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  • @ Ground Zero
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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Mark Turner:

  • 3 Composer
  • 3 Jazz
  • 3 New York City
  • 3 Saxophone

What's Up

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  • Mark Turner
    A category was added to Mark Turner:
    Composer
    • October 23, 2019
  • Mark Turner
    A category was added to Mark Turner:
    New York City
    • October 23, 2019
  • Mark Turner
    A category was added to Mark Turner:
    Jazz
    • October 23, 2019
  • Mark Turner
    A category was added to Mark Turner:
    Saxophone
    • October 23, 2019
  • Mark Turner
    A video was posted re Mark Turner:
    The Art of Mark Turner // Jazzcampus (1080p HD)
    Interview with Mark Turner produced for the Jazzcampus in Basel, Switzerland. www.jazzcampus.com Interview, Concept & Production by Max Frankl Creative Direc...
    • October 23, 2019
  • Mark Turner
    A video was posted re Mark Turner:
    BIMHUIS TV | Mark Turner Quartet
    Mark Turner Quartet Brand new band led by one of the most admired saxophonists of his generation, known from Fly and renowned for his intimate expressivity o...
    • October 23, 2019
  • Mark Turner
    Mark Turner is matrixed!
    • October 23, 2019
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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? 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, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is 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. It 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. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Mark Turner
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Mark Turner
  • City/Place: New York City
  • Country: United States

Life & Work

  • Bio: Born in 1965 in Ohio and raised in Southern California, I grew up surrounded by music. There was always a lot of R&B and jazz and soul and gospel going on in the house all the time, he recalls. This was in the early 70s, when the whole integration and civil rights thing had begun to go mainstream, and my mother and stepfather were in the first wave of young black professionals and intellectuals who moved to upper-middle-class white neighborhoods. They and their friends were always going out to see live jazz. I was intrigued by that, and I was intrigued by the whole history of jazz music and African-American culture, as well as the music itself. And my father, who died when I was one and a half, had played saxophone, so maybe I was looking for a connection with him too.

    After starting out on clarinet in elementary school, I gravitated towards saxophone in high school, while also exploring my talent for the visual arts. Although I briefly studied design and illustration at Long Beach State University, my passion for jazz ultimately led me to pursue a career in music. I studied and dissected the work of such saxophone giants as John Coltrane, Joe Henderson, Dexter Gordon, Sonny Rollins, Warne Marsh and Lester Young in the pursuit of my own musical voice.

    I really got into it and worked really hard, just trying to figure out who I am. That's how I am with everything. It took a while, and it was kind of an arduous struggle, but it allowed me to figure out what I wanted from music. Even when I was spending my time sounding like other people, I felt like that was part of my path to sounding like myself. The more you spend time with the form and the language, the more your own personality comes out.

    After graduating from Bostons prestigious Berklee College of Music in 1990, I moved to New York. Between 1995 and 2001 I recorded five albums of my own—Yam Yam, Mark Turner, In This World, Ballad Session and Dharma Days—while keeping busy as a collaborator and sideman.

    It was around 1992 that I began to notice or feel that what I was doing was uniquely mine. It had been two and a half years of struggle, but the summer of 1992 was the period where I was finally able to hear it. Maybe no one else would notice, but that's where I could see how things were gonna go.

Contact Information

  • Telephone: 212.212.8888

Media | Markets

  • ▶ Twitter: markturnerjazz
  • ▶ YouTube Music: http://music.youtube.com/channel/UCUYt6CfKaqoa9lYI-Mvw2hA
  • ▶ Spotify: http://open.spotify.com/album/6ymLizMskVol73exzqzOBQ
  • ▶ Spotify 2: http://open.spotify.com/album/4rP5qYtTUgaqLHNUJmvNIk
  • ▶ Spotify 3: http://open.spotify.com/album/2EZmzJgxlf21SPRymPeQ2H
  • ▶ Spotify 4: http://open.spotify.com/album/6kH8QpNHYkUXZlqU2787NB

More

  • Quotes, Notes & Etc. A few months ago I had an experience that starkly demonstrated how important Mr. Turner is among younger musicians. While reporting on the Thelonious Monk Institute saxophone competition in Washington an annual contest that has become something like the Van Cliburn competition of jazz I heard 15 young players. As expected, most of them drew much of their sound from one source: John Coltrane. There was no mistaking that gruff, keening tone, those scale-based patterns. But to my surprise, the second most prevalent sound among the 15 was very different. It was lighter, more evenly produced from the bottom to the very top of the horn, in long, chromatic strokes. At first I thought it was the sound of Warne Marsh. But there was no reason to think that Marsh, who died in 1987 and was always a minority taste, had suddenly become au courant. Then I realized that it was the sound of Mark Turner.
    – Ben Ratliff, the New York Times

    I think Mark Turner is one of the most important players that has come along in the last 20 years, easily the most influential. He never seems to have any doubt about what hes doing.
    – Ravi Coltrane (from his Before & After listening session, Jazz Times)

    His music is the freshest thing around. I want to write like that. Its out music that still sounds very musical and consonant.
    – Luciana Souza, singer and composer

    I went and practiced with him once. He showed me these music books of things he writes out; just in one book of 36 pages he had tons of different chords and exercises. Because of the purity of his approach, he influences a lot of different people in that way either like me, who does freer stuff, or someone else, who does straight-ahead music: it doesnt matter.
    – Bill McHenry, Musician

Clips (more may be added)

  • The Art of Mark Turner // Jazzcampus (1080p HD)
    By Mark Turner
    293 views
  • BIMHUIS TV | Mark Turner Quartet
    By Mark Turner
    280 views
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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