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  • No princípio...
  • In the beginning...

The Birth of the Matrix →

No princípio...

Imagine um Facebook que seria mais sobre pessoas que você não conhece do que sobre pessoas que você conhece. E ainda mais importante: sobre pessoas que não o conhecem, mas cujas vidas seriam enriquecidas se o conhecessem.

 

Imagine uma versão atualizada do antigo Myspace Music, que incluiria não apenas músicos, mas todos da economia criativa global da humanidade.

 

E imagine que ao invés de ter "amigos", recomendaria as pessoas pelo que fazem...

 

E que, por alguma mágica fantástica, todos nessa rede imaginária tenderiam a estar a poucos passos de todos os outros, o que significa que todos em nossa rede seriam potencialmente encontrados por todos os outros na rede, e no planeta.

 

Você está imaginando o Matrix (Rede Online)!

 

 

Esse Matrix baiano foi fundado (com afeto!) numa questão fundamental: Como é possível fazer com que os músicos mais importantes historicamente do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

 

A resposta foi incluí-los num matrix no sentido original da palavra: “fonte”, de “mater”, latim para “mãe”...

 

...um matrix que também incluiria membros da economia criativa de todo o mundo: escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos…

 

Por este meio, podemos pessoalmente alcançar profundamente a realidade da economia criativa global que está realmente lá fora: Roberto Mendes de Santo Amaro pode recomendar João do Boi de São Braz. Munir Hossn de Salvador, mas agora morando em Paris, pode recomendar Roberto Mendes. Alfredo Rodriguez de Havana, mas agora morando em Nova York, pode recomendar Munir Hossn. E Quincy Jones de Los Angeles pode recomendar Alfredo Rodriguez. Quem conhece Quincy Jones agora pode descobrir João do Boi (entre os músicos absolutamente mais fundamentais do Brasil) em apenas quatro passos.

 

Este não é um exemplo isolado. Caminhos curtos de apenas alguns passos entre pessoas criativas amplamente díspares são universais em todo o Matrix. Tal é o fantástico poder matemático do fenômeno do pequeno mundo, o fenômeno responsável pelos "seis graus de separação", unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Essa é a superpotência do Matrix baiano.

 

O Matrix baiano está aberta a todos da economia criativa global. Foi construído numa loja de discos no Centro Histórico de Salvador por um americano que trabalhou anteriormente em Nova York recuperando royalties não pagos para artistas como Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, o primeiro produtor de Bob Marley, Clement Dodd, o mestre de jazz Jim Hall e outros.

 

Agora o projeto é mostrar ao mundo o que é que a Bahia tem. Ao permitir que todos na economia criativa global também podem estender a mão ao redor do mundo e mostram ao mundo o que é que eles têm.

 

O Matrix é capaz de atingir profundamente... esta é a vila de São Braz, no Recôncavo baiano, criada por escravizados que escaparam para uma liberdade marginal...

 

In the beginning...

Imagine a Facebook that would be more about people you don't know than people you do know. And even more importantly: about people who don't know you but whose lives would be enriched if they did.

 

Imagine an updated version of old Myspace Music, which would include not just musicians but all in humanity's global creative economy.

 

And imagine that rather than having "friends", one would recommend people for what they do...

 

And that by some fantastic magic everybody in this imaginary network would tend to be within scant steps of everybody else, meaning that everybody in our network would be potentially findable by everybody else in the network, and on the planet.

 

You are imagining the Matrix (Online Network)!

 

 

This Bahian Matrix was founded (with love!) on a fundamental question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

 

The answer was to include them in a matrix in the original sense of the word: “source”, from “mater”, Latin for “mother”...

 

...a matrix which would also include members of the creative economy from everywhere else: writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…

 

By this means we can personally reach deeply into the reality of the global creative economy that is really out there: Roberto Mendes of Santo Amaro can recommend João do Boi of São Braz. Munir Hossn of Salvador but now living in Paris can recommend Roberto Mendes. Alfredo Rodriguez of Havana but now living in New York City can recommend Munir Hossn. And Quincy Jones of Los Angeles can recommend Alfredo Rodriguez. Anybody who knows Quincy Jones can now discover João do Boi (top photo; "John of the Ox" in English, the vastly important Son House of Brazil) in just four steps.

 

This is not an isolated example. Short pathways of just a few steps between widely disparate creative people are universal throughout the Matrix. Such is the fantastic 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 Bahian Matrix’s superpower.

 

The Bahian Matrix is open to all in the global creative economy. It was built in a record shop in Salvador’s Centro Histórico by an American who formerly worked in New York city retrieving unpaid royalties for artists including Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, Bob Marley’s first producer Clement Dodd, jazz great Jim Hall and others.

 

Now the project is to show the world o que é que a Bahia tem (what it is that Bahia has). By letting everybody in the global creative economy likewise reach out across the planet to connect as they wish and show the world what it is that they have too.

 

The Matrix is capable of reaching deeply...this is João's village of São Braz, in the Bahian Recôncavo, created by enslaved who'd escaped to a marginal freedom...

 

  • ALL IS CLOSER THAN WE IMAGINE
    (Imagine Jon Cowherd)
    I RECOMMEND
    You can recommend Jon Cowherd from below when logged in ←

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Jon Cowherd
  • City/Place: New York City
  • Country: United States

Life & Work

  • 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: [email protected]
  • Management/Booking: Management
    DOG AND PONY INDUSTRIES
    Gille Amaral
    Tel: 603-379-6602
    Email: [email protected]
    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

  • 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.

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  • Bronco Braun
    By Jon Cowherd
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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.



  • 1 Composer
  • 1 Jazz
  • 1 Piano
  • 1 Record Producer

From Harlem to Bahia to the World, the Why & How of this Matrix: Window below in Portuguese here!
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  • Questlove Songwriter
  • Paulo Costa Lima Brasil, Brazil
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  • Etienne Charles Trumpet
  • Domingos Preto Chula
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  • D.D. Jackson Film Scores
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  • André Becker Brasil, Brazil
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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