CURATION
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from this page:
by Augmented Matrix
Network Node
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Name:
Nahre Sol
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City/Place:
Toronto
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Country:
Canada
Life
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Bio:
Nahre Sol, also known as Alice, is a multifaceted artist engaging in performance, composition, and teaching across a diverse spectrum of musical genres. Her approach seamlessly integrates elements of improvisation, avant-garde, traditional Western forms, jazz, and minimalism. Renowned as a classically-trained pianist with an unquenchable thirst for innovative ideas in music theory, harmony, practicing, and composition, Nahre has established herself through two popular YouTube series, Practice Notes and Sound Bank.
Graduating from The Juilliard School and The Glenn Gould School of The Royal Conservatory of Music in Toronto, Nahre's solo and chamber performances have graced stages across North America and Europe. Notable venues include The Kennedy Center in Washington D.C., The Walt Disney Concert Hall in Los Angeles, and Gusman Theatre in Miami, among others in Canada, France, Holland, Italy, Poland, and Germany. A recipient of the Harriet Hale Woolley Grant in 2013, she studied in Paris under Gabriel Tacchino and Narcis Bonet, both protégés of Francis Poulenc.
As a soloist, Nahre's compositions have premiered in major cities worldwide, featuring performances by renowned artists such as Julian Martin, Han Chen, Jaewon Bang, Jeremy Smith, and Griffin McMahon. Beyond her individual pursuits, Nahre Sol is the Co-Artistic Director and keyboardist of Happenstance, a Toronto-based concert series and ensemble she co-leads with clarinetist Brad Cherwin. Happenstance is celebrated for blending contemporary repertoire with traditional works, creating a unique and engaging experience for audiences.
Adding another layer to her artistic repertoire, Nahre Sol co-hosts Sound Field, a music channel by PBS Digital Studios, alongside drummer L.A. Buckner. The channel explores a wide range of music-related topics, including education, analysis, and composition. Recent projects include a commissioned set of miniatures with video projections for the Andrew Carnegie Free Library and Music Hall, as well as performances, masterclasses, and talks at institutions like Carnegie Mellon University, University of Costa Rica, Westben Performer-Composer Residency, and the Millbrook School.
Currently, Nahre is the recipient of the inaugural New Music Fellowship at The Glenn Gould School at The Royal Conservatory of Music in Toronto, marking a significant milestone in her continuously evolving and vibrant artistic journey.
Portuguese:
Nahre Sol, também conhecida como Alice, é uma artista multifacetada envolvida em performance, composição e ensino em uma variedade de gêneros musicais. Sua abordagem integra perfeitamente elementos de improvisação, vanguarda, formas tradicionais ocidentais, jazz e minimalismo. Renomada como pianista clássica com uma sede insaciável por ideias inovadoras em teoria musical, harmonia, prática e composição, Nahre se estabeleceu por meio de duas populares séries no YouTube, Practice Notes e Sound Bank.
Graduada na Juilliard School e na Glenn Gould School do Royal Conservatory of Music em Toronto, as performances solo e de câmara de Nahre decoraram palcos em toda a América do Norte e Europa. Locais notáveis incluem o Kennedy Center em Washington D.C., o Walt Disney Concert Hall em Los Angeles e o Gusman Theatre em Miami, entre outros no Canadá, França, Holanda, Itália, Polônia e Alemanha. Recebedora da Harriet Hale Woolley Grant em 2013, estudou em Paris com Gabriel Tacchino e Narcis Bonet, ambos discípulos de Francis Poulenc.
Como solista, as composições de Nahre estrearam em cidades importantes ao redor do mundo, apresentando performances de artistas renomados como Julian Martin, Han Chen, Jaewon Bang, Jeremy Smith e Griffin McMahon. Além de suas buscas individuais, Nahre Sol é a Co-Diretora Artística e tecladista da Happenstance, uma série e ensemble sediados em Toronto, co-liderada pelo clarinetista Brad Cherwin. A Happenstance é aclamada por mesclar repertório contemporâneo com obras tradicionais, criando uma experiência única e envolvente para o público.
Adicionando mais uma camada ao seu repertório artístico, Nahre Sol co-apresenta o Sound Field, um canal de música da PBS Digital Studios, ao lado do baterista L.A. Buckner. O canal explora uma ampla gama de tópicos relacionados à música, incluindo educação, análise e composição. Projetos recentes incluem um conjunto de miniaturas com projeções de vídeo encomendadas pela Andrew Carnegie Free Library and Music Hall, além de performances, masterclasses e palestras em instituições como Carnegie Mellon University, University of Costa Rica, Westben Performer-Composer Residency e Millbrook School.
Atualmente, Nahre é a destinatária da primeira Bolsa de Nova Música na Glenn Gould School do Royal Conservatory of Music em Toronto, marcando um marco significativo em sua jornada artística contínua e vibrante.
Clips (more may be added)
When creators curate people (and entities) for what they do and where they do it, a matrix is generated.
Following human society, by the mathematical magic of the small-world phenomenon, all inside such a matrix tend to within degrees of all others inside.
And by logical extension, to within degrees of all humanity.
It is almost completely unknown that the Recôncavo of Bahia was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
And it is widely unknown that Brazil — a repository of African deities now largely forgotten in their lands of origin — absorbed over ten times the number of Africans taken to the United States of America.
And that Brazil was a refuge for Sephardim fleeing an Inquisition which pursued 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.
In an Integrated Global Creative Economy, great culture is great power. And in a small-world great things are possible.
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"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...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
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.
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