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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.


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  • Ron McCurdy
    Terence Blanchard → Trumpet has been recommended via Ron McCurdy.
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    Terence Blanchard → New Orleans has been recommended via Ron McCurdy.
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    Terence Blanchard → Film Scores has been recommended via Ron McCurdy.
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    Terence Blanchard → Educator has been recommended via Ron McCurdy.
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    Terence Blanchard → Composer has been recommended via Ron McCurdy.
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    The Langston Hughes Project
    A multimedia concert performance of Langston Hughes’ kaleidoscopic Jazz poem suite, “Ask Your Mama: 12 Moods for Jazz,” is Hughes’ homage to the struggle for artistic and social freedom at home and abroad at the beginning of the 1960s.
    • April 11, 2021
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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...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist 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



  • Ron McCurdy
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Ron McCurdy
  • City/Place: Los Angeles, California
  • Country: United States

Current News

  • What's Up? About the Langston Hughes Project

    Jazz was a cosmopolitan metaphor for Langston Hughes, a force for cultural convergence beyond the reach of words, or the limits of any one language.

    It called up visual for him as well, most pointedly the surrealistic techniques of painterly collage and of the film editing developed in this country in the 1930s and 40s, which condensed time and space, conveyed to the viewer a great array of information in short compass, and which offered the possibility of suggesting expanded states of consciousness, chaotic remembrances of past events or dreams — through montage. “To me,” Hughes wrote, “jazz is a montage of a dream deferred. A great big dream — yet to come — and always yet to become ultimately and finally true.”

    Ask Your Mama was dedicated to Louis Armstrong, “the greatest horn blower of them all,” and to those of whatever hue or culture of origin who welcomed being immersed in the mysteries, rituals, names, and nuances of black life not just in America but in the Caribbean, in Latin America, in Europe and Africa during the years of anti-colonial upheaval abroad and the rising Freedom Movement here at home. Not only the youthful Martin Luther King, Jr. but the independence leaders of Guinea and Nigeria and Ghana and Kenya and the Congo fill the chants and refrains of Hughes’s epic poem.

Life & Work

  • Bio: Dr. Ronald C. McCurdy is Professor of Music at the USC Thornton School of Music where he served as chair of the Jazz Studies department for six years (2002-2008). Prior to his appointment at USC he served as Director of the Thelonious Monk Institute of Jazz at USC (1999-2001). He has served as Professor of Music and chair of the Afro-African American Studies Department and served as Director of Jazz Studies at the University of Minnesota (1990-1999). In 1997, Dr. McCurdy served as Visiting Professor at Maria-Curie Sklodowska University in Lublin, Poland. In 2001 Dr. McCurdy received the Distinguished Alumni Award from the University of Kansas.

    Dr. McCurdy continues to tour the Langston Hughes Project, a multimedia presentation based on the Hughes’ poem, “Ask Your Mama.” This was Hughes’ social commentary on the struggle for freedom and equality among Africans and African Americans. In 2008 he premiered the orchestral version of The Langston Hughes Project, Ask Your Mama: 12 Mood for Jazz with the Indianapolis Symphony Orchestra with rapper and television actor, Ice-T. The multimedia presentation features jazz quartet, spoken-word and images from the Harlem Renaissance.

    Dr. McCurdy’s latest CD is titled; April In Paris features his vocal, funk band called the Ron McCurdy Collective. His first CD, Once Again for the First Time on the INNOVA label enjoyed critical acclaim as well. He has also released a CD of the Langston Hughes Project, Ask Your Mama: 12 Moods for Jazz.

    Dr. McCurdy served a consultant to the Grammy Foundation educational programs including serving as director of the National Grammy Vocal Jazz Ensemble. He served as Director of the Walt Disney All-American Summer College Jazz Ensemble and Jazz Singers for twenty years. A few of the guest artists he has worked with include Joe Williams, Rosemary Clooney, Leslie Uggams, Arturo Sandoval, Diane Schuur, Ramsey Lewis, Mercer Ellington, Dr. Billy Taylor, Maynard Ferguson, Lionel Hampton, and Dianne Reeves, Ellis Marsalis, and many others. He has served as a member of the Jamey Aebersold Jazz Camp faculty. Dr. McCurdy is a performing artist for the Yamaha International Corporation.

    from: www.music.usc.edu/ronald-c-mccurdy

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Book Purchases: http://www.alfred.com/meet-the-great-jazz-legends/p/00-32180/
  • ▶ Twitter: ronmccbop
  • ▶ Instagram: ronmccbop
  • ▶ Website: http://langstonhughesproject.org
  • ▶ Spotify: http://open.spotify.com/album/00pW9adii5HTdddq8GSkVK
  • ▶ Spotify 2: http://open.spotify.com/album/3wi8rl2SpPt0PlIVVWeGcv

More

  • Quotes, Notes & Etc. Career Highlights:
    Served as president of the International Association for Jazz Education 2000-2002
    Served as Director of the Thelonious Monk Institute (1999-2001)
    Letters From Zora (Hurston): In Her Own Words– Pasadena Playhouse (2011)
    Langston Hughes Project performance at Disney Hall (2015)
    Premiered Harlem South: A Few Through The Lens– Grammy Museum (2019)
    Premiered Shanghai Jazz: A Cultural Mix– USC Visions and Voices (2019)

    Honors, Awards & Competitions:
    Jazz Educator of the Year 2005 (LA Jazz Society)
    Distinguished Alumni, University of Kansas (2001)
    Langston Hughes Project w/ guest Rapper Ice-T- Winner- Best “Live” Performance for FM Awards in London (2015)

    Recordings:
    Once Again for the First Time, INNOVA Records (2002)
    April In Paris, McBop Records (2009)
    The Langston Hughes Project- “Live” at the Huntington (2010)
    Letters From Zora: In Her Own Words — Soundtrack (2011)

    Compositions:
    Once Again for the First Time
    Madeleine’s Lullaby
    And Your Point Would Be….?

    Research Interests:
    African and African American Culture and Music
    Jazz & Leadership
    Artist Entrepreneurship

    Publications:
    The Artist Entrepreneur: Finding Success in a New Arts Economy, Rowman & Litterfield Publication, 2019
    Teaching Music in Performance Through Jazz: Vol. I, Gia Publication, 2008
    African Americans and Popular Culture (Edited by Todd Boyd), 2007
    Meet the Great Jazz Legends, Alfred Publishing, 2004
    Approaching the Standards, Warner Bros., 2000

    Academic degrees:
    PhD, University of Kansas, 1983
    MM, University of Kansas, 1978
    BM, Florida A&M University, 1976

    Studied with:
    David Baker, Jamey Aebersold, Willie Thomas, John McNeil, Ken Slone, and Boyd Hood

Clips (more may be added)

  • 1:08:00
    The Langston Hughes Project
    By Ron McCurdy
    113 views
  • 5:03
    Ron's Chops
    By Ron McCurdy
    105 views
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 'mātriks / "source" / from "mater", Latin for "mother"
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