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John Harle inside
THE INTEGRATED GLOBAL CREATIVE ECONOMY
I CURATE

This is the Universe of

Name: John Harle
City/Place: London
Country: United Kingdom
Hometown: Newcastle upon Tyne

CURATION

from this node by: Matrix+

Life & Work

Bio: John Harle is an Ivor Novello award-winning composer, record producer, and saxophonist whose work spans across musical genres from classical to contemporary pop.

John is the composer of operas, musical theatre shows, around fifty concert works and over 100 film and TV scores including the theme to BBC1's Silent Witness and the epic score to Simon Schama’s A History of Britain. He is the recipient of an Ivor Novello award and two Royal Television Society awards for Best Music.

Starting at the National Theatre in the late 1970's, John was an actor/musician, composer, musical director and instrumentalist for many years, including acting parts in plays by Edward Bond and Isaak Babel, musical directorships for Harrison Birtwistle and playing in the celebrated Guys and Dolls band for director Richard Eyre. John's own shows, A Quick Deco and To Those Born Later were featured at the National Theatre Platforms, The King's Head Islington, Hampstead New End Theatre and The Arts Theatre with actors Caroline Quentin, Jim Carter and John Golder. John's show Berlin Nights ran at The London Symphony Orchestra Pops series at The Barbican, featuring actors Ute Lemper and Albert Finney.

He was artistic advisor and producer to Sir Paul McCartney for six years, and other major collaborations have included albums and tours with Elvis Costello and Marc Almond.

A prominent media figure, he is a regular contributor to Radio 4 Front Row, and was a castaway on Desert Island Discs. He also contributes written articles to major publications.

John’s tribute album to Duke Ellington, The Shadow of the Duke was followed with collaborations with jazz artists such as Herbie Hancock and Andy Sheppard.

John was solo and lead saxophonist with the Michael Nyman Band for fifteen years, and was Musical Director of the band on tours in the US, UK and Japan.

He has been musical director and producer for Moondog, Herbie Hancock, Sir Harrison Birtwistle, Elmer Bernstein, Imelda Staunton, Ute Lemper, Lesley Garrett, Albert Finney, Kathryn Tickell, Michael Nyman, Sir John Dankworth, Dame Cleo Laine and Marc Almond. He is the founder and producer of Sospiro Records.

As a saxophonist, his early work gained public acclaim with his Saxophone Concertos album on EMI Classics which is widely seen as the definitive recording of the major classical works, and his playing has been the catalyst for an outpouring of new concertos by composers including Sir Harrison Birtwistle, Sir Richard Rodney Bennett, Marc Anthony Turnage, Sir John Tavener, Sally Beamish, Michael Nyman and Gavin Bryars.
John’s performance of Birtwistle's saxophone concerto Panic at the Last Night of the BBC Proms in 1995 was cited by many critics as the most controversial premiere of a new musical work since Stravinsky's The Rite of Spring in 1913.
He has performed with countless orchestras and conductors worldwide and has sold over half a million CDs in the classical field alone.

John was appointed the youngest ever Professor at the Guildhall School of Music and Drama, starting the saxophone department at the age of 26, and his teaching has produced many of the leading players of today. He is now Professor of Saxophone and Composition at The Guildhall School, where he leads his own Master of Music course, as well as teaching academic modules in Musical and Cultural History.

He is the author of The Saxophone (Faber Music), the definitive reference work on saxophone playing and performance.

John is currently songwriting with Marc Almond (Soft Cell) for an album of pop torch songs for Sony/BMG, and writing a musical theatre piece, Mr Punch, with writer/director Patrick Marber. He is also arranger/producer for the new saxophone star Jess Gillam in a five album collaboration with Decca Classics.

He is the father of writer and curator Dr. Matthew Harle and Columbia Records composer/producer Danny L Harle.

Contact Information

Contact by Webpage: http://www.johnharle.com/contact.htm
Telephone: Jane Ward Office: (+44) 151 513 2716 Cell: (+44) 7710 495999

Media | Markets

▶ Charts/Scores: http://www.fabermusic.com/we-represent/harle-john
▶ Website: http://www.johnharle.com
▶ YouTube Channel: http://www.youtube.com/user/johnharle
▶ YouTube Music: http://music.youtube.com/channel/UC8pYRJ__nGg9PPqRnCdR28Q
▶ Spotify: http://open.spotify.com/album/3zgRzjZ520PZPhVAVCnpA9
▶ Spotify 2: http://open.spotify.com/album/2GJN0DItN4sQUkYPlpGNrb
▶ Spotify 3: http://open.spotify.com/album/2tzW6n8niui7ObKEX9zOW2
▶ Spotify 4: http://open.spotify.com/album/0dirT2bncWgzSksQijF1ls
▶ Spotify 5: http://open.spotify.com/album/2PR8A7XQ7ASnj6nUlKtQLJ
▶ Spotify 6: http://open.spotify.com/album/4AbTrHRfmcQoKJ7n8dJar4

Quotes, Notes & Etc. “Harle gallops across his musical terrain with the attitude of Axl Rose. Terrifyingly extreme and magnificently audacious, Harle is a powerful force in British Jazz and Pop, and has the integrity, passion and vision to challenge listeners”
ESQUIRE USA

“John Harle's music is complex, darkly humorous and full of ear-catching quirkiness. You're bowled over by the variety, energy and sheer size of his music. It merits every ounce of the effort put into it”
THE WASHINGTON SUNDAY TIMES

“The music of John Harle is very fast moving, urgently collaborative, often witty, sinewy, ironic and urban”
THE GUARDIAN

“Three gorgeous songs by John Harle sung by a totally credible Elvis Costello are only the most conspicuous highlights of saxophonist Harle's genre scramble 'Terror and Magnificence'. Harle’s own commanding musicianship and audacious composing act as this record's solid cement”
ENTERTAINMENT WEEKLY USA

“He's an omnivorous enthusiast, a truly unfashionable state of mind in a self-conscious age of irony, but something which links him with the late American master, Leonard Bernstein”
THE INDEPENDENT

“Terror and Magnificence is very probably one of the finest suites to have come from the pen of a British composer in recent years. Harle is a virtuosic saxophonist but his writing talent is clearly as significant. A triumph all round”
THE HERALD

“It was like sitting down for dinner in a reliable restaurant and being presented with an hors d'oeuvre of cold sick. Among others I would have been happy to have chained Harle and Birtwistle, whose work has been called 'sonic sewage', naked to the railings outside as punishment”
NIGEL DEMPSTER - DAILY MAIL

“We all know that Marc Almond can sing but it still comes as a shock to hear his thrillingly drawn-out climax to Harle's "The Arrival of Spring", emoting words adapted from William Blake with operatic oomph”
THE INDEPENDENT (on 'Art Music') ****

“Harle is a renaissance man that defies categorization; there are moments of unearthly beauty - eerie, magical and oddly timeless”
JAZZWISE - USA

“Harle's style has an integrity all of its own”
THE GUARDIAN

"The composer John Harle and his librettist David Pountney have made an opera of the proper sort, and one which almost breaks the rules of the genre by appearing to work as drama as well as music. Spells are cast, angels are summoned, and the characters exchange views on the music of the spheres and other recondite matters, but as singers and actors in a theatrical space they succeed in holding your attention. Angel Magick proved to be a resounding success."
THE INDEPENDENT

“Harle's compositions are testament to the extraordinary versatility of this brilliant saxophonist”
THE INDEPENDENT

“This masterful album - wonderfully scary stuff”
THE SUN***** (on 'The Tyburn Tree')

“Beautiful and dramatic music”
INDEPENDENT ON SUNDAY (on 'The Tyburn Tree')

“A treat for the ears - epic, sweeping”
MUSIC OMH (on 'The Tyburn Tree')

“Lushly harmonised and ecstatically passionate”
THE TIMES

“Harle's rich, extravagant settings could have been written for the late 1960's Scott Walker”
THE ARTS DESK **** (on 'Art Music')

“John Harle's lurid The Little Death Machine, premiered in the late-night Prom, was full of spark as the saxophonist composer's solo soared, blasted and panted over ghoulish riffs, swooping samples and a manic orchestral dance groove. This now formidable creative figure often functions best in mixing genres”
THE INDEPENDENT

“This is a fascinating and beguiling album. Harle shows no sign soon of losing his magical powers of communication”
JAZZ VIEWS (on 'Art Music')

“Marvelously vigorous, ironic and atmospheric”
THE TIMES **** (on 'The Tyburn Tree')

“A stunning contemporary production”
PROG MAGAZINE **** (on 'The Tyburn Tree')

“Equally at home in all genres as composer and player, he is one of the most accomplished of that new generation of musicians that has successfully breached music's artificial and still too strictly observed boundaries”
THE DAILY TELEGRAPH

"This summer's Proms presents its first operatic commission in the shape of an innovative piece by saxophonist and composer John Harle. To a libretto by David Pountney, and using a flamboyant cast of singers, an actor, dancer and 22-piece orchestra incorporating the viol consort Fretwork, Harle's Angel Magick, subtitled A Scientific Ritual in Seven Parts, explores the strange world of Elizabethan astrologer and alchemist John Dee.
Already premiered in a preview to considerable acclaim at the Salisbury Festival, Angel Magick seems to be just the right sort of forward-thinking new piece the Proms needs."
THE INDEPENDENT

“Harle is a saxophone legend”
BILD-ZEITUNG

“He must be the most sought-after saxophonist in the world now.”
THE AUSTRALIAN

"I could listen to John Harle play almost anything for hours"
THE FINANCIAL TIMES

“You MUST see the virtuosity and charisma of Harle as a musician - exciting, edgy performances from the hottest saxophonist around today. Seeing is believing”
Q MAGAZINE

“Hearing Harle, you can understand why composers are surprised and delighted by his artistry. His keenly imaginative playing directly echoes the inflections of the human voice, and his fine control of tone eliminates the sloppy wailing of some saxophonists that is such a pain”
THE GUARDIAN

“This is the most beautiful alto-playing since Johnny Hodges; and the most beautiful soprano-playing ever”
THE GRAMOPHONE

“British-born Harle is one of the most outstanding saxophonists today - a leading classical exponent of the saxophone in Europe and a formidable jazz composer and soloist - he gives the sax new credibility”
THE AUSTRALIAN

“It hit the audience between the eyes - it reached the soul of the saxophone”
THE DAILY TELEGRAPH

“Mr Harle has become an eminent modern musician. He's a dazzling player, with an immense range of tones, and a magnetic musician”
THE NEW YORKER

"No-one else creates a sound quite like this: apparently floating weightlessly, yet robust”
THE OBSERVER

“A dazzling workout. Technical and emotional mastery - all of which were as child's play for John Harle”
THE NEW YORK TIMES (at Carnegie Hall)

“Thanks to Harle, the saxophone has grown in status in the twentieth century. It may yet emerge as the paragon of wind instruments - their finest singer”
THE OBSERVER

“John Harle adapts to any musical style that comes his way. He plays with originality, intelligence and fire”
THE NEW YORK TIMES

My Instruction

Lessons/Workshops: John’s private tuition and mentoring programme has assisted many of the leading saxophonists of today to achieve their aims, and is for classical, jazz and multi-genre players. The programme exists to further the instrumental, musical and creative development of saxophonists.
Instruction: http://www.johnharle.com/private-tuition-and-mentoring.htm

Clips (more may be added)

1:06:11
THE BALLAD OF JAMIE ALLAN - A Ballad Opera. Music by John Harle. Words by Tom Pickard
By John Harle

174 views
4:40
BACK TO BIRDLAND - Played by Guildhall Saxophones. July 2020.
By John Harle

192 views

John Harle Curated

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 anybody 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.

SALVADOR BAHIA BRAZIL

English ↓ Português →

Sprawled across broad equatorial latitudes...

Stoked and steamed and sensual in the broadest sense of the word...

Limned in prosody & cadenced song...

Set in a conundrum wrapped in a smile inside an irony...

From Bahia, with love: All of this — based in short-range connections between vastly disparate people and entities in the (integrated) global creative economy — began among the sublimely moving people below, and below them. Music: Assis Valente of Santo Amaro, Bahia; Video: Betão Aguiar of Salvador, Bahia

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."

You are now within the vast, virtual, arboreal canopy of a rainforest tree rising from Brazil ... concatenating, intertwining branches encircling the planet...manifesting writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…from Brooklyn, Berlin, Buenos Aires, Cape Town, Mombasa, Tokyo... all inexorably tending to close-connectedness with all others.

This matrix began with a question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

Answer: Include them in a seemingly preternaturally interaccessible curation system (the magic herein is mathematics) which would also include members of the creative economy from everywhere else.

Thus it becomes possible for anybody who knows of Quincy Jones to discover João do Boi ("John of the Ox", the vastly important Son House of Brazil) in just four (or conceivably fewer) steps (Quincy Jones > Alfredo Rodriguez > Munir Hossn > Roberto Mendes > João do Boi).

And if Herbie Hancock is inside the matrix then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.

...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers, chefs...everywhere — do also. Artificial intelligence not required (nor capable). Real intelligence, yes.

These are not isolated examples. Short pathways of few steps between widely disparate creative people are universal throughout the matrix. Such is the mathematical power of the small world phenomenon, the phenomenon responsible for “six degrees of separation”, joining most human beings to most others within some six or so steps. This is the matrix’s superpower.

Question: What's with the Hebrew letter on matrix media pages?

Answer: Web Aleph.

Question: How is this a matrix?

Answer: The original meaning of "matrix" is "source", derived from "mater", Latin for "mother" (hence our motto: We're a real mother for ya!). The Matrix Online Network is a virtual realization of Web Aleph, allowing people to actually move from members of the Global Creative Economy to other members of the GCE (thus an Integrated Global Creative Economy: IGCE) in accessible steps. The matrix opens up and unites the creative world in a way which hasn't been possible since mankind first blew through a bone flute some 40,000 years ago.

Question: Why not use Artificial Intelligence rather than human curation?

Answer: Artificial Intelligence makes personal music recommendations based upon what any given person has chosen to listen to previously (and upon what people deemed to have similarities to any given person have chosen to listen to previously). But matrix curation is general, not personal. And moreover, while AI recommendations for music can satisfy some people, such recommendations are currently impossible for the work of writers, painters, choreographers, filmmakers, actors, chefs...

The Matrix is capable of reaching deeply, per João's village of São Braz, in the Bahian Recôncavo...

Landings of Enslaved by Numbers

Endpoint of a centuries-long enforced odyssey, the region of the Bahian Recôncavo received more enslaved human beings than any other port-of-call throughout the entire history of mankind. One irony is that these people created some of the most physically & spiritually uplifting music ever sung and danced to. Another irony — true in the United States as well — is that their music would evolve to become the national music of the country which had enslaved them. A meta-irony then is that these two gargantuan ironies are almost completely unknown.

Number of Embarked/Disembarked Enslaved at Selected Landings from 1514 to 1866:

Bahia, port unspecified *

Embarked: 1,339,627

Disembarked: 1,206,934

* “Bahia” above is the archaically used name for the city of Salvador. These are the numbers for Salvador and the Recôncavo.

The numbers below are for Bahia including Taipu and Porto Seguro:

Bahia

Embarked: 1,347,121

Disembarked: 1,213,691

Rio de Janeiro

Embarked: 1,216,113

Disembarked: 1,099,908

Brazil

Embarked: 3,515,638

Disembarked: 3,165,307

Mainland North America

Embarked: 359,628

Disembarked: 301,740

Our source is the Trans-Atlantic Slave Trade Database centered at Emory University and available online at http://slavevoyages.org/

Dear friend, wherever (and whomsoever) you may be—

Have you 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 (the Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind's existence on this planet), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present...

Brazil is not a European nation. It is not a North American nation. It is not an East Asian nation. Brazil 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.

"Onde tem miséria, tem música!"* - Raymundo Sodré (↓)

* "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...

The network was built in an obscure record shop evincing this cauldron (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

...it was inspired in (the kabbalah-inspired fiction of) Borges' (phenomenal 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 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

(0ur radio — built below — is here)

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

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, music which remains a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to on pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.

The Brazilian "aleph" doesn't hum... it dances and sings. And all is more connected than we imagine.

Welcome to the kitchen!

From Salvador with love,

- Pardal "Sparrow" Roberts

Years ago in NYC (I've lived here in Brazil for over 30 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd, Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).

But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great. In a sense, this rainforest tree sprouted from a streetcorner in Harlem.

Greatness and fame are too often conflated. The former should be accessible independently of the latter.

Imagine João do Boi!

Espalhados por amplas latitudes equatoriais...

Empolgante e fumegante e sensual no sentido mais amplo da palavra...

Delineado em prosódia e canção cadenciada...

Situado num enigma envolto de um sorriso dentro de uma ironia...

Da Bahia, com afeto: Tudo isso – baseado em conexões de curto alcance entre pessoas e entidades muito díspares na economia criativa global (integrada) – começou entre as pessoas sublimemente comoventes abaixo, e abaixo delas. Música: Assis Valente de Santo Amaro, Bahia; Vídeo: Betão Aguiar de Salvador, Bahia

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."

Você está agora dentro do vasto, virtual, dossel arbóreo de uma árvore da floresta tropical que se ergue do Brasil... concatenando, entrelaçando galhos que circundam o planeta... manifestando escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos... do Brooklyn, Berlim, Buenos Aires, Cidade do Cabo, Mombasa, Tóquio...

Este matrix começou com uma pergunta: Como é possível fazer com que os músicos historicamente mais importantes do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

Resposta: Inclua-os em um sistema de curadoria aparentemente sobrenaturalmente interacessível (a magia aqui é matemática) que também incluiria membros da economia criativa de todos os outros lugares.

Assim, torna-se possível para quem conhece Quincy Jones descobrir João do Boi (o imensamente importante músico de raizes profundíssimas) em apenas quatro (ou concebivelmente menos) passos (Quincy Jones > Alfredo Rodriguez > Munir Hossn > Roberto Mendes > João do Boi).

E se Herbie Hancock estiver dentro do matrix, então qualquer pessoa em sua página – seja acessando de um campus em L.A., um pub em Dublin, um shebeen na Cidade do Cabo, uma barraca na Mongólia – estará a poucos passos transitáveis de Raymundo Sodré, mesmo que não saibam nada do Brasil e desconheçam que Sodré canta/dança neste planeta. Sodré, derrubado do poleiro da fama pela ditadura brasileira, tem agora a alternativa de acesso ao mundo através do vasto potencial da teoria das redes.

...na medida em que outros artistas e tal — escritores, pesquisadores, cineastas, pintores, coreógrafos, chefs... em todos os lugares — também têm. Inteligência artificial não necessária (nem capaz). Inteligência real, sim.

Este não é um exemplo isolado. Caminhos curtos de poucos passos entre pessoas criativas amplamente díspares são universais em toda a matriz. Tal é o poder matemático do fenômeno do mundo pequeno, o fenômeno responsável pelos “seis graus de separação”, unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Esta é a superpotência da matriz.

Pergunta: O que há com a letra hebraica nas páginas da mídia matrix?

Resposta: Web Alef.

Pergunta: Como isso é uma matrix?

Resposta: O significado original de "matrix" é "fonte". A Matrix Online Network é uma realização virtual da Web Alef, permitindo que as pessoas realmente passem de membros da Economia Criativa Global para outros membros da ECG (portanto, uma Economia Criativa Global Integrada: ECGI) em etapas acessíveis. O matrix abre e une o mundo criativo de uma forma que não era possível desde que a humanidade tocou pela primeira vez uma flauta de osso há cerca de 40.000 anos.

Pergunta: Por que não usar Inteligência Artificial em vez de curadoria humana?

Resposta: A Inteligência Artificial faz recomendações pessoais de música com base no que uma pessoa escolheu ouvir anteriormente (e no que as pessoas consideradas semelhantes a alguém escolheram ouvir anteriormente). Mas a curadoria matricial é geral, não pessoal. Além disso, embora as recomendações de IA para música possam satisfazer algumas pessoas, essas recomendações são atualmente impossíveis para o trabalho de escritores, pintores, coreógrafos, cineastas, atores, chefs...

O Matrix é capaz de atingir profundamente...

Desembarques de Escravizados por Números

Ponto final de uma odisséia forçada de séculos, a região do Recôncavo baiano recebeu mais seres humanos escravizados do que qualquer outro porto de escala em toda a história da humanidade. Uma ironia é que essas pessoas criaram algumas das músicas mais edificantes fisicamente e espiritualmente já cantadas e dançadas. Outra ironia - verdadeira também nos Estados Unidos - é que sua música evoluiria para se tornar a música nacional do país que os escravizou. Uma meta-ironia, então, é que essas duas ironias gigantescas são quase completamente desconhecidas.

Número de Escravizados Embarcados/Desembarcados em Desembarques Selecionados de 1514 a 1866:Bahia, porto não especificado *

Embarcados: 1.339.627

Desembarcados: 1.206.934

* “Bahia” acima é o nome arcaico usado para a cidade de Salvador. Esses são os números de Salvador e do Recôncavo.Os números abaixo são para a Bahia incluindo Taipu e Porto Seguro:

Bahia

Embarcados: 1.347.121

Desembarcados: 1.213.691

Rio de Janeiro

Embarcados: 1.216.113

Desembarcados: 1.099.908

Brasil

Embarcados: 3.515.638

Desembarcados: 3.165.307

América do Norte continental

Embarcados: 359.628

Desembarcado: 301.740

Nossa fonte é o Trans-Atlantic Slave Trade Database centrado na Emory University e disponível online em http://slavevoyages.org/

Caro amigo, onde (e quem quer que) você esteja—

Você já reparou como lugares diferentes espalhados pela face do globo parecem quase existir em universos diferentes? Como se estivessem permeados por algo semelhante ao éter luminífero do século XIX, único, determinado pela história daquele lugar? É como um truque de luz da mente (suponho), mas de pé na praia ou escarpa em Salvador e olhando para a Baía de Todos os Santos para o grande Recôncavo, e atento ao que aconteceu lá (o Recôncavo foi o último porto de - clamar por mais seres humanos escravizados do que qualquer outro lugar ao longo de toda a existência da humanidade neste planeta), deve-se ser levado à inevitável conclusão de que estamos em um lugar único para a história e para o presente...

O Brasil não é uma nação europeia. Não é uma nação norte-americana. Não é uma nação do leste asiático. O Brasil atravessa - 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) hoje amplamente esquecidas em suas terras de origem. Era uma espécie de refúgio para os sefarditas que fugiam de uma Inquisição que os seguiu através do Atlântico (aquele símbolo não oficial da música nacional do Brasil – o pandeiro – quase certamente foi trazido para o Brasil por essas pessoas).

Pelas savanas ressequidas do interior do nordeste/nordeste culturalmente fecundo do Brasil, onde o feiticeiro Hermeto Pascoal nasceu na Lagoa da Canoa e foi criado em Olho d'Águia, grande parte da população aborígene 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 sem precedentes. Pandeirista no telhado. Em nenhum outro lugar, mas aqui.

"Onde tem miséria, tem música!"* - Raymundo Sodré (↓)

* Observado durante uma conversa que ia da Bahia ao Haiti e Cuba a Nova Orleans e o lado sul de Chicago e Harlem às aldeias da Irlanda e aos acampamentos ciganos e shtetls da Europa Oriental...

A rede foi construída em uma obscura loja de discos evidenciando este caldeirão (Kareem Abdul-Jabbar o encontrou) em uma cintilante cidade portuária brasileira...

...foi inspirada na (ficção inspirada na cabala) de Borges (conto fenomenal) El Aleph, aquele no pilar da Mesquita de Amr, no Cairo, onde o universo em sua totalidade ao longo de todos os tempos é perceptível como um zumbido infinito das profundezas da pedra.

Ela "funciona" em virtude do fenômeno do "mundo pequeno"... o mesmo responsável pelo fato de que a maioria dos 7 bilhões ou mais de seres estão dentro de 6 graus ou menos uns dos outros.

Ela foi descrita (até certo ponto) e pode ser acessada através deste artigo do jornal britânico The Guardian (que elegeu nossa rádio de artistas matrix como uma das dez melhores do mundo):

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

(O nosso rádio — construído abaixo — está aqui)

Com David Dye para o Rádio Nacional dos EUA, National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

De acordo com o "espírito" acima, nosso logotipo é um cortador de cana. Foi projetado por Walter Mariano, professor de design da Universidade Federal da Bahia para refletir as origens da música em que a loja se especializou, música que continua sendo uma força potente no restante de sua terra natal, o Recôncavo propriamente dito, onde é dançada à terra batida, sob o luar quebrado por folhas de bananeira, palmeira e manga, erguendo as almas de seus participantes quase como algo religioso, o que era, e deuses à parte, é.

O "alef" brasileiro não cantarola... dança e canta. E tudo está mais conectado do que imaginamos.

Bem-vindo à cozinha!

De Salvador com amor,
- Pardal "Sparrow" Roberts

Anos atrás em NYC (vivo aqui no Brasil há mais de 30 anos) eu "resgatei" royalties não pagos (performance e mecânica) para artistas/compositores incluindo Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd, Led Zeppelin, Ray Barretto, Philip Glass e muitos outros. Aretha me ligou do nada em relação ao dinheiro devido pela Atlantic Records. Allen Klein ligou sobre o dinheiro devido ao espólio de Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) ligou apenas para ver se ele tinha algum dinheiro não pago circulando por aí (o mundo da realeza era uma selva cheia de tubarões, para destruir metáforas, e duvido que tenha mudado).

Mas o cliente (e amigo) pertinente no presente contexto é Earl "Speedo" Carroll, dos Cadillacs. Earl passou de doo-wopping nas esquinas do Harlem para o sucesso no topo das paradas para trabalhar como zelador na escola primária PS 87 no lado oeste de Manhattan. Com tudo isso, ele nunca perdeu o que o fez grande. De certa forma, esta árvore de floresta tropical brotou de uma esquina no Harlem.

A grandeza e a fama são muitas vezes confundidas. O primeiro deve ser acessível independentemente do segundo.