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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 Sam Reider:

  • 1 Accordion
  • 1 Brooklyn, NY
  • 1 Composer
  • 1 Piano
  • 1 Singer-Songwriter

What's Up

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  • Sam Reider
    A video was posted re Sam Reider:
    "Dance of the Djinn" by Sam Reider
    "Dance of the Djinn by Sam Reider Barbes, Brooklyn April 2017 Sam Reider - accordion Jorge Glem - cuatro Alex Hargreaves - violin Eddie Barbash - saxophone D...
    • March 29, 2019
  • Sam Reider
    A video was posted re Sam Reider:
    "The Murder" by Sam Reider
    The Sam Reider band performs his original composition "The Murder" featuring Alex Hargreaves (fiddle), Roy Williams (guitar), Jake Joliff (mandolin), and Dav...
    • March 29, 2019
  • Sam Reider
    A category was added to Sam Reider:
    Singer-Songwriter
    • March 29, 2019
  • Sam Reider
    A category was added to Sam Reider:
    Composer
    • March 29, 2019
  • Sam Reider
    A category was added to Sam Reider:
    Piano
    • March 29, 2019
  • Sam Reider
    A category was added to Sam Reider:
    Brooklyn, NY
    • March 29, 2019
  • Sam Reider
    A category was added to Sam Reider:
    Accordion
    • March 29, 2019
  • Sam Reider
    Sam Reider is matrixed!
    • March 29, 2019
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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



  • Sam Reider
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Sam Reider
  • City/Place: Brooklyn, New York
  • Country: Brazil

Current News

  • What's Up? Too Hot To Sleep, the debut record from accordionist and pianist Sam Reider is the music that gets stuck in your head and keeps you up all night.

    Reider, who has built a cult following leading regular midnight sets at one of the oldest dive bars in Brooklyn, conjured the music out of his insomnia. “I’ll come home at 2 am after improvising wild music all night and then lie awake while fragments of melodies run through my mind. Sometimes all I can do is get up and go to the piano.”

    What emerged is a record and an ensemble that breaks down any remaining boundaries between jazz, folk, and chamber music. The closest points of reference may be the Punch Brothers or the Goat Rodeo Sessions, but Reider reaches far beyond his roots in American music to draw on melodies and rhythms from around the world.

    Beginning with an almost Morricone-inspired western piece, “The Murder,” the album follows a narrative of a journey through the underworld. From the blazing-fast “Swamp Dog Hobble” to the Klezmer/Balkan-tinged “Skeleton Rag,” the band’s virtuosity is totally captivating. Reider returns to his jazz roots in the title-track, “Too Hot To Sleep,” an otherworldly, Strayhorn-esque duet with crack alto saxophonist Eddie Barbash.

    Reider is joined on the record by a group of young acoustic musicians in Brooklyn called The Human Hands, some of the best and brightest from the worlds of jazz and roots music: Alex Hargreaves (Live From Here, Sarah Jarosz) on violin, Eddie Barbash (Jon Batiste and Stay Human) on saxophone, Dominick Leslie (Hawktail, Ricky Skaggs) on mandolin, Roy Williams (Stephane Wrembel) on guitar, and Dave Speranza (Jim Campilongo) on bass.

Life & Work

  • Bio: Sam Reider is an American accordionist, pianist, composer, and singer-songwriter. He’s been featured at Lincoln Center and on NPR and collaborated with pop stars, jazz and folk musicians around the world. Reider is the leader of a “staggeringly virtuosic band” (RnR Magazine) of bluegrass and jazz musicians based in Brooklyn called The Human Hands.

    Following the release of their critically-acclaimed record Too Hot to Sleep (2018), Sam and the Human Hands have appeared at major festivals and venues throughout the US and the UK and performed live on the BBC. Irresistible melodies, fiery improvisation and otherworldly sounds collide in what Songlines Magazine has dubbed "mash-up of the the Klezmatics, Quintette du Hot Club de France and the Punch Brothers.” Too Hot To Sleep features Eddie Barbash (The Late Show with Stephen Colbert, Jon Batiste and Stay Human), Alex Hargreaves (Turtle Island Quaret, Live From Here, Sarah Jarosz), Dominick Leslie (Hawktail, Ricky Skaggs Band, Deadly Gentlemen), Roy Williams (Stephane Wrembel), Grant Gordy (David Grisman Quintet) and Dave Speranza.

    Reider grew up in San Francisco, the son of a musical theatre composer and klezmer musician. He began performing at a young age, and was interviewed on Marian McPartland’s “Piano Jazz” on NPR when he graduated high school. At Columbia University, he fell in love with American folk music. While writing his senior thesis comparing the songwriting of Woody Guthrie and Ira Gershwin, Sam began studying bluegrass and old-time, transcribing the fiddle melodies for the accordion and learning to sing the songs. This set him off on a journey that has taken him from back porches and dive bars to concert halls and major festivals in practically every state in the country.

    Representing the U.S. Department of State as a musical ambassador, Sam has travelled to China, Laos, Cambodia, Myanmar, Vietnam, Estonia, Turkey and Azerbaijan, carrying his accordion on his back everywhere he goes and collaborating at with international artists. Sounds and stories from these travels frequently serve as the inspiration for Reider’s compositions, which together form an ongoing musical travelogue.

    As a side-man, collaborator and recording artist, Reider has worked with artists including Sierra Hull, Jorge Glem, Phoebe Hunt, Courtney Hartman, Jon Batiste and Stay Human, T-Pain, David Amram, Nellie McKay Ranger Doug, the Brother Brothers and more. A passionate educator, Reider leads ongoing performances for public school students throughout the New York City area in partnership with Jazz at Lincoln Center. He has designed curricula and taught courses at the Stanford Jazz Festival, San Francisco Jazz, and other private institutions around the country. More info on Sam’s education work.

Contact Information

  • Management/Booking: North America Booking:
    Myriad Artists
    Trish Galfano: [email protected]
    919-967-8655

    UK & Ireland PR and tour consultant:
    Brookfield Knights
    Loudon Temple
    [email protected]
    +44 (0)1505 706346

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.samreidermusic.com
  • ▶ Buy My Music 2: (downloads/CDs/DVDs) http://samreider.bandcamp.com
  • ▶ Twitter: samreidermusic
  • ▶ Instagram: samreidermusic
  • ▶ Website: http://www.samreidermusic.com
  • ▶ YouTube Channel: http://www.youtube.com/user/mrchuckles98
  • ▶ YouTube Music: http://music.youtube.com/channel/UCnVEa-0pFuhqcsVXE6KZKPA
  • ▶ Spotify: http://open.spotify.com/album/0NUk1Xezb8s318xtPd829O

More

  • Quotes, Notes & Etc. "The perfect distraction for insomniac bluegrass fans" - Songlines, Top of the World

    "A staggeringly virtuosic band" - RnR Magazine

    "Too Hot To Sleep is simply stunning, one to get utterly lost in." - Northern Sky Magazine

    "He's got rhythm. And for someone his age, plenty of soul, too.” - San Francisco Chronicle

    "Dashes of folk influences from around the world are sprinkled into its string band aesthetic.. Reider’s accordion is the unyielding anchor, giving a dose of soulful, raw timelessness, but with a modern crispness and confidence.” - The Bluegrass Situation

    “It is always moving to see fellow musicians playing with such passion, thank you Sam Reider!” - Taraf de Haidouks

Clips (more may be added)

  • "Dance of the Djinn" by Sam Reider
    By Sam Reider
    459 views
  • "The Murder" by Sam Reider
    By Sam Reider
    442 views
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