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  • Joe Chambers

    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: Joe Chambers
  • City/Place: New York City
  • Country: United States
  • Hometown: Philadelphia, Pennsylvania

CURATION

  • from this node by: Matrix+

Current News

  • What's Up? Samba de Maracatu marks the notable Blue Note Records return of a significant figure in the label’s history: multi-instrumentalist, composer, arranger, and educator Joe Chambers. Although his Blue Note debut, Mirrors, came out in 1998, his association with the label is much deeper.

    In the mid-to-late 1960s, Chambers played drums for numerous Blue Note luminaries appearing on some of the decade’s most progressive albums including Wayne Shorter’s Adam’s Apple and Etcetera, Bobby Hutcherson’s Components and Happenings, Freddie Hubbard’s Breaking Point, Joe Henderson’s Mode for Joe, Sam Rivers’ Contours, Andrew Hill’s Andrew!!!, Donald Byrd’s Fancy Free, and many more.

    The label’s owners – Alfred Lion and Francis Wolff – offered Chambers a chance to record his own album for the imprint during this fertile period. Chambers, however, was riding so high on recording and touring with so many jazz greats that he declined the opportunity. He nevertheless etched a legacy as a distinguished and versatile jazz artist, capable of playing with Max Roach’s groundbreaking, percussion-only ensemble, M’Boom, as well as recording his own acclaimed albums as a leader on the Muse, Candid, Savant labels.

    Samba de Maracatu shares similar characteristics with his previous 2016 album, Landscapes (Savant), on which Chambers overdubbed himself playing drums, vibraphone, marimba, piano, congas, bongos, and synthesizers while interacting with bassist Ira Coleman and pianist Rick Germanson. While crafting Landscapes, Chambers took inspiration from Bill Evans’ 1963 LP, Conversations with Myself, on which he created multiple contrapuntal piano lines by overdubbing himself. On Samba de Maracatu, Chambers’ applied a similar approach this time with the accompaniment of pianist Brad Merritt and bassist Steve Haines — two exceptional North Carolina-based jazz musicians.

    On Samba de Maracatu, Chambers asserts himself more as a mallet player, particularly on the vibraphone. Throughout the album, he uses the vibraphone as the lead melodic and improvisational voice that often converses with Merritt’s remarkable piano accompaniments and solos. The title track, a Chambers original, highlights both his mastery on the vibraphone and his affinity for Brazilian rhythms. The song’s title references the syncretic Afro-Brazil rhythms, originated from Brazil’s Pernambuco province. The rhythm also has roots in the Afro-Brazilian Candomblé religion.

    While Samba de Maracatu isn’t a Brazilian jazz album in this strictest sense, Chambers utilizes various rhythms and indigenous Brazilian percussion instruments on several pieces. On the sterling revisit of “Circles,” a suspenseful composition he wrote for M’Boom in the early-70s, Chambers drives the momentum with an abstraction of Brazil’s bione rhythm, while on the adventurous take on Wayne Shorter’s “Rio” he employs an infectious bossa nova rhythm toward the end.

    Elsewhere, Chambers illuminates his artistry with standards. The album begins with a delightful reading of Arthur Schwartz and Howard Dietz’s Broadway standard, “You and the Night and the Music.” Later, Chambers invites New Orleans-based vocalist Stephanie Jordan to sing lead on a lovely rendition of Jay Livingston and Ray Evans’ “Never Let Me Go,” an enduring classic, made famous by Nat King Cole. Then there’s the cinematic take on Karl Ratzer’s 1998 modern jazz composition, “Sabeh el Nur.”

    The album also features a glowing interpretation of Bobby Hutcherson’s “Visions.” Chambers recorded the original version with Hutcherson in 1968 (released on the vibraphonist’s album Spiral), and his sensuous reading pays close attention to Hutcherson’s dreamy melody and haunting rhythm.

    Chambers tips his hat to another Blue Note icon – Horace Silver – with his makeover of “Ecaroh,” one of Silver’s more experimental composition that has been a fixture of Chambers’ repertoire over the past decade. Episodic in nature, the pulse gracefully moves between slow balladry, mid-tempo Latin shuffle and sauntering blues, while the harmony shifts between minor and major chords.

    Rapper MC Parrain makes a surprising appearance on “New York State of Mind Rain,” an intriguing mashup of Nas’ 1994 hip-hop staple, “N.Y. State of Mind” and Chambers’ 1978 piece, “Mind Rain,” from his LP Double Exposure (Muse). DJ Premiere sampled portions of “Mind Rain” to construct Nas’ classic, and MC Parrain’s rhymes provide the historic context between the two tunes while the rhythm fluctuates between straight-ahead jazz swing and hip-hop backbeat.

    Indeed, Samba de Maracatu is an apt portrait of Chambers’ consummate talents as a vibraphonist, percussionist, drummer, composer, and bandleader extraordinaire. The album also reflects his cumulative musical knowledge and versatility, gained from more than 50 years as a professional musician.

    Chambers was born in Stoneacre, Virginia but raised primarily in Chester, Pennsylvania. His earliest musical aspirations focused heavily on composing even while playing drums. After high school, he studied composition at the Philadelphia Conservatory and American University in Washington, D.C. His earliest professional gigs began when he was 18 years old; he started playing and touring with R&B artist Bobby Lewis. While in D.C., he started playing with the JFK Quintet, which also featured saxophonist Andrew White and bassist Walter Booker, six nights a week at Bohemian Caverns.

    Freddie Hubbard heard Chambers one night at Bohemian Caverns and encouraged him to move to New York City. Chambers made his move in 1963, playing a lot with trumpeter Hugh Masekela. A year later, Chambers made his first Blue Note date playing on Hubbard’s Breaking Point, which featured Chambers’ classic composition, “Mirrors.”

    Chambers would continue recording as a sideman and composer for many Blue Note artists, but his greatest collaborator would be Hutcherson, whose first two LPs – Dialogue (1965) and Components (1966) – prominently showcased Chambers’ more abstract compositions. The partnership between Chambers and Hutcherson would last into early-70s.

    In 1970, Chambers took a year-long sabbatical to rehearse with Max Roach’s M’Boom ensemble. Chambers’ debut recording as leader, The Almoravid (Muse) didn’t come out in 1974. Following a couple more albums, Denon Records released 1979’s Punjab, a daring solo piano album.

    Chambers continued working as a sideman for Chet Baker, David Murray, Steve Grossman, and even played on the soundtrack for Spike Lee’s 1986 breakout movie, She’s Gotta Have It. In 1990, he started a lengthy career an educator, first at the New School of Jazz and Contemporary Music in New York City, and later at the University of North Carolina Wilmington. At the latter, he became the first Thomas S. Kenan Distinguished Professor of Jazz in 2008.

    Chambers no longer teaches, opting now to refocus on his career as a jazz instrumentalist, composer, and bandleader, even reconvening the M’Boom percussion ensemble for a few live performances. Samba de Maracatu makes for a splendid re-entry for Chambers as a full-time musician as he reunites with Blue Note Records, which provided him with his first recording opportunity.

Life & Work

  • Bio: Joe Chambers is an extremely versatile and tasteful master of all post-bop idioms. Chambers drives an ensemble with a light hand; his time is excellent and his grasp of dynamics superb. He’s not a flashy drummer by any means, but he’s a generous collaborator who makes any group of which he’s a part as good as it can possibly be. Chambers worked around Washington, D.C., in his late teens. After moving to New York in 1963, he played with Eric Dolphy, Freddie Hubbard, Jimmy Giuffre, and Andrew Hill. In the mid-’60s, Chambers played with a number of the more progressively inclined musicians associated with the Blue Note label, such as vibist Bobby Hutcherson and saxophonists Joe Henderson, Wayne Shorter, and Sam Rivers.

    In 1970, Chambers joined Max Roach’s percussion ensemble, M’Boom, as an original member. During the ’70s, Chambers played with a great many of jazz’s most prominent elder statesmen, including Sonny Rollins, Tommy Flanagan, Charles Mingus, and Art Farmer. With Flanagan and bassist Reggie Workman, Chambers formed the Super Jazz Trio. In the late ’70s, he co-led a band with organist Larry Young. Chambers recorded with bands led by trumpeter Chet Baker and percussionist Ray Mantilla in the early ’80s. He also maintained his association with Roach into the ’90s.

    The AlmoravidAs a solo artist, Chambers has released a tidy number of albums including Almoravid (1973) with trumpeter Woody Shaw, New World (1976), New York Concerto (1981), Phantom of the City (1992), Mirrors (1998), and Urban Grooves (2002). Beginning with 2006’s Outlaw, Chambers released a steady stream of albums for Savant Records with Horace to Max (2010), Joe Chambers Moving Pictures Orchestra (2012), and Landscapes (2016), featuring bassist Ira Coleman and pianist Rick Germanson.

    from www.bluenote.com/artist/joe-chambers

Contact Information

  • Record Company: Blue Note

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://joechambers.lnk.to/SambaDeMaracatuID
  • ▶ YouTube Music: http://music.youtube.com/channel/UCk55sUre4hrq_sSBZSnsJqQ
  • ▶ Spotify: http://open.spotify.com/album/1WmWF6IHN6OmIeY6n0t5TF?si=5611c8585d43412b
  • ▶ Spotify 2: http://open.spotify.com/album/57SbZQEHYYiI8MOKH6kdt2?si=c7259edc5617400d
  • ▶ Spotify 3: http://open.spotify.com/album/5rz5uhcV5qpnFj5WORlF27?si=a90723a15f7e4a6d
  • ▶ Spotify 4: http://open.spotify.com/album/6DnzaeU958iM3wL9Jii2dT?si=0b9eac35465f498b
  • ▶ Spotify 5: http://open.spotify.com/album/7GZ4v0BfnrZm2VjwZGffhg?si=84494065133343b1
  • ▶ Spotify 6: http://open.spotify.com/album/3IXFRaf2youWZsImBhgrz3?si=9e3f037bc7c54ee6
  • ▶ Article: http://www.bluenote.com/joe-chambers-samba-de-maracatu-out-feb-26/

Clips (more may be added)

  • 0:10:07
    Joe Chambers on First Look with Don Was of Blue Note Records
    By Joe Chambers
    376 views
  • 0:44:58
    Joe Chambers - Samba de Maracatu (Live Album Stream)
    By Joe Chambers
    450 views
  • 4:37
    Joe Chambers - Samba de Maracatu
    By Joe Chambers
    291 views
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Joe Chambers Curated
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  • 2 Vibraphone

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  • Joe Chambers
    Wayne Shorter → Saxophone has been recommended via Joe Chambers.
    • March 7, 2021
  • Joe Chambers
    Wayne Shorter → Jazz has been recommended via Joe Chambers.
    • March 7, 2021
  • Joe Chambers
    Wayne Shorter → Composer has been recommended via Joe Chambers.
    • March 7, 2021
  • Joe Chambers
    A category was added to Joe Chambers:
    Piano
    • March 7, 2021
  • Joe Chambers
    A video was posted re Joe Chambers:
    Joe Chambers on First Look with Don Was of Blue Note Records
    Blue Note Records presents "First Look"
    • March 7, 2021
  • Joe Chambers
    A video was posted re Joe Chambers:
    Joe Chambers - Samba de Maracatu (Live Album Stream)
    Artist: Joe Chambers Album: Samba de Maracatu Joe Chambers: Drums, Percussion, Vibraphone Brad Merritt: Piano, Synthesizer Steve Haines: Bass
    • March 7, 2021
  • Joe Chambers
    A video was posted re Joe Chambers:
    Joe Chambers - Samba de Maracatu
    Artist: Joe Chambers Song: Samba de Maracatu Written by Joe Chambers (Composer) Joe Chambers: Drums, Percussion, Vibraphone Brad Merritt: Piano, Synthesizer Steve Haines: Bass
    • March 7, 2021
  • Joe Chambers
    A category was added to Joe Chambers:
    Composer
    • March 7, 2021
  • Joe Chambers
    A category was added to Joe Chambers:
    New York City
    • March 7, 2021
  • Joe Chambers
    A category was added to Joe Chambers:
    Jazz
    • March 7, 2021
  • Joe Chambers
    A category was added to Joe Chambers:
    Vibraphone
    • March 7, 2021
  • Joe Chambers
    A category was added to Joe Chambers:
    Drums
    • March 7, 2021
  • Joe Chambers
    Joe Chambers is matrixed!
    • March 7, 2021
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, for incandescent Brazil, for the entire creative world, new ways...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & 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



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.

 

 

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 above — 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.

 

PORTUGUÊS (to English →)

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, para o Brasil incandescente, pro mundo criativo inteiro, novos caminhos...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) 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


A 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.

 

 

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.

 

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  • Seu Jorge Samba
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