CURATION
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from this page:
by Matrix
Network Node
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Name:
Marcelo Caldi
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City/Place:
Rio de Janeiro
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Country:
Brazil
Life
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Bio:
By breaking the barriers between different landscapes of music, bringing the Argentine Tango and the Brazilian forró closer together and performing as a singer and instrumentalist, besides being a composer and arranger for symphonic music, Marcelo Caldi has become one of the most brilliant and accomplished musicians of his generation. He has contributed greatly to the resurgence of the accordion in the contemporary music scene in Brazil, and is the author of the book “Tem Sanfona no Choro” (There is accordion in the Choro), which includes a homonym album. Released in 2012 by Moreira Salles Institute in partnership with Funarte (Luiz Gonzaga Centenary Award), the book recovers an unpublished material: the music sheets of the choros from Luiz Gonzaga’s early work.
Marcelo has toured with the show “Marcelo Caldi Trio” through Brazil and Portugal, performing original songs such as the forró “Lembrei do Ceará”. The song is part of the album “Forró e Choro Vol. 1” (in partnership with Fabio Luna), relaunched in 2013 by Mills Records, and nominated to the 2009 Brazilian Music Award in the instrumental category. Other titles include “Cantado” (MP,B, 2009), “Nesse tempo” (Delira, 2006) and “Intrometidos” (with Alexandre Caldi, Independent, 2003).
The musician has also arranged songs performed by the Petrobras Symphonic Orchestra, the Barra Mansa Symphonic Orchestra and the Recife Symphonic Orchestra (the last two had renowed singer Elba Ramalho participation as a special guest), in honor to Luiz Gonzaga. In the concerts alongside Petrobras Symphonic Orchestra and Recife Symphonic Orchestra, Caldi performed Sivuca’s songs to accordion and orchestra: “Rapsódia gonzaguena” and “Concerto sinfônico para Asa branca”.
In 2013, Caldi shared the stage with Gilberto Gil and Pro Arte Orchestra at MIMO Festival, performing in Ouro Preto e Olinda. He also wrote arrangements for the Young Orchestra of Paquetá and composed a song for the Radamés Gnattali Quartet. In the same year, he wrote marchinha arrangements for the Petrobras Symphonic Orchestra and the group Monobloco, in addition to composing a tribute to Dorival Caymmi for the Bahia Symphonic Orchestra. In October of 2014, Marcelo was the soloist of Radamés Gnattali’s “Concerto para acordeom, orquestra de cordas e tumbadoras”, performed alongside the Federal University of Fluminense Symphonic Orchestra.
Ao romper barreiras entre diferentes paisagens da música, aproximar o tango argentino do forró brasileiro e se apresentar como cantor e instrumentista, além de compositor e arranjador sinfônico, Marcelo Caldi se tornou um dos músicos mais completos de sua geração. É um dos responsáveis pela revitalização da sanfona no cenário contemporâneo, autor do livro “Tem sanfona no choro”, que inclui CD homônimo, lançado em 2012 pelo Instituto Moreira Salles, em parceria com a Funarte (Prêmio Centenário de Luiz Gonzaga), em que resgata um material inédito, as partituras de choros da primeira fase do rei do baião.
Compôs arranjos sinfônicos cantados por Elba Ramalho e interpretados pela Orquestra Petrobras Sinfônica, Orquestra Sinfônica de Barra Mansa e Orquestra Sinfônica do Recife, em homeagem a Luiz Gonzaga.
Nos concertos com a Petrobras Sinfônica e a Sinfônica do Recife, Caldi interpretou peças de Sivuca para sanfona e orquestra, “Rapsódia gonzaguena” e “Concerto sinfônico para Asa branca”. Foi o solista do “Concerto para acordeom, orquestra de cordas e tumbadoras”, de Radamés Gnattali, junto com a Orquestra Sinfônica da Universidade Federal Fluminense, em 2014.
Compôs uma peça sinfônica inédita para Orquestra Petrobras Sinfônica, em homenagem aos 450 anos do Rio de Janeiro, chamada “Alma carioca”, interpretada pela primeira vez na estreia da temporada de 2015, no Theatro Municipal do Rio de Janeiro.
Com o show Marcelo Caldi Trio, excursionou pelo Brasil e Portugal, mostrando canções de autoria própria, como o forró “Lembrei do Ceará”. A música está no disco “Forró e Choro Vol. 1” (com Fábio Luna), relançando em 2013 pela Mills Records, e indicado ao Prêmio de Música Brasileira 2009 na categoria instrumental. Lançou ainda os discos “Cantado” (MP,B, 2009), “Nesse tempo” (Delira, 2006) e “Intrometidos” (com Alexandre Caldi, independente, 2003).
Em 2013, subiu ao palco ao lado de Gilberto Gil e Orquestra Pro Arte na MIMO, em Ouro Preto e Olinda. Também criou arranjos para Orquestra Jovem Paquetá e uma composição para o Quarteto Radamés Gnattali. Em 2014, compôs arranjos de marchinhas para Orquestra Petrobras Sinfônica e Monobloco e uma homenagem a Dorival Caymmi para Orquestra Sinfônica da Bahia.
Contact Information
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Email:
[email protected]
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Management/Booking:
Produção Executiva
Fernando Gasparini
(21) 3596-6228
(21) 9 9930-6228
Clips (more may be added)
The Integrated Global Creative Economy
Wolfram Mathematics
This technological matrix originating in Bahia, Brazil and positioning creators around the world within reach of each other and the entire planet is able to do so because it is small-world (see Wolfram).
Bahia itself, final port-of-call for more enslaved human beings than any other place on earth throughout all of human history, refuge for Lusitanian Sephardim fleeing the Inquisition, Indigenous both apart and subsumed into a brilliant sociocultural matrix comprised of these three peoples and more, is small-world.
Human society, the billions of us in all the complexity of our relationships, is small-world. Neural structures for human memory are small-world, neural structures in artificial intelligence are small-world...
In small worlds great things are possible. In a matrix they can be created.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"I'm truly thankful ... Sohlangana ngokuzayo :)"
—Nduduzo Makhathini (JOHANNESBURG): piano, Blue Note recording artist
"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...
Dear friends & colleagues,
Having arrived in Salvador 13 years earlier, I opened a record shop in 2005 in order to create an outlet to the wider world for Bahian musicians, many of them magisterial but unknown.
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 Bahians and other 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 (people who have passed are not removed), 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 "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.
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Recent access to this matrix and Bahia are from these places (a single marker can denote multiple accesses).
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
Nduduzo Makhathini
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX