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  • Why a "Matrix"?
  • @ Ground Zero
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  • If You Can't Stand the Heat
  • From Harlem to Bahia

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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 Kenny Barron:

  • 8 Composer
  • 8 Jazz
  • 8 New York City
  • 8 Piano

What's Up

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  • Kenny Barron
    Lula Galvão → Samba has been recommended via Kenny Barron.
    • September 23, 2020
  • Kenny Barron
    Lula Galvão → MPB has been recommended via Kenny Barron.
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    Lula Galvão → Guitar has been recommended via Kenny Barron.
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    Lula Galvão → Classical Guitar has been recommended via Kenny Barron.
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    Lula Galvão → Choro has been recommended via Kenny Barron.
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    Lula Galvão → Brazilian Jazz has been recommended via Kenny Barron.
    • September 23, 2020
  • Kenny Barron
    Lula Galvão → Brazil has been recommended via Kenny Barron.
    • September 23, 2020
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    Lula Galvão → Brasília has been recommended via Kenny Barron.
    • September 23, 2020
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    Lula Galvão → Bossa Nova has been recommended via Kenny Barron.
    • September 23, 2020
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    Lula Galvão → Arranger has been recommended via Kenny Barron.
    • September 23, 2020
  • Kenny Barron
    A video was posted re Kenny Barron:
    Kenny Barron Trio
    Getxo Jazz 2019
    • June 15, 2020
  • Kenny Barron
    A video was posted re Kenny Barron:
    Kenny Barron & Dave Holland - Festival de Jazz de Vitoria-Gasteiz 2016
    http://www.jazzvitoria.com/ ● © For any questions regarding copyright issues related to video materials, please contact us via email at [email protected]
    • June 15, 2020
  • Kenny Barron
    A video was posted re Kenny Barron:
    Kenny Barron "Canta Brasil" - Jazzfestival Bern 2003
    http://kennybarron.com/, http://www.jazzfestivalbern.ch/ ● © For any questions regarding copyright issues related to video materials, please contact us via e...
    • June 15, 2020
  • Kenny Barron
    A video was posted re Kenny Barron:
    Kenny Barron - Triste
    Kenny Barron - Piano Chuck Bergeron - Bass Evan Hyde - Drums Mixed by Rafael P. De Lima
    • June 15, 2020
  • Kenny Barron
    Romero Lubambo → Samba has been recommended via Kenny Barron.
    • June 12, 2020
  • Kenny Barron
    Romero Lubambo → New York City has been recommended via Kenny Barron.
    • June 12, 2020
  • Kenny Barron
    Romero Lubambo → MPB has been recommended via Kenny Barron.
    • June 12, 2020
  • Kenny Barron
    Romero Lubambo → Jazz has been recommended via Kenny Barron.
    • June 12, 2020
  • Kenny Barron
    Romero Lubambo → Guitar has been recommended via Kenny Barron.
    • June 12, 2020
  • Kenny Barron
    Romero Lubambo → Choro has been recommended via Kenny Barron.
    • June 12, 2020
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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



  • Kenny Barron
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Kenny Barron
  • City/Place: New York City
  • Country: United States
  • Hometown: Philadelphia, Pennsylvania

Life & Work

  • Bio: Philadelphia is the birthplace of many great musicians, including one of the undisputed masters of the jazz piano: Kenny Barron. Kenny was born in 1943 and while a teenager, started playing professionally with Mel Melvin’s orchestra. This local band also featured Barron’s brother Bill, the late tenor saxophonist.

    While still in high school. Kenny worked with drummer Philly Joe Jones and at age 19, he moved to New York City and freelanced with Roy Haynes, Lee Morgan and James Moody, after the tenor saxophonist heard him play at the Five Spot. Upon Moody’s recommendation Dizzy Gillespie hired Barron in 1962 without even hearing him play a note. It was in Dizzy’s band where Kenny developed an appreciation for Latin and Caribbean rhythms. After five years with Dizzy, Barron played with Freddie Hubbard, Stanley Turrentine, Milt Jackson, and Buddy Rich. The early seventies found Kenny working with Yusef Lateef who Kenny credits as a key influence in his art for improvisation. Encouraged by Lateef, to pursue a college education, Barron balanced touring with studies and earned his B.A. in Music from Empire State College, By 1973, Kenny joined the faculty at Rutgers University as professor of music. He held this tenure until 2000, mentoring many of today’s young talents including David Sanchez, Terence Blanchard and Regina Bell. In 1974 Kenny recorded his first album as a leader for the Muse label, entitled “Sunset To Dawn.” This was to be the first in over 40 recordings (and still counting!) as a leader.

    Following stints with Ron Carter in the late seventies Kenny formed a trio with Buster Williams and Ben Riley which also worked alongside of Eddie Lockjaw” Davis, Eddie Harris, Sonny Stitt and Harry “Sweets” Edison. Throughout the 80’s Barron collaborated with the great tenor saxophonist Stan Getz, touring with his quartet and recording several legendary albums including “Anniversary”, “Serenity” and the Grammy nominated “People Time” Also during the 80’s, he co-founded the quartet “Sphere,” along with Buster Williams, Ben Riley and Charlie Rouse. This band focused on the music of Thelonious Monk and original compositions inspired by him. Sphere recorded several outstanding projects for the Polygram label, among them “Four For All” and “Bird Songs.” After the death of Charlie Rouse, the band took a 15-year hiatus and reunited, replacing Rouse with alto saxophonist Gary Bartz. This reunion made its debut recording for Verve Records in 1998.

    Kenny Barron’s own recordings for Verve have earned him nine Grammy nominations beginning in 1992 with “People Time” an outstanding duet with Stan Getz followed by the Brazilian influenced “Sambao and most recently for “Freefall” in 2002. Other Grammy nominations went to “Spirit Song”, “Night and the City” (a duet recording with Charlie Haden) and “Wanton Spirit” a trio recording with Roy Haynes and Haden. It is important to note that these three recordings each received double-Grammy nominations (for album and solo performance.) His CD, “Canta Brasil” (Universal France) linked Barron with Trio de Paz in a fest of original Brazilian jazz, and was named Critics Choice Top Ten CDs of 2003 by JazzIz Magazine. His 2004 release, Images (Universal France) was inspired by a suite originally commissioned by The Wharton Center at Michigan State University and features multi-Grammy nominated vibraphonist Stefon Harris. The long awaited trio sequel featuring Ray Drummond and Ben Riley, The Perfect Set, Live At Bradley’s, Part Two (Universal France/Sunnyside) was released October 2005.

    In Spring 2008 Mr. Barron released The Traveler (Universal France), an intoxicating mix of favorite Barron tunes set to lyrics and newly penned compositions. For his first vocal based recording, Barron invited Grady Tate (who sheds his drumsticks for this special appearance), Tony award winner Ann Hampton Calloway and the young phenom Gretchen Parlato, winner of the Thelonious Monk International Competition for Jazz. On “Um Beijo”, Mr. Tate’s warm, leathery voice balanced by Mr. Barron’s poignant touch make for a beautifully textured conversation, underscoring their longtime on stage collaboration. Another Barron original, “Clouds” is a lush vehicle for Ann Hampton Calloway’s romantic pitch-perfect yearnings matched with Barron’s trademark mastery of subtlety. The dramatic “Phantoms” intertwines Parlato’s ephemeral intimacy and syncopatic rhythms in an emotional escapade between Barron’s haunting notes, the West African stylings of guitarist Lionel Loueké, drummer Francisco Mela (who also adds a Cuban flavor to the vocals) and the driving bass of Kiyoshi Kitagawa. The journey continues with the aptly named “Duet” an improvisation with Benin-born Loueké who also joins the trio for a rousing version of Barron’s “Calypso”. A composer who relishes in the moment, Barron’s modern approach is highlighted by alto saxophonist Steve Wilson’s open musings on “Illusion” and “The Traveler” who also brings an urgency to the fun-paced “Speed Trap”.

    After a successful musical meeting of the minds with bassist Dave Holland, the two masters decided to collaborate on a duet project to be released on Impulse/Universal records in 2014 followed by a tour.

    Barron consistently wins the jazz critics and readers polls, including Downbeat, Jazz Times and Jazziz magazines. The famed Spanish ceramist Lladro honored Mr. Barron with a Lifetime Achievement Award in 2012 and he was awarded an Honorary Doctorate from his alma mater SUNY Empire State in 2013 and from Berklee College of Music in 2011. In 2009 he received the Living Legacy Award from Mid-Atlantic Arts Foundation and was inducted into the American Jazz Hall of Fame and won a MAC Lifetime Achievement Award in 2005. He is a six-time recipient of Best Pianist by the Jazz Journalists Association.

Contact Information

  • Management/Booking: Personal Management
    24/Seven Artist Development
    Karen Kennedy
    6 Richmond Street
    Newark, NJ 07103
    Telephone: +1 (973) 230-3160
    Fax: +1 (973) 353-9477
    [email protected]

Media | Markets

  • ▶ Twitter: kennybarron88
  • ▶ Instagram: kennybarron
  • ▶ Website: http://kennybarron.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCMdE_DDAPlW6UPJ3NFU68Pg
  • ▶ YouTube Music: http://music.youtube.com/channel/UCMdE_DDAPlW6UPJ3NFU68Pg
  • ▶ Spotify: http://open.spotify.com/album/43nT40JwoVcgzRCSkU033E
  • ▶ Spotify 2: http://open.spotify.com/album/3LGUMqua9xLShUrzfvn5id
  • ▶ Spotify 3: http://open.spotify.com/album/04Kasnk9qEvvXbMepyFlVc
  • ▶ Spotify 4: http://open.spotify.com/album/3EQMSS631UQnZymirdy3qY
  • ▶ Spotify 5: http://open.spotify.com/album/4Bd8Cuk3T1UhXQKZ3YBboH
  • ▶ Spotify 6: http://open.spotify.com/album/0jztBgH95iV4w2SALPW4aa

Clips (more may be added)

  • Kenny Barron Trio
    By Kenny Barron
    188 views
  • Kenny Barron & Dave Holland - Festival de Jazz de Vitoria-Gasteiz 2016
    By Kenny Barron
    196 views
  • Kenny Barron "Canta Brasil" - Jazzfestival Bern 2003
    By Kenny Barron
    195 views
  • Kenny Barron - Triste
    By Kenny Barron
    209 views
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