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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 Melissa Aldana:

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  • 2 Composer
  • 2 Jazz
  • 2 New York City
  • 2 Saxophone

What's Up

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  • Melissa Aldana
    Myles Weinstein → Percussion has been recommended via Melissa Aldana.
    • Jan 11
  • Melissa Aldana
    Myles Weinstein → Jazz has been recommended via Melissa Aldana.
    • Jan 11
  • Melissa Aldana
    Myles Weinstein → Drums has been recommended via Melissa Aldana.
    • Jan 11
  • Melissa Aldana
    Myles Weinstein → Agent has been recommended via Melissa Aldana.
    • Jan 11
  • Melissa Aldana
    Emmet Cohen → Piano has been recommended via Melissa Aldana.
    • April 19, 2021
  • Melissa Aldana
    Emmet Cohen → New York City has been recommended via Melissa Aldana.
    • April 19, 2021
  • Melissa Aldana
    Emmet Cohen → Jazz has been recommended via Melissa Aldana.
    • April 19, 2021
  • Melissa Aldana
    Emmet Cohen → Composer has been recommended via Melissa Aldana.
    • April 19, 2021
  • Melissa Aldana
    A video was posted re Melissa Aldana:
    Melissa Aldana sur TSFJAZZ !
    La saxophoniste chilienne est venu nous présenter "Visions", son dernier album inspiré de la vie de Frida Kahlo. Session enregistrée le 05.11.2019
    • June 15, 2020
  • Melissa Aldana
    A video was posted re Melissa Aldana:
    Melissa Aldana Quartet - Spring Can Really Hang You Up The Most
    Melissa Aldana - Saxophone John Escreet - Piano Pablo Menares - Bass Jimmy Macbride - Drums Leisure and Cultural Services Department Present - Jazz Marathon ...
    • June 15, 2020
  • Melissa Aldana
    A video was posted re Melissa Aldana:
    Melissa Aldana's Encore: Gershwin - I Loves You Porgy
    Melissa Aldana's Encore from the live 2018 One O'Clock Lab Band concert. Recorded live November 20, 2018 Winspear Hall, College of Music University of North ...
    • June 15, 2020
  • Melissa Aldana
    Joe Lovano → Saxophone has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Joe Lovano → Jazz has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Joe Lovano → Flute has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Joe Lovano → Composer has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Joe Lovano → Clarinet has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Joe Lovano → Berklee College of Music Faculty has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Joe Lovano → Author has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Greg Osby → Saxophone has been recommended via Melissa Aldana.
    • June 11, 2020
  • Melissa Aldana
    Greg Osby → Record Label Owner has been recommended via Melissa Aldana.
    • June 11, 2020
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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



  • Melissa Aldana
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Melissa Aldana
  • City/Place: New York City
  • Country: United States
  • Hometown: Santiago, Chile

Current News

  • What's Up? Melissa Aldana, a Chilean-born tenor saxophonist, has the elusive ability to balance technical achievement against a rich emotional palette. Visions, her finest album, was inspired by the inner life of Mexican artist Frida Kahlo; it's a brilliant showcase for a band that includes this year's breakout star, Joel Ross, on vibraphone.
    —Nate Chinen, WBGO

Life & Work

  • Bio: On her first jazz quartet "Visions", award-winning saxophonist Melissa Aldana connects her work to the legacy of Latina artists who have come before her, creating a pathway for her own expression. Inspired by the life and works of Frida Kahlo, Aldana creates a parallel between her experiences as a female saxophone player in a male-dominated community, and Kahlo’s experiences as a female visual artist working to assert herself in a landscape dominated by men. On her first jazz quartet recording, Aldana adds a new dimension to her sound, resulting in a transformative movement of expression and self-identity.

    Aldana was born in Santiago, Chile. She began playing the saxophone when she was six, under the influence and tuition of her father Marcos Aldana, also a professional saxophonist. Aldana began with alto, influenced by artists such as Charlie Parker, Cannonball Adderley, and Michael Brecker. However, upon first hearing the music of Sonny Rollins, she switched to tenor; the first tenor saxophone she used was a Selmer Mark VI that had belonged to her grandfather.

    She started performing in Santiago jazz clubs in her early teens. In 2005, after meeting him while he was on tour in Chile, she was invited by pianist Danilo Pérez to play at the Panama Jazz Festival, as well as a number of auditions at music schools in the USA. As a result of these introductions, she went on to attend Berklee College of Music in Boston, where her tutors included Joe Lovano, George Garzone, Frank Tiberi, Greg Osby, Hal Crook, Bill Pierce, and Ralph Peterson

    Aldana graduated from Berklee in 2009, relocating to New York City to study under George Coleman. She recorded her first album, Free Fall, released on Greg Osby's Inner Circle Music imprint in 2010. Her live shows in this period included performances at the Blue Note Jazz Club and the Monterey Jazz Festival, and her second album, Second Cycle, was released in 2012. In 2013, aged 24, she was the first female musician and the first South American musician to win the Thelonious Monk International Jazz Saxophone Competition, in which her father had been a semi-finalist in 1991. The prize was a $25,000 scholarship, and a recording contract with Concord Jazz. Reporting her win, the Washington Post described Aldana as representing "a new sense of possibility and direction in jazz".

Contact Information

  • Management/Booking: MANAGEMENT
    Robin Tomchin
    RT PRODUCTIONS
    Email: [email protected]
    Office: 212-529-8910
    SKYPE: RTPRODS

    North American Bookings
    Unlimited Myles
    www.unlimitedmyles.com

    New York, Boston, Midwest, West
    Myles Weinstein
    (732) 566 - 2881
    [email protected]

    Northeast, South, Wisconsin, Illinois, Ohio
    Rory Trainor
    (508) 280 - 1941
    [email protected]

    International Bookings
    Katherine McVicker
    www.musicworksinternational.com

    All Territories Except U.S. and Canada
    Katherine McVicker
    Music Works International
    Phone: +1 781-300-7580
    Mobile: +1 339-927-5289
    Email: [email protected]
    Skype: katherine.mcvicker

Media | Markets

  • ▶ Twitter: melissaaldana
  • ▶ Instagram: melissaaldanasax
  • ▶ Website: http://www.melissaaldana.net
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCTuGg1AdaEikWnhn-yTLOUg
  • ▶ YouTube Music: http://music.youtube.com/channel/UCTuGg1AdaEikWnhn-yTLOUg
  • ▶ Spotify: http://open.spotify.com/album/2JXP0VVOjCFDvZ9bPVHcEt
  • ▶ Spotify 2: http://open.spotify.com/album/3CNXkqxyvlUw5883YxcPeh
  • ▶ Spotify 3: http://open.spotify.com/album/16V113jDD7oKNDORxGZm7r
  • ▶ Spotify 4: http://open.spotify.com/album/5CmzBbvCU7PLu0ue8pcazZ
  • ▶ Spotify 5: http://open.spotify.com/album/0h4N2dBuMcbEu1NJB5KB7Y
  • ▶ Spotify 6: http://open.spotify.com/album/6Ut3XbQd6KJpYJfGnFrbme

More

  • Quotes, Notes & Etc. “Her tone is as beautiful as her personality... I am sure you will agree.” – Jimmy Heath

    “ . . . one of the more exciting young tenor saxophonists today” – The New York Times

    “ . . . cultured, emotionally weighted, purposeful.” – The Boston Globe

    “In her deft use of light and shade, colour and line, serenity and abandon, Melissa Aldana is a painter . . . an incisive yet melodic sound that’s all her own, and now she’s using that sound to pay homage to a special source of inspiration: the great Mexican painter Frida Kahlo.” – Alexander Varty, Georgia Straight


    "With its richly textured soundscapes and emotionally arresting material, Visions makes a clear connection to Kahlo and other Latina pathbreakers past and present... Melissa Aldana [is] a bandleader and musician at the top of her game." – Brian Zimmerman, Jazziz Magazine

    “... such a monumental statement... Aldana and Ross’ ferocious exploration of the song’s theme that displays the deft musicality Visions showcases over 12 cuts.” – Dave Cantor, DownBeat Magazine

    “ . . . inspired as much by her musical idols Charlie Parker and Wayne Shorter as visual artists like Ecuadorian painter and sculptor Oswaldo Guayasamin and the great Frida Kahlo. The album is a tour de force combining jazz and Latina pride into something vital and exciting.” – Stuart Derdeyn, The Vancouver Sun

    “Although she can also play rough and powerful, Aldana usually chooses a more lyrical tenor sound. That fits perfectly with the kind of atmospheric compositions that she writes. With the help of pianist Sam Harris in particular, Aldana brings the meek melodies to life in a magnificent way” – Trouw (Dutch National Newspaper)

    "Visions, the fifth effort from Melissa Aldana, is the most ambitious work to date by the 2013 Monk Saxophone Competition winner, a further excursion into Frida Kahlo-inspired compositions that began with a residency commission from The Jazz Gallery. Aldana's band is a quintet of vibraphonist Joel Ross, pianist Sam Harris, bassist Pablo Menares and drummer Tommy Crane. The inclusion of chordal instruments in contrast to her previous pianoless trio outings serves Aldana's distinctive compositional voice, one marked by consummate harmonic acuity." – Russ Musto, The New York City Jazz Record

    “Her playing is subtle and elegant and of a highly melodic nature . . . the colorful palette on display here is everything other than inconspicuous. It has the flashy traits of fauvism mixed with the neon of Warhol and a graceful finish like fine brush strokes on canvas . . . Melissa Aldana's Visions proves itself a highlight of this year.” – Friedrich Kunzmann, All About Jazz

    “Throughout jazz history, we've heard plenty of tenor saxophone, some of it at genius level, designed to exploit a tendency to talk to oneself. Aldana gives us something else . . . Her inventiveness is nonstop . . . ‘Visions’ helps to further Aldana's reputation for outstanding creative drive on an instrument that has long tended to be overrepresented in jazz. Her skill as a bandleader and composer should keep her profile high.” – Jay Harvey, Upstage

    “Artists who captivate listeners time and again are the ones who make themselves vulnerable and uncomfortable. They disrupt themselves intentionally. Melissa Aldana’s expression is rare and wildly evolving as she continues to reach for more.” – Hot House Magazine

Clips (more may be added)

  • Melissa Aldana sur TSFJAZZ !
    By Melissa Aldana
    184 views
  • Melissa Aldana Quartet - Spring Can Really Hang You Up The Most
    By Melissa Aldana
    223 views
  • Melissa Aldana's Encore: Gershwin - I Loves You Porgy
    By Melissa Aldana
    197 views
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