulado “Los Sitios Enteros” que rinde homenaje a las barriadas habaneras, acercando a Issac a cada rincón y corazón de su público, de su pueblo.

    En 1990 fundo su propia agrupación, lanzo su primera producción discográfica “Dando La Hora” bajo la dirección musical del pianista, Gonzalo Rubalcaba (Irakere). Rápidamente alcanzo gran popularidad tras su debut como solista y se convierte en un ícono de los géneros de salsa y timba, tocando fibras con su voz aterciopelada y ese sonido tan peculiar que lo caracteriza. El considera que su música no es solo música cubana, sino que es “afrocubana”, orgulloso de sus raíces y esa sincretizacion cultural tan peculiar y especial que se vive y respira en la Cuba actual.

    A lo largo de su carrera Issac ha colaborado con destacadas figuras como Celia Cruz, Sergio George, Cachao, Ana Belén, Cheo Feliciano, Víctor Manuel, Gilberto Santa Rosa, José Alberto “El Canario”, Freddy Cole, Pedrito Martínez, Gonzalo Rubalcaba, Alexander Abreu, Descemer Bueno, Gente de Zona, Pablo Milanés, Silvio Rodríguez y Los Van Van, entre otros.

    Músico del pueblo, amado por todos por su carisma y sencillez, hace fiel tributo a su apodo. Un hombre “chévere”, buena gente, sonriente, humilde de corazón, humano y familiar, que a pesar de haber tocado en los escenarios más importantes del mundo y colaborado con grandes nombres de la música latina e internacional, mantiene su esencia intacta, es cubano 100%, donde quiera que vaya.

    “Vaya que chévere”, anuncia el sonero y salsero donde quiera que se presenta, como si fuera un pregón típico de sus calles habaneras, como un presagio que rima con Issac Delgado.

Contact Information

  • Management/Booking: Artist Representation
    Anna M. Sala
    AMS Artists in collaboration with AB Artists
    Office: +212 581-0612
    Cell: +646 621-1104
    Email: [email protected]

Media | Markets

  • ▶ Twitter: issacdelgado
  • ▶ Instagram: issacdelgadoofficial
  • ▶ Website: http://issacdelgado.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UC8KYqW2ZScmVV7ZQNrgjaOQ
  • ▶ YouTube Music: http://music.youtube.com/channel/UCc3M9kemNFmlIKTkhaKgrcw
  • ▶ Spotify: http://open.spotify.com/album/74QZy4tcjEtvSkXnBxZo78
  • ▶ Spotify 2: http://open.spotify.com/album/1sr0n0CCMNaeCYWbNO7O2u
  • ▶ Spotify 3: http://open.spotify.com/album/2OA6qsXCj07gt7lmhgFunv
  • ▶ Spotify 4: http://open.spotify.com/album/0osNPSLgqMihcwRKoqToba
  • ▶ Spotify 5: http://open.spotify.com/album/5OL31LlbUSHcMzJeqE0acq
  • ▶ Spotify 6: http://open.spotify.com/album/5i8j55ot3XvADl3dbIAueJ

Clips (more may be added)

  • Issac Delgado ft. Gilberto Santa Rosa - El Que Siempre Soñó (Official Music Video)
    By Issac Delgado
    255 views
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