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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 Peter Erskine:

  • 4 Author
  • 4 Drums
  • 4 Jazz
  • 4 Record Producer
  • 4 USC Thornton School of Music Faculty

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  • Peter Erskine
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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



  • Peter Erskine
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Peter Erskine
  • City/Place: Los Angeles, California
  • Country: United States

Life & Work

  • Bio: Peter Erskine has played the drums since the age of four and is known for his versatility and love of working in different musical contexts. He appears on 700 albums and film scores, and has won two Grammy Awards, plus an Honorary Doctorate from the Berklee School of Music (1992).

    Fifty albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson Big Bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, Mary Chapin Carpenter, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Frankfurt Radio, Scottish Chamber, Ensemble Intercontemporain, Royal Opera House, BBC Symphony, Oslo and Berlin Philharmonic Orchestras. Peter premièred the double percussion concerto Fractured Lines, composed by Mark-Anthony Turnage, at the BBC Proms with Andrew Davis conducting, and has collaborated frequently with Sir Simon Rattle. He also premiered the Turnage opera “Anna Nicole” at the Royal Opera House in London. Turnage has composed a solo concerto for Peter titled “Erskine,” which received its world premiere in Bonn, Germany in 2013, with a US premiere at the Hollywood Bowl with the LA Philharmonic. Peter has been voted ’Best Jazz Drummer of the Year’ ten times by the readers of Modern Drummer magazine and was elected into the magazine’s Hall of Fame in 2017.

    Peter graduated from the Interlochen Arts Academy in Michigan and studied at Indiana University under George Gaber. In 1972 Peter commenced his pro career playing with the Stan Kenton Orchestra. Four years later, he joined Maynard Ferguson before working with Jaco Pastorius in Weather Report and moving to Los Angeles. Peter recorded five albums with the band. He won his first Grammy Award with their album ’8.30’. During this time in LA, he also worked with Freddie Hubbard, Joe Henderson, Chick Corea, Bobby Hutcherson, Joe Farrell and George Cables. Peter then moved to New York City where he worked for five years with such musicians as Michael Brecker, Mike Mainieri, Eddie Gomez and Eliane Elias in Steps Ahead, John Scofield, Bill Frisell and Marc Johnson in the legendary group Bass Desires, the John Abercrombie Trio plus Bob Mintzer’s Big Band.

    Peter’s lived in LA since 1987 but has been travelling around the world all of that time, working with such artists as Diana Krall, Joni Mitchell, Vince Mendoza, Steely Dan, plus European musicians Jan Garbarek, Kenny Wheeler, Palle Danielsson, John Taylor, Kate Bush, Nguyen Lê, Rita Marcotulli, the Norrbotten Big Band in Sweden plus Sadao Watanabe in Japan. He won his second Grammy Award as the drummer of the WDR big band in Köln along with Michael Brecker, Randy Brecker, Vince Mendoza and others for the “Some Skunk Funk” album. Meanwhile, Peter keeps busy in on the road and in LA with such artists as Seth MacFarlane, Patrick Williams, plus John Beasley, Bob Sheppard and Benjamin Shepherd (all 3 musicians members of his Dr. Um Band), as well as playing in the studios. Films where Peter’s drumming can be heard include “Memoirs of a Geisha,” all three of the Austin Powers movies, “The Secret Life of Pets,” plus the title music of the Steven Spielberg/John Williams collaboration, “The Adventures of Tintin.” He also played the jazz drumming cues on the Academy Award-winning soundtrack for “La La Land,” and can be heard playing on the scores for “Sing,” “Logan” and “House of Cards.”

    Peter produces jazz recordings for his record label, Fuzzy Music, with 4 Grammy nominations to its credit. Peter is also an active author with several books to his credit; titles include “No Beethoven (Autobiography & Chronicle of Weather Report),” “Time Awareness for All Musicians,” “Essential Drum Fills,” and his latest book (co-authored with Dave Black for Alfred Publishing), “The Drummers’ Lifeline.” He is also authoring a series of iOS Play-Along apps suitable for all instruments.

    Peter is Professor of Practice and Director of Drumset Studies at the Thornton School of Music, University of Southern California. Peter plays Tama Drums, Zildjian Cymbals, Vic Firth Sticks, Remo Drum Heads, Meinl Percussion, and uses Shure Microphones and Zoom digital recording devices.

Contact Information

  • Management/Booking: For Clinics, Percussion Festivals, Days Of Percussion or other Drum Industry events, Peter Erskine is represented by John DeChristopher at Viper Representation:

    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://petererskine.com/store/
  • ▶ Book Purchases: http://petererskine.com/books/
  • ▶ Twitter: petererskine
  • ▶ Website: http://petererskine.com
  • ▶ YouTube Channel: http://www.youtube.com/user/erskoman
  • ▶ YouTube Music: http://music.youtube.com/channel/UCDgHjwAKCE6o8HF6-T07WZA
  • ▶ Spotify: http://open.spotify.com/album/1ewZeCccAJFFZdbf7Ve0MU
  • ▶ Spotify 2: http://open.spotify.com/album/2EeIcN2zjIZFJ373GlOdmq
  • ▶ Spotify 3: http://open.spotify.com/album/7779Qmz6ZbdJtvTZSG2qRo
  • ▶ Spotify 4: http://open.spotify.com/album/59fzDaKJg8hkbxGW9b7ufK
  • ▶ Spotify 5: http://open.spotify.com/album/5qgaMCAQQPuMLFFl5pWhl5
  • ▶ Spotify 6: http://open.spotify.com/album/7qIx5OUNdSBpc7PZY0Klux

Clips (more may be added)

  • BRS Quartet BRAZIL Jazz Forms app, by Fuzzy Music
    By Peter Erskine
    232 views
  • VFJams LIVE! - Peter Erskine
    By Peter Erskine
    251 views
  • Peter Erskine - The Return of DR.UM
    By Peter Erskine
    278 views
  • Jaco Pastorius - Peter Erskine: THE CHICKEN - Montreal Jazzfest 1982
    By Peter Erskine
    211 views
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