The Integrated Global Creative Economy
Maurice Brown
This vast cultural matrix out of Brazil positions Maurice Brown worldwide... Curation
CURATION
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from this page:
by Matrix
Matrix Page
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Name:
Maurice Brown
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City/Place:
Brooklyn, New York
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Country:
United States
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Hometown:
Chicago, Illinois
Life & Work
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Bio:
Trumpet virtuoso Maurice “Mobetta” Brown seamlessly navigates the realms of contemporary jazz, blues-rock, and cutting-edge hip hop. A true maestro in trumpet performance, composition, arranging, and production, Maurice infuses his soulful melodies with a unique fusion of be-bop, hip-hop, and rock, creating an unmistakable sound all his own.
A native of the Chicago area, Maurice first gained national attention as a teenager by winning the Miles Davis Trumpet Competition. His journey then took him to Louisiana to study with the legendary clarinetist Alvin Batiste. His acclaimed debut album, *HIP TO BOP*, recorded in New Orleans, showcased his exceptional talent for blending bop with an urban edge. However, Hurricane Katrina’s devastation led Maurice to relocate to New York, where he quickly established himself, recording with notable artists such as Aretha Franklin, Wyclef Jean, De La Soul, Macy Gray, Dr. Lonnie Smith, Lettuce, and The Roots.
His follow-up album, *THE CYCLE OF LOVE*, earned accolades from NPR and the Huffington Post as one of the year’s best records. This album further highlighted his be-bop roots intertwined with hip-hop influences, reflecting his resilience and creativity in the wake of Katrina. Maurice was subsequently invited to join the Tedeschi-Trucks Band, where his horn arrangements on their debut album, *Revelator*, won him a Grammy. His trumpet work became a defining element of the band's sound, complementing Derek Trucks' virtuoso guitar playing.
In 2014, Maurice pushed musical boundaries with *MAURICE vs. MOBETTA*, an innovative album that reimagined *THE CYCLE OF LOVE* with hip-hop beats. Featuring collaborations with Talib Kweli, Prodigy of Mobb Deep, Consequence, and Jean Grae, the album blended his jazz roots with a fresh hip-hop perspective, all while his trumpet danced through each track.
After leaving the Tedeschi-Trucks Band to refocus on his solo career, Maurice established a second base in Los Angeles. He continued to perform globally and produce tracks for artists like Talib Kweli, Omar, and Prodigy. His third album, *THE MOOD*, combined his jazz instincts with soulful melodies and politically charged vocals, featuring collaborations with Kweli and showcasing his dynamic trumpet work. In 2018, Maurice toured with Grammy-winning superstar Anderson .Paak and The Free Nationals, appeared on albums by Ramsey Lewis and Kenny Garrett, and made his Broadway debut with Dave Chappelle, Paak, and Thundercat. He also partnered with jazz giant Kamasi Washington for sold-out shows at iconic venues like Hollywood Bowl, Barclays Center, and New Orleans Jazz Fest. Recently, Maurice composed horn arrangements for Grammy-winning rapper Logic's latest album and has made appearances on The Tonight Show, Jimmy Kimmel Live, The Daily Show, and The Colbert Report.
Ending 2019 with a sold-out run at San Francisco's Black Cat and beginning 2020 with a six-show residency at New York’s renowned Blue Note, Maurice “Mobetta” Brown continues to redefine the musical landscape. His evolving sound bridges traditional jazz with rock and hip-hop, all while pushing the boundaries of production and performance.
Contact Information
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Management/Booking:
BOOKING CONTACT:
Chris Weller & Ryan Anderson / Big Fish Booking Company
(+1) 708.420.8283
[email protected] / [email protected]
www.bigfishbookingco.com
PR CONTACT:
Deb Pressmen / Girlie Action
(+1) 917.470.9864
[email protected]
www.girlieaction.com
Clips (more may be added)
Few people know that the Bay of All Saints was final port-of-call for more enslaved human beings than any other such throughout all of human history. And few people know the transcendence these people, and their descendents, wrought. That's where this Matrix begins...
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"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...
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.
Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
www.salvadorbahiabrazil.com
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