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  • Lokua Kanza

    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: Lokua Kanza
  • City/Place: Paris
  • Country: France
  • Hometown: Bukavu, Congo

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Rien de démonstratif chez Lokua Kanza. Aucune ostentation. Rien de brutal non plus. L'homme est pudique, d'apparence sereine, semble en apesanteur et d'humeur méditative. Il réserve ses mots, regarde, écoute, sourit, et d'un léger plissement de ses yeux noirs et pénétrants révèle une part conséquente de sa propre vérité : la puissante lumière intérieure qui l'habite et dont les rais transportent tout à trac bonheurs et souffrances, pleurs et rires, doutes et révélations, frayeurs et espérances, révoltes et respect, compassion et, plus que tout... amour. Avec un grand A.

    Un oeil dans le rétroviseur : naissance à Bukavu (actuelle RDC, République démocratique du Congo). Le père de Lokua, l’un des premiers Zaïrois à commander un bateau sur le grand fleuve Congo, est issu de l’ethnie Mongo, férue de polyphonies. Sa mère, elle, est native des montagnes du Rwanda, pays réputé pour le raffinement de sa musique de cour. L’un et l’autre le sensibilisent dès ses premiers jours à la beauté des mélodies. Apprentissage du chant dans les églises, exploration de la musique à la radio, la télévision, dans la rue, les clubs, les concerts : « À 13 ans, j’ai vu Miriam Makeba sur scène et c’est ce soir-là que j’ai décidé de devenir chanteur. » Son ami Ray Lema lui offre sa première guitare, l'adolescent fait ses premières apparitions publiques dans des orchestres de rumba zaïroise. Puis part se perfectionner au conservatoire de Kinshasa où il se familiarise avec le solfège, la composition, l'harmonie, l'orchestration et parfait sa connaissance instrumentale. Ses professeurs le disent "brillant", "bosseur", "les oreilles grandes ouvertes" (du jazz à Bach, du rhythm’n blues aux traditions du Continent Noir, des refrains de Bollywood à la pop anglo-saxonne, de la variété française à la bossa-nova, tout le ravit et le passionne), "constamment en quête"... En deux mots : "très doué". Outre les guitares et mandolines (acoustiques et électriques, classiques, traditionnelles ou modernes), Lokua manie en expert la sanza, le piano, les claviers, la basse, les percussions, la flûte. Le jeune homme commence à creuser son sillon tout au long du golfe de Guinée, du Zaïre à la Côte d’Ivoire (il réside deux ans à Abidjan), se révèle dans la formation de la grande chanteuse zaïroise La Reine Abéti.

    1984 : fin d'un monde. Lokua s'exile à Paris pour y suivre les cours du guitariste de jazz Pierre Cullaz ( CIM). Rapidement, le multiinstrumentiste mêle sa voix à celle(s) de la communauté musicale africaine, accompagne Ray Lema (il apparaît sur son album « Bwana Zoulou Gang »), Papa Wemba, Sixun, Manu Dibango... L'auteur et compositeur, lui, écrit en quantité pour les uns et les autres et se bâtit peu à peu son propre répertoire. Il donne son premier grand concert parisien en 1992, à l'Olympia, en "vedette américaine" d'Angélique Kidjo. Lokua Kanza, premier opus personnel, est enregistré fin 1992 et publié un an plus tard. Succès énorme. Début 1994, la presse se dit "fascinée", "sous le choc", "envoûtée", "hallucinée", "revigorée", le barde est devenu star et se voit décerner à Libreville (Gabon), le prix du « Meilleur album africain » aux Africar Music Awards.

    Signé chez BMG, Lokua assure les avant-spectacles de Jean-Louis Aubert, Patrick Bruel et Youssou N'Dour (il suit le chantre sénégalais en tournée à New York et joue sur son CD « Wommat », réalisé à Dakar) dont, gageure peu commune, il séduit instantanément les publics respectifs que tout semblerait opposer. Dans la foulée, il coproduit avec Stephen Hague (Wet Wet Wet, New Order, Erasure, Jimmy Sommerville), dans les studios britanniques de Peter Gabriel, à Bath, deux séances de ses amis Papa Wemba (« Emotion », pour lequel il reçoit le prix du « Meilleur arrangeur africain ») et Geoffrey Oryema (« Night and day »). Essai transformé en 1995 avec Wapi Yo, deuxième fabuleuse réussite, album gonflé à bloc de mélopées enchanteresses, trouvailles instrumentales et vocaux sidérants, le tout nappé d'arrangements soyeux. Un réservoir de hits, au premier rang desquels s’inscrivent Shadow dancer et Sallé, qui vaut à Lokua Kanza trois nominations aux 11èmes Victoires de la musique. Suivront quantité de tournées dans le monde entier, du Sénégal à l’Espagne, de l’Allemagne au Canada, du Brésil à Los Angeles. Ponctuées de moments forts : la « Fête à Lokua », en juillet 1996 , aux Francofolies de la Rochelle, où notre ami croise le manche avec Catherine Lara, Enzo Enzo, Papa Wemba et Youssou N’Dour ; le festival de Montreux, le même été ; ou le Heineken Festival de São Paulo, en 1997, occasion unique de mêler sa voix à celles de Djavan, Al Jarreau et Chico César… Sans oublier diverses autres collaborations : invité sur l’album « Hors saison » de Francis Cabrel (1999), duo avec la chanteuse israélienne Noa (« Noa Now », 2001) et composition d’un titre pour Nana Mouskouri (« Fille du soleil », 2002). Sur le plan discographique, cinq ans, cependant, s’écouleront avant que l'artiste ne trouve en Universal Jazz France un partenaire susceptible de lui accorder totale confiance, de le laisser gérer comme il l'entend sa propre musique et de rééditer son troisième compact, 3, gravé en 1998 et quasiment passé sous silence suite à de gros défauts de promotion et de distribution.

    En 2003 paraît Toyébi Té, flamboyante aquarelle chantée sur le ton de la confidence et troisième grosse performance commerciale de Lokua Kanza. Avant de retourner en studio début 2004 pour Plus vivant, le chanteur a de nouveau taillé la route, entre Europe et Afrique, participé à l’aventure « This is our music » aux côtés de Salif Keita, Natalia M. King, Akosh S., Mino Cinélu, Marcio Faraco, et cosigné sur No Format, subdivision d’Universal Jazz, l’élégantissime Toto Bona Lokua en compagnie de Richard Bona et Gérald Toto, trio qui a parcouru les scènes du Nord et du Sud tout au long de l’été. Le chanteur (guitariste, compositeur, arrangeur, auteur et producteur) Lokua Kanza, troubadour métis de père congolais et de mère rwandaise, installé en France depuis vingt ans, revient au début de 2005 avec Plus vivant, sa cinquième production personnelle - et sa deuxième collaboration avec Universal Music Jazz France. L’oeuvre aboutie d’un grand musicien qui se revendique comme citoyen du monde, artiste sans frontières et créateur transcultures : « Je suis mon propre instinct et celui-là m’a conduit aujourdh’ui à chanter en français. »

    Exclusivement interprété dans la langue de Verlaine et Rimbaud, le nouvel opus de Lokua offre à la notion de métissage une incarnation pure et incontestable, qui propose une fusion parfaite (c'est-à-dire imperceptible) entre Nord et Sud et recrée à sa manière l’unicité qui fut autrefois celle de nos ancêtres communs. Un disque superbement arrangé, quinze titres interprétés avec un coeur énorme et élaborés en compagnie de valeurs sures telles que les guitaristes Sylvain Luc et Pepe Fely Manuaku (l’un des grands géniteurs et virtuoses de la rumba zaïroise), le bassiste Richard Bona et le batteur Manu Katché, internationalement plus que reconnus, le percussionniste Sola (compagnon de route de Jamiroquaï) et Corneille sur le titre éponyme, proprement bouleversant.

Contact Information

  • Email: [email protected]
  • Telephone: +33.6.08.61.28.53

Media | Markets

  • ▶ Twitter: lokuakanza
  • ▶ Instagram: lokua_kanza
  • ▶ Website: http://www.lokua-kanza.com
  • ▶ YouTube Channel: http://www.youtube.com/user/lokuakanzamanagement
  • ▶ YouTube Music: http://music.youtube.com/channel/UCe1rBmVxxyU7l02II-JFUsA
  • ▶ Spotify: http://open.spotify.com/album/28FDg4EiXar0A55bEUsqOF
  • ▶ Spotify 2: http://open.spotify.com/album/0a9cbygUsx813hwU9T9oL7
  • ▶ Spotify 3: http://open.spotify.com/album/0GZWkleyfrRsEdStyCoPm9

Clips (more may be added)

  • Famille feat. Fally Ipupa
    By Lokua Kanza
    618 views
Previous
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Lokua Kanza Curated
pathways in

  • 2 African Music
  • 2 Congo
  • 2 Paris
  • 2 Singer-Songwriter

What's Been Happening?

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  • Lokua Kanza
    Swami Jr. → Violão de Sete has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → São Paulo has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Samba has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Guitar has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Forró has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Cuban Music has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Choro has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Brazilian Jazz has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Brazil has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Swami Jr. → Bass has been recommended via Lokua Kanza.
    • September 29, 2020
  • Lokua Kanza
    Richard Bona → Singer has been recommended via Lokua Kanza.
    • January 14, 2020
  • Lokua Kanza
    Richard Bona → New York City has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Multi-Instrumentalist has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Multi-Cultural has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Jazz has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Composer has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Cameroon has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Bass has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    Richard Bona → Africa has been recommended via Lokua Kanza.
    • November 11, 2019
  • Lokua Kanza
    A video was posted re Lokua Kanza:
    Famille feat. Fally Ipupa
    Copyright Nzela Productions Titre: Famille Extrait de l'album 'Nkolo'
    • August 10, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

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, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"Fico muitíssimo feliz em receber seu e-mail! 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: Soa assim: O que a música que você ama diz sobre você

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.

"Fico muitíssimo feliz em receber seu e-mail! 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.

 

  • Steve Abbott London
  • BIGYUKI Composer
  • Richard Galliano Author
  • Musa Okwonga Novelist
  • Caetano Veloso Brasil, Brazil
  • Jovino Santos Neto Seattle
  • Wouter Kellerman Alto Flute
  • Hamid El Kasri Guembri
  • Joshua White San Diego, California
  • Alicia Hall Moran Opera
  • Chico Buarque Singer-Songwriter
  • Tutwiler Quilters Quilts
  • César Orozco Composer
  • Neymar Dias Viola Caipira
  • Cacá Diegues Cineasta, Filmmaker
  • Kyle Poole Composer
  • Jay Blakesberg Filmmaker
  • Martyn House
  • Piti Canella Produtora Cultural, Cultural Producer
  • Wayne Krantz Composer
  • João Parahyba Songwriter
  • Jeremy Danneman New York City
  • Beeple VR / AR
  • Mikki Kunttu Set Designer
  • Matthew F Fisher Collaborative Artist
  • Babau Santana Salvador
  • Julia Alvarez Middlebury College Faculty
  • Etan Thomas Radio Presenter
  • Ben Wolfe Double Bass
  • Victor Wooten Berklee College of Music Faculty
  • Shane Parish Guitar Instruction
  • Don Byron New York City
  • Renato Braz São Paulo
  • Sebastian Notini Bateria, Drums
  • Darol Anger Bluegrass
  • Chris McQueen Songwriter
  • Daniel Jobim Rio de Janeiro
  • Lalah Hathaway Piano
  • Serginho Meriti Samba
  • Gord Sheard Jazz
  • Thomas Àdes Composer
  • Lalá Evangelista Choro
  • Pedro Aznar Buenos Aires
  • Paul McKenna Irish Traditional Music
  • Lakecia Benjamin Funk
  • Clint Smith Black American Culture & History
  • Henrique Cazes Viola Caipira
  • Yilian Cañizares Classical Music
  • Catherine Bent Jazz
  • Joshue Ashby Composer
  • Rhiannon Giddens Fiddle
  • Askia Davis Sr. Educational Consultant
  • Maria Bethânia MPB
  • Keith Jarrett Multi-Instrumentalist
  • Cimafunk Cuban Funk
  • Fabian Almazan Piano
  • Shirazee New York City
  • Marília Sodré Samba
  • Simon McKerrell Bagpipes
  • Nate Smith Ropeadope
  • Sharita Towne Video Artist
  • Victoria Sur Singer-Songwriter
  • Andrew Huang Multi-Instrumentalist
  • Edivaldo Bolagi Bahia
  • Sandro Albert Brazilian Jazz
  • Carlos Malta Clarinet
  • Nikki Yeoh Composer
  • Chad Taylor Philadelphia
  • Asanda Mqiki Singer-Songwriter
  • Andrew Huang Songwriter
  • Muireann Nic Amhlaoibh Fiddle
  • Marcus Strickland Jazz
  • Brady Haran Podcaster
  • Jimmy Cliff Reggae
  • Casey Driessen Composer
  • Hercules Gomes Choro
  • Tank and the Bangas R&B
  • Jason Marsalis Vibraphone
  • Frank London Composer
  • Rachael Price Brooklyn, NY
  • Eder Muniz Muralista, Muralist
  • John Donohue Writer
  • Ivan Bastos Bahia
  • Adam Rogers New York City
  • Gail Ann Dorsey Singer-Songwriter
  • Adriana L. Dutra Brazil
  • Robertinho Silva Brazilian Jazz
  • Jorge Alfredo Cantor-Compositor, Singer-Songwriter
  • Archie Shepp Saxophone
  • Jussara Silveira Brasil, Brazil
  • Raymundo Sodré Bahia
  • Fred Dantas Salvador
  • María Grand R&B
  • Donny McCaslin Composer
  • Jovino Santos Neto Brazilian Jazz
  • Andrew Huang Record Producer
  • Dan Trueman Hardanger Fiddle
  • Craig Ross Multi-Instrumentalist
  • Jonathan Scales Ropeadope
  • Ilya Kaminsky Translator
  • Michael League Record Producer
  • Alex Conde Flamenco
  • James Brandon Lewis Essayist
  • Turtle Island Quartet Multi-Cultural
  • Nubya Garcia Saxophone
  • David Castillo Voiceovers
  • Myles Weinstein Agent
  • Mark Turner Composer
  • Dan Trueman Composer
  • Astrig Akseralian Ceramic Artist
  • Ranky Tanky South Carolina
  • Jared Sims Classical Music
  • Marcel Camargo Arranger, Orchestrator
  • Fernando Brandão Choro
  • Sandi Bachom New York City
  • Flying Lotus Record Label Owner
  • Chief Xian aTunde Adjuah Trumpet
  • Conrad Herwig Afro-Caribbean Jazz
  • Ryuichi Sakamoto Singer-Songwriter
  • Ray Angry Pan-Global Pop
  • Tyler Gordon Painter
  • Mestre Nenel Capoeira
  • Jurandir Santana Bahia
  • Brian Q. Torff Bass
  • Pedro Martins Guitar
  • Luciano Matos Apresentador de Rádio, Radio Presenter
  • James Gadson Blues
  • Tray Chaney Author
  • Little Dragon Synthpop
  • Eliane Elias Brazil
  • Neymar Dias Brazil
  • Abel Selaocoe Classical Music
  • Roy Germano Filmmaker
  • Joachim Cooder Record Producer
  • Lucinda Williams Country
  • Serwah Attafuah Multidisciplinary Artist
  • Jeff Tweedy Record Producer
  • Delfeayo Marsalis Record Producer
  • Milford Graves Vocals
  • Capitão Corisco Flute
  • Stuart Duncan Guitar
  • Jean-Paul Bourelly Educator
  • Eddie Palmieri Ropeadope
  • Helado Negro Avant-Pop Music
  • Cainã Cavalcante Choro
  • Yoko Miwa Jazz
  • Greg Osby Saxophone
  • Elif Şafak Turkey
  • Bruce Williams Composer
  • Oscar Bolão Brazil
  • Miguel Zenón Composer
  • Dan Trueman Software Designer
  • Carlos Henriquez Composer
  • Azadeh Moussavi Film Director
  • Gilad Hekselman Photographer
  • Zulu Araújo Salvador
  • Luiz Santos Percussion
  • Tero Saarinen Dancer
  • Sophia Deboick England
  • Nêgah Santos New York City
  • Nublu East Village
  • Marilda Santanna Salvador
  • Mestre Nenel Brazil
  • Kareem Abdul-Jabbar Essayist
  • Amilton Godoy Composer
  • Little Simz Hip-Hop
  • Anthony Hervey Trumpet
  • Marcelinho Oliveira Artistic Director
  • Parker Ighile Africa
  • Antonio Adolfo Rio de Janeiro
  • Martin Koenig Ethnomusicologist
  • Stormzy Grime
  • Nei Lopes Writer
  • Dafnis Prieto Afro-Latin Music
  • Yelaine Rodriguez Fashion Design
  • Tele Novella Texas
  • Bernardo Aguiar Brazil
  • THE ROOM Shibuya Soul
  • Guto Wirtti Choro
  • Alphonso Johnson USC Thornton School of Music Faculty
  • Corey Henry New Orleans
  • Román Díaz Cuba
  • Phineas Harper London
  • Chano Domínguez Spain
  • Ivan Bastos Música Afro-Baiana, Afro-Bahian Music
  • Fabiana Cozza Singer
  • Yazhi Guo 郭雅志 Microtonal
  • Oswaldo Amorim Escola de Música de Brasília Faculty
  • Mary Halvorson Brooklyn, NY
  • Terence Blanchard Trumpet
  • Burhan Öçal Bendir
  • Mario Caldato Jr. Record Producer
  • International Anthem Record Label
  • João do Boi Brazil
  • Ben Okri Essayist
  • Yunior Terry Jazz
  • Anthony Hamilton R&B
  • João Parahyba Drums
  • Jared Sims Composer
  • Michael Sarian Composer
  • Katuka Africanidades Brasil, Brazil
  • Joshua White Composer
  • Gian Correa São Paulo
  • John Francis Flynn Flute
  • Kazemde George Brooklyn, NY
  • Vincent Valdez Drawings
  • Karsh Kale कर्ष काळे Record Producer
  • BaianaSystem Música Pan Afro-Baiano, Pan Afro-Bahian Music
  • Anderson Lacerda Choro
  • Sunna Gunnlaugs Piano
  • Stephen Guerra New York City
  • Liam Farrell 'Dr L' DJ
  • Igor Osypov Jazz Fusion
  • Sabine Hossenfelder Singer-Songwriter
  • Romulo Fróes São Paulo
  • Chucho Valdés Composer
  • Paulo César Figueiredo Brasil, Brazil
  • MonoNeon Memphis, Tennessee
  • Musa Okwonga Rapper
  • Adriano Giffoni Author
  • Jerry Douglas Record Producer
  • Echezonachukwu Nduka Piano
  • Adam Rogers Composer
  • David Sánchez Composer
  • Del McCoury Country
  • Ethan Iverson Composer
  • Sarah Jarosz New York City
  • Orlando 'Maraca' Valle Havana
  • Nubya Garcia Flute
  • Curtis Hasselbring Arranger
  • Plínio Fernandes Brazilian Classical Guitar
  • Jonathan Scales Jazz Fusion
  • Casa Preta Salvador
  • Molly Jong-Fast Political Commentator
  • Jack Talty Irish Traditional Music
  • Peter Dasent Australia
  • David Braid London
  • Carwyn Ellis Alternative Indie
  • Matt Parker YouTuber
  • Marcus Miller Record Producer
  • Kim Hill DJ
  • Toumani Diabaté Bamako
  • Dan Trueman Norwegian Traditional Music
  • Gearóid Ó hAllmhuráin Concertina
  • Luciano Calazans Bass
  • Plínio Fernandes Brazil
  • Danilo Pérez Jazz
  • Rosa Cedrón Composer
  • Towa Tei テイ・トウワ Record Producer
  • Lucian Ban New York City
  • Stefano Bollani Composer
  • Jubu Smith Bass
  • Milad Yousufi Singer
  • Magary Lord Singer-Songwriter
  • Ruven Afanador Colombia
  • Jane Ira Bloom Composer
  • Dorothy Berry African American History
  • TaRon Lockett Singer-Songwriter
  • Terri Lyne Carrington Jazz
  • Seu Regi de Itapuã Bahia
  • Marcus Rediker Writer
  • Jon Madof New York City
  • Bing Futch Singer-Songwriter
  • Lilli Lewis New Orleans
  • Ben Wendel Composer
  • Pedrão Abib Bahia
  • Di Freitas Rabeca
  • Joatan Nascimento Bahia
  • Samba de Nicinha Maculelê
  • Ivan Sacerdote Brazilian Jazz
  • Billy Strings Mandolin
  • Christopher Silver McGill University Faculty
  • Bruce Molsky Banjo
  • Ariane Astrid Atodji Director
  • Rebeca Omordia Classical Music
  • Saul Williams Singer-Songwriter
  • Magda Giannikou Accordion
  • Steve Cropper Soul
  • Corey Ledet Accordion
  • Bobby Vega R&B
  • Mariene de Castro Brazil
  • Roberto Martins Bahia
  • Brandee Younger New School Faculty
  • Leela James Singer-Songwriter
  • Martyn DJ
  • The Weeknd Actor
  • Shankar Mahadevan Composer
  • Berkun Oya Actor
  • Anat Cohen Clarinet
  • Logan Richardson Classical Music
  • Mike Moreno Aaron Copeland School of Music Faculty
  • Hisham Mayet Photographer
  • Yvette Holzwarth Multi-Cultural
  • Sheryl Bailey Berklee College of Music Faculty
  • Riley Baugus North Carolina
  • Alfredo Del-Penho Samba
  • André Muato Brazil
  • Yola Americana
  • Alain Pérez Cuba
  • Bob Reynolds Saxophone
  • Ronald Bruner Jr. Record Producer
  • Orrin Evans Neo Soul, Acid Jazz
  • Nara Couto MPB
  • Muhsinah R&B
  • David Castillo Actor
  • Rhiannon Giddens Americana
  • Bill Pearis Brooklyn, NY
  • Ivan Huol Percussion
  • Trilok Gurtu Drums
  • Anouar Brahem Multi-Cultural
  • Negrizu Ator, Actor
  • Mauro Senise Composer
  • Regina Carter Manhattan School of Music Faculty
  • Béco Dranoff New York City
  • Casey Driessen Fiddle
  • JD Allen Saxophone
  • Mou Brasil Salvador
  • George Garzone Jazz
  • Laura Cole Singer-Songwriter
  • Brad Mehldau Contemporary Classical Music
  • Rose Aféfé Ibicoara
  • Rebeca Omordia London
  • Djuena Tikuna Tikuna
  • Zeca Baleiro Escritor, Writer
  • Antônio Queiroz Brazil
  • Andrew Huang Guitar
  • Lívia Mattos Accordion
  • Tito Jackson Blues
  • David Bragger Mandolin Instruction
  • Tia Fuller Berklee College of Music Faculty
  • Paulo Aragão Composer
  • Tom Oren Piano
  • Adam Shatz Writer
  • Eric Bogle Folk & Traditional
  • Allen Morrison Jazz History Lecturer
  • RAM Haiti
  • Dezron Douglas Record Producer
  • Richie Stearns Ithaca, New York
  • Lula Moreira Arcoverde
  • Ryan Keberle Manhattan School of Music Faculty
  • Forrest Hylton Salvador
  • Siphiwe Mhlambi Visual Story Teller
  • Marco Pereira Samba
  • Ben Harper Reggae
  • Gustavo Caribé Produtor Musical, Music Producer
  • Henrique Araújo Escola de Choro de São Paulo Faculty
  • Congahead World Music
  • Paulinho do Reco Brazil
  • Patty Kiss Multi-Instrumentista, Multi-Instrumentalist
  • Ricardo Herz Forró
  • Rodrigo Amarante MPB
  • Nigel Hall New Orleans
  • Darcy James Argue Big Band
  • Rick Beato Songwriter
  • Marcus Strickland Record Producer
  • Miles Mosley Bass
  • Shana Redmond Ethnomusicologist
  • Leandro Afonso Film Producer
  • Cláudio Badega Bahia
  • Gaby Moreno Guitar
  • Horacio Hernández Percussion
  • NEOJIBA Orquestra Sinfônica, Symphony Orquestra
  • Billy O'Shea Novelist
  • Zigaboo Modeliste Second Line
  • Ronell Johnson Sousaphone
  • Ricardo Herz MPB
  • Daedelus Los Angeles
  • Oscar Peñas Guitar
  • Flying Lotus DJ
  • Maria Marighella Bahia
  • Shamarr Allen New Orleans
  • John McEuen Fiddle
  • Pedrito Martinez Congas
  • Brandon Wilner New York City
  • Sam Reider Accordion
  • Amaro Freitas Recife
  • Fantastic Negrito Blues
  • Ramita Navai London
  • Dexter Story Record Producer
  • Orrin Evans Piano
  • Miroslav Tadić CalArts Music Faculty
  • Nabaté Isles Trumpet
  • Antonio Adolfo Choro
  • Ethan Iverson Music Critic
  • Snigdha Poonam Delhi
  • Reggie Ugwu Pop Culture Reporter
  • Harvey G. Cohen Political Historian
  • Henrique Araújo California Brazil Camp Faculty
  • Júlio Lemos Brazil
  • Alan Brain Filmmaker
  • Romulo Fróes Samba
  • Eliane Elias Singer-Songwriter
  • Peter Dasent Songwriter
  • João Callado Painter
  • Jeff Coffin Author
  • Omar Sosa Vibraphone
  • James Poyser Television Scores
  • James Poyser Songwriter
  • Carlinhos 7 Cordas Rio de Janeiro
  • Eric R. Danton Writer
  • Stan Douglas Canada
  • Nduduzo Makhathini Piano
  • Anouar Brahem Tunisia
  • David Sacks MPB
  • Jacám Manricks Composer
  • Peter Erskine Author
  • Paolo Fresu Television Scores
  • Gregory Tardy University of Tennessee Knoxville School of Music Faculty
  • Wajahat Ali Cultural Critic
  • Shamarr Allen R&B
  • Thundercat Bass
  • Brady Haran Video Journalist
  • Little Simz Actor
  • Samuca do Acordeon Brazil
  • Michael Garnice Reggae
  • Donald Harrison Composer
  • Spok Frevo Orquestra Recife
  • Rez Abbasi Composer
  • Ben Wolfe Bass
  • Carlinhos Pandeiro de Ouro Rio de Janeiro
  • Urânia Munzanzu Jornalista, Journalist
  • Igor Levit Berlin
  • Rita Batista Salvador
  • Jon Lindsay North Carolina
  • Bertram Drum Set Performance
  • Simon McKerrell Composer
  • PATRICKTOR4 Recife
  • Paulo Costa Lima Música Clássica Contemporânea, Contemporary Classical Music
  • Mike Compton Bluegrass
  • Capitão Corisco Folk & Traditional
  • Nicolas Krassik Rio de Janeiro
  • Jurandir Santana Salvador
  • Samuca do Acordeon Composer
  • Tambay Obenson Cultural Critic
  • Parker Ighile Rapper
  • Nooriyah نوريّة DJ
  • Célestin Monga Cameroon
  • Fabian Almazan New York City
  • Babau Santana Brasil, Brazil
  • Nduduzo Makhathini Fort Hare University Faculty
  • Robertinho Silva Composer
  • Phineas Harper Printmaker
  • Jack Talty Record Producer
  • Emicida Brasil, Brazil
  • Raphael Saadiq Record Producer
  • Nara Couto Salvador
  • Aindrias de Staic Galway
  • Louis Marks Writer
  • Shoshana Zuboff Social Psychology
  • Alma Deutscher Composer
  • John Boutté Blues
  • Alma Deutscher Piano
  • Kimmo Pohjonen Finland
  • Tambay Obenson Journalist
  • Dumpstaphunk Funk
  • Daru Jones Drums
  • Bombino Singer-Songwriter
  • NEOJIBA Salvador
  • Yasmin Williams Harp-Guitar
  • Hamid El Kasri Gnawa
  • Alicia Keys Actor
  • Ron Wyman Photographer
  • Shez Raja Composer
  • Pedrito Martinez Batá
  • Pete Williamson Animation Designer
  • Nate Chinen Radio Director
  • Aneesa Strings Composer
  • Shalom Adonai Chula
  • Rick Beato Atlanta, Georgia
  • Christian McBride Jazz
  • Edward P. Jones Writer
  • Lorna Simpson Photographer
  • Mike Compton Mandolin Instruction
  • Robert Randolph Soul
  • Buck Jones Bahia
  • Dani Deahl Writer
  • Robert Everest Singer-Songwriter
  • Forrest Hylton Documentary Filmmaker
  • Warren Wolf Bass
  • Dale Bernstein Wet Plate Photography
  • Andrew Gilbert Roots Music
  • Brian Jackson Record Producer
  • Moreno Veloso Rio de Janeiro
  • Ariane Astrid Atodji Cameroon
  • Oksana Zabuzhko Essayist
  • Fabrício Mota Pesquisador, Researcher
  • Imanuel Marcus Berlin
  • James Shapiro Columbia University Faculty
  • Djamila Ribeiro Brasil, Brazil
  • Joshua Redman Saxophone
  • Nicholas Daniel Music Director
  • John Edward Hasse Piano
  • John Morrison DJ
  • João Jorge Rodrigues Brasil, Brazil
  • Cara Stacey Johannesburg
  • Choronas São Paulo
  • Jimmy Duck Holmes Mississippi
  • Luciana Souza Bossa Nova
  • Bill Laurance Multi-Instrumentalist
  • Luizinho Assis Produtor Musical, Music Producer

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

 

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