Nate Chinen - The Matrix

Reality is that most people — no matter how seemingly separated in geography and society (from Quincy Jones in Los Angeles to Delfeayo Marsalis in New Orleans to Raimundo "Mago do Nordeste" / "Wizard of the Northeast" Sodré in Brazil ... to you, wherever you are, my friend) — are within scant degrees of most other people (the so-called "six degrees of separation" phenomenon) everywhere. The Matrix is a parallel universe of worldlines combining this principle with the most powerful, subtle and wide-ranging recommendation software yet developed: the collective human mind. This is the red pill. No information harvested per FB/Cambridge Analytica.

Worldlines In ~ These People Curate Me

I am curated in these categories by these people. Further info by clicking on curation category buttons.

Worldlines Out ~ I (See Important Above) Curate These People

I am curatable in: 5 categories
I have received: 10 curations
I CURATE THESE PEOPLE IN THESE CATEGORIES > 5 curations

Who I Am & Where I Live

Name: Nate Chinen
City: Beacon, New York
Country: United States

My Life

Biographical: NATE CHINEN has been writing about jazz for more than twenty years.

He spent a dozen of them working as a critic for The New York Times, and helmed a long-running column for JazzTimes. As the director of editorial content at WBGO, he works with the multiplatform program Jazz Night in America and contributes a range of coverage to NPR Music.

A twelve-time winner of the Helen Dance–Robert Palmer Award for Excellence in Writing, presented by the Jazz Journalists Association, he is also coauthor of Myself Among Others: A Life in Music, the 2003 autobiography of festival impresario and producer George Wein.

His work appears in Best Music Writing 2011, Pop When the World Falls Apart: Music in the Shadow of Doubt (Duke University Press, 2012), and Miles Davis: The Complete Illustrated History (Voyageur Press, 2012).

Chinen was born and raised in Honolulu, Hawaii. He started his career as a music critic in 1996, at the Philadelphia City Paper. There he covered one of the great jazz cities at ground level, writing a steady stream of reviews and features, along with a biweekly column, The Gig.

He moved to New York City in 1998, and began writing for a range of publications, including DownBeat, Blender and Vibe. For several years he was the jazz critic for Weekend America, a syndicated radio program. He covered jazz for the Village Voice from 2003 through 2005, when he became a regular contributor to The New York Times.

Chinen's closest affiliation with a music periodical has been with JazzTimes, since the turn of the century. In 2004 he revived The Gig as a column for the magazine, where it ran in 125 consecutive installments.

At the beginning of 2017, Chinen became director of editorial content at WBGO, the global leader in jazz radio, broadcasting from Newark. He manages the full spectrum of jazz coverage at wbgo.org; works closely with Jazz Night in America, a multimedia program hosted by Christian McBride; and writes regularly for NPR Music, about jazz and other genres.

He lives in Beacon, New York, with his wife and two daughters.

My Media

Website: http://www.playingchangesbook.com
Website 2: http://bandcamp.com/natechinen
Book Purchases: http://www.penguinrandomhouse.com/books/248047/playing-changes-by-nate-chinen/9781101873496/

Contact Information

Email: mtomassi@penguinrandomhouse.com

Quotes, Notes & Etc. “Nate Chinen has written a terrific book about the shape of contemporary jazz, and right now is a terrific time to read it.” —The Washington Post

“Essential. . . . Fascinating and vital. . . . A perfectly timed, well-tuned chronicle of the past, present, and future of jazz.” —Slate

“Chinen has excellent taste in unruly new sounds and big, bent ears.” —The New York Times

“Brilliant. Incisive. Jazz lives on and on and on, folks.” —Sonny Rollins

“Daring and illuminating. . . . No writer has confronted the of-this-moment character of contemporary jazz with the clarity and authority that Nate Chinen has brought to it. . . . He is a listener of true brilliance.” —David Hajdu, The Nation

“Graceful and comprehensive.” —Rolling Stone

“Chinen’s passion for the art form and deep understanding and knowledge of jazz make for a fascinating read. His firm support of the music and belief that the changes taking place within it will continue to serve it well—solidifying jazz as a global mode of communication without bounds—are truly uplifting.”—Herbie Hancock

“A sturdy, finely crafted and open-ended framework for consideration of where jazz is headed, and why.” —The Wall Street Journal

“Sharp in style and warm in feeling, Nate Chinen’s virtuoso survey dispenses with the familiar agendas and polemics that have too often boxed in writing on contemporary jazz. He follows the music where it goes and exults in its plurality of voices.”—Alex Ross, author of The Rest Is Noise: Listening to the Twentieth Century

“A thorough and thoughtful examination. . . . [Chinen] looks at the work of a generation of artists that includes Kamasi Washington, Cécile McLorin Salvant and Jason Moran and finds a level of imagination and expression that has stretched the genre beyond the ‘jazz wars’ of years ago into an ever-expanding sound of endless possibility.” —Los Angeles Times

“Exciting reading. . . . The book builds impressively. . . . Should delight musicians and readers of all kinds.” —DownBeat

“Dazzling. . . . A stunning and wondrous journey. . . . Chinen improvises brilliantly across the progressions of jazz so that every page of his book brims with insight.” —No Depression

“Elegant, evocative writing. . . . Mesmerizing. . . . Essential. . . . Like the best nonfiction, Playing Changes will motivate jazz diehards and neophytes alike to discover what’s out there and what’s on the horizon.” —PopMatters

“A brilliant and wide-ranging new history of jazz. . . . Chinen’s virtuoso jazz history will drive
readers to listen to the music anew, or for the first time.” —Publishers Weekly (starred review)

“Chinen is setting a new standard. . . . [Playing Changes] brings jazz criticism not only to a new period of history but also to a fascinating era of musical exploration and discovery.” —Booklist

Clips

"Playing Changes": In Conversation w/ Nate Chinen
By Nate Chinen

12 views

Hey there! Questions? We'll answer them! Need your login info? We've got it! Inaccuracies? Faulty curations by the Ghost in the Machine? Contact us here, or email sparrowroberts@gmail.com. Thank you! (I'm Randy "Pardal/Sparrow" Roberts and I built this matrix!)

EZ INSTRUCTIONS

The matrix is a small world curation network.

It is designed to be coursed through, from node (person/entity) to node to node in a voyage of discovery.

This is universal open curation in series. A 21st century twist on the oldest and most effective means of publicity of all: word-of-mouth.

Curations in series form worldlines, which enter pages via the THEY CURATE ME section and exit via the I CURATE THEM section (above).

The totality of worldlines taken together make up the matrix...a matrix in the original sense of "source", from "mater", Latin for "mother".

We are — per below — real mothers for ya!

All are welcome to curate, and all may decide for themselves whose judgement to trust. One aspect of open curation is that it allows us to see the curations of performing experts in their area, no matter how obscure this area might be, areas where perhaps there are no professional curators.

After a page has been created (it can be as simple or as complex as you like) you create arts-related categories for which you can be recommended. Examples can be seen at the bottom of every member page, including your own.

Categories for which you can be recommended are created in your "THEY CURATE ME" section. Then when somebody clicks on one of your categories, their image and a link back to their own page will appear there. You will appear in their "I CURATE THEM" section.

When YOU click on somebody else's category in their "THEY CURATE ME" section on their page, your image and a link back to your own page will appear there. THEY will appear in YOUR "I CURATE THEM" section.

If wish merely to curate (recommend), simply don't create categories for yourself. Whatever the case, people getting to your page can see who you think is great. The people you think are great can see you think they are great!

You can put Spotify album or artist links in the Spotify fields; people on your page can click on these links and the Spotify web player will open up to your music.

You can put your music into your own Matrix player by clicking on the Add Music button at the top of your (or any) page.

You can embed YouTube videos into your own video page by clicking on the Add Videos button at the top of your (or any) page.

Join from the top of any page.

If you find yourself sufficiently moved by this artist, click on categories for which they may be recommended (within their THEY CURATE ME area) above. The artist, together with the categories for which you are recommending them, will then appear on your own I CURATE THEM list.

ABOUT THE MATRIX

Wow! Very impressive! ... I love what you've built here... Derek Sivers, founder, CD Baby

If Myspace Music had been set up like this they'd be using it to hear Hermeto Pascoal in Andromeda by now! ... Sparrow Roberts, founder, The Matrix

WHAT IS THE SIGNIFICANCE OF THE WORLD'S FIRST EVER SMALL WORLD CURATION NETWORK?

Any artist (in any field) in any place in the world can be potentially reached by anybody from anywhere.

BY WHAT WIZARDRY?

We've all heard of six degrees of separation, more properly called a small world network. Within six or so steps we can move through a chain of people knowing other people to just about anybody on the planet.

SIMPLY CHANGE "KNOW" TO "RECOMMEND"

In exactly the same way, step by step we can move through chains of ARTISTS RECOMMENDING (curating) OTHER ARTISTS to to just about any artist on the planet.

LIKE THIS...

Quincy Jones recommends artists under his wing including stellar young Cuban pianist Alfredo Rodriguez. Alfredo recommends a fabulous multinstrumentalist he plays with, Munir Hossn. Two more steps and we've reached Raimundo Sodré, lost in Bahia:

Raimundo Sodré Now

Dengo

Add to my Playlist

Sina de Cantador - Raimundo Sodré (6,520 plays)
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Magnetismo - Raimundo Sodré (6,228 plays)
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Sacando a Cana - Raimundo Sodré (5,877 plays)
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Mêrêrê - Raimundo Sodré (5,402 plays)
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A Massa - Raimundo Sodré (4,958 plays)
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Jardim do Amor - Raimundo Sodré (4,631 plays)
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Debaixo do Céu - Raimundo Sodré (4,112 plays)
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Desejo de Amar - Raimundo Sodré (3,823 plays)
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Oração pra Yá Oxum - Raimundo Sodré (3,701 plays)
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Yá África - Raimundo Sodré (3,472 plays)
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Meu Rio, Cadê o Papel - Raimundo Sodré (3,148 plays)
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Casa de Trois - Raimundo Sodré (2,868 plays)
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Mulher é Laço que Prende o Coração do Va... (2,531 plays)

Share | Report | 57,271 plays | 9,509 views

DICTATED SILENCE

Sodré's meteoric major-label career was crushed and his life threatened by the Brazilian dictatorship years ago, sending him into a 19 year exile. He became almost impossible to find and hear.

MUSIC FALLS LIKE RAIN

But now lines of everbranching interlinked recommendations rise from Bahia to form a (small world) network rounding the planet like the arboreal canopy of a vast Amazonian rainforest. When the dictatorship ground Sodré into the dust, they unwittingly planted a seed.

IS THE MATRIX AN ALTERNATE REALITY?

The original meaning of "matrix" is "source", from "mater", Latin for "mother". We're real mothers for ya!

Pre-Brazil we "rescued" unpaid royalties for performers and composers including Aretha Franklin, Barbra Streisand, Led Zeppelin, Philip Glass, Mongo Santamaria, Airto Moreira, Gilberto Gil, Astrud Gilberto, Jim Hall, Robb Royer of Bread, Speedo & the Cadillacs, and many more! Recording by WXPN's Kim Junod

DOES THE MATRIX WATCH YOU?

Zero surreptitious tracking, data mining and data brokerage per Cambridge Analytica, Facebook, et al.

PATHWAYS ACCESSIBLE VIA ANY NODE BELOW, OR VIA A CATEGORY, OR USE THE SEARCH BOX:

Our logo is a sugarcane cutter, representative of the fact that the great root of Brazil's music is planted Congo-deep in the massapê -- rich alluvial soil -- of the sugarcane plantations of Bahia: