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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 James Gadson:

  • 3 Blues
  • 3 Drums
  • 3 Funk
  • 3 Jazz
  • 3 R&B
  • 3 Soul

What's Up

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  • James Gadson
    A video was posted re James Gadson:
    James Gadson: The Original Detroit Motown Groove (Drums)
    James Gadson: The Detroit Motown Groove - from the DVD: James Gadson - Funk R&B Drumming More Videos here at DRUMMERWORLD: http://www.drummerworld.com
    • November 11, 2019
  • James Gadson
    A video was posted re James Gadson:
    VULFPECK /// Running Away (feat. Joey Dosik, David T. Walker & James Gadson)
    VULFPECK /// Running Away (feat. Joey Dosik, David T. Walker & James Gadson)
    • November 11, 2019
  • James Gadson
    A video was posted re James Gadson:
    FUNKY DRUMS 1972: James Gadson - Bill Withers
    Kissin My Love - Live - 1972 - Beat Club - Germany ...more James Gadson here at DRUMMERWORLD: http://www.drummerworld.com/drummers/James_Gadson.html
    • November 11, 2019
  • James Gadson
    A category was added to James Gadson:
    Jazz
    • November 11, 2019
  • James Gadson
    A category was added to James Gadson:
    Soul
    • November 11, 2019
  • James Gadson
    A category was added to James Gadson:
    Blues
    • November 11, 2019
  • James Gadson
    A category was added to James Gadson:
    Funk
    • November 11, 2019
  • James Gadson
    A category was added to James Gadson:
    R&B
    • November 11, 2019
  • James Gadson
    A category was added to James Gadson:
    Drums
    • November 11, 2019
  • James Gadson
    James Gadson is matrixed!
    • November 11, 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



  • James Gadson
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: James Gadson
  • City/Place: Los Angeles
  • Country: United States
  • Hometown: Kansas City, Missouri

Life & Work

  • Bio: An American drummer and session musician ICON. James Gadson (born June 17, 1939) is the son of jazz drummer Harold Gadson. Beginning his career in the late 1960s, Gadson has since become one of the most-recorded (and sampled) drummers in the history of R&B music. At last count he has played on over 300 gold records.

    Born in Kansas City, MO, Gadson played with the first line-up of Charles Wright's Watts 103rd Street Rhythm Band, and recorded 3 albums with them between 1968 and 1970. Along with other members of Wright's band he appeared on many hit records, including with Dyke & the Blazers. Gadson became well known as a drummer following the release of the album a Still Bill by Bill Withers, released by Sussex Records in 1972. That’s Gadson’s groove on “Use Me”.

    He played on The Temptations album 1990, released on the Motown label in 1973. In 1975 he played with Freddie King on Larger Than Life and went on to record with Martha Reeves, Randy Crawford, Quincy Jones, Herbie Hancock, BB King, Albert King, Rose Royce, Elkie Brooks and many more artists.

    In 1975 he anchored the Motown classic double platinum album City Of Angels, recorded by Billy Griffin & The Miracles. Gadson was also the drummer on Marvin Gaye's "I Want You" in 1976, and appeared on two tracks, "At The Mercy" and "Riding To Vanity Fair", on the 2005 Paul McCartney album Chaos and Creation in the Backyard.

    Gadson had a brief appearance in the Adam Sandler 2009 movie Funny People as a member of the jam band that Sandler's character hires to play with him.

    In April 2009, Gadson joined Alex Dixon, grandson of Willie Dixon, on his 2009 release titled Rising From The Bushes, in which he appeared on two tracks, "Fantasy" and Willie Dixon's famous song "Spoonful". In June 2009, Gadson joined Beck, Wilco, Feist and Jamie Lidell covering Skip Spence's Oar as part of Beck's Record Club series, with videos appearing on Beck's website beginning November 2009. He has drummed on Beck's albums Sea Change, The Information and Morning Phase, as well as Jamie Lidell's 2010 album Compass.

    Gadson played drums, as well as hambone (slapping his legs), on the D'Angelo song "Sugah Daddy", on the Black Messiah album (2014).

Contact Information

  • Email: +1 323-252-7015
  • Management/Booking: Press Contact
    [email protected]

Media | Markets

  • ▶ YouTube Music: http://music.youtube.com/channel/UCLlVF-NoEFuTZ_ZgxYrG6bQ
  • ▶ Spotify: http://open.spotify.com/album/4XFMhHqk0Zz0KcmzOEqogA
  • ▶ Spotify 2: http://open.spotify.com/album/3orA2HSO31pTj5FcdecJJ6

Clips (more may be added)

  • James Gadson: The Original Detroit Motown Groove (Drums)
    By James Gadson
    470 views
  • VULFPECK /// Running Away (feat. Joey Dosik, David T. Walker & James Gadson)
    By James Gadson
    306 views
  • FUNKY DRUMS 1972: James Gadson - Bill Withers
    By James Gadson
    420 views
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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