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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 Roberto Fonseca:

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  • Roberto Fonseca
    A category was added to Roberto Fonseca:
    Composer
    • January 17, 2020
  • Roberto Fonseca
    A video was posted re Roberto Fonseca:
    Roberto Fonseca - Yesun
    New album YESUN available
    • January 17, 2020
  • Roberto Fonseca
    A video was posted re Roberto Fonseca:
    Roberto Fonseca - AGGUA (Official music video)
    Listen AGGUA from new album YESUN
    • January 17, 2020
  • Roberto Fonseca
    A category was added to Roberto Fonseca:
    Jazz
    • January 17, 2020
  • Roberto Fonseca
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    Cuba
    • January 17, 2020
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    • January 17, 2020
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    • January 17, 2020
  • Roberto Fonseca
    Roberto Fonseca is matrixed!
    • January 17, 2020
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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



  • Roberto Fonseca
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Roberto Fonseca
  • City/Place: Barcelona
  • Country: Spain
  • Hometown: Havana, Cuba

Life & Work

  • Bio: Roberto Fonseca is a Cuban pianist, vocalist, multi-instrumentalist, composer, producer and bandleader. Havana-born and based, he has released nine solo albums, collaborated across genres, been nominated for a Grammy Award and toured the world several times over. Along the way he has achieved the aim with which he began his professional career in the early 1990s: “Wherever people are, I want them to hear my music and say, ‘This is Roberto Fonseca’.”

    An artist of prowess and ideas, with a questing jazz sensibility and deep roots in the Afro-Cuban tradition, Fonseca continues to astound. ‘The most exciting pianist in Cuba,” avowed Britain’s Guardian newspaper. *Does something new with the old, without ever denying its origins, and opens himself to the world,” insisted France’s Le Figaro. “Makes all possibilities seem possible, and the moment feel perfect, intensely true,” declared the New York Times.

    Born in 1975, Fonseca grew up in San Miguel del Padrón in the unassuming Barrio Obrero on the southeastern outskirts of Havana. His father, Roberto Fonseca Senior, played the drums. His mother, Mercedes Cortes Alfaro, was a dancer at the legendary Tropicana Club and is renowned within Cuba as a singer of boleros. His two elder half-brothers are a drummer and a percussionist; the young Roberto was four-years-old when he started playing drums – his first professional gig was in a Beatles cover band – before taking up piano aged eight. He has been composing his own music since adolescence.

    His technique is as percussive and muscular as it is agile and delicate. His tastes were always eclectic: hard rock, for its energy and basslines. American jazz, taught at school, consumed in between, with Herbie Hancock, Keith Jarrett and Oscar Peterson on rotation. Funk and soul. Music made in Africa and Brazil. Reggaeton, electronica, hip-hop. Classical music: “Mozart, Chopin, Beethoven, Rachmaninov, Scriabin, Grieg, Bartok,” says Fonseca. “Every day, still.”

    And always, ¡siempre!, the music of Cuba – that vibrant, tenacious, creatively fecund Caribbean island. Fonseca’s deep AfroCuban roots underpin a sound that builds bridges between ancient and modern and takes Cuban music – all music – forward, embracing challenges, breaking chains, showing what can be. Inspiring young musicians in Cuba, for whom Fonseca’s cross-genre adventures and international success are a benchmark.

    Fonseca was 15-years-old when he made his live solo debut at the Jazz Plaza Festival in Havana. He went on to graduate with a Masters degree in Composition from the prestigious Institute Superior del Arte, determined to focus outward while staying true to his AfroCuban core. Aged 21, he played piano accompaniment to an Italian singer on a tour of Italy. Back in Cuba he joined Temperamento, the progressive jazz outfit led by reedsman Javier Zalba, collaborating with the group for some 15 years and recording the likes of 1998’s En El Comienzo, which won Best Jazz Album at industry awards Cubadisco.

    In 1999 Fonseca released his solo debut, Tiene Que Ver. Two albums swiftly followed: 2000’s No Limit: AfroCuban Jazz, a cult classic he recorded in Japan, and Elengó (2001), which mixed AfroCuban rhythms with hip-hop and drum’n’bass. He composed the soundtrack for Black, a film by French director P. Maraval, and produced an album for hip-hop act Obsesión. The international spotlight shone bright in 2001 when Fonseca joined that famed ensemble of elderly maestros, the Buena Vista Social Club, taking over the piano chair from the ailing Ruben Gonzalez (1919 – 2003) then touring the globe with singer Ibrahim Ferrer (1927 – 2005) then with BVSC alumni including evergreen diva Omara Portuondo.

    After co-producing and playing on Ferrer’s posthumously released Mi Sueño: A Bolero Songbook (2006), Fonseca unleashed his landmark 2007 jazz-roots solo album Zamazu. Hailed as sensual and modern, as strongly spiritual and crazily trailblazing, Zamazu’s audacious vision involved 20 guest collaborators and augured a glittering future. He followed through with 2009’s Akokan, an album that saw his quartet joined by Cape Verdean vocalist Maya Andrade and American guitarist Raul Midon. 2010’s Live in Marciac was recorded before 5,0000 fans at the eponymous festival town in southwest France.

    Tastemakers eyed him, recognising the potential in his playing smarts and bright ideas, his intrinsic Cubanness and ineffable sense of cool. Iconic French designer Agnes B began kitting him out in sharp suits and his trademark leather Byblos hats in 2006 (“We share ideas, concepts”). British-based impresario Gilles Peterson asked him to arrange and co-produce the 2010 Havana Cultura project: a double album showcasing the reggaeton, hip-hop, Afro-jazz and more of Cuba’s new musical generation. Fonseca’s music was sought after for upmarket advertising campaigns. His edgy, leftfield visual sense is exemplified in his videos and album covers, further establishing Fonseca as the consummate creative.

    In 2012 came his Grammy-nominated masterwork Yo, a turbocharged album aided by 15 musicians from Cuba, Africa and the US, and a work that went even further in Fonseca’s matching of tradition and experimentation. Nowhere was this change in his compositional approach more obvious than on the brazen, compelling ‘7 Rayos’, which fuses Cuban patterns with classical music, West African instrumentation, electronic music and rhythmic spoken word poetry.

    “Writing the track ’7 Rayos’ was life-changing for me,” says Fonseca. “I was almost afraid to something so crazy. But I mixed all these elements, created a bridge and loved the result. It was the start of a new Roberto Fonseca.”

    Guesting on Yo is another artist with her eyes on the horizon: the star Malian singer-songwriter and guitarist Fatoumata Diawara, with whom Fonseca embarked on an acclaimed live collaboration that played venues including London’s Barbican and the Philharmonie de Paris. A live album, 2015’s At Home, was also recorded at the Jazz in Marciac festival. “Working with Fatou open my mind about the possibilities of percussion and guitar,” says Fonseca.

    2016’s ABUC (“***** Incandescent Cuban contrasts” – The Guardian) told the story of Cuban music past, present and future with a sprawling cast of over 30 guests. Two years in the making, as kaleidoscopic and multi-layered as Cuba itself (“My culture is so strong and varied that the possibilities are endless”), ABUC was released in the same year that Fonseca became Artistic Director of the Inaugural Jazz Plaza Festival in Santiago de Cuba – the sister event of the festival that welcomed his live solo debut 26 years previously.

    Alongside the recording and collaborating, the practicing and composing, are Fonseca’s headline live appearances. When at home in Havana, for example, Fonseca and his musicians – who are similarly blessed with musical curiosity and a penchant for experimentation – have a twice-weekly residency at established jazz club Zorro y el Cuevo (Fox and the Crow). There they develop and explore new compositions, testing each other out with lightning fast rhythm changes or leaving room to build ideas, discover the music’s purpose.

    In this way Fonseca and his trio – drummer Raúl Herrera and longtime double bass player Yandy Martínez-Rodriguez – shaped many of the 12 original compositions on Fonseca’s new album Yesun. Released on Wagram on 18 October 2019, and featuring guests including Grammy-winning saxophonist Joe Lovano, lauded French-Lebanese trumpeter Ibrahim Maalouf and rising star Cuban rapper Danae Suarez alongside retro-modern keyboards, electronic beats and samples and those earthy AfroCuban rhythms, Yesun is the album that Fonseca has always wanted to make.

    Having proved himself exceptional (indeed, earlier in 2019 he was awarded the distinguished Ordre des Arts Letters from the French Ministry of Culture), Fonseca is free to take more risks, break new ground, take his music – and the music of Cuba – further. The future is his for the taking.

    “My culture is strong and varied,” says Fonseca with a smile. “There is so much life here, so much music. We are rich.”

    Jane Cornwell

Contact Information

  • Email: [email protected]
  • Telephone: +34 933 63 36 00

Media | Markets

  • ▶ Twitter: rober_fonseca
  • ▶ Instagram: robertofonsecamusic
  • ▶ Website: http://www.robertofonseca.com
  • ▶ YouTube Channel: http://www.youtube.com/user/RobertoFonsecaMusic
  • ▶ YouTube Music: http://music.youtube.com/channel/UCUhPE_AK9W4ALtlonQhyRmg
  • ▶ Spotify: http://open.spotify.com/album/2cf63qfZMiYjw4dVl5hyt6
  • ▶ Spotify 2: http://open.spotify.com/album/2cRVgvy28TYnGt9TXdkqvY
  • ▶ Spotify 3: http://open.spotify.com/album/5mSMSBWkXLEO95m9EwBhNg

Clips (more may be added)

  • Roberto Fonseca - Yesun
    By Roberto Fonseca
    192 views
  • Roberto Fonseca - AGGUA (Official music video)
    By Roberto Fonseca
    266 views
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