• Artists by Category
  • Categories are Here!
  • Matrix Rádio
  • Matrix Home
  • Showcase Music
  • Add Videos/SC
  • Add Photos
  • Questions?
  • Sign up
  • Sign in
    Loading ...
View All Updates Mark All Read
  • Kendrick Scott

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Kendrick Scott
  • City/Place: New York City
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Drummer and composer Kendrick Scott kicked off his Blue Note contract four years ago with We Are the Drum. Expertly produced by Derrick Hodge, Scott’s creative confidant and musical brother, and featuring a stunning guest performance by vocalist Lizz Wright, it earned rave reviews and reiterated how Oracle, Scott’s long-running working group, is one of the most thoughtfully powerful jazz bands of its generation.

    When it came time to follow this success up with a new effort, however, Scott felt stuck. Nothing he wrote or played seemed good enough; self-doubt had formed a blockade where inspiration once flowed. But, as Scott points out today, “Wayne Shorter says there’s always something unfolding on the other side of the negative.” Hodge, who’d signed on again as Scott’s producer, witnessed what the drummer was putting himself through and had a similar realization. For years Hodge has been dedicated to shaping Oracle’s sonic identity, even relinquishing his role as the band’s bassist to work behind the scenes. Scott calls him “the sixth member of Oracle.”

    “Derrick said, ‘We need to tap into your fears and insecurities and make some art about them,’” Scott recalls. “That was amazing to me—that he got me out of my own head.” Scott gathered up the compositions he’d been working on—both finished and unfinished—and headed into the studio, where “Derrick and the band helped me unfold them, and they became the record that you hear.”

    That gorgeous new Blue Note album from Scott and Oracle is called, not incidentally, A Wall Becomes A Bridge. And the implications of that title aren’t exclusive to Scott’s artistic breakthrough. “A Wall is a provocation,” Scott says, adding that he “loves to create things for conversation. So I also wanted the idea to speak about a certain president.” Many of us would argue that 45 is all wall and no bridge, but Scott sees a silver lining in this increasingly absurd political age. “With all of these different issues coming to the forefront, we can now say, ‘Things like systemic racism still exist and we need to deal with them.’ More people are paying attention to the government, and that level of intensity is what we need—as is that level of intent in how we vote and how we live and how we treat others. All of those things are a bridge.”

    An even more essential part of why this 12-track song cycle is so affecting lies in its ability to be interpreted. A musical and metaphorical journey in reverse, it arrives with a bridge and voyages back toward its beginning as a wall. Along the way, a gamut of themes is explored, including innocence (“Archangel”), acceptance (“Windows”), fear and insecurity (“Voices”) and resistance (“Plēh”—or help spelled backwards). “I want listeners’ imaginations to run wild,” Scott explains. “I want them to think about, ‘What does this mean to me and my community? What does it mean to our country and the world at large?’”

    These performances—these soundscapes—certainly provide an occasion for searching and reflecting. Oracle’s peerless lineup includes the pianist Taylor Eigsti who Scott calls “the engine of the band”—a virtuoso with a keen sense of time, and a natural, good-humored communicator on and off the bandstand. Bassist Joe Sanders, as Scott puts it, is the “embodiment of innovation,” at once a stalwart anchor who understands that less is more and a supremely gifted melodic voice who belongs in the frontline. Scott met his guitarist, Mike Moreno, at age 14, when both were students at Houston’s High School for the Performing and Visual Arts, the venerated incubator for jazz talent like Jason Moran, Robert Glasper, Chris Dave and Eric Harland. “I kind of started the band around Mike,” Scott recalls. “He’s always been an inspiration to me.” Moreno’s playing here is equal parts expressive grace and jaw-dropping mastery. But it’s a similar sense of aesthetics that might be Moreno’s most crucial contribution to Oracle; namely, Scott and Moreno share an ongoing search for the space between Brazilian geniuses like Milton Nascimento and the icons of postbop. On tenor and soprano saxophones, bass clarinet and alto flute is John Ellis, a still-underrated musician whose staggering range of abilities extends from jazz’s deepest roots—Scott met him while on tour in New Orleans—to its state-of-the-art, 21st century harmonic and rhythmic language.

    Within that singular meld of talent on A Wall Becomes A Bridge is a secret weapon: the turntablist Jahi Sundance, whose credits include high-profile hip-hop production as well as tour-DJ duties for Glasper, Mos Def, Talib Kweli, and Meshell Ndegeocello. On both interlude-esque cuts (like “BeLoved,” a near-psychedelic probe into trust and vulnerability) and longer explorations like the meditative opener, “New Eyes,” Sundance immerses his own artful craft into the musicianship that surrounds him. (In many band-plus-DJ situations, Scott argues, “the band plays on top of what the DJ’s playing. Jahi was inside of Oracle.”) What’s more, Sundance was able to internalize the concepts and purpose behind Scott’s new work, as well as the genre-bending mission that has defined Oracle from the start. With brilliant oversight from Hodge as producer, the sessions became unprecedented aural experiences. “What he added really makes you contemplate what the record means,” Scott says. “The sound of it and the sonics. [Jahi is] like a bridge.”

    As far back as he can recall, Scott, who was born in Houston in 1980, has imbued his music with deeper meaning. “Coming up in church,” he says, “you played music for a message; you played music for a purpose. Oracle lives in that space, no matter what we’re playing.” Like his fellow Houston drum greats Harland and Jamire Williams, Scott grew up with a mother who was an acclaimed gospel choir director. On top of that bedrock, he developed his technique through private mentorship and public jazz education, spurred on by an environment of fierce but brotherly competition. He moved to New York in 2003, and raised his profile performing and recording for Blue Note in trumpeter Terence Blanchard’s band (with future Blue Note artists Hodge, pianist Aaron Parks and guitarist Lionel Loueke).

    “I was receiving so much information from Terence on bandleading and writing,” Scott recalls. “He was saying, ‘Take that opportunity and try to lead your own band.’ I credit him with giving me that kick in the butt.” He debuted as a bandleader with 2006’s The Source, released through his own World Culture Music label, and in 2009, the New York Times featured him in a piece entitled “Five Drummers Whose Time Is Now.” In the ensuing years, his reputation as one of the premier drummer-composers currently in jazz has only grown.

    Throughout his time at the helm of his own group, Scott has employed the lessons he’s learned as a sideman working with jazz’s great bandleaders. Like Blanchard, Scott encourages his players to exercise their personalities and to contribute music. (A Wall Becomes A Bridge features tunes by Eigsti, Moreno, Hodge, and Parks alongside the drummer’s writing.) He has also performed regularly as part of Charles Lloyd’s band, and has adapted the tenor legend’s sense of trust and intuition to define Oracle. “The main thing I learned from Charles is that everybody needs to take ownership,” he says. “I feel like what makes Oracle Oracle is that each member has ownership of the band. They have ownership of the music and ownership of the intent.”

Contact Information

  • Email: [email protected]
  • Management/Booking: MANAGEMENT
    Second Son Productions
    Vincent Bennett, Manager
    [email protected]

    BOOKING
    Adam Chernick, Agent
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.kendrickscott.com/#music
  • ▶ Charts/Scores: http://gumroad.com/kadscott
  • ▶ Twitter: kendrickscott
  • ▶ Instagram: kadscott
  • ▶ Website: http://www.kendrickscott.com
  • ▶ YouTube Channel: http://www.youtube.com/user/kadscott
  • ▶ YouTube Music: http://music.youtube.com/channel/UC_T10gqMpWo2MPIVtbWcGnQ
  • ▶ Spotify: http://open.spotify.com/album/6x36FYMhcxlEjJB97ikwA3
  • ▶ Spotify 2: http://open.spotify.com/album/7aQvkApIn5hkn5Qn16RSdz
  • ▶ Spotify 3: http://open.spotify.com/album/0oAmwgX5lUaKezX7zzcBIN
  • ▶ Spotify 4: http://open.spotify.com/album/1Cry5wSyqn6g2s30Z7DdAP

Clips (more may be added)

  • "Philando"
    By Kendrick Scott
    515 views
Previous
Next

Kendrick Scott Curated
pathways in

  • 1 Composer
  • 1 Drums
  • 1 Jazz
  • 1 New York City

What's Been Happening?

The post was not added to the feed. Please check your privacy settings.
  • Kendrick Scott
    Mandisi Dyantyis → Trumpet has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Mandisi Dyantyis → South African Jazz has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Mandisi Dyantyis → South Africa has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Mandisi Dyantyis → Singer has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Mandisi Dyantyis → Music Director has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Mandisi Dyantyis → Composer has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Mandisi Dyantyis → Cape Town has been recommended via Kendrick Scott.
    • October 26, 2022
  • Kendrick Scott
    Greg Spero → Television Scores has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Recording Studio Owner has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Record Label Owner has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Piano has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Los Angeles, California has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Keyboards has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Jazz has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Film Scores has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → Composer has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Greg Spero → App Developer has been recommended via Kendrick Scott.
    • September 1, 2022
  • Kendrick Scott
    Jonathan Finlayson → Trumpet has been recommended via Kendrick Scott.
    • August 26, 2022
  • Kendrick Scott
    Jonathan Finlayson → New York City has been recommended via Kendrick Scott.
    • August 26, 2022
  • Kendrick Scott
    Jonathan Finlayson → Jazz has been recommended via Kendrick Scott.
    • August 26, 2022
View More
Loading ...
  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, for incandescent Brazil, for the entire creative world, new ways...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington



Bahia is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's 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.

 

Brazil 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 — the hand drum in the opening scene above — 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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, para o Brasil incandescente, pro mundo criativo inteiro, novos caminhos...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


A Bahia é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

Por que Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — 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) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine 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 cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 

  • Lizz Wright Jazz
  • Brian Stoltz Funk
  • Nublu Turkish Music
  • Ben Cox Cinematographer
  • Benoit Fader Keita Senegal
  • Eric Alper Toronto
  • 9Bach Wales
  • Leela James Singer-Songwriter
  • Karsh Kale कर्ष काळे EDM
  • Matt Ulery Multi-Cultural
  • Pretinho da Serrinha Brazil
  • Kimmo Pohjonen Accordion
  • George Porter Jr. Funk
  • Eamonn Flynn Keyboards
  • Lorna Simpson Filmmaker
  • James Brandon Lewis Saxophone
  • Di Freitas Brazil
  • Lucian Ban Romania
  • Marília Sodré Bahia
  • Martín Sued Accordion
  • Tom Schnabel DJ
  • Papa Mali Reggae
  • Michael Doucet Mandolin
  • Cláudio Badega Salvador
  • Liz Dany Barranquilla
  • David Sacks Jazz
  • Irmandade da Boa Morte Bahia
  • Siphiwe Mhlambi Visual Story Teller
  • Dee Spencer Singer
  • Robert Everest Samba
  • Stomu Takeishi Bass
  • Jussara Silveira Samba
  • Alfredo Rodriguez Jazz
  • Shez Raja Bass
  • Hugues Mbenda Chef
  • André Becker Jazz Brasileiro, Brazilian Jazz
  • Vadinho França Brasil, Brazil
  • Tommaso Zillio Metal
  • Toumani Diabaté Mali
  • Menelaw Sete Pelourinho
  • Matt Ulery Bass
  • Anthony Coleman Klezmer
  • Jakub Knera Radio Presenter
  • Jake Oleson Filmmaker
  • Guilherme Varella Gestor Cultural, Cultural Director
  • Milad Yousufi Composer
  • Liam Farrell 'Dr L' Senegal
  • Mika Mutti DJ
  • Rhiannon Giddens Americana
  • Román Díaz Percussion
  • THE ROOM Shibuya Japan
  • Márcio Valverde Bahia
  • Tatiana Campêlo Afro-Brazilian Dance Instruction
  • Bodek Janke Germany
  • Aderbal Duarte Brazil
  • Sandra de Sá Samba
  • Jaimie Branch Brooklyn, NY
  • John Edwin Mason University of Virgina Faculty
  • Carlos Prazeres Maestro, Conductor
  • Luciano Matos Dono de Site de Cultura, Cultural Website Owner
  • Yo La Tengo Indie Rock
  • Kareem Abdul-Jabbar Journalist
  • Fred Hersch Classical Music
  • Egberto Gismonti Brasil, Brazil
  • Arany Santana Educadora, Educator
  • Iara Rennó Brasil, Brazil
  • Moses Sumney Singer-Songwriter
  • Daphne A. Brooks Black American Culture & History
  • Gilson Peranzzetta Clarinet
  • Abel Selaocoe Composer
  • Richard Galliano Accordion
  • Randy Lewis Music Critic
  • Andrés Prado Lima
  • Muireann Nic Amhlaoibh Fiddle
  • Greg Spero Keyboards
  • Itamar Borochov New York City
  • Gabrielzinho do Irajá Partideiro
  • Nahre Sol Composer
  • Emicida Hip-Hop
  • Damon Krukowski Dream Pop
  • A-KILL Building Art
  • Diego Figueiredo Brasil, Brazil
  • Tito Jackson Singer-Songwriter
  • Catherine Bent Cello
  • Negra Jhô Turbantes, Turbans
  • Dwandalyn Reece Singer
  • Andrés Prado Latin Jazz
  • Frank London Trumpet
  • Turíbio Santos Choro
  • Andrew Dickson London
  • Raynald Colom Barcelona
  • Roberto Mendes Brazil
  • Billy Strings Bluegrass
  • Estação Primeira de Mangueira Escola de Samba, Samba School
  • Paquito D'Rivera Author
  • Clarice Assad Piano
  • Guiga de Ogum Ijexá
  • Thana Alexa Singer-Songwriter
  • Chris Thile Multi-Instrumentalist
  • Ed Roth Los Angeles
  • Chris Potter Multi-Instrumentalist
  • Milton Nascimento Brazil
  • Turtle Island Quartet Jazz
  • Flying Lotus Songwriter
  • Jeffrey Boakye Writer
  • Cécile Fromont Art Historian
  • Melissa Aldana New York City
  • Inaicyra Falcão Faculdade da UNICAMP/UNICAMP Faculty
  • Beth Bahia Cohen Lyras
  • Manuel Alejandro Rangel Caracas
  • Ben Street Jazz
  • Rita Batista Bahia
  • John Harle Composer
  • Tomo Fujita Funk
  • Shoshana Zuboff Author
  • David Binney New York City
  • Otmaro Ruiz Piano Instruction
  • Seth Swingle Folk & Traditional
  • Nicholas Daniel Guildhall School of Music Staff
  • Pururu Mão no Couro Salvador
  • Robert Everest Multi-Cultural
  • Jorge Alfredo Salvador
  • Alyn Shipton Radio Presenter
  • Niwel Tsumbu Composer
  • Tambay Obenson Los Angeles
  • Kendrick Scott Composer
  • Catherine Bent Cello Instruction
  • The Umoza Music Project London
  • Milad Yousufi Painter
  • Taylor Ashton Banjo
  • Joey Baron Jazz
  • Joe Newberry Old-Time Music
  • Devin Naar Writer
  • Mika Mutti Composer
  • Barney McAll Piano
  • Sara Gazarek Los Angeles
  • Loli Molina Piano
  • Sônia Guajajara Ativista Indígena Brasileira, Indigenous Brazilian Activist
  • Savoy Family Cajun Band Cajun Music
  • Jim Beard Jazz
  • Walter Ribeiro, Jr. Brazil
  • Stanton Moore Drums
  • Fabian Almazan Cuba
  • Amitava Kumar Screenwriter
  • André Muato 8 String Guitar
  • Edmar Colón Flute
  • Ariane Astrid Atodji Director
  • Maria Rita MPB
  • Jonga Cunha Percussion
  • Kathy Chiavola Bluegrass
  • Fernando Brandão Author
  • Myron Walden Recorder
  • Cécile McLorin Salvant Jazz
  • Chris Dingman Vibraphone
  • Sierra Hull Americana
  • Joshua Abrams Multi-Instrumentalist
  • David Ritz Los Angeles
  • Brad Mehldau Contemporary Classical Music
  • Adam Cruz Jazz
  • Shanequa Gay Southern Black Tradition
  • Joyce Moreno Brasil, Brazil
  • Harish Raghavan Composer
  • Chief Xian aTunde Adjuah Jazz
  • Darol Anger Record Producer
  • Luke Daniels Singer-Songwriter
  • Greg Kurstin Singer-Songwriter
  • Eric Alper Public Relations
  • Robertinho Silva Drums
  • Adriano Giffoni Author
  • Talita Avelino Samba
  • Elza Soares Samba
  • Bob Lanzetti Educator
  • Delbert Anderson Trumpet
  • Quincy Jones Record Producer
  • Kamasi Washington Composer
  • Ricardo Herz MPB
  • Alicia Hall Moran Theater
  • Nação Zumbi Rap
  • Carl Allen New York City
  • Thundercat Multi-Instrumentalist
  • Reza Filsoofi Tehran
  • Lilli Lewis Louisiana Red Hot Records
  • Sahba Aminikia San Francisco
  • Kiya Tabassian كيا طبسيان Montreal
  • Filhos de Nagô Samba de Roda
  • Marcello Gonçalves Samba
  • Christopher Seneca Writer
  • Vivien Schweitzer New York City
  • Eric Galm Berimbau
  • Marcel Powell Brazil
  • Edu Lobo Brasil, Brazil
  • Jill Scott Hip-Hop
  • John Archibald Writer
  • Africania Chula
  • Owen Williams Software Engineer
  • Eli Degibri אלי דג'יברי Jazz
  • Nguyên Lê Guitar
  • Benny Benack III New York City
  • McCoy Mrubata Saxophone
  • Speech Music Production
  • David Chesky New York City
  • John Francis Flynn Irish Traditional Music
  • Jonathon Grasse Composer
  • Eliane Elias Bossa Nova
  • Rebeca Omordia Classical Music
  • Del McCoury Bluegrass
  • Frank Beacham Storyteller
  • David Bragger Guitar Instruction
  • Zigaboo Modeliste New Orleans
  • Sharita Towne Printmaker
  • Xenia França Singer-Songwriter
  • Oriente Lopez Arreglista, Arranger
  • Sérgio Pererê Belo Horizonte
  • Anthony Hamilton R&B
  • André Becker Orquestra Sinfônica da Bahia
  • David Mattingly New York City
  • Nublu East Village
  • Ron Carter Educator
  • Bob Reynolds Jazz
  • Beth Bahia Cohen Tanbur
  • Mulatu Astatke Keyboards
  • Maria Marighella Brasil, Brazil
  • Antibalas Afrobeat
  • Fábio Luna Flauta, Flute
  • Tom Wilcox Music & Arts Consultant
  • Emily Elbert Guitar
  • Larry Achiampong Ghana
  • Raul Midón Songwriter
  • Michael Sarian Brooklyn, NY
  • David Bruce Contemporary Classical Music
  • Marcus J. Moore Writer
  • Siobhán Peoples County Clare
  • Jeff Ballard New York City
  • Brentano String Quartet String Quartet
  • Fapy Lafertin Gypsy Jazz
  • Daniel Jobim Brazil
  • Philip Sherburne DJ
  • Jurandir Santana Timple
  • Wouter Kellerman Flute
  • Jeremy Danneman Clarinet
  • Nego Álvaro Rio de Janeiro
  • Negrizu Salvador
  • Lucinda Williams Country
  • Jaleel Shaw Manhattan School of Music Faculty
  • Chucho Valdés Cuba
  • Arismar do Espírito Santo Choro
  • Nicholas Payton Multi-Instrumentalist
  • Karsh Kale कर्ष काळे Indian Classical Music
  • David Castillo New Orleans
  • Cláudia Leitão Fortaleza
  • Brigit Katz Toronto
  • Leonard Pitts, Jr Commentator
  • Musa Okwonga Songwriter
  • Armen Donelian Composer
  • Gavin Marwick Multi-Cultural
  • Guillermo Klein New York City
  • Ilê Aiyê Bahia
  • Atlantic Brass Quintet Baroque
  • Jorge Glem Composer
  • Tim Hittle Writer
  • Jonathan Scales Jazz Fusion
  • Gerônimo Santana Trombone
  • Art Rosenbaum Folk & Traditional
  • Lynne Arriale University of North Florida Faculty
  • Kiko Freitas Drum Instruction
  • Jeff Parker Chicago, Illinois
  • Sharay Reed Jazz
  • Leyla McCalla Folk & Traditional
  • Nduduzo Makhathini Piano
  • Dale Bernstein Wet Plate Photography
  • Anderson Lacerda Choro
  • Keith Jarrett Composer
  • Geraldo Azevedo Pernambuco
  • Catherine Russell Blues
  • Wynton Marsalis Trumpet
  • Frank Negrão Brazil
  • Oswaldo Amorim Brazil
  • Marisa Monte Rio de Janeiro
  • Congahead Video Producer
  • Tonho Matéria Capoeira
  • Derek Sivers Singer-Songwriter
  • Yacouba Sissoko New York City
  • Hamilton de Holanda Brasil, Brazil
  • John Schaefer Writer
  • Chris McQueen Record Producer
  • Philip Watson Cork
  • Errollyn Wallen Royal Conservatoire of Scotland
  • David Byrne Record Label Owner
  • Ricardo Bacelar Advogado, Lawyer
  • Varijashree Venugopal Singer
  • Justin Kauflin New York City
  • Airto Moreira Cantor, Singer
  • Sérgio Machado Diretor de Filmes, Film Director
  • Nação Zumbi Pernambuco
  • Cassie Kinoshi Jazz
  • Dave Jordan Roots Rock
  • Nabih Bulos Violin
  • Chad Taylor Jazz
  • João Callado Rio de Janeiro
  • Rosa Passos Bossa Nova
  • Bill Frisell Composer
  • Rogério Caetano Composer
  • Ana Luisa Barral Choro
  • Esperanza Spalding Bass
  • J. Cunha Salvador
  • Xenia França Brazil
  • Paulo Aragão Brazil
  • James Sullivan Writer
  • Nigel Hall R&B
  • Airto Moreira Jazz
  • NEOJIBA Orquestra Sinfônica, Symphony Orquestra
  • Ceumar Coelho Singer-Songwriter
  • MARO Singer-Songwriter
  • Mike Compton Old-Time Music
  • Marquis Hill R&B
  • Ricardo Bacelar Brasil, Brazil
  • Jonathan Scales Multi-Cultural
  • Tiganá Santana Produtor Musical, Music Producer
  • Jorge Washington Chef
  • Chris Cheek Composer
  • Cláudio Badega Bahia
  • Liam Farrell 'Dr L' Multi-Cultural
  • Scott Yanow Jazz Journalist
  • Deesha Philyaw Literary Critic
  • Amitava Kumar Poet
  • Gel Barbosa Salvador
  • Edward P. Jones Short Stories
  • Arismar do Espírito Santo Bass
  • Daymé Arocena Composer
  • Martin Hayes Fiddle
  • Tshepiso Ledwaba Clarinet
  • Donny McCaslin Saxophone
  • Olodum Samba Reggae
  • Reuben Rogers Caribbean Music
  • Jonathan Scales Jazz
  • Jimmy Dludlu Highlife
  • Jazzmeia Horn New York City
  • Horácio Reis Violão Clássico Brasileiro, Brazilian Classical Guitar
  • Bright Red Dog Ropeadope
  • Lauranne Bourrachot Movie Producer
  • Tarus Mateen Record Producer
  • Nara Couto Coreógrafa, Choreographer
  • Horace Bray Singer-Songwriter
  • Jaques Morelenbaum Bossa Nova
  • Robert Randolph Soul
  • Bertram Writer
  • Kimmo Pohjonen Film Scores
  • Wajahat Ali Journalist
  • Román Díaz Havana
  • Ray Angry Gospel
  • Celso Fonseca Singer
  • Imanuel Marcus War Correspondent
  • Júlio Caldas Guitarra Baiana
  • Jason Parham Publisher
  • Luis Perdomo Piano
  • Fabiana Cozza MPB
  • Tony Austin Jazz
  • Henrique Cazes Rio de Janeiro
  • Ayrson Heráclito Bahia
  • Nelson Faria Brazilian Jazz
  • Andrew Huang Guitar
  • Gustavo Di Dalva Composer
  • Stan Douglas Canada
  • Jack Talty Ireland
  • Jonga Cunha Brazil
  • Alex Clark Columbia Journalism School Faculty
  • Milford Graves Jazz
  • Musa Okwonga Essayist
  • Dadi Carvalho Singer-Songwriter
  • Will Holshouser Musette
  • Robert Glasper R&B
  • Brandon Wilner DJ
  • Seu Jorge MPB
  • Louis Marks Writer
  • Antônio Queiroz Bahia
  • Joel Ross Composer
  • Niwel Tsumbu Africa
  • Milton Primo Chula
  • Sarz Afrobeat
  • Carla Visi Singer
  • King Britt Record Producer
  • Raphael Saadiq Neo Soul
  • Paddy Groenland Ireland
  • Paulinho Fagundes Guitar
  • Marcus Teixeira Guitar Instruction
  • RAM Mizik Rasin
  • Georgia Anne Muldrow Neo-Soul
  • Sandi Bachom Press Photographer
  • Tom Schnabel Music Salon
  • Paulo Dáfilin Composer
  • Swami Jr. Choro
  • Menelaw Sete Pintor/Painter
  • Alexandre Leão Compositor de Televisão, Television Scores
  • Zeca Freitas Salvador
  • Martin Koenig Folk & Traditional
  • Eric Galm Hartford, Connecticut
  • Hot Dougie's Porto da Barra
  • Harold López-Nussa Havana
  • Julien Libeer Belgium
  • Sergio Krakowski Pandeiro
  • Chris Acquavella Composer
  • Yamandu Costa Guitar
  • Sameer Gupta Drums
  • Christian Sands Composer
  • Chris Speed Avant-Garde Jazz
  • Keola Beamer Hawaii
  • Magary Lord Bahia
  • Nath Rodrigues Multi-Instrumentalist
  • Luedji Luna Bahia
  • Cory Wong Jazz
  • Steve Abbott London
  • Monk Boudreaux Singer
  • Iroko Trio Brazil
  • Hélio Delmiro Samba
  • Edil Pacheco Singer
  • Gilsons Bahia
  • Rebeca Omordia Nigeria
  • Bill Laurance Composer
  • Carlos Paiva Bahia
  • Hendrik Meurkens Vibraphone
  • Jim Lauderdale Country
  • Chris McQueen Video Producer
  • Joe Fiedler Jazz
  • Quatuor Ebène String Quartet
  • Chico Buarque Singer-Songwriter
  • Jared Sims Composer
  • David Hepworth London
  • Ron Mader Professional Speaker
  • James Carter Flute
  • Ben Okri Writer
  • Robertinho Silva Brazilian Jazz
  • Nonesuch Records New York City
  • François Zalacain New York City
  • Terri Hinte Music Writer
  • Damon Albarn Film Scores
  • VJ Gabiru Salvador
  • Simon McKerrell Scottish Traditional Music
  • Ronald Angelo Jackson Haiti
  • Helado Negro Brooklyn, NY
  • Itamar Borochov Israel
  • Juliana Ribeiro Samba de Roda
  • Edivaldo Bolagi Produtor Cultural, Cultural Producer
  • Tierra Whack Hip-Hop
  • Alexandre Leão Compositor de Filmes, Film Scores
  • Henrique Araújo Choro
  • Matt Dievendorf Guitar
  • Casey Driessen Fiddle
  • Vincent Herring William Paterson University Faculty
  • Ahmad Sarmast Music School Director
  • Joachim Cooder Drums
  • Dom Flemons Neotraditionalist Country
  • Sarah Hanahan Jazz
  • Matt Parker London
  • Celso Fonseca Bossa Nova
  • Johnathan Blake Drums
  • Greg Spero Film Scores
  • Tia Fuller Berklee College of Music Faculty
  • H.L. Thompson Hip-Hop
  • Edmar Colón Composer
  • Sérgio Pererê Minas Gerais
  • BaianaSystem Reggae
  • Katuka Africanidades Brasil, Brazil
  • Dadá do Trombone Brasil, Brazil
  • Alma Deutscher Piano
  • Ryuichi Sakamoto Electronic Music
  • Tomoko Omura Brooklyn, NY
  • Mehdi Rajabian Arranger
  • Natalia Contesse Santiago
  • Plamen Karadonev Jazz
  • Amit Chatterjee Guitar
  • Otto Brazil
  • Manassés de Souza Composer
  • Shanequa Gay Installation
  • Art Rosenbaum Multi-Instrumentalist
  • Oksana Zabuzhko Kyiv
  • Philipp Meyer Writer
  • Andrew Finn Magill Fiddle
  • Julia Alvarez Middlebury College Faculty
  • Jan Ramsey Louisiana
  • Ivan Sacerdote Bahia
  • João Callado Painter
  • Liberty Ellman Audio Engineer
  • Dr. Lonnie Smith R&B
  • Scotty Apex Record Producer
  • Oscar Peñas Guitar
  • Pretinho da Serrinha Cavaquinho
  • Amitava Kumar Vassar College Faculty
  • Carlos Prazeres Orquestra Sinfônica da Bahia
  • Muri Assunção Latinx
  • Nardis Jazz Club Turkey
  • Gabriel Geszti Acordeon, Accordion
  • Meena Karimi Contemporary Classical Music
  • Alexandre Vieira Bahia
  • Marcelinho Oliveira Brazil
  • Kiko Horta Rio de Janeiro
  • Francisco Mela Percussion
  • Kathy Chiavola Country
  • Robin Eubanks Trombone
  • Fábio Luna Bateria, Drums
  • Joshue Ashby Panama

 'mātriks / "source" / from "mater", Latin for "mother"
A real mother for ya!

 

Copyright ©2023  -  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