This is a matrix in the original sense of "source". It is a "small-world" network, meaning that the nodes (people) inside it are — mirroring human society — within a few steps of everybody else inside it. The matrix was built to allow regional Brazilian musicians to be discoverable steps away from everybody else in the arts world, and by logical necessity this m.o. requires not only that the great Brazilians be matrixed, but so far as possible, all working artists in our time. Ergo:
THIS MATRIX, THOUGH BRAZIL-BORN, IS UNIVERSAL
This Jon Cowherd matrix node is steps away from the entire planet by the well-known small-world ("6 degrees") phenomenon dictating that in human society you yourself are within several degrees of Jon Cowherd.
1 DEGREE FORWARD: Jon Cowherd (node) ROUTES TO THESE ARTIST NODES
Are these Jon Cowherd's personal recommendations?
CURATION STATUS
- → Routes by The Matrix
Who & Where
- Name: Jon Cowherd
- City/Place: New York City
- Country: United States
Life & Work
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Bio:
Although Mercy is Jon Cowherd's first album under his own name, the esteemed pianist/composer/arranger/producer is already firmly established as one of the jazz world's most accomplished, expressive and in-demand young musicians.
The Kentucky-raised, New Orleans-schooled, New York-based Cowherd is best known for his long-running partnership with drummer/bandleader Brian Blade, with whom he co-founded the Brian Blade Fellowship, whose acclaimed, influential albums showcase Cowherd's stellar keyboard work and singular compositional skills. When not recording and touring with the Fellowship, Cowherd has worked extensively with a broad array of players and singers from the jazz, pop and rock worlds.
His impressive resume aside, Mercy is the most compelling example yet of Jon Cowherd's remarkable sensitivity, inventiveness and versatility. Recorded in an inspired three-day session at New York's Avatar Studios, the sterling set is comprised of ten new Cowherd originals, with his sublime keyboard work anchoring an all-star quartet that includes Bill Frisell on acoustic and electric guitars, John Patitucci on acoustic bass and longtime collaborator Brian Blade on drums. The resulting album is a creative landmark for Cowherd, with such ambitious numbers as "The Columns," "Postlude," the three-part "Mercy Suite" and the playful departure "Recital Hour (Timmy's Theme)" demonstrating his gifts as an instrumentalist and composer.
"It definitely feels like a personal milestone," Cowherd says of Mercy. "My collaboration with Brian Blade has given me the freedom to record my own pieces, but I still felt the need to make a statement under my own name. That notion was intimidating for a long time, and I never felt ready until the last couple of years. I felt that my playing had to get to another level before I released something as a leader. Studying classical piano with Jeff Goldstein from 2001-2009 really helped me gain that confidence."
A consistent dedication to honing his talents and broadening his musical horizons has been a lifelong mission for Cowherd. Growing up in Kentucky as the son of musician parents who doubled as music educators, he embraced music early in life, taking up piano, french horn and violin as well as singing. In 1988, he migrated to the musical mecca of New Orleans to attend Loyola University. There, he studied jazz piano and improvisation under Crescent City piano legend Ellis Marsalis and with noted players John Mahoney, Steve Masakowski and Michael Pellera. He also joined local bands led by Tony Dagradi and Delfeayo Marsalis, and played with the New Orleans Ballet and the New Orleans Symphony and Opera. In 1993, Cowherd moved to New York, where he earned a Masters Degree in Jazz Studies from the Manhattan School of Music.
It was in New Orleans' hotbed of musical inspiration that Cowherd met fellow Loyola student Brian Blade, with whom he would form the Brian Blade Fellowship. With Blade on drums and Cowherd on piano, and both sharing compositional duties, the Brian Blade Fellowship has proven to be an enduring and rewarding creative unit, releasing the albums Brian Blade Fellowship (Blue Note, 1998), Perceptual (Blue Note, 2000) and Season of Changes (Verve, 2008).
When not collaborating with Blade, Cowherd's keyboard work, as well as his producing and arranging skills, have kept him at work on a wide variety of projects with an equally varied assortment of artists. He's currently a member of Cassandra Wilson's band, the Alicia Olatuja band and Nate Smith & Kinfolk, and his instrumental work has graced albums by the likes of Norah Jones, Cassandra Wilson, Rosanne Cash, Lizz Wright, Iggy Pop, Alicia Olatuja, Marc Cohn, Mark Olson and Victoria Williams, and he's recorded alongside such world-class musicians as Joni Mitchell, Daniel Lanois, John Leventhal, Kurt Rosenwinkel, Nate Smith, Dave Easley, Jeff Parker, Marcus Strickland and Jack Wilkins. As a producer, Cowherd has overseen albums by Lizz Wright, Alyssa Graham, Maria Neckam and The Local NYC. He also recently served as keyboardist for and co-musical director for the all-star Joni Jazz concert at the Hollywood Bowl, in honor of Joni Mitchell, in which he performed with Herbie Hancock, Wayne Shorter, Chaka Khan, Kurt Elling, Aimee Mann, Glen Hansard and Cassandra Wilson.
Contact Information
- Email: info@joncowherd.com
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Management/Booking:
Management
DOG AND PONY INDUSTRIES
Gille Amaral
Tel: 603-379-6602
Email: gille@dogandponyindustries.com
Web: www.dogandponyindustries.com
Media & Markets
- ▶ Twitter: MadCowherd
- ▶ Instagram: joncowherdmusic
- ▶ Website: http://www.joncowherd.com
- ▶ YouTube Channel: http://www.youtube.com/user/CowherdJon
- ▶ YouTube Music: http://music.youtube.com/channel/UCaRNvDy2rFjoLua5yTywv1Q
- ▶ Spotify: http://open.spotify.com/album/6euSZXjHeTC7WsZJa5P7zn
More
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Quotes, Notes & Etc.
Jazz Review
Pianist Jon Cowherd has raised eyebrows in his work with the Brian Blade Fellowship. Cowherd's playing shows an artful touch to the keys in ways Thelonious Monk used to; emphasis on just the right dynamic at just the right time and a sense of harmonic imagination that is tied to the music of the moment and not some preconceived music-school taught voicing concept. Cowherd's playing on the mid-tempo ballad Five Nights, with his use of occasionally non-traditionally voiced single line juxtapositions to trumpeter's Michael Rodriguez's incredible solo, is worth the price of the disc alone.
- Thomas R. Erdmann
Lament For A Straight Line - Top Five Micro Moments at the Newport Festival - 8/11/2009
The harmonium solo that Jon Cowherd offered the throng who came to see Brian Blade's Fellowship Band. It was both fleeting and entrancing, and its arrival and departure illustrated the kind of fluidity the ensemble is striving for. Saxophonist Myron Walden was soloing in a very gospelish manner, and his boss was egging him on from the Amen Corner, which just happened to be located behind his drums. As the music sighed, Cowherd's keybs bubbled up. It harked to the buoyant Ravi Shankar piece Rudresh Mahanthappa and his Indo-Pak Coalition floated through on that stage to start the day.
- Jim Macnie
Alder Music Blog
Until now I failed to grasp the genius of the final three minutes of "Return of the Prodigal Son," by Fellowship pianist Jon Cowherd. Something happened when the group reached this section at the gig. A perfect melody, a paradisiacal set of chords in flowing waltz time, an accumulation of sound and texture as the theme grew out of Cowherd's piano intro - it was everything music should be, and the beauty of it was almost hard to stand. A band of the year nomination for BBF, please. And a long overdue nod to Jon Cowherd as a top composer.
THE MATRIX WAS BUILT HERE, inspired in (the kabbalah-inspired fiction of) Borges' 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... The Brazilian "aleph" doesn't hum...it sings!
Sprawled across broad equatorial latitudes
Stoked and steamed and sensual in the widest sense of the word
Limned in prosody and cadenced song
brəˈzɪl / from "brasa" / Latin for "ember"
w/ David Dye for U.S. National Public Radio
Given the immense untapped power of the small-world phenomenon, from Brazilians the matrix was expanded to include nodes per jazz artists, given jazz's common roots with Brazilian music (nodes based in publicly available information; some artists we informed — Bob Mintzer, Kamasi Washington, David "Fuse" Fiuczynski, Vijay Iyer, Greg Osby — and got thumbs up, others we'll get to), and moved on from there. Artists/academics/"creative people" are welcome to create their own nodes and curate (connect to other artist nodes, so that others may follow). BTW, our logo is a cortador de cana, 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 specializes in.
MUCH MORE on all of this in the window below (which, if you are logged in, will instead contain instructions on recommending), and in the window within that window (which includes a "radio" called by The Guardian one of "10 of the best music radio stations around the world"):
