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  • Omar Sosa

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE

Network Node

  • Name: Omar Sosa
  • City/Place: Barcelona
  • Country: Spain
  • Hometown: Camagüey, Cuba

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Omar Sosa received an orchestral commission from Yerba Buena Center for the Arts in San Francisco and the Oakland Easy Bay Symphony, supported by grants from the Rockefeller Foundation and the MAP Fund (Multi-Arts Production Fund). During 2001-2002, Mr. Sosa composed a 45-minute work in three movements for symphony orchestra entitled, From Our Mother, which received its world premiere in January 2003 by the Oakland East Bay Symphony under the direction of Michael Morgan. In 2009, Mr. Sosa received an orchestral commission from the city of Girona, Spain and the Festival de Músicas Religiosas y del Mundo de Girona. The 20-minute work for symphony orchestra, entitled Oda Africana, received its world premiere in July 2009 by the Jove Orquesta Athenea, conducted by Lluis Caballeria. Also in 2009, Mr. Sosa received a commission from the Barcelona Jazz Festival to present a tribute to Miles Davis’ Kind Of Blue recording, featuring Afro-Cuban interpretations of the seminal Davis work on the occasion of its 50th anniversary. The project was performed at L’Auditori in Barcelona in November 2009.

    In 2008, Omar Sosa received funding from the National Endowment for the Arts in conjunction with Yerba Buena Gardens (San Francisco) and the San Francisco International Arts Festival to present a new Omar Sosa Quintet featuring American roots vocalist Tim Eriksen. This collaboration resulted in the 2009 CD release on Half Note Records, Across The Divide, recorded live at the Blue Note Jazz Club in NYC. The project received a GRAMMY nomination for Best Contemporary World Music Album, and a Latin GRAMMY nomination for Best Instrumental Album, both in 2009.

    For May 2011, Mr. Sosa has received further funding from the National Endowment for the Arts in conjunction with the Jazz School in Berkeley, California and the San Francisco International Arts Festival, to present a series of workshops with noted Latin jazz percussionist, educator and historian, John Santos, as well as a Festival performance in San Francisco with his primary touring ensemble, Afreecanos Quartet.

    Mr. Sosa’s recording career began in 1997 with the release of his first solo piano recording, Omar Omar on the Oakland, California-based record label, Otá Records, and has continued with the release of 22 CDs as a leader, resulting in five GRAMMY nominations. These include a 2002 GRAMMY nomination and Latin GRAMMY nomination for Best Latin Jazz Album for the CD Sentir; a 2005 GRAMMY nomination for Best Latin Jazz Album for the CD Mulatos, featuring Cuban saxophone and clarinet master, Paquito D’Rivera; and the two nominations for Across The Divide in 2009.

    Omar works with an array of African, Arabic, European, Indian, Latin, and North American musicians. Among his many associations are drummers and percussionists Steve Argüelles, Julio Barretto, Mino Cinelu, Miguel “Angá” Diaz, Marque Gilmore, Trilok Gurtu, Marcos Ilukán, Ramiro Musotto, Gustavo Ovalles, Pancho Quinto, Adam Rudolph, John Santos, Carlos “Patato” Valdés, and Orestes Vilató; singers Tim Eriksen, Lázaro Galarraga, Marta Galarraga, El Houssaine Kili, Xiomara Laugart, María Márquez, Will Power, Mola Sylla, the Tenores San Gavino de Oniferi – Sardinia, and Dhafer Youssef; trumpeter Paolo Fresu; and woodwind masters Paquito D’Rivera, Luis Depestre, Leandro Saint-Hill, and Mark Weinstein.

    Another recent work is Tales From The Earth (Otá Records, 2009), led by flute player Mark Weinstein. The recording presents a thoroughly cosmopolitan outlook rooted in the rhythmic intensity and improvisatory, call-and-response spirit of Africa writ large. It features artists of

    Cuban, Haitian, West African, European, African American, and Jewish American heritage, with a shared commitment to the communal, celebratory character that embodies the expressive riches of Mother Africa and features Omar on marimba and vibraphone, which he studied in Cuba’s conservatories before switching to piano.

    A major new project bears the fruit of Omar’s first big band collaboration, working with composer Jaques Morelenbaum and Hamburg’s North German Radio (NDR) Bigband. Recorded in 2007 and 2008 at the NDR studios in Hamburg, it features Jaques Morelenbaum arrangements of material from the Omar Sosa CDs Spirit Of The Roots (1999), Bembón (2000), and Afreecanos (2008). Jaques Morelenbaum has arranged for Antonio Carlos Jobim, Gal Costa, Gilberto Gil, Caetano Veloso, and Cesária Evora, among many others. Omar Sosa-NDR Bigband performances were held at the Banlieues Bleues festival in Paris and the NDR studios in March 2010; and will be presented again by the Barcelona Jazz Festival in November 2010 at that city’s famous Palau Música Catalana, with Jaques Morelenbaum conducting.

    New performing pursuits include a trio with noted Italian trumpet player Paolo Fresu and master Indian percussionist Trilok Gurtu. Notable video productions include Light In The Sky, filmed in Salvador de Bahia, Brazil and directed by Aitor Echeverria (from the 2008 CD release Afreecanos), and the recent DVD release of Omar Sosa’s 2007 Java Jazz Festival performance in Jakarta, Indonesia.

    For film and television, Omar Sosa collaborated in 2008 on the soundtrack for the PBS documentary, The Judge and the General; and completed the soundtrack for the 2010 film The Last Flight of the Flamingo, produced by Fado Filmes in Lisbon, Portugal, and based on Mia Couto’s famous novel about Mozambique. Mr. Sosa also contributed a musical excerpt to the 2006 Andy Garcia film, The Lost City.

    In 2011, Omar released his fifth solo piano recording, Calma, which received a Latin GRAMMY nomination. Featuring Omar’s unique and original approach to the genre, the CD is comprised of 13 solo piano improvisations, fusing stylistic elements of jazz, classical new music, ambient, and electronica.

    In January 2012, Omar collaborated with celebrated Italian trumpet and flugelhorn player, Paolo Fresu, on the release of Alma. The CD features guest cello contributions on four tracks by the masterful Brazilian conductor, arranger, producer, and cellist, Jaques Morelenbaum. Produced by Paolo Fresu and Omar Sosa for Mr. Fresu’s label imprint, Tuk Music, the compositions are written by Omar Sosa and Paolo Fresu, except for Under African Skies, a gentle version of the popular track from the Paul Simon CD, Graceland.

    Omar Sosa’s next studio album, “Eggun: The Afri-Lectric Experience”, is set for release worldwide in February 2013. Eggun, in the West African spiritual practice of Ifa and its various expressions throughout the African Diaspora, are the spirits of those who have gone before us, both in our personal families and those who serve as our spiritual guides.

    The Omar Sosa Afri-Lectric Experience began as a commission from the Barcelona Jazz Festival in 2009. The assignment: to compose and produce a tribute performance to Miles Davis’ classic Kind Of Blue recording on the occasion of its 50th anniversary. Inspired by various musical elements and motifs from Kind Of Blue, Omar wrote a suite of music honoring the spirit of freedom in Davis’ seminal work. Featuring trumpet and two saxophones, Eggun provides a medium for musical elements from Africa to shape and develop the music, and the resulting jazz textures are further enriched by the subtle and expressive use of electronic elements. At the heart of the recording is the spirit of Mother Africa.

    Following the success of the Kind Of Blue commission, Omar began to include the new arrangements into the repertoire of his regular touring ensemble, resulting in the creation of the The Afri-Lectric Experience. The featured horn players are Joo Kraus on trumpet (from Germany), Leandro Saint-Hill on saxophones and flute (from Cuba), and Peter Apfelbaum on saxophones and percussion (from U.S.A.). Omar’s longtime rhythm section of Marque Gilmore on drums (from U.S.A.) and Childo Tomas on electric bass (from Mozambique) create the foundation.

    Special guests on the project include Lionel Loueke on guitars (from Benin), Marvin Sewell on guitars (from U.S.A.), Pedro Martinez on Afro-Cuban percussion (from Cuba), John Santos on percussion (from U.S.A.) and Gustavo Ovalles on Afro-Venezuelan percussion (from Venezuela). The CD was recorded primarily in Brooklyn, NY.

    In January 2014, Omar released his 5th solo piano recording, Senses. It was created at EMPAC, the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute in Troy, New York. Omar was invited to an artist residency at EMPAC in 2012 by Zimbabwean dancer / choreographer Nora Chipaumire to compose music for Nora’s dance-theater piece, Miriam. The sound score for Miriam received a BESSIE Nomination for a New York Dance and Performance Award for Outstanding Musical Composition / Sound Design.

    In March 2015, Omar released a CD with his Quarteto AfroCubano, entitled Ilé. This recording marked a homecoming for Omar to his formative years in late ‘80s and early ‘90s Havana. Ilé means home, or earth, in the Lucumí tradition to his of Cuba, derived from the Yoruba language of West Africa, and it is to the Latin Jazz roots of his native Cuba that Omar returns for inspiration on this new CD.

    Joining him on the project are three musicians with whom Omar shares a close connection: fellow Camagüeyanos, Ernesto Simpson on drums, and Leandro Saint-Hill on alto saxophone, flute and clarinet, and Mozambican electric electic bassist Childo Tomas – collectively known as Quarteto AfroCubano. These musicians speak the same musical language, using their Cuban and African traditions as a springboard for creative freedom.

    Special guests on the recording include Cuban percussionist Pedro Martinez, American guitarist Marvin Sewell, Cuban saxophonist Yosvany Terry, and maestro Eladio “Don Pancho” Terry, patriarch of the Terry family, on chekere. Featured on vocals is spoken word artist Kokayi. And, reflecting the influence of his extended residency in Barcelona, Omar showcases Flamenco vocalist José “El Salao” Martín on several tracks, including a version of Cuban trova composer Sindo Garay’s La Tarde.

    Upcoming recording projects for Omar Sosa include a unique collaboration with Senegalese kora player Seckou Keita and Chinese sheng player Wu Tong, entitled Transparent Water, which was released in February 2017; a second CD production with Italian trumpet player Paolo Fresu, following their 2012 release, Alma, featuring Brazilian cellist Jaques Morelenbaum, entitled Eros, and set for release in May 2016; and a follow-up CD with the NDR Bigband, featuring arrangements again by Jaques Morelenbaum, entitled Es:sensual, was released in Germany in early 2017.

    New touring projects for Omar Sosa include JOG Trio, featuring award-winning German trumpet player Joo Kraus, and folkloric Venezuelan percussionist Gustavo Ovalles. Their CD, entitled JOG, was released in GAS, Poland, Benelux and Scandinavia in October 2015 by Hamburg-based SKIP Records. A co-leader project with tenor saxophonist Jacques Schwarz-Bart from Guadeloupe, entitled Creole Spirits, was launched in April 2016 with a creation residency in Guadeloupe. This gathering resulted in an EPK video produced by noted French filmmaker Frank Cassenti.

    Omar’s second CD with the NDR Bigband, “Es:sensual”, was released in the U.S. and Japan, et al, in January 2018, with arrangements again by noted Brazilian master, Jaques Morelenbaum, and featuring a number of Omar’s signature compositions, “Cha Cha du Nord”, and “My Three Notes”.

    In October 2018, Omar and violinist-vocalist Yilian Cañizares released Aguas, a very beautiful and personal album. Featuring their compatriot, percussionist Inor Sotolongo, Aguas reflects the perspectives of two generations of Cuban artists living outside their homeland, interpreting their roots and traditions in subtle and unique ways. Songs range from the poignant to the exuberant, and are expressive of the exceptional musical chemistry, poetic sensibilities, and originality of the artists.

    The material on Aguas is an inventive and engaging mix of the artists’ Afro-Cuban roots, Western classical music, and jazz. The album is dedicated to Water, and especially to Oshun, the Goddess of Love and Mistress of Rivers in the Lucumí tradition of Yoruba ancestry known in Cuba as Santería – a spiritual practice important to both artists. As water is synonymous with life, and energy, and strength, and space, the music of the album is inspired by the important influences of water – its hidden powers, its infinite transmutations, and its relentless creation. There is a sense, as well, for Omar and Yilian, of how water represents both separation from, and nostalgia for, the land of their birth.

Contact Information

  • Contact by Webpage: http://melodia.com/contact-us/
  • Management/Booking: MANAGEMENT
    OTA RECORDS
    484 Lake Park Avenue, Suite 32
    Oakland, CA 94610
    U.S.A.
    +1 510 339 3389 office
    +1 510 410 9799 mobile
    www.melodia.com
    [email protected]

    For booking in EUROPE, please contact:
    (except Germany, Italy, Spain, and U.K.)
    Jazz Musique Productions
    520, rue de la Ducque
    34730 Prades le Lez
    FRANCE
    +334 67 59 74 97 office
    [email protected]
    www.jmp.fr

    For booking in the UNITED KINGDOM, please contact:
    Graham Lawson
    Mintaka Music
    Middle Hill
    Stroud GL5 1NU
    U.K.
    +44 7887 996507 mobile
    [email protected]
    www.mintakamusic.com

    For booking in the UNITED STATES
    and CANADA, please contact:
    Maurice Montoya
    MMMusic Agency
    1133 Broadway, Suite 1608
    New York, NY 10010
    212-229-9160 telephone
    212-229-9168 fax
    +1 305 763 8961 office
    [email protected]
    www.mmmusicagency.com

    For booking in SPAIN, please contact:
    El Espíritu del Sur
    Avda. Menéndez Pidal, 19, oficina 1
    22004 Huesca
    SPAIN
    +34 974 232 043 office
    [email protected]
    www.espiritudelsur.com

    For booking in ITALY, please contact:
    KINO Music
    Via Emilia Est, 190/2 int. 1
    41100 Modena
    ITALY
    +39 059 271410 office
    [email protected]
    www.kinomusic.it

    For booking in the rest of the WORLD,
    please contact:: Otá Records
    484 Lake Park Avenue, Suite 32
    Oakland, CA 94610
    +1 510 339 3389 office
    +1 510 410 9799 mobile
    [email protected]
    www.melodia.com
  • Record Company: Formed in 1996, Otá Records is an independent production company and record label based in Oakland, California involved with the music of internationally acclaimed Cuban composer and pianist Omar Sosa. Otá Records has released over 30 Omar Sosa recordings, garnering many awards, including seven GRAMMY / Latin GRAMMY nominations.

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://lnk.to/OmarSosa_Album
  • ▶ Twitter: OmarSosaMusic
  • ▶ Instagram: omarsosamusic
  • ▶ YouTube Music: http://music.youtube.com/channel/UCN9yKKpMh3TosxVptm258wA
  • ▶ Spotify: http://open.spotify.com/album/05zAa96vJNiqrT9GBc6n3O
  • ▶ Spotify 2: http://open.spotify.com/album/33etMZVrNXc989ByzH0rlu
  • ▶ Spotify 3: http://open.spotify.com/album/6k71DpkjsjUGEqdtUPGi2Q
  • ▶ Spotify 4: http://open.spotify.com/album/3ccfAS0S3rtfzx6iDt6CNN
  • ▶ Spotify 5: http://open.spotify.com/album/1LoSzGxdDfLsiY8wzsqdjg
  • ▶ Spotify 6: http://open.spotify.com/album/7i02cH3P9cpHVdL0ll2uC2

Clips (more may be added)

  • 4:47
    OMAR SOSA & SECKOU KEITA - TAMA TAMA
    By Omar Sosa
    230 views
  • 1:45:57
    Omar Sosa Quarteto AfroCubano Budapest
    By Omar Sosa
    244 views
  • 0:15:46
    Omar Sosa & Paolo Fresu: NPR Music Tiny Desk Concert
    By Omar Sosa
    261 views
Previous
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Images

  • SUBA 1 photo

Previous
Next

Omar Sosa Curated

  • 5 Afro-Cuban Jazz
  • 5 Composer
  • 5 Cuba
  • 5 Marimba
  • 5 Multi-Cultural
  • 5 Piano
  • 5 Vibraphone

What's Been Happening?

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  • Omar Sosa
    Jane Cornwell → Writer has been recommended via Omar Sosa.
    • November 28, 2022
  • Omar Sosa
    Jane Cornwell → Music Critic has been recommended via Omar Sosa.
    • November 28, 2022
  • Omar Sosa
    Jane Cornwell → London has been recommended via Omar Sosa.
    • November 28, 2022
  • Omar Sosa
    Jane Cornwell → Liner Notes has been recommended via Omar Sosa.
    • November 28, 2022
  • Omar Sosa
    Jane Cornwell → Journalist has been recommended via Omar Sosa.
    • November 28, 2022
  • Omar Sosa
    Paolo Fresu → Trumpet has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Theater Scores has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Television Scores has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Sardinia has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Paris, France has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Jazz has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Flugelhorn has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Film Scores has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Composer has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Paolo Fresu → Bologna, Italy has been recommended via Omar Sosa.
    • July 20, 2022
  • Omar Sosa
    Omar Sosa added 1 photo(s) to the album SUBA:
    • December 30, 2021
  • Omar Sosa
    Seckou Keita → Senegal has been recommended via Omar Sosa.
    • September 8, 2021
  • Omar Sosa
    Seckou Keita → Percussion has been recommended via Omar Sosa.
    • September 8, 2021
  • Omar Sosa
    Seckou Keita → Multi-Cultural has been recommended via Omar Sosa.
    • September 8, 2021
  • Omar Sosa
    Seckou Keita → Kora has been recommended via Omar Sosa.
    • September 8, 2021
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  • English (Portuguese →)
  • (← Inglês) Português

English (Portuguese →)

 

PATHWAYS
from Brazil, with love

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

 

 

The Matrix was Born in Brazil, but It Embraces the Entire World

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's 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 (Bahia's Bay of All Saints received more enslaved human beings than any other final port-of-call throughout all of human history).

 

Brazil 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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Brazil itself is a matrix. Nowhere else but here.


Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

The matrix was created in Salvador's Centro Histórico, where Bule Bule above, among magisterial colleagues for whom this matrix was originally built (it's now open to all in the Global Creative Economy) sings, "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: A means by which those above, those below, and EVERYBODY ELSE in the creative economy can be divulged EVERYWHERE.

For by the seemingly magical mathematics of the small world phenomenon, all in the matrix will tend to proximity to all others, in the same way that most human beings are within some six or so steps of most others.

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil. Laroyê!

 

"Matrixado!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil

"Many thanks for this - I am  touched!"

✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist)

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington

 


The matrix is the ultimate evolution of a pathway which began in New York City decades ago per the "rescue" of unpaid royalties, performance & mechanicals, for artists burned by major labels: Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd of Kingston's Studio One (Bob Marley's producer; I made a copy of his original contract with Bob to take to CBS Records to argue; Bob was 17 when he signed and his aunt co-signed)...
...Funk Brother Wah Wah Watson (Melvin Ragin) and others. A long and winding road that led inexorably to the necessity of a truly open arts universe, for there is more in Heaven and Earth...

Tap people, tap categories, tap curations... The matrix is a maze of tunnels within King Solomon's creative mines.

(← Inglês) Português

 

CAMINHOS
do Brasil, com amor

"Fico muitíssimo feliz em receber seu e-mail! Obrigada por me incluir neste matrix maravilhoso."
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

 

 

O Matrix Nasceu no Brasil, mas Abraça o Mundo Inteiro

Por que construir o matrix no Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem (a Baía de Todos os Santos recebeu mais seres humanos escravizados do que qualquer outro porto de escala final ao longo de toda a história humana).

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 
Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Brasil é um matrix mesmo. Em nenhum outro lugar a não ser aqui.


Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule acima, entre colegas magisteriais para quem este matrix foi originalmente construído (está aberto agora a todos na Economia Criativa Global) canta, "Chegou a hora dessa gente bronzeada mostrar seu valor..."

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim algo novo sob o sol tropical: Um meio pelo qual os acima, os abaixo e TODOS OS OUTROS na economia criativa podem ser divulgados em TODOS OS LUGARES.

Pela matemática aparentemente mágica do fenômeno do mundo pequeno, todos no matrix tenderão a se aproximar de todos, da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros.

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil. Laroyê!

 

"Matrixado!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil

"Muito obrigado por isso - estou tocado!"

✅—Julian Lloyd Webber
Estamos tocados também Sr. Webber!
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note)

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


O matrix é a evolução definitiva de um caminho que começou em Nova York há décadas atrás pelo "resgate" dos direitos autorais não pagos para Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd do Studio One de Kingston (o produtor de Bob Marley; Eu fiz uma cópia de seu contrato original com Bob para levar à CBS Records para discutir; Bob tinha 17 anos quando assinou e sua tia co-assinou)...
...Funk Brother Wah Wah Watson (Melvin Ragin) e outros. Um longo e sinuoso caminho que levou inexoravelmente à necessidade de um universo de artes verdadeiramente aberto, pois há mais no Céu e na Terra...

Toque em pessoas, toque em categorias, toque em curadoria... O matrix é um labirinto de túneis dentro das minas criativas do Rei Salomão.

  • Rahim AlHaj Oud
  • Calypso Rose Trinidad & Tobago
  • Donny McCaslin Saxophone
  • Chad Taylor Jazz
  • Daniel Bennett Composer
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