CURATION
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from this page:
by Title Holder
The Integrated Global Creative Economy
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Name:
Magary Lord
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City/Place:
Salvador, Bahia
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Country:
Brazil
Life
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Bio:
Magary Lord gosta de dizer que antes de ser colocado em um berço, ele foi colocado em cima de um tambor.
Quando criança, no bairro do Engenho Velho de Federação, em Salvador, ele começou a tocar tambor aos oito anos de idade. Samba e suas variações...os ritmos do candomblé a partir dos quais o samba e os estilos musicais brasileiros relacionados se desenvolveram. A música do Recôncavo e do sertão...
Quando ficou mais velho, começou a aprender ritmos tocados na África, em Angola, Congo, Senegal...
E começou a compor músicas baseadas em todos esses ritmos, a cantar e a dançar.
Tudo isso levou Magary ao redor do mundo: Hamburgo, Munique, Zurique, Edimburgo, Cingapura, Goa, Austrália e Nova Zelândia, Nova York (em um famoso teatro off-Broadway)...
Suas músicas ganharam o "primeiro lugar" (Troféu Dodê e Osmar) nos carnavais de Salvador de 2008 e 2011.
A música brasileira é um poderoso elixir de várias etnias africanas, várias etnias indígenas, ancestrais sefarditas, mouros e portugueses... uma tapeçaria mágica capaz de transportar almas... Magary Lord junta esses fios encantados e fica no leme da tapeçaria, como um gênio-piloto, levando-nos a lugares que, de outra forma, jamais poderíamos conhecer.
ENGLISH
Magary Lord likes to say that before he was laid into a crib, he was laid upon a drum.
As a child in Salvador's neighborhood of Engenho Velho de Federação he began drumming at the age of eight. Samba and its variations...the rhythms of candomblé from which samba and related Brazilian styles of music developed. The music of the Recôncavo and sertão...
As he got older he began learning rhythms played in Africa, in Angola, Congo, Senegal...
And he began composing songs based in all these rhythms, and singing and dancing.
All this took Magary around the world: Hamburg, Munich, Zurich, Edinburg, Singapore, Goa, around Australia and New Zealand, New York City (in a famous off-Broadway theater)...
His songs won "first place" (Trofeu Dodê e Osmar) in Salvador's Carnivals of 2008 and 2011.
Brazil's music is a powerful elixir of various African ethnicities, various Indigenous ethnicities, Sephardic, Moorish and Portuguese ancestries...a magic tapestry capable of carrying souls... Magary Lord pulls these enchanted strands together and sits at the tapestry's helm, like a genie-as-pilot, carrying us to places we'd otherwise never be able to experience.
Matrix Music Player
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Shock - Magary Lord-Seu Jorge-Pierre Onassis
2 tracks
3,222 plays |
2,380 views
Clips (more may be added)
When creators curate people (and entities) for what they do and where they do it, a matrix is generated.
Following human society, by the mathematical magic of the small-world phenomenon, all inside such a matrix tend to within degrees of all others inside.
And by logical extension, to within degrees of all humanity.
It is almost completely unknown that the Recôncavo of Bahia was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
And widely unknown that Brazil — a repository of African deities now largely forgotten in their lands of origin — absorbed over ten times the number of Africans taken to the United States of America.
And unknown that 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.
Great culture is great power. This matrix started here, and is a means by which these and all cultures, and all creators, can be found by all people.
Recently accessed from:

"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...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo 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 below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
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.
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