Kotringo
This Brazilian cultural matrix positions Kotringo globally...
Curation
CURATION
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from this page:
by Augmented Matrix
The Integrated Global Creative Economy
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Name:
Kotringo
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City/Place:
Tokyo
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Country:
Japan
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Hometown:
Osaka
Life & Work
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Bio:
Kotringo started playing piano when she was 5 years old.
After graduating from KOYO SCHOOL OF MUSIC (current・KOYO SCHOOL OF MUSIC & DANCE) she went to study abroad in Boston, then graduated from Berklee College of Music with a Bachelor of Music in Jazz composition and a Bachelor of Music in Performance.
In 2006, "Nichiyomachi (Waiting for Sunday)" which would become her 2nd single, was on air at the J-WAVE radio audition program "RADIO SAKAMOTO" navigated by Ryuichi Sakamoto, then she performed in "LOHAS CLASSIC Concert" also produced by Ryuichi Sakamoto.
In the same year, she released "Konnichiwa mata ashita (Hello & See you)” produced by Ryuichi Sakamoto as her debut single in Japan.
Since then, she has released 11 solo albums and 7 soundtrack albums.
The latest solo album is “Ame no hakoniwa (My garden in the rain)” released in 2017.
She composed the whole score in a long-running hit animated movie “Konosekai no Katasumi ni (In This Corner of the World)” released in November 2016, which led to her winning the 40th Japan Academy Film Prize for Outstanding Achievement in Music, the 71st Mainichi Film Awards for Best Music, and Best Music Award in the Osaka Cinema Festival 2017.
Music of “In This Corner of the World” Concert, which represented the movie in a music concert, was well-received all over the country.
At present, she has earned a high reputation as a singer-songwriter, composer and pianist with works on soundtracks for movies, dramas, animations, and commercials, and has a deeper expression of orchestra arrangements as well as performances.
In recent years, the range of her voice expressions has expanded, including narration.
In 2018, she visited Argentina on her first overseas tour, making all six performances a huge success and gained worldwide acclaim.
She is now active as an artist who draws a pop world full of floating feelings with outstanding piano performance and soft singing voice.
バークリー音楽大学に留学し、ジャズ作曲科、パフォーマンス科を専攻。
2006年、坂本龍一がナビゲーターを務めるJ-WAVE「RADIO SAKAMOTO」のオーディションコーナーにて、のちに2ndシングルとなる『にちよ待ち』がオンエアされ、 坂本龍一プロデュース「ロハスクラシックコンサート」に出演。
同年、坂本龍一プロデュースのシングル『こんにちは またあした』で日本デビューを飾る。以降、現在までに11枚のソロアルバムと7枚のサウンドトラックアルバムを発表。
最新オリジナルアルバムは、2017年発売の「雨の箱庭」。
2016年11月に公開し、ロングヒットのアニメーション映画「この世界の片隅に」のテーマ、劇中歌、BGMの全ての音楽を担当し、第40回日本アカデミー賞優秀音楽賞、第71回毎日映画コンクール音楽賞、おおさかシネマフェスティバル2017音楽賞を受賞。
映画の世界を表現した「すずさんとハナウタライブ」が好評を得て、全国各地で開催。
現在は映画、ドラマ、アニメのサウンドトラックや、CMなどを手がけ、演奏のみならずオーケストラアレンジの表現も深め、音楽家として高い評価を受けている。
また、近年はナレーションなど、声での表現の幅も広げている。
2018年には初の海外ツアーでアルゼンチンを訪れ、全6公演を大成功させ、海外での評価も高まっている。
卓越したピアノ演奏と柔らかな歌声で浮遊感に満ちたポップ・ワールドを描くアーティストとして活躍中。
Clips (more may be added)
The Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... concatenating branches of a virtual rainforest tree rooted in Bahia, canopy spreading to embrace the entire planet...
Ex Terra Brasilis
A starting point for this project was the culture born in Brazil's quilombos (in Angola a "quilombo" is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu above — occupied by such after abandonment by the ruling class)...
...theme music for this Brazilian Matrix, from an Afro-Brazilian Mass by
From inside this Matrix, all creators-creative entities everywhere — empowered by the mathematics of network theory — become potentially discoverable by all people worldwide. Go straight to one of the (randomly selected) creators-creative entities below to see how their Matrix Page — information and media, outgoing and incoming curation — works (reload to feature other artists/creators), or find out below the black line below what unsung (metaphorically only) brilliance this is all about:
More on these profound incubators of Afro-Brazilian culture at:
Os Quilombos da Bahia
The Quilombos of Bahia
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
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 (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet ... in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
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 — 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.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers worldwide.
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX