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  • Jason Moran

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Jason Moran
  • City/Place: New York City
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: In 1999, the same year that Jason Moran released his debut recording Soundtrack To Human Motion, the prodigy pianist and composer also joined New Directions, a band made up of young stars from the Blue Note roster that went on tour in celebration of the label’s 60th anniversary. At the core of New Directions was the genesis of a rhythm section—with Moran, bassist Tarus Mateen, and drummer Nasheet Waits—that would go on to become one of the most enduringly creative piano trios in jazz.

    Ten years later, the trailblazing trio—which Moran has since dubbed The Bandwagon—headed into Avatar Studios in Manhattan to record Ten, the most assured and focused album of Moran’s acclaimed career, a snapshot of a mature band with a decade of shared musical experience from which to draw.

    “Ten is our first record that doesn’t rely on a concept to drive it. The only concept is us as a band today,” says Moran. “As we have evolved over ten years, there’s a certain ease that we now function within, an ease to let the music be. On some of my earlier recordings, I was making sure I exposed my ideas as a thinker. Now we refrain from jumping through every musical window of opportunity, but only jump through the good windows.”

    The Bandwagon made their first recording as a trio with Facing Left in 2000, and has been the foundation of the majority of Moran’s artistic statements since. The trio has been augmented by saxophonist Sam Rivers for 2001’s Black Stars, (which was named to NPR’s list of “The Decade’s 50 Most Important Recordings”) and guitarist Marvin Sewell on 2005’s blues exploration Same Mother as well as 2006’s Artist In Residence, a compendium of Moran’s arts institution commissions that also featured collaborations with soprano Alicia Hall Moran and conceptual artist Adrian Piper.

    Rolling Stone has called Moran “the most provocative thinker in current jazz,” and in Mateen and Waits, he has found his ideal companions, two distinctive voices on their instruments who are restlessly creative and share his open-mindedness and diversity of influences, not just beyond jazz in classical music and hip hop, but also beyond music in art, film, dance, and theater. Over ten years the trio has developed an intuitive level of musical communication. “When we get together and rehearse,” explains Moran, “there are few words directing how the music should go. We have to communicate as thinking people, not just want to feel the same things from our music over and over.”

    In a recent live review in The New York Times, critic Nate Chinen praised Moran’s “fierce longstanding group,” adding that they “didn’t follow his lead so much as flank him on both sides. Though it’s a trio its sound described something bigger and more indivisible.”

    “Gangsterism Over 10 Years” is probably the track on Ten that best indicates where The Bandwagon has been and where they are going. Here in its ninth incarnation, “Gangsterism” is an ongoing set of variations on a single theme Moran has been exploring in various settings since his debut.

    Although the trio is undoubtedly the focus of Ten, Moran pulls material from several of his various recent projects. “Blue Blocks,” which opens the album with a bluesy cascade of chords, comes from Live: Time, a rhapsodic gospel suite inspired by the quilters of Gee’s Bend, Alabama, that was commissioned by the Philadelphia Museum of Art and originally featured The Bandwagon with guitarist Bill Frisell. The elegiac “Feedback Pt. 2” was part of a piece commissioned by the Monterey Jazz Festival for which Moran drew inspiration from Jimi Hendrix’s performance at the 1967 Monterey Pop Festival. “Hendrix intentionally created guitar feedback and used the effect in a very musical way. So I extracted each feedback moment from that concert and then composed a sort of ballad over it and sampled Jimi. For us, performing the piece onstage was like having a séance with his spirit.”

    “RFK In The Land Of Apartheid” is the main theme from a film score that Moran composed for Larry Shore’s documentary RFK In The Land Of Apartheid about Robert Kennedy’s historic 1966 visit to South Africa. “At the time, apartheid was raging and Kennedy makes this famous speech, the ‘Ripple Of Hope’ speech, saying that each time a man stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope, and crossing each other from a million different centers of energy and daring, those ripples build a current that can sweep down the mightiest walls of oppression and resistance.”

    “Pas De Deux,” the sole solo performance on the album, comes from Moran’s first-ever dance collaboration with choreographer Alonzo King’s Lines Ballet company. “Working with a ballet company is very inspiring,” explains Moran. “They are breathing. And when they exert in one direction it shows in the next move, forces at continual play. It’s like the science of music made visible. Usually when we perform, our music goes directly to an audience, and they give us back the energy they’re feeling from the experience. But with a dance company the music goes directly to each dancer. We must inspire them to move. We have to play with enough weight, and air, and grace, that then allows them to feel like they’re ready to thrust from this chord, or bass drum, or bass line. And that was a real challenge to not think outward to the audience but through the dancers.”

    “Pas De Deux” is bookcased by two remarkably different renditions of “Study No. 6” by the American classical composer Conlon Nancarrow. “He wrote these lightening fast pieces for player piano,” says Moran, “but there’s something really simple and beautiful about them, too. The slow version was easy to get to. But then Nasheet found this rhythm, this little element that became the landscape for a much faster version. So it was just by chance we got two versions I liked equally and that’s how this band works. We don’t sanitize the musical activity, there are lots of blurred lines, lots of information, lots of scattering and refraction. But then sometimes when we want to center on one object, that focus can be searing, so that’s what we did with this piece.”

    Also on Ten are compositions by three of Moran’s foremost influences: Thelonious Monk, Andrew Hill, and Jaki Byard. “Crepuscule With Nellie” was featured in Moran’s multimedia concert event In My Mind: Monk At Town Hall, 1957, which The New York Times called “stunning.” The arrangement uses a cut and splice technique that reveals Moran’s deep hip hop influence; selecting certain phrases, reordering them, and discarding the rest. “It was just to tamper with Monk,” he laughs, “because his compositional style has such seductive pianistic qualities that when I go to play his work I inevitably try to play it exactly as Monk himself would have approached it. Chopping up his song and reorganizing the parts is a tactic to get away from that urge.”

    Moran also includes pieces by two of his teachers, Byard’s “To Bob Vatel Of Paris” and “Play To Live,” a piece he co-wrote with Hill, who died of lung cancer in 2007. “I remember having a conversation with Andrew,” recalls Moran. “He was talking about his illness, that he wanted to work because he knew his time was getting short, and during our conversation he said ‘I play to live.’ That’s why I am constantly playing Jaki Byard’s music too. With these two guys now gone, I really have to make sure that I continue to share their music as much as possible, because they aren’t as popular as Keith Jarrett or Herbie Hancock. But they are people who have shaped my path so firmly that I think my audience should know who they are.”

    The track “Old Babies” gives us another window into one of the most profound influences on Moran these days, his identical twin sons Jonas and Malcolm, who were born in 2007. “Fatherhood has contributed to this record,” muses Moran. “My boys have calmed me and centered me. They’ve changed the focus of my life and the quality of the focus on my music because they are, frankly, such candid critics—even at two. It’s a really beautiful thing to have young people interact with the music. When I play piano at home, Jonas occasionally chimes in with these amazing harmonies he sings. It’s kind of shocking. The phrase he sings on this track was just totally out of the blue, an unexpected utterance.”

    Moran closes the album with “Nobody,” a surprise hidden track drawn from a surprising source. “This is a Bert Williams song,” says Moran, referencing the minstrel pioneer. “He was a huge star at the turn of the century, a black performer who performed in exaggerated blackface. I am an African American performer; it’s part of my history then, and really part of all American history, and human history. You know, what do we do to ourselves? What do we do to others? Who are we doing it for?”

Contact Information

  • Management/Booking: Louise Holland
    Vision Arts Management
    16 Clintfinger Road
    Saugerties, NY 12477
    [email protected]
    phone: (845) 247—8969
    fax: (845) 247—8970

    Music Works International (EUROPE)
    Katherine McVicker
    708 Pearl Street
    Reading, MA 01867
    [email protected]
    phone: (781) 300-7580
    fax: (781) 942-8858

    International Music Network (Global except Europe)
    International Music Network
    278 Gloucester, MA
    Gloucester, MA 01930
    [email protected]
    phone: (978) 283-2883
    fax: (978) 283-2230

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://jasonmoran.bandcamp.com
  • ▶ Buy My Music 2: (downloads/CDs/DVDs) http://archieshepp.bandcamp.com/album/let-my-people-go
  • ▶ Twitter: morethan88
  • ▶ Instagram: thejasonmoran
  • ▶ Website: http://www.jasonmoran.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UC3Nr0amVupkcDTaanwQjv7A
  • ▶ Spotify: http://open.spotify.com/album/25tF75FJxukSdUYiXAXnhu
  • ▶ Spotify 2: http://open.spotify.com/album/5XxvFw1K9lYu78ipjF8gpG
  • ▶ Spotify 3: http://open.spotify.com/album/1IJh4pZRNHDq2dzvm2F23H
  • ▶ Spotify 4: http://open.spotify.com/album/7rPdZr6OPrShZWy3aob80V
  • ▶ Article: http://www.vogue.com/article/inside-jazz-household-of-jason-and-alicia-hall-moran

Clips (more may be added)

  • Jason Moran & The Bandwagon (Performance/Demonstration)
    By Jason Moran
    330 views
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Jason Moran Curated
pathways in

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  • 6 Film Scores
  • 6 Jazz
  • 6 New England Conservatory of Music Faculty
  • 6 Piano
  • 6 Theater Composer

What's Been Happening?

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  • Jason Moran
    Nikole Hannah -Jones → Writer has been recommended via Jason Moran.
    • November 3, 2022
  • Jason Moran
    Nikole Hannah -Jones → Journalist has been recommended via Jason Moran.
    • November 3, 2022
  • Jason Moran
    Nikole Hannah -Jones → Howard University Faculty has been recommended via Jason Moran.
    • November 3, 2022
  • Jason Moran
    Nikole Hannah -Jones → Brooklyn, NY has been recommended via Jason Moran.
    • November 3, 2022
  • Jason Moran
    Nikole Hannah -Jones → African American History has been recommended via Jason Moran.
    • November 3, 2022
  • Jason Moran
    Kazemde George → Saxophone has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Kazemde George → Jazz has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Kazemde George → Composer has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Kazemde George → Brooklyn, NY has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Kazemde George → Biologist has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Kazemde George → Beatmaker has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Kazemde George → African-American Music has been recommended via Jason Moran.
    • September 27, 2022
  • Jason Moran
    Yosvany Terry → Saxophone has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → Percussion has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → New York City has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → Jazz has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → Harvard University Faculty has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → Cuba has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → Composer has been recommended via Jason Moran.
    • January 22, 2022
  • Jason Moran
    Yosvany Terry → Afro-Cuban Jazz has been recommended via Jason Moran.
    • January 22, 2022
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


WHY BRAZIL?

Brazil is not a European nation. It's not a North American nation. It's 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.

 

Brazil 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 — the hand drum in the opening scene below — 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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

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