Bio:
Born in Tarrafal, on the island of Santiago, Cape Verde, in 1964, Mario Lucio's phenomenal creativity was noticed at an early age. By age 12 he was already playing several instruments, composing and writing poems. At age 14 he was one of the greatest musicians of his generation, being part of a revolutionary band of young boys called Abel Djassi (in tribute to the revolutionary Amilcar Cabral), which introduced sophisticated arrangements on traditional music.
Today Mario Lucio is one of the most recognizable figures of Cape Verde's cultural and music scene, both locally and internationally. Say the name Mario Lucio and he is instantly recognizable as a musician, a singer-songwriter, and one of the country's foremost and leading composers of all time. He is the country's most internationally acclaimed writer, the poet who marked a turning point in new Cape Verdean poetry with the book "Birth of a World", one of the main thinkers of his generation, the author of "Manifesto a Criolização," and the Minister of Culture who launched the new epistemology on culture, with the book "Meu Verbo Cultura".
Performances: As Cape Verde's most sought-after performing artist, Mario Lucio has played in all the 5 Continents; North America (United States), South America (Brazil), Europe (Austria, Belgium, England, Finland, France, Germany, Greece, Italy, Luxembourg, Netherlands, Norway, Poland, Portugal, Romania, Spain, Sweden, Switzerland, Slovenia), Africa (Ghana, Mali, Mauritania, Morocco, Senegal), Asia (China, Macau, South Korea) and many others.
Compositions: Composing in Cape Verde's leading music styles such as Morna, Funaná, Batuque and Coladeira, Mario Lucio's signature songs and arrangements are found in an array of albums and songs most of which were interpreted and recorded by the late Cesaria Evora and including the country's emerging and established singers as well as artists as far afield as Brazil, France and Italy.
Mario Lucio's permanent research and perfection of Cabo Verde's traditional music has given the country's sound a fresh air of modernity, poetry and originality and this is evident in the 9 albums he has released since 1995.
Founder and leader of the former musical group Simentera, an ex-libris of Cape Verdean music, he is also a multi-instrumentalist and arranger of various albums by Cape Verdean solo artists. Mario Lucio has earned his rightful place in his country's artists hall of fame and because of the high quality of his compositions, arrangements and philosophy of his albums he has become a reference about anything music and culture in Cape Verde.
Mario Lucio has a degree in Law. He was a Member of the Cape Verdean parliament from 1996 to 2001. He served as Advisor to the Minister of Culture (1992) and Cultural Advisor to the Commissioner for Expo/92 and author of Cape Verde's musical project for the 92 Seville Expo and the 98 Lisbon Expo. He is a Cultural Ambassador of Cape Verde and was Minister for Culture and Arts from 2011 to 2016.
Discography:
Albums with his former band Simentera: Raiz (1995), Barro e Voz (1997), Simentera (1999), Tr'adictional (2002); Solo: Mar e Luz (2004), Ao Vivo e aos Outros (2006), Badyo (2008), Kreol (2011), Funanight (2019).
Mario Lucio's Collaborations: Cesaria Evora, Mayra Andrade (Cape Verde), Manu Dibango (Cameroon) Touré Kunda (Senegal), Paulinho Da Viola, Gilberto Gil, Milton Nascimento (Brazil), Pablo Milanes (Cuba), Mario Canonge and Ralph Tamar (Martinique), Maria João, Mário Laginha, Luis Represas, Pedro Joia (Portugal) Toumani Diabate (Mali), Harry Belafonte (USA), Judith Sephuma (South Africa), Wanda Baloyi (Mozambique), Oliver Mtukudzi (Zimbabwe)
Mario Lucio - Mi Só (Official music video)
Production Company: Marémusica
Direction / Edit : Priscilla Brasil
Director of photography/Camera: Mário J. Negrão
Producer: Thaís Guimarães
Color grade: André Sousa
Movement assistant : Thaís Guimarãe...
Video by: André Sousa, João Monteiro
Produced by: Watermelão, Banzé
Production assistant: Ana Costa
Make-up and costume: Susana Santos
Actors:
Mario Lucio
Tourists: Cláudia Eiras; Matt Burdynowski
Migrants: Daniel Monteiro; Marco Moreno; Rei...
Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps. Artificial Intelligence & algorithms not necessary. Real intelligence, yes.
THE MATRIX IS THE MOTHER SHIP (it carries people to culture; per above, it carries culture too)
THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)
THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)
Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix. — Susan Rogers (personal recording engineer for Prince; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)
Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)
This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)
This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.
The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...
WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.
Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.
But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.
By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.
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.