Joe Fiedler via Matrix

Joe Fiedler

VIA THE INTEGRATED GLOBAL
CREATIVE ECONOMY

inspired by
THE GRAPEVINE TELEGRAPH
of Pre-Civil War African-Americans

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

Network Node

Name: Joe Fiedler
City/Place: New York City
Country: United States

CURATION

from this node by: Matrix

Current News

What's Up? A great jazz musician who blends the sober and the spectacular working with music from one of the most important cultural launching pads this country has created. Jazz and Sesame Street? Yes. Open wide.
—Popmatters

An uncanny ability to blur the line between avant-garde and mainstream jazz.
—Downbeat

Fiedler pays indirect tribute to tradition while simultaneously turning the music inside out.
—Jazziz

Trombonist Joe Fiedler’s day job is as arranger, orchestrator and trombonist for Sesame Street. In the most complimentary manner possible, I’m In, the fourth CD by his own trio, is a bit like that kids’ TV show: it’s educational plus a whole lot of fun.
—New York City Jazz Record

Fiedler is equally facile playing inside and outside, but just as important, he likes and respects both. The trio’s fourth recording marks out a boundary where these elements can cordially coexist, and then throws a party inside that perimeter. ⭑⭑⭑⭑
—Downbeat

Fiedler uses superb technique, which includes playing chords (multiphonics), and a wit worthy of trombonist Ray Anderson to invigorate straight-ahead jazz, paying indirect tributes to tradition while simultaneously turning the music inside out.
—Jazziz

Fiedler’s among the most impressive trombonists to emerge in the past couple of decades.
—Signal to Noise

Trombonist Joe Fiedler has been an MVP in configurations that range from salsa bands to the jazz avant-garde.
—Time Out New York

You will be hard pressed to find more adventurous and imaginative use of the trombone as an instrument of musical expression.
—ITA

With only three instruments, these extremely talented musicians have made a thoroughly enjoyable album that will appeal to fans of mainstream, bluesy jazz.
—All Music Guide

Fiedler's latest, Sacred Chrome Orb, the leader seasons the mix with a remarkable array of timbral effects, including mind-bending multiphonics inspired by his idol, Albert Mangelsdorff.
—Time Out New York

With The Crab, the trombonist has made one of the small group jazz discs of the year.
—Village Voice

A deeply expressive and highly effective modern jazz album.
—All About Jazz

Pointing a way toward the future of the trombone.
—Cadence

Fiedler has created a memorable and brilliant tribute. Highly recommended.
—All Music Guide

Life & Work

Bio: The New York Times has pinpointed a “feeling for a rugged but jaunty experimentalism” in the music of trombone veteran Joe Fiedler, a figure as esteemed in New York jazz circles as he is in the Afro-Caribbean and pop scenes. He’s an adventurous improviser and bandleader whose small-band outings include The Crab, Sacred Chome Orb, Joe Fiedler Plays the Music of Albert Mangelsdorff, I’m In and Like, Strange. His two releases by the unique low-brass unit Big Sackbut — a trombone/tuba corollary of sorts to the World Saxophone Quartet — have also cemented Fiedler’s reputation as a musical thinker with boundless imagination.

Owing to his long experience in pit bands, salsa groups and countless other professional settings, Fiedler had the opportunity to play trombone on Lin-Manuel Miranda’s show In the Heights (not long before Hamilton’s runaway success). Tony Award-winning orchestrator Bill Sherman was on the gig and took to Fiedler, bringing him on board the newly revived children’s show Electric Company. After three seasons, Sherman and Fiedler made the transition in 2009 to Sesame Street. From playing 350 gigs a year on the freelance circuit, Fiedler officially became a Sesame Street music director, working on what would become hundreds of song arrangements and thousands of underscoring cues (and still climbing). His latest small-group CD, Open Sesame, grapples with the legacy of the storied show of which he’s become an integral part. On it he reimages the timeless music of Joe Raposo, Jeffrey Moss and others on his own terms, with help from tasteful hell-raisers Jeff Lederer, Michael Sarin, Sean Conly and guest Steven Bernstein (of Sex Mob fame).

A Pittsburgh native and a New Yorker since 1993, Fiedler studied at Allegheny College and the University of Pittsburgh before launching into work as an in-demand sideman. He’s become one of the first-call trombonists in the world, featured on more than 100 recordings. He’s had extensive experience in the heart of the flowering big band scene, playing with Maria Schneider, Chico O’Farrill, the Mingus Big Band, Andrew Hill, Jason Lindner, Dafnis Prieto, Kenny Wheeler, Satoko Fujii, Miguel Zenón and many more. In smaller units he’s played with Lee Konitz, Anthony Braxton, Cecil Taylor, Myra Melford, Matt Darriau’s Ballin’ the Jack, David Weiss’s Endangered Species and a host of others. Fiedler also paid years of dues on the salsa and Latin circuit with Celia Cruz, Eddie Palmieri, Willie Colon, Ralph Irizarry and other major acts. His pop credits include Jennifer Lopez, Marc Anthony, Wyclef Jean, The Four Tops, Melba Moore and Leslie Gore, to name a few.

Without doubt this mass of musical experience filters into the trombonist’s mindset, the way he looks at craft, audience, band dynamics and perhaps most of all fun. Coming up in the ’80s, he recalls his favorite bands as the Jazz Passengers, Carla Bley, Ray Anderson — “bands and musicians that had this sense of humor, this sense of burlesque,” he says. Recalling the last great gasps of the downtown scene and his brushes with the early Knitting Factory bands, Fiedler knows that while many of those touchstones have disappeared, they live on still in today’s sensibilities and methods, for Fiedler as for many likeminded peers.

Downbeat and others have noted Fiedler’s effortless way of traversing charged free improvisation and music of more established tonal and formal parameters — “out” vs. “in,” as jazz musicians sometimes call it. He’s apt to draw out long and lustrous melodic tones while also manipulating his trombone sound with multiphonics and other extended techniques (playing one note and singing a higher note, sometimes producing an overtone to complete a chord). The deep sense of blues, tailgate and other earlier jazz approaches to the horn come through in Fiedler’s music, as do the sonic innovations of Mangelsdorff, or the mainstream hard-bop aesthetics represented by Slide Hampton, J.J. Johnson, Steve Turre and so many more. Melding it all into a signature voice, Fiedler harnesses the top talents of dear friends and associates in an endless quest to broaden his instrument’s reach. As veteran journalist Dan Ouellette has written, “It takes a true believer in [the trombone’s] potential for jazz esprit to courageously explore its range of conversation. That’s why Joe Fiedler is so impressive.”

Joe Fiedler Curated

What's Been Happening?

A category was added to Joe Fiedler:

New York City
- November 3, 2022
A category was added to Joe Fiedler:

Multi-Cultural
- November 3, 2022
A category was added to Joe Fiedler:

Jazz
- November 3, 2022
A category was added to Joe Fiedler:

Arranger
- November 3, 2022
A category was added to Joe Fiedler:

Composer
- November 3, 2022
A category was added to Joe Fiedler:

Trombone
- November 3, 2022
A video was posted re Joe Fiedler:

Joe Fiedler's Open Sesame-"Put Down The Duckie"
Live at Dizzy's-NYC 2/4/19 Joe Fiedler/Trombone Jeff Lederer/Saxophone Steven Bernstein/Trumpet Sean Conly/Bass Michael Sarin/Drums
- November 3, 2022
Joe Fiedler is matrixed!
- November 3, 2022

English (Portuguese →)

from Brazil with love

THE INTEGRATED GLOBAL CREATIVE ECONOMY

(humanity has never had this before)

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

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

The preponderance of Brazil's vast cultural treasure has been impossible to find outside of very local regions...

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

The matrix provides a means by which those above, those below, and EVERYBODY ELSE in the creative economy can be divulged everywhere. Something new under the sun.

Quincy Jones can curate Gilberto Gil, for example. And Gil can curate, writers, dancers, filmmakers, painters, record producers, set designers... They can curate Quincy.

And by the mathematics of the small world phenomenon, everybody in the matrix will tend to proximity to everybody else, in the same way that most human beings are within some six or so steps of most 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. Laroyê!

"Matrixado!"

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

"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

Tap people, tap categories, tap curations... The matrix is a maze of tunnels within King Solomon's creative mines.

(← Inglês) Português

do Brasil com amor

A ECONOMIA CRIATIVA GLOBAL INTEGRADA

(a humanidade nunca teve isso antes)

"Fico muitíssimo feliz em receber seu e-mail! Obrigada por me incluir neste matrix maravilhoso."
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park
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

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule abaixo, entre colegas magisteriais para quem este matrix foi originalmente construído, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

A preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões muito locais...

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

O matrix fornece um meio pelo qual os acima, os abaixo e TODOS OS OUTROS na economia criativa podem ser divulgados em todos os lugares. Algo novo sob o sol.

Quincy Jones pode indicar Gilberto Gil, por exemplo. E Gil pode indicar escritores, dançarinos, cineastas, pintores, produtores de discos... Eles podem indicar Quincy.

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

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. Laroyê!

"Matrixado!"

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

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Estamos tocados também Sr. 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

Toque em pessoas, toque em categorias, toque em curadoria... O matrix é um labirinto de túneis dentro das minas criativas do Rei Salomão.