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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ 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...

 

Harlem to Bahia to the Planet



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.

 

  • Marta Sánchez
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Marta Sánchez
  • City/Place: New York City
  • Country: United States
  • Hometown: Madrid, Spain

Life & Work

  • Bio: Born and raised in Madrid, Spain, pianist and composer Marta Sánchez is actively working in the contemporary creative music scene in New York City and around the globe. Charting a significant path through her innovative and original music, she has reached an international audience, gaining significant global recognition.

    After finishing her classical training at the Conservatory, she began her academic training in jazz and contemporary music at School of Music Populart, earning a grant from A.I.E. (Spanish Association of Musicians) for being one of the best students there. The first band she created, Zafari Project,was selected by the Spanish agency for youth (INJUVE) as one of the most promising on the Spanish scene, giving them the opportunity to tour around Spain playing in different Jazz Festivals. This band also won the first price at the international jazz contest Debajazz, which is not the only jazz contest Ms. Sánchez won, since she also obtained the first prize at the Jazzargia International Jazz Contest with Javier Moreno Trio and the first prize at San Martin de la Vega Jazz contest with Natalia Calderon Quartet. She is the only musician in Spain who has been selected on three occasions by AECID (government agency for international development cooperation) to represent Spain at jazz festivals in different countries around South America, Central America and Europe; with her own band on two occasions (2009, 2012) and with Natalia Calderon Quartet (2009). In 2010, she received the “A.I.E en Ruta” Touring Grant from the Spanish Association of Musicians. In 2011, she was awarded a Fulbright Scholarship, which allowed her to continue her studies at New York University (M.M.). During her time there, she to an international tour in Costa Rica, where her group represented NYU at the famed Costa Rica Jazz Festival.

    As a bandleader, she is currently working with her New York-based Quintet with respected saxophonists Jerome Sabbagh and Roman Filiu, her band Room Tales, featuring singer Camila Meza, and with the collaborative band “Snackasaurus Flex”, featuring Michael Attias. She is involved in many other music projects as a collaborator, performer, and/or studio musician, in the United States and abroad.

    Her most recent release for Fresh Sound Records, Danza Imposible (2017) got incredible reviews by the New York Times, the NYC Jazz Record, or Downbeat among others. It was also featured at the WBGO by Nate Chinen and in the public radio in the program “Fresh Air”. Kevin Whitehead said in that program : “The music Marta Sanchez writes gets intricate, but she also gets memorable effects using simple means. That’s part of what she gets from pop or medieval music. She can make a melody out of one note and the right rhythm. Jelly Roll Morton called that kind of spark the Spanish tinge.” Her previous album, Partenika (2015), was reviewed by Ben Ratliff it for the NY Times stating that -“It’s an ambitious record by a strong new group” and included it as one of his top 10 recordings of the year, including all genres- Downbeat gave the recording 4 starts and included it on their list of the best recordings of 2015. Dan Bilawsky wrote for All About Jazz that the album”it’s like waking up to a whole new and wondrous world.” and Peter Margasak for Chicago Reader: “Spanish pianist Marta Sánchez finds a new voice in New York”. All Music and the Jazz Journalist Association also listed Partenika as one of the best jazz Recordings of 2015.

    She also released for Errabal Records: La Espiral Amarilla (2011) and Lunas, Soles y Elefantes (2008) and the work 49 Riiiing with D’Free Qi thanks to a grant by “Caja de Burgos”. As a sideman she has collaborated in many other Cds like Mediterraciones and Satierismos, both with the Afrodisian Orchestra, Lineas Paralelas with the Talento Big Band, Songs from my heart, with Doris Cales, Matterhorn with John Blevins, or Flor Azul with Natalia Calderon Quartet among others.

    She has touring the United States, Europe, South America and Central America, performing as a leader or as a sideman at prestigious venues and prominent festivals such as North Sea Jazz Festival in the Netherlands, Eurojazz in Mexico City, Eurojazz in Athens, Jazz Festival Vitoria Gasteiz, and Madrid Jazz Festival. She also was awarded with a MacDowell Fellowship in 2017.

Contact Information

  • Email: [email protected]
  • Management/Booking: Andreas Scherrer
    [email protected]

Media | Markets

  • ▶ Twitter: martasanchez991
  • ▶ Website: http://www.martasanchezmusic.com
  • ▶ YouTube Channel: http://www.youtube.com/user/MrsMartaSanchez
  • ▶ Spotify: http://open.spotify.com/album/2KkonGUuw4RNA9R2Rq1sRu
  • ▶ Spotify 2: http://open.spotify.com/album/6aywFj81CecvpYFAbbjBRK

More

  • Quotes, Notes & Etc. “The pianist Marta Sánchez, who moved to New York from Madrid in 2011, has one of the most quietly memorable groups in jazz.”
    - The New York Times

    “Conquering her space with a triumphant confidence, Marta Sanchez, proves she is a top 21st-century composer. . This seminal work takes us to unexpected places, radiating energy in its most varied forms and passages.”
    - JazzTrail

Clips (more may be added)

  • 0:06:08
    Marta Sanchez Quintet plays The Unconquered Vulnerable Areas
    By Marta Sánchez
    27 views
  • Marta Sanchez Quintet at Blue Note (El Rayo de Luz)
    By Marta Sánchez
    232 views
  • Marta Sánchez Quintet - Danza Imposible
    By Marta Sánchez
    260 views
Previous
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YOU RECOMMEND

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 Marta Sánchez:

  • 0 Composer
  • 0 New York City
  • 0 Piano
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  • Maria Rita Bossa Nova
  • Eddie Kadi Radio Presenter
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  • Robert Randolph Gospel
  • Charlie Bolden Jazz
  • Luizinho Assis Compositor, Composer
  • Celsinho Silva Choro
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  • Rudy Royston Jazz
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  • Karsh Kale कर्ष काळे Electronic Music
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  • Kurt Andersen Radio Presenter
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  • Steve Cropper Record Producer
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  • Jimmy Cliff Ska
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  • Branford Marsalis Film Scores
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  • Bob Lanzetti Composer
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  • Gab Ferruz Salvador
  • Barney McAll Composer
  • Clint Smith Essayist
  • Greg Osby Record Label Owner
  • Moreno Veloso MPB
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  • Benoit Fader Keita Senegal
  • Cory Henry Jazz
  • Maia Sharp Americana
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  • Anissa Senoussi Matte Painter
  • Mart'nália Samba
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  • Marc Ribot Brooklyn, NY
  • Isaiah J. Thompson Artistic Director
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  • Jakub Knera Music & Culture Journalist
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  • Andrew Dickson Radio Presenter
  • Ron Wyman Documentary Filmmaker
  • Edu Lobo MPB
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  • Fred P DJ
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  • Alex de Mora London
  • Celso de Almeida Drums
  • Alex Mesquita Composer
  • Jaimie Branch Composer
  • John Doyle Singer-Songwriter
  • Colm Tóibín Poet

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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