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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...

 

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...

 

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..."

 

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.

 

  • Jakub Józef Orliński
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Jakub Józef Orliński
  • City/Place: Warsaw
  • Country: Poland

Life & Work

  • Bio: Polish countertenor Jakub Józef Orliński is quickly gaining a reputation as a singer of striking vocal beauty and daring stagecraft. He has been hailed by critics and audiences alike, prompting the New York Times to write: “Jakub Józef Orliński combined beauty of tone and an uncommon unity of color and polish across his range.” Autumn of 2018 sees the greatly anticipated release of his debut album, Anima Sacra, a recital of 18th-century rediscovered sacred arias with the baroque ensemble Il Pomo d’oro, conducted by Maxim Emelyanychev, with Erato/Warner Classics.

    Mr. Orliński’s star rose rapidly following major competition wins on both sides of the Atlantic, including the Metropolitan Opera National Council in 2016 and the Marcella Sembrich International Vocal Competition in 2015. In the summer of 2017, he was catapulted to international prominence when his poignant live performance of Vivaldi’s “Vedrò con mio diletto” on France Musique quickly amassed more than two million views.

    Highlights of the 2018-19 season include a multi-city, international recital tour with Il Pomo d’oro, promoting the release of Mr. Orliński’s debut album, as well as his Carnegie Hall solo concert debut featuring members of New York Baroque Incorporated. He will be presented in recital by the Fundació Victoria de los Ángeles in Barcelona and will sing additional concerts in Pennsylvania and Louisiana. He debuts with the Warsaw Philharmonic in Handel’s Messiah and Montreal Bach Festival in a program of Bach, Handel and Vivaldi arias. On the opera stage, Mr. Orliński will debut with the Glyndebourne Festival Opera as Eustazio in Handel’s Rinaldo, and returns to Oper Frankfurt to reprise his dynamic portrayal of the title role in the same piece. He will return to Oper Frankfurt as Unulfo in Rodelinda, which will also serve as his role and house debut with Opéra de Lille under the baton of Emmanuelle Haïm.

    The 2017-18 season included critically lauded solo recitals at Wigmore Hall, Pierre Cardin’s Festival De Lacoste, Festival de Musique Chambre de Saint-Paul de Vence, and Festival Nits de Clássica in Girona, Spain. He made his house and role debut with Oper Frankfurt in the title role in Handel’s Rinaldo, and debuted with the Festival d’Aix-en-Provence as Orimeno in Cavalli’s Erismena, which was subsequently performed on tour at the Château De Versailles and Festival de Saint-Denis. He was featured in a concert tour of Handel’s Rinaldo with The English Concert under the baton of Harry Bicket, debuted at Chicago’s Music of the Baroque in a program of Vivaldi excerpts conducted by Jane Glover, and joined Capella Cracoviensis for performances of Handel’s Samson.

    Mr. Orliński made Carnegie Hall appearances in Handel’s Messiah with both Musica Sacra and Oratorio Society of New York, and performed the piece for his debuts with the Houston Symphony and Portland Baroque Orchestra. He joined the Karlsruhe Handel Festival to sing Vivaldi’s Nisi Dominus and excerpts from Handel’s Dixit Dominus. While a student at Juilliard, he performed the roles of the The Refugee in Jonathan Dove’s Flight and Ottone in Handel’s Agrippina in conjunction with Carnegie Hall’s La Serenissima: Music and Arts From the Venetian Republic festival.

    Mr. Orliński has triumphed in multiple vocal competitions winning first place at the Oratorio Society of New York’s 2016 Lyndon Woodside Oratorio-Solo Competition, second prize in the International Stanisław Moniuszko Vocal Competition, the first and second annual International Early Music Vocal Competitions in Poland, where he received “Special Mention” and “Special Prize,” respectively, first prize at Rudolf Petrák’s Singing Competition in Slovakia, third place at the Debut Competition in Igersheim, Germany, Special Mention at the Eighth Annual Mazovian Golden Voices Competition in Poland, and third place at Le Grand Prix de l’Opera in Bucharest, Romania.

    While completing his Master’s degree in vocal performance studying with Anna Radziejewska at the Fryderyk Chopin University of Music in Warsaw, he participated in the prestigious young artist program Opera Academy in Teatr Wielki-Opera Narodowa where he studied with Eytan Pessen and Matthias Rexroth. Mr. Orliński earned his Graduate Diploma at The Juilliard School, studying with Edith Wiens.

    In his spare time, Mr. Orliński enjoys breakdancing, in addition to other styles of dance. His achievements in this arena include prizes in many dance competitions: fourth place at the Red Bull BC One Poland Cypher competition, second place on the Stylish Strike – Top Rock Contest and second place at The Style Control competition, among others. He has also been featured in a commercial for the street wear company CROPP, as well as featured as a dancer, model and acrobat in campaigns for Levi’s, Nike, Turbokolor, Samsung, Mercedes-Benz, MAC Cosmetics, Dannon and Algida.

    Jakub Józef Orliński is an exclusive Erato/Warner Classics artist.

Contact Information

  • Management/Booking: Matthew A.Horner
    General Management
    [email protected]

    Markus Beam
    Artist Manager
    [email protected]

Media | Markets

  • ▶ Instagram: jakub.jozef.orlinski
  • ▶ Website: http://jakubjozeforlinski.com
  • ▶ YouTube Channel: http://www.youtube.com/c/JakubJozefOrlinskiCountertenor
  • ▶ YouTube Music: http://music.youtube.com/channel/UC03sM7EqvNk_RC_5UeWdqJQ
  • ▶ Spotify: http://open.spotify.com/album/6gWvwrNrYyjAL1oCVwDFUL
  • ▶ Spotify 2: http://open.spotify.com/album/4Tit9M9H0kwSulTalfeWun
  • ▶ Spotify 3: http://open.spotify.com/album/4jUnTv7p5J4bKcah8LcPJq
  • ▶ Spotify 4: http://open.spotify.com/album/2m695fwc08MLVCKxM4GdDH

Clips (more may be added)

  • Jakub Józef Orliński – Händel: "Pena tiranna" (Amadigi di Gaula)
    By Jakub Józef Orliński
    469 views
  • Hasse: "Mea tormenta, properate!", Jakub Józef Orliński & Il pomo d'oro
    By Jakub Józef Orliński
    262 views
  • Jakub Józef Orliński - "He was despised" from G.F. Handel Messiah
    By Jakub Józef Orliński
    400 views
  • Antonio Vivaldi "Vedro con mio diletto" from Il Giustino by Jakub Józef Orliński (counter-tenor)
    By Jakub Józef Orliński
    208 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 Jakub Józef Orliński:

  • 0 Countertenor
  • 0 Hip-Hop
  • 0 Opera
  • 0 Poland
  • 0 Warsaw
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  • Oteil Burbridge Multi-Instrumentalist
  • Mauro Senise MPB
  • Chucho Valdés Piano
  • Ryuichi Sakamoto Actor
  • Ajeum da Diáspora Brazil
  • Kimmo Pohjonen Helsinki
  • Edil Pacheco Brazil
  • Intisar Abioto Journalist
  • Aruán Ortiz Afro-Cuban Jazz
  • Weedie Braimah Drums
  • Roberto Mendes Santo Amaro
  • Ana Luisa Barral Choro
  • Yvette Holzwarth Film, Television Recording
  • Mohini Dey India
  • Samba de Lata Samba de Roda
  • Tomo Fujita Guitar
  • Gilsons Bahia
  • Nação Zumbi Rap
  • Burhan Öçal Percussion
  • Henrique Cazes Samba
  • Lionel Loueke Composer
  • Leandro Afonso Brazil
  • Flora Purim Jazz
  • Maia Sharp Nashville, Tennessee
  • Michael Janisch Double Bass
  • Shoshana Zuboff Harvard Business School Faculty
  • Branford Marsalis New Orleans
  • Hot Dougie's Porto da Barra
  • Zé Luíz Nascimento Barcelona
  • Chico Buarque MPB
  • Thomas Àdes Piano
  • Jimmy Dludlu Composer
  • Alex Mesquita Brazil
  • Roy Ayers Jazz, Funk, R&B, Soul, Hip-Hop
  • Tatiana Campêlo Brazil
  • Mark Bingham New Orleans
  • Celso de Almeida São Paulo
  • Lazzo Matumbi Samba
  • Byron Thomas Music Director
  • Augustin Hadelich Violin
  • José Antonio Escobar Classical Guitar
  • Antonio García Piano
  • Zigaboo Modeliste Second Line
  • Dani Deahl Record Producer
  • Grégoire Maret Jazz
  • Liz Pelly Brooklyn, NY
  • Anthony Hamilton Record Producer
  • Clarice Assad Singer
  • Eduardo Kobra Muralista, Muralist
  • Luke Daniels Scottish Traditional Music
  • Dermot Hussey Jamaica
  • Ivan Huol Drums
  • Horácio Reis Faculdade da Ucsal, Catholic University of Salvador Faculty
  • Mauro Refosco Compositor de Filmes, Film Scores
  • Luizinho Assis Piano
  • Oswaldo Amorim Brasília
  • Ênio Bernardes Percussão, Percussion
  • Rema Namakula African Music
  • Eric Harland Composer
  • Paddy Groenland Soul
  • Bing Futch Americana
  • Thiago Espírito Santo Educador, Educator
  • David Sacks Washington, D.C.
  • Anouar Brahem Oud
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  • Romero Lubambo Choro
  • Benoit Fader Keita Senegal
  • Joel Guzmán Accordion
  • Forrest Hylton Writer
  • Super Chikan Blues
  • Jaques Morelenbaum MPB
  • Missy Mazolli Opera
  • Jorge Pita Candomblé
  • James Grime YouTuber
  • Billy Strings Mandolin
  • Lucian Ban Jazz
  • Samba de Nicinha Bahia
  • Hélio Delmiro Brazilian Jazz
  • Endea Owens New York City
  • Iuri Passos AFROBIZ Salvador
  • Banning Eyre Writer
  • Mischa Maisky Classical Music
  • Simon Brook Filmmaker
  • Keshav Batish Drums
  • Ricky (Dirty Red) Gordon Second Line
  • Tigran Hamasyan Piano
  • Meshell Ndegeocello Rapper
  • Jim Farber Music Critic
  • Quincy Jones Record Producer
  • Kevin Burke Fiddle
  • Alexandre Gismonti Guitar
  • Vinson Cunningham New York City
  • Norah Jones Jazz
  • Reuben Rogers Jazz
  • Robby Krieger R&B
  • Lolis Eric Elie Filmmaker
  • Aaron Parks Piano
  • Cara Stacey South Africa
  • Steve Cropper Nashville, Tennessee
  • Pururu Mão no Couro Samba
  • Munyungo Jackson Author
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  • Vânia Oliveira Coreógrafa, Choreographer
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  • Bob Mintzer Big Band Leader
  • Romero Lubambo Guitar
  • Romero Lubambo Jazz
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  • Jill Scott Jazz
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  • Moses Boyd Jazz
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  • Tom Moon MPB
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  • Maria Rita Samba
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  • Paulão 7 Cordas Choro
  • Walter Pinheiro Frevo
  • Jorge Aragão Percussion
  • Giveton Gelin Jazz
  • Dr. Lonnie Smith Jazz
  • Jeff Preiss Filmmaker
  • Omar Sosa Marimba
  • Orlando Costa Brazil
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  • Amaro Freitas Composer
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  • Sean Jones Jazz
  • Bodek Janke Tabla
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  • Asa Branca Choro
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  • Germán Garmendia Comedian
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  • Roy Germano NYU Faculty
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  • Sabine Hossenfelder YouTuber
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  • Armen Donelian Jazz
  • Orquestra Afrosinfônica Música Clássica Contemporânia, Contemporary Classical Music
  • Richie Barshay Klezmer
  • Kirk Whalum Contemporary R&B
  • Fantastic Negrito Guitar
  • Martin Fondse Arranger
  • Weedie Braimah Pan-African Culture
  • Aloísio Menezes Bahia

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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