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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 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 Kendrick Scott:

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

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  • Kendrick Scott
    Kaveh Rastegar → Songwriter has been recommended via Kendrick Scott.
    • Apr 25
  • Kendrick Scott
    Kaveh Rastegar → Record Producer has been recommended via Kendrick Scott.
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    Kaveh Rastegar → Music Director has been recommended via Kendrick Scott.
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    Kaveh Rastegar → Multi-Instrumentalist has been recommended via Kendrick Scott.
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    Kaveh Rastegar → Los Angeles has been recommended via Kendrick Scott.
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  • Kendrick Scott
    Melanie Charles → R&B has been recommended via Kendrick Scott.
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    Melanie Charles → Jazz has been recommended via Kendrick Scott.
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    Melanie Charles → Flute has been recommended via Kendrick Scott.
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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.

 

@ 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...

 

It 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...

 

From Harlem to Bahia



  • Kendrick Scott
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

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

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
    396 views
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