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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.

 

  • Janine Jansen
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Janine Jansen
  • City/Place: Utrecht
  • Country: Netherlands
  • Hometown: Soest, Netherlands

Life & Work

  • Bio: Violinist Janine Jansen works regularly with the world’s most eminent orchestras and conductors and has been described by the New York Times as being as “riveting in silence as in sound”.

    This season she is Artist-in-Residence with Tonhalle Orchester Zurich as well as Gothenburg Symphony Orchestra performing a variety of concerto and chamber music programmes in Zurich and Gothenburg throughout the season. She is also featured artist at the Mozartwoche Salzburg where she will perform with the Wiener Philharmoniker under Bernhard Haitink.

    Orchestral highlights in season 18/19 include engagements with Royal Concertgebouw Orchestra (Gergiev), Orchester des Bayerischen Rundfunks (Fischer), Orchestre de Paris (Harding), Leipzig Gewandhaus Orchester (Bychkov) and London Philharmonic (Jurowski). She embarks on a major tour of Japan and Korea with London Symphony Orchestra under Sir Simon Rattle as well as European tours with Swedish Radio Orchestra under Daniel Harding, Chamber Orchestra of Europe with Sir Antonio Pappano and twice with Camerata Salzburg (with Daniel Blendulf performing Bernstein Serenade during the composers’ centenary celebrations and again in connection with the Mozartwoche Salzburg).

    The Munich concert series “Münchenmusik” and the Bodenseefestival have both created special features around Janine Jansen in season 18/19 offering a number of different events from solo recitals, intimate chamber music over to great symphonic programmes.

    Janine records exclusively for Decca Classics and since recording Vivaldi’s Four Seasons back in 2003 she has been extremely successful in the digital music charts. Her discography includes performances of Bartok’s Violin Concerto No. 1 with London Symphony Orchestra and Brahms’ Violin Concerto with the Orchestra dell’Accademia Nazionale di Santa Cecilia conducted by Sir Antonio Pappano. Other highlights include a recording of Prokofiev’s Violin Concerto No. 2 with London Philharmonic Orchestra and Vladimir Jurowski, Beethoven and Britten with Paavo Järvi, Mendelssohn and Bruch with Riccardo Chailly, Tchaikovsky with Daniel Harding as well as an album of Bach Concertos with her own ensemble. Janine has also released a number of chamber music discs, including Schubert’s String Quintet and Schönberg’s Verklärte Nacht and Sonatas by Debussy, Ravel and Prokofiev with pianist Itamar Golan.

    Janine has won numerous prizes, including four Edison Klassiek Awards, the Preis der Deutschen Schallplattenkritik, NDR Musikpreis for outstanding artistic achievement and the Concertgebouw Prize. She has been given the VSCD Klassieke Muziekprijs for individual achievement and the Royal Philharmonic Society Instrumentalist Award for performances in the UK. In September 2015 she was awarded the Bremen MusikFest Award. Janine studied with Coosje Wijzenbeek, Philipp Hirshhorn and Boris Belkin.

    Janine Jansen plays the 1707 Stradivarius “Rivaz – Baron Gutmann” violin kindly on loan from Dextra Musica.

Contact Information

  • Management/Booking: Alexandra Schulz
    Manager, Janine Jansen Office
    +31 [0]6 27 53 86 86
    [email protected]

    For all promotional and interview requests from the Netherlands, please contact:
    Universal Music Baarn, NL
    Paul Popma
    +31-(0)35-626 1700
    [email protected]

Media | Markets

  • ▶ Twitter: itsjaninejansen
  • ▶ Instagram: itsjaninejansen
  • ▶ Website: http://www.janinejansen.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCtgJUPAu2CtgOxnNGd9Hd5w
  • ▶ Spotify: http://open.spotify.com/album/7js1HClpNP6W9Lo2ljuQP0
  • ▶ Spotify 2: http://open.spotify.com/album/1smxmzL8C2nXjtrpLj0802
  • ▶ Spotify 3: http://open.spotify.com/album/1E7V8YSMBzpyuGVHrXT7ZW
  • ▶ Spotify 4: http://open.spotify.com/album/3UryiawoJI8M3Q0EE9EkIE
  • ▶ Spotify 5: http://open.spotify.com/album/3kDOiNE9qZ3XbWu1a49NUz
  • ▶ Spotify 6: http://open.spotify.com/album/2607OCLeDNFKNOO01OVd9P

Clips (more may be added)

  • Mendelssohn: Octet in E-flat major, Op. 20 - Janine Jansen - International Chamber Music Festival HD
    By Janine Jansen
    236 views
  • Janine Jansen plays Tchaikovsky 2019
    By Janine Jansen
    299 views
  • Janine Jansen - Bruch violin concert 2019
    By Janine Jansen
    216 views
  • Janine Jansen: Violin Concerto in D minor, Op 47 (Jean Sibelius) – 2019
    By Janine Jansen
    251 views
  • Janine Jansen Brahms violin concert op.77 - Daniel Harding
    By Janine Jansen
    273 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 Janine Jansen:

  • 0 Classical Music
  • 0 Netherlands
  • 0 Utrecht
  • 0 Violin
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  • Liz Pelly NYU Tisch School of the Arts Faculty
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  • Rhiannon Giddens Fiddle
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  • Béco Dranoff Record Producer
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  • Teodor Currentzis Russia
  • Şener Özmen Kurdistan
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  • Lula Moreira Samba de Coco
  • J. Velloso Songwriter
  • Ron Mader Professional Speaker
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  • Simone Sou Percussion
  • Alan Williams Furniture
  • Hendrik Meurkens Composer
  • Nicholas Daniel Classical Music
  • Justin Stanton Multi-Cultural
  • ANNA DJ
  • Aubrey Johnson Berklee Faculty
  • Joey Alexander New York City
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  • Sunna Gunnlaugs Reykjavik
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  • Michael Cleveland Folk & Traditional
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  • Chico César Brazil
  • Fernando César Brazil

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

 

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