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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...

 

This 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. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

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.

 

  • Johnathan Blake
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Johnathan Blake
  • City/Place: New York City
  • Country: United States
  • Hometown: Philadelphia, Pennsylvania

Life & Work

  • Bio: Johnathan Blake, one of the most accomplished drummers of his generation, has also proven himself a complete and endlessly versatile musician. Blake’s gift for composition and band leading reflects years of live and studio experience across the aesthetic spectrum. Heralded by NPR Music as “the ultimate modernist,” he has collaborated with Pharoah Sanders, Ravi Coltrane, Tom Harrell, Hans Glawischnig, Avishai Cohen, Donny McCaslin, Linda May Han Oh, Jaleel Shaw, Chris Potter, Maria Schneider, Alex Sipiagin, Kris Davis and countless other distinctive voices. DownBeat once wrote, “It’s a testament to Blake’s abilities that he makes his presence felt in any context.” A frequent presence on Blue Note records over the past several years, Blake has contributed his strong, limber pulse and airy precision to multiple leader releases from Blue Note artists including Dr. Lonnie Smith’s Breathe (2021), All in My Mind (2018) and Evolution (2016) and Kenny Barron’s Concentric Circles (2018), the latter whose trio Blake has been a vital member for nearly 15 years.

    Born in Philadelphia in 1976, Blake is the son of renowned jazz violinist John Blake, Jr. — himself a stylistic chameleon and an important ongoing influence. After beginning on drums at age 10, Johnathan gained his first performing experience with the Lovett Hines Youth Ensemble, led by the renowned Philly jazz educator. It was during this period, at Hines’s urging, that Blake began to compose his own music. Later he worked with saxophonist Robert Landham in a youth jazz ensemble at Settlement Music School. Blake graduated from George Washington High School and went on to attend the highly respected jazz program at William Paterson University, where he studied with Rufus Reid, John Riley, Steve Wilson and Horace Arnold. At this time Blake also began working professionally with the Oliver Lake Big Band, Roy Hargrove and David Sanchez. In 2006 he was recognized with an ASCAP Young Jazz Composers Award, and in 2007 he earned his Masters from Rutgers University, focusing on composition. He studied with the likes of Ralph Bowen, Conrad Herwig and Stanley Cowell. Deeply aware of Philadelphia’s role as a historical nerve center of American music, Blake has immersed himself in the city’s storied legacy — not just jazz but also soul, R&B and hip-hop. In many ways he’s an heir to Philadelphia drum masters such as Philly Joe Jones, Bobby Durham, Mickey Roker and Edgar Bateman, not to mention younger mentors including Byron Landham, Leon Jordan and Ralph Peterson, Jr..

    Johnathan Blake's debut release on Blue Note Records signals shifting tides for a career that’s yet to crest.The drummer, composer, and progressive bandleader continually refines and renews an expression bonded to the lineage of Black music that fluoresces across Homeward Bound. Warmth of phrasing abounds as Blake layers a sound that’s at once relaxed and urgent. Alongside an innate ride cymbal, his melodic treatment of the drum kit reflects a generations old understanding of the instrument and allows his compositions to engage the myriad artists who bring them life.

    Homeward Bound features Blake’s band Pentad, a quintet of musicians whose expressions inhabit that mystery of time and space. Pentad’s core trio is comprised of longtime collaborator and friend Dezron Douglas whose strong yet reflexive bass presence saturates each track, and acclaimed Cuban-born keyboardist David Virelles on piano, Rhodes and Minimoog. Blake’s Blue Note label mates ImmanuelWilkins and Joel Ross complete the multigenerational quintet on alto saxophone and vibraphone. Though distinct in their expressions, the rising star artists share a cooperative quality intrinsic to their improvising.

    “The name represents us as five individuals coming together for a common cause: trying to make the most honest music as possible,” says Blake who assembled the band with the intention of composing for a fuller, more explicit chordal sound than his past projects have featured. The result is a wildly intuitive, tight sound that embraces spontaneity and relies on trust.

    “I think the sound also comes from years of Dezron and David and me playing together, and the whole history of Immanuel and me knowing each other from the Philly days, and then Immanuel’s hookup with Joel.” Even Blake and Ross had their own hookup going before forming Pentad from a Jazz Gallery commission the leader received several years earlier. “There’s a bit of history with everybody in the group, so when we come to play together, it’s a unique band sound.”

    Opening with a tender foundational gesture from Douglas, the album’s title track celebrates the short effervescent life of Ana Grace Marquez-Greene. Daughter of saxophonist Jimmy Greene and flautist Nelba Marquez-Greene, Ana Grace perished in the Sandy Hook tragedy nearly a decade ago. For Blake, who recalls the moment of her birth, Ana Grace’s time on earth resonates. “When little Ana was born, I remember what a blessing she was,” says Blake, who was on the road with Greene at the time in TomHarrell’s band. “She had such a lively presence. So when I heard she’d been taken away, it affected me and I started writing this tune.”

    Reminiscent of a melody she might have hummed as she bounced into the room, “Homeward Bound (forAna Grace)” prompts joyous and contemplative trades between Ross and Wilkins, a luminescent solo from Virelles and a feature from Blake just as effervescent as the spirit it honors. “She was always singing,” says Blake, “any room she went in, she would just sing.”

    Another of the album’s buoyant melodies surfaces on “Rivers & Parks.” Featuring solo contributions fromRoss, Wilkins, Virelles, and Douglas, respectively, the composition honors works by Sam Rivers and AaronParks. At his home in New Jersey, Blake had been playing Rivers’ “Cyclic Episode” and Parks’ “Hard-BoiledWonderland” on repeat when a melody of his own emerged. Later he realized all three tunes had in common their 16-bar form. “I didn’t even plan to write a tune like that,” he says. “I guess I was very inspired by listening to those two compositions.”

    Throughout Homeward Bound, the artists tangle avenues along what’s grounded and what’s unbound.Wilkins and Blake spark an open dialogue at the start of Douglas original “Shakin’ the Biscuits,” playing off mood colors from Virelles. Laying down the ground rules at 45 seconds into the track, Douglas brings everyone into the groove. Virelles allows textural choices to influence where he takes the music, playing piano, Rhodes and minimoog at different moments.

    Soul-cleansing and meditative, “Abiyoyo” reflects Blake’s take on the traditional South African folktale.The chart had been written in 6/8 but, for the recording, the leader was hearing — and feeling —something different. “I wanted it to be something you could feel almost as a lullaby,” he says. “I was hearing this slow 3, and immediately the rest of the band caught the vibe. This wasn’t a piece we were gonna burn out on solos. It was a tone poem.” That burner would happen later on. Blake introduces “LLL”in a swinging gesture of grace and conviction. Limelighting highest level interactivity among band members and solos from Virelles and Ross, the tune is a channel for the vibraphonist’s signature arcs and turns and high-velocity lyricism.

    Aligned with his artistry, Blake’s arrangement of Joe Jackson’s “Steppin’ Out” bonds an iconic vamp and enduring melody with the drummer’s intuitive feel and phrasing as well as his harmonic instincts. “It’s one of my favorite songs,” he says. “That melody just plays itself.” The band’s treatment of the 1982 hit reveals critical homework on the part of its younger members. “The only people who were aware of the tune were me and Dezron [laughs],” says Blake. “But they really got inside it. Immanuel played his butt off. He went to some different places.”

    Above all else, Homeward Bound is a narrative celebration of life and legacy. “I wanted to create a record where people would get inside my head,” says Blake. “I want them to see the story I was trying to tell.That’s my hope.”

Contact Information

  • Contact by Webpage: http://www.johnathanblake.com/contact
  • Management/Booking: Management, Booking, and general inquiries:
    Adrian Ross
    ARE Group, LLC
    [email protected]
    +1-(877)-606-0277

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.johnathanblake.com/discography
  • ▶ Buy My Music 2: (downloads/CDs/DVDs) http://johnathanblake1.bandcamp.com/releases
  • ▶ Twitter: johnathanblake1
  • ▶ Instagram: johnathanblakedrums
  • ▶ Website: http://www.johnathanblake.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCk6vfj0lOpH9hjnN2ovSItQ
  • ▶ Spotify: http://open.spotify.com/album/7k3pXfVhs3S1094t6X1pbR
  • ▶ Spotify 2: http://open.spotify.com/album/3jA14dtIF2aVpVUoSrZVjg
  • ▶ Spotify 3: http://open.spotify.com/album/6QIYJAV50CcbLgEVQ55STl
  • ▶ Spotify 4: http://open.spotify.com/album/3NWergKPvYKU1wChOTFftN

Clips (more may be added)

  • 0:23:21
    Johnathan Blake - Drum Compilation 2019 2021
    By Johnathan Blake
    70 views
  • 0:06:58
    Jonathan Blake Trio- Cryin' Blues
    By Johnathan Blake
    108 views
  • 1:15:20
    Johnathan Blake's My Life Matters Live @ The Jazz Gallery
    By Johnathan Blake
    93 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 Johnathan Blake:

  • 3 Composer
  • 3 Drums
  • 3 Jazz
  • 3 New York City
  • Marcel Powell Brazil
  • Sharita Towne Video Artist
  • THE ROOM Shibuya Soul
  • Mariene de Castro Samba
  • Daymé Arocena Santeria
  • Plinio Oyò Viola Machete
  • Luques Curtis Bass
  • Rebeca Omordia London
  • Ivan Bastos Jazz Brasileiro, Brazilian Jazz
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  • Mark Stryker Arts Critic
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  • Ceumar Coelho MPB
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  • Teresa Cristina Brazil
  • H.L. Thompson Artist Development
  • Luiz Santos Drums
  • Little Simz London
  • Chad Taylor Jazz
  • Ry Cooder Multi-Instrumentalist
  • Yosvany Terry Cuba
  • Muri Assunção Rio de Janeiro
  • Kyle Poole Jazz
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  • Marcos Portinari Diretor Artístico, Artistic Director
  • Oswaldo Amorim Brasília
  • Ferenc Nemeth Composer
  • Dadá do Trombone Samba
  • Anna Webber Flute
  • Malin Fezehai Eritria
  • Rogê MPB
  • Omari Jazz Visual Artist
  • Monty's Good Burger Fries, Tots & Shakes
  • Camille Thurman Jazz
  • Susheela Raman Singer-Songwriter
  • Igor Osypov Germany
  • Magda Giannikou Greece
  • Lianne La Havas Singer-Songwriter
  • Courtney Pine London
  • Yunior Terry Cuba
  • Larissa Luz Bahia
  • Diosmar Filho Cineasta Documentarista, Documentary Filmmaker
  • Alegre Corrêa Guitar
  • Gaby Moreno Singer-Songwriter
  • Fred P Deep House
  • Allen Morrison Press Releases
  • Carlinhos Brown Record Producer
  • Nelson Faria YouTuber
  • Adriana L. Dutra Brazil
  • Joey Alexander New York City
  • Dan Tepfer Jazz
  • Natalia Contesse Chile
  • Angel Bat Dawid Black American Traditional Music
  • Soweto Kinch Saxophone
  • Alain Pérez Bass
  • Lalah Hathaway Soul
  • André Becker Salvador
  • Chick Corea Contemporary Classical Music
  • James Grime University of Cambridge Faculty
  • Walter Pinheiro Saxophone
  • Jorge Alfredo Bahia
  • Joanna Majoko Jazz
  • Steve Lehman Saxophone Instructor
  • Parker Ighile NIgeria
  • Dale Bernstein Photographer
  • Stomu Takeishi New York City
  • Amilton Godoy Piano
  • Marko Djordjevic Composer
  • Asma Khalid Podcaster
  • Issa Malluf Udu
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  • Victor Wooten Multi-Instrumentalist
  • Manassés de Souza Viola de Doze
  • Tank and the Bangas Hip-Hop
  • Shalom Adonai Bahia
  • Gabrielzinho do Irajá Samba
  • Gregory Tardy Saxophone
  • Warren Wolf Baltimore, Maryland
  • Nara Couto Bahia
  • David Castillo New Orleans
  • Carwyn Ellis Multi-Instrumentalist
  • Omer Avital North African Music
  • Antonio García Arranger
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  • Gary Clark Jr. Blues
  • Ariane Astrid Atodji Filmmaker
  • Paulinho da Viola Singer-Songwriter
  • Beth Bahia Cohen Berklee College of Music Faculty
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  • Celso de Almeida Brazilian Jazz
  • Jurandir Santana Composer
  • Alyn Shipton Bass
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  • Ana Luisa Barral Choro
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  • Corey Henry New Orleans
  • Arturo Sandoval Cuba
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