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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 Jane Ira Bloom:

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  • Jane Ira Bloom
    A video was posted re Jane Ira Bloom:
    Rowing in the Dark Podcast - Episode #5 w/ Jane Ira Bloom
    This week: Bach.
    • October 14, 2020
  • Jane Ira Bloom
    A video was posted re Jane Ira Bloom:
    Rowing in the Dark Podcast - Episode #4 w/ Jane Ira Bloom
    • October 14, 2020
  • Jane Ira Bloom
    A video was posted re Jane Ira Bloom:
    Rowing in the Dark Podcast - Episode #3 w/ Jane Ira Bloom
    Jane Ira Bloom plays "The Nearness of You" by Hoagy Carmichael from NYC during the COVID-19 lockdown.
    • October 14, 2020
  • Jane Ira Bloom
    A video was posted re Jane Ira Bloom:
    Rowing in the Dark Podcast - Episode #2 w/ Jane Ira Bloom
    This is a piece called “Ten Years After the Rainbow” (I guess you know how the rest of the song goes…) and I’m playing it solo into the piano today because it makes me feel like I’m playing a duet with the strings. Seems appropriate for a time when we’re ...
    • October 14, 2020
  • Jane Ira Bloom
    A video was posted re Jane Ira Bloom:
    Rowing in the Dark Podcast - Episode #1 w/ Jane Ira Bloom
    Jane Ira Bloom previews some new tunes at home in NYC.
    • October 14, 2020
  • Jane Ira Bloom
    A video was posted re Jane Ira Bloom:
    Jane Ira Bloom - Wild Lines: Improvising Emily Dickinson
    Recorded April 12, 2018 at Yamaha Piano Salon Jane Ira Bloom, Soprano Saxophone Dawn Clement, Piano Mark Helias, Bass Allison Miller, Drums Deborah Rush, Spoken Word
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    Contemporary Classical Music
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    Multi-Cultural
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    New York City
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    New School for Jazz and Contemporary Music Faculty
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    Jazz
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    Composer
    • October 14, 2020
  • Jane Ira Bloom
    A category was added to Jane Ira Bloom:
    Saxophone
    soprano
    • October 14, 2020
  • Jane Ira Bloom
    Jane Ira Bloom is matrixed!
    • October 14, 2020
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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



  • Jane Ira Bloom
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Jane Ira Bloom
  • City/Place: New York City
  • Country: United States
  • Hometown: Boston, Massachusetts

Life & Work

  • Bio: Soaring, poetic, quick silver, spontaneous and instantly identifiable are words used to describe the soprano sound of saxophonist Jane Ira Bloom. She's been steadfastly developing her singular voice on the soprano saxophone for over 40 years creating a body of music that marks her as an American original. She is a pioneer in the use of live electronics and movement in jazz, as well as the possessor of "one of the most gorgeous tones and hauntingly lyrical ballad conceptions of any soprano saxophonist - Pulse." She is the winner of the 2018 Grammy Award for Best Surround Sound Album for her trio album “Early Americans.”

    Her continuing commitment to "pushing the envelope" in her music has led to collaborations with such outstanding jazz artists as Kenny Wheeler, Charlie Haden, Ed Blackwell, Rufus Reid, Matt Wilson, Bob Brookmeyer, Julian Priester, Jerry Granelli, Billy Hart, Mark Dresser, Bobby Previte, & Fred Hersch. She's also spearheaded collaborative world music groups featuring world music virtuosi Min Xioa-Fen on Chinese pipa, South Indian veena artist Geetha Ramanathan Bennett, koto artist Miya Masaoka, Korean komungo player Jin Hi Kim, and bassist Mark Dresser. She has performed at such diverse venues as Carnegie Hall, Jazz at Lincoln Center, the Museum of Modern Art, the Kennedy Center, the United Nations, the Cathedral of St. John the Divine, the Smithsonian's Einstein Planetarium, the Montreal, JVC, and San Francisco Jazz Festivals as well as regular club engagements in NYC and tours of England, Portugal, Switzerland and Brazil with her current group.

    A ten time winner of the Jazz Journalists Award for soprano sax of the year, the Downbeat International Critics Poll for soprano saxophone, the Mary Lou Williams Women In Jazz Award for lifetime service to jazz, the Charlie Parker Fellowship for Jazz Innovation and the International Women in Jazz Jazz Masters Award. Bloom is the first musician ever commissioned by the NASA Art Program and was honored to have an asteroid named in her honor by the International Astronomical Union (asteroid 6083janeirabloom). She's garnered numerous awards for her creativity including a Guggenheim Fellowship in music composition and a residency at the Baryshnikov Arts Center. A new jazz festival in Brooklyn, NY featuring cutting edge woman artists was named in her honor (The Bloom Festival).

    A strong visual thinker and a cinematic stylist, Bloom's affinity for other art forms such as painting, film, theatre and dance has both enriched her music and brought her into contact with other innovative artists such as actors Vanessa Redgrave & Joanne Woodward, painter Dan Namingha, comic Lewis Black, cartoonist Jules Feiffer, and legendary dancer/ choreographer Carmen DeLavallade. She has composed for the American Composers Orchestra (NYC), the St. Luke's Chamber Ensemble, the Pilobolus, Paradigm, & Philadanco Dance Companies, TV movie features (Shadow of A Doubt/ NBC-TV), and film soundscores (John Sayles' Silver City) writing works for large ensemble involving her signature movement techniques. She has also collaborated with classical composers premiering new works for soprano saxophone ("Sinfonia" by Augusta Read Thomas). She has curated a discussion/ performance series on improvisation at the Philoctetes Center for the Multi-Disciplinary Study of Imagination in NYC, presenting a wide range of programs including collaborations with dancer/ choreographer Carmen deLavallade and bassist Rufus Reid (Moving & Playing: Jazz Improvisation & Dance), performances with pianist Fred Hersch and bassist Drew Gress (The Art of the Ballad), and panel discussions with neuroscientist Josh McDermott and Arabic music scholar Toufiq Ben Amor (Dancing on the Ceiling: Music and the Brain). Bloom is the recipient of three awards in jazz composition from the Chamber Music America / Doris Duke New Jazz Works Program for the creation of Chasing Paint, a series of compositions inspired by painter Jackson Pollock that premiered at the Museum of Fine Arts in Houston, Mental Weather, a suite of neuroscience inspired pieces, and recently Wild Lines, a jazz reimagining of Emily Dickinson's poetry that premiered at UMASS/ Amherst in the poet's hometown.

    The Philadelphia Music Project commissioned her premiere of Unexpected Light - a unique collaboration of improvised sound & light with world-renowned lighting designer James F. Ingalls. JIB has participated in several international and 'remote' events directed by bassist Mark Dresser and composer Sarah Weaver including a large ensemble performance at the United Nations that linked improvising musicians in Korea, China, New York, and San Diego. Bloom continues to find inspiration in creating exploratory music with improvising musicians from around the world. She has recorded and produced 17 albums of her music dating from 1977 to the present. In 1976 she founded her own record label & publishing company (Outline Music) and later recorded for ENJA, CBS, Arabesque, Pure Audio, and Artistshare Records. Bloom has been the subject of a number of media profiles; she has been featured on CBS TV's Sunday Morning, Talkin' Jazz on NBC-TV, TIME Magazine's Women: The Road Ahead special issue, in the publication Jazzwomen: Conversations w/ 21 Musicians, in the Library of Congress Women Who Dare calendar, in Life Magazine's "Living Jazz Legends," on NPR's Morning Edition, Jazzset, Live From the Kennedy Center w/ Dr. Billy Taylor, and in the documentary film Reed Royalty hosted by Branford Marsalis. She is a professor at the New School's College of the Performing Arts School of Jazz in NYC, holds degrees from Yale University and Yale School of Music and studied saxophone with woodwind virtuoso Joseph Viola. Nat Hentoff has called Bloom an artist "beyond category." Bill Milkowski has called her "A true jazz original...a restlessly creative spirit, and a modern day role model for any aspiring musician who dares to follow his or her own vision."

Contact Information

  • Email: [email protected]
  • Management/Booking: Booking Information
    Joel Chriss
    Joel Chriss & Co.
    300 Mercer St. suite 3J
    NY, NY 10003

    Phone: 212-353-0855
    Fax: 212-353-0094
    [email protected]
    www.jchriss.com

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.janeirabloom.com/recordings.html
  • ▶ Twitter: JaneIraBloomSax
  • ▶ Instagram: irajane795b
  • ▶ Website: http://www.janeirabloom.com
  • ▶ YouTube Channel: http://www.youtube.com/user/janeirabloom
  • ▶ YouTube Music: http://music.youtube.com/channel/UCe7lL7Aua7rIUhGsSncpksQ
  • ▶ Spotify: http://open.spotify.com/album/3Zef4Nvq6yYFt7woCJvQSP
  • ▶ Spotify 2: http://open.spotify.com/album/1iksnBio3TN7KDCxIVeMmH
  • ▶ Spotify 3: http://open.spotify.com/album/2QFG1wbfovWlsE9CiadhF0
  • ▶ Spotify 4: http://open.spotify.com/album/12L91MuUe8BWL6Dj8U8uV9
  • ▶ Spotify 5: http://open.spotify.com/album/00XwzptQSCQi1hK3MyyGQG
  • ▶ Spotify 6: http://open.spotify.com/album/1op3rAd4K897bVezRHKNBh

Clips (more may be added)

  • 0:07:56
    Rowing in the Dark Podcast - Episode #5 w/ Jane Ira Bloom
    By Jane Ira Bloom
    127 views
  • 1:17
    Rowing in the Dark Podcast - Episode #4 w/ Jane Ira Bloom
    By Jane Ira Bloom
    129 views
  • 2:12
    Rowing in the Dark Podcast - Episode #3 w/ Jane Ira Bloom
    By Jane Ira Bloom
    140 views
  • 1:33
    Rowing in the Dark Podcast - Episode #2 w/ Jane Ira Bloom
    By Jane Ira Bloom
    128 views
  • 2:01
    Rowing in the Dark Podcast - Episode #1 w/ Jane Ira Bloom
    By Jane Ira Bloom
    136 views
  • 1:03:47
    Jane Ira Bloom - Wild Lines: Improvising Emily Dickinson
    By Jane Ira Bloom
    143 views
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