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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.

 

  • Michael Pipoquinha
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Michael Pipoquinha
  • City/Place: São Paulo
  • Country: Brazil
  • Hometown: Fortaleza, Ceará

Life & Work

  • Bio: Michael Pipoquinha was born in 1996 in the city of Limoeiro do Norte, in the state of Ceará, Brazil. He began playing guitar at the age of 10 but soon fell in love with bass. He learned to play by watching video lessons under the guidance of his father, Elisvan Silva, bassist.

    In 2008, he was awarded with a scholarship at Integral Project Cultivating Talent, Beto Studart Foundation in partnership with the Music Conservatory Alberto Nepomuceno, institution of higher education in Music of Ceara, doing lessons in piano, musical perception, and coral.

    Also in 2008, Pipoquinha was watching the show from his great idol Arthur Maia, great Brazilian bassist. That day he had the opportunity to meet his biggest influence and played with him on stage. The next day, performed alongside his idol at his workshop.

    That same year, he scored the highest in the selective of the Bass Festival Fortaleza Brazil, and played along side great names of Brazilian bass, including Celso Pixinga (SP), Adriano Giffoni (RJ), Ebinho Cardoso (MT), Mauro Sergio (MA), Braulio Araujo (PE), Micah Santana (SP), and Sergio Groove and Jr. Primata (RN). Pipoquinha was becoming known among the musicians. In the same year, participated in the Music Fair Fortaleza again.

    The following year, Pipoquinha was invited to attend the concerts of Nelio Costa and Arthur Maia at the X Festival of Jazz and Blues Guaramiranga (CE), and at the largest festival of Jazz and Blues of Latin America, the Rio das Ostras Festival in Jefferson Gonçalves and Big Time Orchestra shows. Another great event was being part of the DVD recording from another great brazilian bassist, Sérgio Groove.

    -In 2012 he joined the group of brazilian modern jazz, BR TRIO, accompanying Isaac Negrene (guitarist) and Elthon Dias (drummer). The BR TRIO made presentations in Uruguay , Argentina and Colombia, participating in Jazz la Calle Festivals and various presentations. He also conducted several workshops throughout Brazil with Alexandre Aposan (drummer) and also alone.

    -In 2013, he was invited by Arthur Maia again, for playing at Rio das Ostras Festival, where he met such greats bassists as Stanley Clark and Victor Wooten, being recognized and mentioned by the idols at medias as Bass Player Magazine. Also performed as headliners at the Gospel Jazz Festival in Colombia.

    Also participated as a guest in Power Trio Festival, sponsored by Guitar Player Magazine. Plus dozens of workshops throughtout Brazil.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Instagram: michaelpipoquinha
  • ▶ YouTube Channel: http://www.youtube.com/user/michaelpipoquinha
  • ▶ YouTube Music: http://music.youtube.com/channel/UC1CMnOB2Dlq55vWIPHD0R-Q
  • ▶ Spotify: http://open.spotify.com/album/4PJ5C304MXFFmdYmgag5YT
  • ▶ Spotify 2: http://open.spotify.com/album/1b6mwLPlmD2lI4EHjkCkcr
  • ▶ Spotify 3: http://open.spotify.com/album/25VoHhq6FS8mA5rUl2ZR5P
  • ▶ Spotify 4: http://open.spotify.com/album/3luXPSaFCcdrhO3rXmfplf

Clips (more may be added)

  • Michael Pipoquinha e Quarteto at Sligo Jazz 2019 - Baião Chuvoso
    By Michael Pipoquinha
    266 views
  • Michael Pipoquinha - UNKAUNGA
    By Michael Pipoquinha
    239 views
  • MiCHAEL PIPOQUINHA - WORKSHOW - NOV/2013
    By Michael Pipoquinha
    227 views
  • Michael Pipoquinha - Princesinha no Choro - Baku Jazz Festival October 2018
    By Michael Pipoquinha
    231 views
  • Michael Pipoquinha LUA - Baku Jazz Festival - October 2018
    By Michael Pipoquinha
    331 views
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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 Michael Pipoquinha:

  • 2 Bass
  • 2 Brazil
  • 2 Brazilian Jazz
  • 2 Composer
  • 2 MPB
  • Marcus Printup Arranger
  • Kenny Garrett Flute
  • Mike Compton Mandolin Instruction
  • Stormzy Singer-Songwriter
  • Maia Sharp Record Producer
  • Stuart Duncan Guitar
  • Chucho Valdés Havana
  • Dan Trueman Software Designer
  • Alessandro Penezzi Violão de Sete
  • Corey Harris Blues
  • Avishai Cohen Composer
  • Ryan Keberle Hunter College Faculty
  • Henrique Cazes Cavaquinho
  • Juliana Ribeiro Musicologist
  • Etan Thomas Poet
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  • Deborah Colker Choreographer
  • Luciano Salvador Bahia Theater Composer
  • Philip Ó Ceallaigh Translator
  • Mart'nália Singer-Songwriter
  • Lynn Nottage Screenwriter
  • Seth Swingle Folk & Traditional
  • Barry Harris Jazz
  • Keshav Batish Composer
  • Mike Marshall Violin
  • Neymar Dias Multi-Instrumentalist
  • Richie Barshay Klezmer
  • Carwyn Ellis Singer-Songwriter
  • Sombrinha Guitar
  • Urânia Munzanzu Bahia
  • Dona Dalva Samba de Roda
  • Casa da Mãe Espaço Cultural/Cultural Space
  • Dave Smith Drums
  • Ivan Bastos Música Afro-Baiana, Afro-Bahian Music
  • Benjamin Grosvenor United Kingdom
  • André Mehmari Brazil
  • Ben Azar Guitar
  • John Waters Journalist
  • Spok Frevo Orquestra Frevo
  • Amilton Godoy São Paulo
  • Corey Ledet Singer-Songwriter
  • David Braid Film Scores
  • Art Rosenbaum Multi-Instrumentalist
  • Lô Borges Belo Horizonte
  • Eli Teplin Piano
  • João Teoria Bahia
  • David Braid London
  • Eddie Palmieri New York City
  • Larissa Fulana de Tal Roteirista, Screenwriter
  • Joe Lovano Jazz
  • Ariel Reich New York City
  • Paul Cebar R&B
  • Marília Sodré Instrução de Violão, Guitar Instruction
  • James Gadson Jazz
  • Luciano Salvador Bahia Theater Composer
  • Nabih Bulos Foreign Correspondent
  • Natan Drubi Samba
  • Chico Buarque Samba
  • Roots Manuva Record Producer
  • Elodie Bouny Lisbon, Portugual
  • Ajurinã Zwarg Samba
  • Danilo Pérez Multi-Cultural
  • Alan Bishop Bass
  • Luizinho Assis Jazz Brasileiro, Brazilian Jazz
  • Marcelo Caldi Choro
  • Ivo Perelman Brooklyn, NY
  • Mayra Andrade Lisbon
  • Parker Ighile NIgeria
  • Howard Levy Blues & Folk
  • Barry Harris Jazz
  • Craig Ross Record Producer
  • Mika Mutti DJ
  • NIcholas Casey New York Times
  • Marisa Monte Rio de Janeiro
  • Nicolas Krassik Jazz
  • David Castillo Theatrical Producer
  • Chris Dave Drums
  • David Bruce Opera
  • Nic Hard Audio Engineer
  • Marvin Dunn Historian
  • Ned Sublette Musicologist
  • Lynn Nottage Playwright
  • Timothy Duffy Folklorist
  • Jason Moran New England Conservatory of Music Faculty
  • Cara Stacey Composer
  • Nicholas Payton Multi-Instrumentalist
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  • Orrin Evans Piano
  • Gerson Silva Bahia
  • Lucian Ban Jazz
  • Bebê Kramer Rio Grande do Sul
  • Marc Johnson Composer
  • David Virelles New York City
  • Ron Miles MSU Denver Music Faculty
  • Emicida Brazil
  • Tutwiler Quilters Mississippi
  • Andrew Gilbert Roots Music
  • Rosa Passos Salvador
  • Bob Mintzer USC Thornton School of Music Faculty
  • Carlos Aguirre Piano
  • Nomcebo Zikode Singer-Songwriter
  • Monk Boudreaux R&B
  • Brandee Younger Jazz
  • Philip Glass Contemporary Classical Music
  • Kris Davis Jazz
  • Rumaan Alam New York City
  • Dhafer Youssef ظافر يوسف Tunis
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  • Seth Swingle Kora
  • Renee Rosnes Composer
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  • Fernando César Composer
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  • Jeff Tweedy Poet
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  • Marcus Miller R&B
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  • Ken Coleman Reporter
  • Ron McCurdy Jazz
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  • Ron Mader Communications Catalyst
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  • Utar Artun Jazz
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  • Mestre Barachinha Maracatu
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  • Larissa Luz Singer-Songwriter
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  • Paulo César Figueiredo Rio de Janeiro
  • Tom Moon Music Critic
  • Stephanie Soileau Writer
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  • Itiberê Zwarg Rio de Janeiro
  • Jorge Glem New York City
  • Vijay Iyer Composer
  • Sharita Towne Pacific Northwest College of Art Faculty
  • Tiganá Santana Produtor Musical, Music Producer
  • Stan Douglas Installation Artist
  • Martin Koenig Photographer
  • Keola Beamer Hawaii
  • Craig Ross Multi-Instrumentalist
  • Brian Stoltz R&B
  • James Shapiro Writer
  • Toninho Horta Singer
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  • Şener Özmen Video Artist
  • Dan Nimmer Jazz
  • Brentano String Quartet Classical Music
  • Marc Ribot Guitar
  • Raelis Vasquez Afro-Latinx Art
  • Sebastian Notini Brasil, Brazil
  • Ricky (Dirty Red) Gordon Washboard
  • Andra Day R&B
  • Domingos Preto Santiago do Iguape
  • Omer Avital North African Music
  • Vivien Schweitzer Culture Journalist
  • Moacyr Luz Samba
  • Celsinho Silva Brazil
  • Gabriel Grossi Brazilian Jazz
  • Luíz Paixão Côco
  • Philip Sherburne Music & Culture Writer
  • Yosvany Terry Afro-Cuban Jazz
  • Ivan Sacerdote Brazilian Jazz
  • Luíz Paixão Composer
  • Bob Telson Film Scores
  • Seth Rogovoy Writer
  • Sameer Gupta Composer
  • Leonardo Mendes Samba
  • Rhiannon Giddens Banjo
  • Dave Holland Jazz
  • André Mehmari Piano
  • Mavis Staples R&B
  • Mary Halvorson Avant-Garde Jazz
  • Kurt Andersen Playwright
  • Jane Ira Bloom Jazz
  • Léo Rodrigues Choro
  • Irmandade da Boa Morte Samba de Roda
  • Yotam Silberstein New York City
  • Sam Dagher Journalist
  • Cainã Cavalcante Choro
  • Carwyn Ellis Samba
  • Shaun Martin R&B
  • David Sacks Latin Jazz
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  • Marcus J. Moore Editor
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  • Anthony Hervey Trumpet Instruction
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  • Jon Cowherd Composer
  • Dale Barlow Composer
  • Ivan Lins Piano
  • Joachim Cooder Drums
  • Trilok Gurtu Tabla
  • Wouter Kellerman World Music

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

 

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