Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

  • Sign in
  • Join Everybody Here
    Loading ...
View All Updates Mark All Read
  • Matrix Home
  • Categories are Here!
  • Showcase Music
  • Add Videos/SC
  • Add Photos
  • (Bahia)
  • Questions?
  • 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.

 

  • Joshua Redman
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Joshua Redman
  • City/Place: Berkeley, California
  • Country: United States

Life & Work

  • Bio: Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. He was exposed at an early age to a variety of musics (jazz, classical, rock, soul, Indian, Indonesian, Middle-Eastern, African) and instruments (recorder, piano, guitar, gatham, gamelan), and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, as well as The Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin drew Joshua more deeply into music. But although Joshua loved playing the saxophone and was a dedicated member of the award-winning Berkeley High School Jazz Ensemble and Combo from 1983 to 1986, academics were always his first priority, and he never seriously considered becoming a professional musician.

    In 1991 Redman graduated from Harvard College summa cum laude, Phi Beta Kappa with a B.A. in Social Studies. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends (former students at the Berklee College of Music whom Joshua had met while in Boston) had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene. He began jamming and gigging regularly with some of the leading jazz musicians of his generation: Peter Bernstein, Larry Goldings, Kevin Hays, Roy Hargrove, Geoff Keezer, Leon Parker, Jorge Rossy and Mark Turner (to name just a few). In November of that year, five months after moving to New York, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition. This was only one of the more visible highlights from a year that saw Redman beginning to tour and record with jazz masters such as his father, Jack DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian, and Clark Terry. For Joshua, this was a period of tremendous growth, invaluable experience and endless inspiration.

    Now fully committed to a life in music, Redman was quickly signed by Warner Bros. Records and issued his first, self-titled album in the spring of 1993, which subsequently earned Redman his first Grammy nomination. That fall saw the release of Wish, where Joshua was joined by the all-star cast of Pat Metheny, Charlie Haden and Billy Higgins. He toured extensively with Metheny throughout the latter half of that year. His next recording, MoodSwing, was released in 1994, and it introduced his first permanent band, which included three other young musicians who have gone on to become some of the most important and influential artists in modern jazz: pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade. A later edition of this ensemble included guitarist Peter Bernstein, pianist Peter Martin, bassist Chris Thomas and Blade. Over a series of celebrated recordings including Spirit of the Moment/Live at the Village Vanguard, Freedom in the Groove and Timeless Tales (for Changing Times), Redman established himself as one of the music’s most consistent and successful bandleaders, and added soprano and alto saxophones to his instrumental arsenal. Joshua’s second acclaimed quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson, was formed in 1998 and made its recorded debut on the 2000 album Beyond. The dynamic interplay and uncommon rapport of this group inspired Redman to write and record his first long-form composition, Passage of Time, which was released in 2001.

    A year later, Redman began to channel his jazz sensibilities through new instrumentation and formed The Elastic Band, a flexible, electrified, groove-based trio built on an ongoing collaboration with keyboardist Sam Yahel and drummer Brian Blade. The band debuted on the 2002 releases yaya3 and Elastic. Drummer Jeff Ballard began to play regularly with the Elastic Band later that year, and he (along with Blade and Yahel) played a central role in their next recording, the Grammy-nominated Momentum, which was released in 2005 to inaugurate Redman’s affiliation with Nonesuch Records, and featured a diverse and exciting lineup of special guests.

    In 2000, Redman was named Artistic Director for the Spring Season of the non-profit jazz-presenting organization SFJAZZ. Redman and SFJAZZ Executive Director Randall Kline had an idea that the New York Times called a “eureka moment”; the creation of the SFJAZZ Collective, an ensemble distinguished both by the creativity of its members and a unique primary emphasis on composition. Inaugurated in 2004, the eight-piece band consists of a multi-generational cast of accomplished musicians. The Collective’s repertoire features both commissioned works and new arrangements of the work of great modern jazz composers. In March 2007, Redman announced that he was taking a hiatus from both the SFJAZZ Artistic Directorship and the SFJAZZ Collective in order to focus on new projects.

    The following month, Nonesuch released Redman’s first ever piano-less trio record, Back East, featuring Joshua alongside three stellar bass and drum rhythm sections (Larry Grenadier & Ali Jackson, Christian McBride & Brian Blade, Reuben Rogers & Eric Harland) and three very special guest saxophonists (Chris Cheek, Joe Lovano and Dewey Redman). On Compass, released in January 2009 (Nonesuch), Joshua continues to explore the expansive trio format, and with a group of collaborators as intrepid as he is – bassists Larry Grenadier and Reuben Rogers, and drummers Brian Blade and Gregory Hutchinson – Redman literally and figuratively stretches the shape of the trio approach; on the most audacious of these tunes, he performs with the entire lineup in a double-trio setting.

    Starting in late 2009, Joshua began performing with a new collaborative band called James Farm featuring pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. The band infuses traditional acoustic jazz quartet instrumentation with a progressive attitude and modern sound. The band’s performances and two albums have been met with rave reviews across the globe.

    In May 2013, Redman released Walking Shadows (Nonesuch), a collection of vintage and contemporary ballads produced by his friend and frequent collaborator Brad Mehldau. This is Redman’s first recording to include an orchestral ensemble and includes a core ensemble of Mehldau on piano, Larry Grenadier on bass, and Brian Blade on drums. About Walking Shadows, the New York Times says "there hasn’t been a more sublimely lyrical gesture in his 20-year recording career."

    Released in June 2014, Trios Live (Nonesuch), was recorded at New York City’s Jazz Standard and Washington, DC’s Blues Alley during stands with two different trios - Redman and drummer Gregory Hutchinson with bassist Matt Penman (Jazz Standard) and Redman and Hutchinson with bassist Reuben Rogers (Blues Alley). Trios Live features four original tunes by Redman and interpretations of three additional songs.

    After their first partnership during 2011 performances at the Blue Note in New York at the invitation of The Bad Plus, and intermittent performances together over the years, Redman and the tight-knit trio released their first studio album titled The Bad Plus Joshua Redman in May 2015 on Nonesuch. Redman explains the draw of this unique collaboration: "Playing with The Bad Plus has allowed me to explore a part of my playing, and my musical heritage, that I’ve never before accessed in quite the same way with any other group. The adventure with The Bad Plus pushes me toward the fringes and draws me into the core." Redman was nominated for Best Improvised Jazz Solo on the track “Friend or Foe” from this debut recording collaboration.

    Released in 2016, Nearness (Nonesuch), was recorded at several European concert stops and illustrates in the most direct and intimate way the extraordinary musical rapport between saxophonist Joshua Redman and pianist Brad Mehldau—label-mates, friends, and fellow travelers in jazz for 25 years. After joining Mehldau as a featured soloist on Highway Rider, the two musicians resumed performing as a duo at concert halls and festivals around the world, garnering superb reviews every time out. The tracks on Nearness were culled from recordings made during summer and fall 2011 European dates in concert halls, theaters, and, one night in Norway, at a church.

    Still Dreaming, released in May 2018 on Nonesuch, features drummer Brian Blade, bassist Scott Colley, and trumpeter Ron Miles. Touring together since 2016, the quartet seeks to affirm, in their own way, the musical exploration and experimentation which defined one of the seminal jazz bands of the '70s and '80s, Old and New Dreams, which featured Joshua’s father and Ornette Coleman alumni Dewey Redman on tenor saxophone. Busy as these four musicians are with their myriad musical projects, hearing them perform together as Still Dreaming will likely be a rare opportunity, an uncommon musical adventure - informed by the past, but looking toward the future, and navigated by the now.

    Joshua Redman Quartet’s new album, Come What May (Nonesuch), was released on March 29, 2019. It marks the first recording in almost two decades for this group of musicians: the recently Grammy-nominated saxophonist and his longtime friends and colleagues pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson. Previous releases were Beyond (2000) and Passage of Time (2001). The Quartet, which has toured internationally over the last several years, recorded seven Redman tunes for Come What May.

    In addition to his own projects, Redman has recorded and performed with musicians such as Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder, Sam Yahel, and Patrick Zimmerli. Joshua Redman has been nominated for 3 Grammys and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is both seen and heard in the Robert Altman film Kansas City.

Contact Information

  • Management/Booking: Management
    Wilkins Management, Inc.
    323 Broadway
    Cambridge, MA 02139
    t 617.354.2736
    f 617.354.2396
    [email protected]

    Publicity
    [email protected]

    Bookings
    U.S. & World excluding Europe:
    International Music Network
    278 Main Street
    Gloucester, MA 01930
    t 978.283.2883
    f 978.283.2330
    [email protected]

    Europe:
    Music Works International
    708 Pearl Street
    Reading, MA 01867
    t 781.300.7580
    f 781.942.8858
    [email protected]
  • Record Company: Nonesuch Records
    1633 Broadway
    New York, NY 10019
    www.nonesuch.com
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.joshuaredman.com/album/roundagain
  • ▶ Twitter: joshua_redman
  • ▶ Instagram: joshuaredmanmusic
  • ▶ Website: http://www.joshuaredman.com
  • ▶ YouTube Channel: http://www.youtube.com/joshuaredmanofficial
  • ▶ YouTube Music: http://music.youtube.com/channel/UCYVABQOvAepx3-6mYxW95Gw
  • ▶ Spotify: http://open.spotify.com/album/38R4DeasP4tqHhfiiShLVE
  • ▶ Spotify 2: http://open.spotify.com/album/5JAcKvUBjbNTJ2SY8u8vYU
  • ▶ Spotify 3: http://open.spotify.com/album/08xTgvpiNHqGDdCEAagA4B
  • ▶ Spotify 4: http://open.spotify.com/album/0Im2cH3mUaIEIsVzMeV7un
  • ▶ Spotify 5: http://open.spotify.com/album/4vImHwVHl2iu7hKG18j4gu
  • ▶ Spotify 6: http://open.spotify.com/album/2S2GxOo63Vh3EqPU2BpKGO

Clips (more may be added)

  • Joshua Redman Trio
    By Joshua Redman
    452 views
Previous
Next

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 Joshua Redman:

  • 3 Composer
  • 3 Jazz
  • 3 Saxophone

Nodes below are randomly generated. Reload for a different stack.

  • Jurandir Santana Brazil
  • Yasmin Williams Alexandria, Virginia
  • Ajurinã Zwarg Brazil
  • Kiko Freitas Drums
  • Jessie Reyez Canada
  • Susheela Raman Multi-Cultural
  • Adriene Cruz Quilts
  • Billy Strings Americana
  • Masao Fukuda Music
  • Swami Jr. São Paulo
  • Márcio Valverde Bahia
  • Archie Shepp Singer
  • Christian Sands New York City
  • Theon Cross London
  • Mestre Nelito Brazil
  • Alex Clark Columbia Journalism School Faculty
  • Nigel Hall New Orleans
  • Giveton Gelin Trumpet
  • Cut Worms Brooklyn, NY
  • Lucian Ban Jazz
  • Yo La Tengo Indie Rock
  • Romero Lubambo MPB
  • Nublu New York City
  • Tal Wilkenfeld Guitar
  • Lizz Wright Gospel
  • Arthur L.A. Buckner Gospel
  • Gui Duvignau Brooklyn, NY
  • Mario Ulloa Salvador
  • Horácio Reis Salvador
  • Mou Brasil Jazz Brasileiro, Brazilian Jazz
  • Jim Hoke Arranger
  • As Ganhadeiras de Itapuã Salvador
  • Daphne A. Brooks Yale Faculty
  • Gerald Clayton Piano
  • Brigit Katz Journalist
  • Alain Pérez Big Band
  • Custódio Castelo Fado
  • Maciel Salú Maracatu
  • Elio Villafranca Caribbean Music
  • Will Vinson Saxophone
  • Alexandre Vieira Salvador
  • Dieu-Nalio Chery Photojournalist
  • Tab Benoit Blues
  • Eddie Palmieri Puerto Rico
  • Papa Mali Blues
  • Miles Mosley Film Scores
  • Samba de Nicinha Maculelê
  • Hopkinson Smith Basel
  • Ron Blake New York City
  • Tonynho dos Santos Guitarra, Violão, Guitar
  • Gêge Nagô Brazil
  • G. Thomas Allen Countertenor
  • Henry Cole Jazz
  • Massimo Biolcati Bass
  • JD Allen Saxophone
  • Georgia Anne Muldrow Hip-Hop
  • Musa Okwonga Podcaster
  • Tonynho dos Santos Brasil, Brazil
  • Aloísio Menezes Bahia
  • Nahre Sol Composer
  • Joachim Cooder Percussion
  • Stormzy UK
  • Ronaldo do Bandolim Mandolin
  • Lula Galvão Arranger
  • Jakub Knera Musical Event Producer
  • Abel Selaocoe Manchester
  • Betão Aguiar Brazil
  • Aurino de Jesus Brazil
  • François Zalacain Record Producer
  • Toninho Nascimento Brazil
  • Donnchadh Gough Waterford
  • Echezonachukwu Nduka Writer
  • Ibram X. Kendi Writer
  • Bertram Drum Set Performance
  • Camille Thurman Saxophone
  • Mauro Senise Brazil
  • John Harle Record Producer
  • Billy Strings Mandolin
  • Derrick Hodge Film Scores
  • Casa PretaHub Cachoeira Espaço de Coworking, Coworking Space
  • Natan Drubi Brasil, Brazil
  • Mauro Diniz Cavaquinho
  • Vanessa Moreno Samba
  • Oswaldinho do Acordeon Forró
  • Christopher Nupen Filmmaker
  • Irmandade da Boa Morte Irmandade
  • Al Kooper Singer-Songwriter
  • John Archibald Journalist
  • Otto Brazil
  • André Muato Singer-Songwriter
  • John Patrick Murphy Jazz
  • Milton Primo Viola Machete
  • Mário Santana Bahia
  • Stuart Duncan Violin
  • Raul Midón Singer
  • Anoushka Shankar Indian Classical Music
  • Tim Hittle Writer
  • Seth Swingle Folk & Traditional
  • Carlinhos Brown Painter
  • Chucho Valdés Afro-Cuban Jazz
  • Banning Eyre African Music
  • Nate Smith Composer
  • Guga Stroeter São Paulo
  • Monty's Good Burger Vegan Chicken Sandwiches
  • Kiko Freitas Drum Instruction
  • Otis Brown III Jazz
  • Paulo Aragão Violão
  • Onisajé Diretora Teatral, Theater Director
  • John Santos Record Label Owner
  • Sergio Krakowski Rio de Janeiro
  • 小野リサ Lisa Ono Brazil
  • Congahead Latin Jazz
  • Cinho Damatta Bahia
  • Nancy Viégas Salvador
  • Yuja Wang Classical Music
  • Herbie Hancock Composer
  • Bob Reynolds Los Angeles
  • Edward P. Jones Washington, D.C.
  • Flavio Sala Italy
  • Miguel Atwood-Ferguson Los Angeles
  • Regina Carter Multi-Cultural
  • Elodie Bouny Classical Guitar
  • Michael League Multi-Cultural
  • Gregory Porter Songwriter
  • Nguyên Lê Vietnam
  • James Brandon Lewis Jazz
  • Miroslav Tadić Composer
  • Michael Peha Keyboards
  • Trombone Shorty Second Line
  • Tomoko Omura Violin
  • Demond Melancon Mardi Gras Indian
  • LaTasha Lee Soul
  • Gabi Guedes Brazil
  • Donald Vega Composer
  • Renata Flores Singer-Songwriter
  • Sam Reider Singer-Songwriter
  • Michael Doucet Cajun Music
  • Casey Driessen Live Looping
  • Nels Cline Jazz, Rock, Country, Experimental
  • Jared Jackson New York City
  • Towa Tei テイ・トウワ Record Producer
  • Şener Özmen Turkey
  • Fred P Composer
  • Márcia Short Salvador
  • Plinio Oyò Viola Machete
  • Michael Cleveland Folk & Traditional
  • Sam Eastmond London
  • Anne Gisleson New Orleans
  • João Rabello Choro
  • Magary Lord Bahia
  • Simon Brook Paris
  • Giba Conceição Candomblé
  • Marília Sodré MPB
  • Alessandro Penezzi Multi-Instrumentalist
  • Edivaldo Bolagi Bahia
  • Melissa Aldana Chile
  • Hank Roberts Cello
  • Martin Koenig Ethnomusicologist
  • Marc-André Hamelin Classical Music
  • Paulinho Fagundes Violão Gaúcho
  • Glória Bomfim Singer
  • Stephen Kurczy Writer
  • Walter Ribeiro, Jr. Singer-Songwriter
  • Nduduzo Makhathini Record Producer
  • Stan Douglas Installation Artist
  • OVANA Cunene
  • João Callado Cavaquinho
  • Demond Melancon Young Seminole Hunters
  • Benoit Fader Keita Techno
  • William Skeen Early Music
  • Tarus Mateen New York City
  • Marcelinho Oliveira Songwriter
  • Mykia Jovan Funk
  • Omar Sosa Multi-Cultural
  • Biréli Lagrène Gypsy Jazz
  • George Porter Jr. Bass
  • Gavin Marwick Fiddle
  • Katuka Africanidades Livraria, Bookshop
  • Rob Garland Los Angeles
  • Jimmy Cliff Rocksteady
  • Nelson Ayres Piano
  • Shirazee Africa
  • Nic Adler Los Angeles, California
  • Buck Jones Salvador
  • Tom Moon Music Critic
  • Randy Lewis Music Critic
  • Corey Henry Jazz
  • Rhiannon Giddens Fiddle
  • John Santos Cape Verde
  • Dan Trueman Composer
  • Miroslav Tadić Guitar
  • Charles Munka Collage
  • Brian Lynch University of Miami Frost School of Music Faculty
  • Weedie Braimah Djembefola
  • Gal Costa Singer
  • Alicia Hall Moran Jazz
  • Adriano Giffoni Rio de Janeiro
  • André Mehmari MPB
  • George Garzone Berklee College of Music Faculty
  • Ariel Reich Singer
  • Tony Kofi Flute
  • Gretchen Parlato Composer
  • Missy Mazolli Opera
  • Madhuri Vijay India
  • Fapy Lafertin Gypsy Jazz
  • David Sánchez Pan-Africana
  • Adam Neely Composer
  • Roberto Mendes Bahia
  • Third Coast Percussion Contemporary Classical Music
  • Susheela Raman Multi-Cultural
  • Casa da Mãe Brasil, Brazil
  • Allen Morrison Jazz
  • Quatuor Ebène String Quartet
  • Armen Donelian Piano
  • Kurt Andersen Playwright
  • Darol Anger Fiddle
  • Serwah Attafuah Graphic Designer
  • Conrad Herwig New York City
  • David Virelles Composer
  • Paddy Groenland Dublin
  • Pallett Persian Music
  • Dafnis Prieto Composer
  • Daru Jones Hip-Hop
  • Dermot Hussey Musicologist
  • Brett Kern Ceramic Artist
  • Lucio Yanel Singer
  • Geraldo Azevedo MPB
  • Shez Raja London
  • Hélio Delmiro Jazz
  • Fred P DJ
  • Nick Douglas Writer
  • Jussara Silveira Bahia
  • Ken Coleman Reporter
  • Joana Choumali Multimedia Artist
  • Plamen Karadonev Piano
  • Kareem Abdul-Jabbar Basketball
  • Simon Shaheen Violin
  • Mona Lisa Saloy Folklorist
  • Alegre Corrêa Brazil
  • Gabrielzinho do Irajá Brazil
  • Sunna Gunnlaugs Reykjavik
  • Eddie Kadi Comedian
  • Harish Raghavan Educator
  • Parker Ighile Africa
  • Alicia Svigals New York City
  • Anna Webber Avant-Garde Jazz
  • Chano Domínguez Jazz
  • Carl Allen Record Producer
  • Clarice Assad Piano
  • Terri Lyne Carrington Jazz
  • Martyn House
  • Walmir Lima Samba
  • McCoy Mrubata Composer
  • Chau do Pife Maceió
  • Vadinho França Salvador
  • Samuca do Acordeon Accordion
  • Carla Visi Brazil
  • Ben Allison Film Scores
  • Otto Pernambuco
  • Gustavo Di Dalva Bahia
  • Asma Khalid Washington, D.C.
  • Darrell Green Jazz
  • Yazz Ahmed London
  • Thiago Trad Salvador
  • Alexandre Leão Bahia
  • Alegre Corrêa Jazz
  • Martyn Dubstep
  • Forrest Hylton Ethnohistorian: Latin America & the Caribbean
  • Doug Wamble New York City
  • Samba de Nicinha Bahia
  • David Sacks Jazz
  • Martin Fondse Multi-Cultural
  • César Camargo Mariano Samba
  • G. Thomas Allen Gospel
  • Aindrias de Staic Galway
  • Edu Lobo Multi-Instrumentalist
  • Milford Graves Drums
  • Osvaldo Golijov College of the Holy Cross Faculty
  • Don Byron Dance Performance Scores
  • Mona Lisa Saloy Poet
  • Jon Cowherd Composer
  • Issa Malluf Daf
  • Congahead Afro-Cuban Jazz
  • Mauro Diniz Brazil
  • Danilo Caymmi Samba
  • Las Cafeteras Son Jarocho
  • Yotam Silberstein Composer
  • Isaiah J. Thompson Artistic Director
  • Moreno Veloso Brazil
  • Luciano Salvador Bahia Salvador
  • David Bruce Contemporary Classical Music
  • Nettrice R. Gaskins Afro-Futurist
  • Arthur Verocai MPB
  • Jared Sims Classical Music
  • Bongo Joe Records Geneva, Switzerland
  • Asa Branca Federal University of Bahia Faculty
  • Sombrinha Rio de Janeiro
  • Max ZT Hammered Dulcimer
  • António Zambujo Portugal
  • Fabiana Cozza São Paulo
  • Ron Miles MSU Denver Music Faculty
  • Randy Lewis Writer
  • Las Cafeteras Afro-Mexican Music
  • Jeremy Danneman Film Scores
  • Fábio Peron São Paulo
  • Dan Moretti Composer
  • Henry Cole Puerto Rico
  • Paul McKenna Glasgow
  • Susana Baca Ethnomusicologist
  • Stephen Guerra Composer
  • Tom Piazza Liner Notes
  • Natan Drubi Samba
  • Arifan Junior Cantor-Compositor, Singer-Songwriter
  • Shuya Okino Composer
  • Beeple Short Films
  • Michael League Multi-Instrumentalist
  • Paulão 7 Cordas Guitar
  • Nic Adler Restaurant Owner
  • Leyla McCalla Folk & Traditional
  • Elizabeth LaPrelle Virginia
  • Courtney Pine Jazz
  • Priscila Castro Música Afro-Amazônica, Afro-Amazonian Music
  • Corey Henry Tremé
  • Mona Lisa Saloy Dillard University Faculty
  • Peter Erskine Jazz
  • Inaicyra Falcão Candomblé
  • Magda Giannikou Greece
  • Marquis Hill R&B
  • Brad Mehldau Composer
  • Jay Mazza Journalist
  • Ron McCurdy Composer
  • Tony Trischka Country
  • Snigdha Poonam Writer
  • Sammy Britt Delta State University Faculty
  • Parker Ighile NIgeria
  • Kaveh Rastegar Music Director
  • Liz Pelly Brooklyn, NY
  • Yola R&B
  • Kirk Whalum Memphis, Tennessee
  • Raelis Vasquez Painter
  • Hisham Mayet Photographer
  • Lynn Nottage Screenwriter
  • Shanequa Gay Multimedia Artist
  • André Vasconcellos Brasil, Brazil
  • Eliane Elias Classical Music
  • Ron Mader Writer
  • Tony Trischka Old-Time Music
  • Danilo Caymmi Flute
  • Nancy Ruth Composer
  • Luis Paez-Pumar New York City

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

Copyright ©2022  -  Privacy  -  Terms of Service  -  Contact  - 

Open to members of the worldwide creative economy.

You'll use your email address to log in.

Passwords must be at least 6 characters in length.

Enter your password again for confirmation.

This will be the end of your profile link, for example:
http://www.matrixonline.net/profile/yourname

Please type the characters you see in the image. May take several tries. Sorry!!!

 

Matrix Sign In

Please enter your details below. If are a member of the global creative economy and don't have a page yet, please sign up first.

 
 
 
Forgot Password?
Share