CURATION
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from this page:
by Matrix
Network Node
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Name:
Sandra de Sá
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City/Place:
Rio de Janeiro
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Country:
Brazil
Life & Work
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Bio:
No dia 27 de agosto de 1955, nasceu Sandra Cristina Frederico de Sá, conhecida como Sandra de Sá, no bairro de Pilares, no subúrbio do Rio de Janeiro. Sua origem está ligada à emblemática Escola de Samba "Caprichosos de Pilares", o que provavelmente influenciou sua personalidade vibrante. Vindo de uma família de músicos, seu talento musical parecia estar predestinado.
Seu pai, um baterista, e outros membros da família eram músicos ativos, frequentemente se apresentando em bailes de carnaval em diferentes clubes da cidade.
No subúrbio carioca, a diversidade musical era evidente no rádio da época, onde artistas internacionais como Ray Charles e Sarah Vaughan compartilhavam espaço com talentos locais como Moreira da Silva, Cauby Peixoto e Lana Bittencourt. Sandra absorveu essa diversidade desde cedo, aprendendo que a música tem o poder de unir diferentes culturas e estilos, uma lição que guiou seu caminho artístico.
Inspirada pelas músicas dos bailes, Sandra começou a aprender violão por conta própria, logo passando a compor suas próprias canções e tendo sucesso em festivais estudantis.
Em 1977, iniciou seus estudos em psicologia e assinou com sua primeira gravadora. Durante essa época, também viajou pelo interior do Brasil, enriquecendo sua bagagem musical e cultural. Seu grande momento chegou quando Lecy Brandão gravou sua composição "Morenando". Em 1980, sua música "Demônio Colorido" foi finalista no festival MPB 80 da TV Globo, alcançando reconhecimento nacional.
O lançamento de seu primeiro LP pela RGE em 1980 marcou o início de uma carreira de sucesso, com hits como "Vale Tudo" de Tim Maia. Em 1984, sua interpretação de "Enredo do Meu Samba", de Dona Ivone Lara e Jorge Aragão, foi tema de abertura da novela "Partido Alto", consolidando sua fama.
Ao longo dos anos, Sandra lançou diversos álbuns de sucesso, contando com participações especiais de renomados artistas nacionais e internacionais, como Djavan, Titãs, Billy Paul e Olodum. Mantendo-se fiel às suas raízes, ela transita com facilidade entre os mais diversos estilos musicais, do samba brasileiro à sofisticação de recriar clássicos como "Send me to The Electric Chair" de Bessie Smith, demonstrando sua versatilidade e domínio tanto em português quanto em inglês.
Idolatrada pelo público brasileiro que busca seu lugar ao sol e sempre honrando suas raízes negras, Sandra de Sá se destaca como uma das mais importantes cantoras brasileiras da atualidade.
English:
On August 27, 1955, Sandra Cristina Frederico de Sá, our Sandra de Sá, was born in Pilares, a suburb of the city of Rio de Janeiro. Her native neighborhood is also the birthplace of one of our most critical Samba Schools, "Caprichosos de Pilares," which likely helped shape Sandra's exuberant personality. Part of her musical talent was already written in her genetic code.
Her father was a drummer, and the family had so many musicians that, during carnival dances, the Sá family played in different clubs across the city, participating in various bands.
In the suburb, the radio of the time taught democracy, and great international names like Ray Charles and Sarah Vaughan coexisted with local talents like Moreira da Silva, Cauby Peixoto, and Lana Bittencourt, among others. Admiring idols from various languages and styles, young Sandra learned that the heart of the people embraces all tendencies and made this lesson a guideline to steer her artistic future.
Enchanted by the music she heard at dances, she began to learn the guitar on her own and was not satisfied with just playing what she heard; she started composing her own songs, soon successfully competing in student festivals.
In 1977, she began studying psychology and signed with her first record label. She also traveled extensively throughout the interior of Brazil. The old dream began to come true when Lecy Brandão recorded her first composition, "Morenando." At the MPB 80 festival on TV Globo, she classified "Demônio Colorido" among the top 10 finalists, and the song received national attention. Brazil was introduced to SANDRA DE SÁ, the beginning of a lasting romance. Also in 1980, her first LP was released by RGE. Successive LPs followed, and Sandra's rendition of "Vale Tudo" by Tim Maia exploded nationwide. In 1984, Sandra achieved even greater success with "Enredo do Meu Samba," by D. Ivone Lara and Jorge Aragão, the opening song of the soap opera Partido Alto.
New albums climbed the charts, with special appearances by the biggest stars of national and international music, names like Djavan, Titãs, Billy Paul, Marina, Olodum... Sandra, attentive to the lessons of her past, keeps her repertoire wide open and navigates comfortably from Brazilian sounds to covers, from hard-hitting tunes to the sophistication (and audacity) of recreating the unforgettable interpretation of Bessie Smith's "Send me to The Electric Chair," treating the English original with the utmost intimacy. Idolized by the Brazilian people who strive for a place in the sun, and without forgetting that black roots bear flowers of all colors, Sandra de Sá tunes in as one of the most expressive Brazilian singers of our time.
Clips (more may be added)
The Integrated Global Creative Economy, uncoiling from this sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix.
The mathematics of the small world phenomenon transforming the creative universe into a creative village wherein all are connected by short pathways to all.
Tap the crosses on somebody's Matrix Page to recommend that person for that category.
(Crosses visible when you are logged in)
The crosses will turn green.
That person/category will appear in your My Curation & Recommendations.
You will appear in that person's Incoming Curation and Recommendations.
You and the person you are recommending will be pulled by mathematical gravity to within DISCOVERABLE distance of EVERYBODY ELSE INSIDE the Matrix.
In a small world great things are possible.
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
www.salvadorbahiabrazil.com
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
Sodré
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Hence A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile...
And hence a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
Assis Valente's (of Santo Amaro, Bahia) "Brasil Pandeiro" filmed by Betão Aguiar
Betão Aguiar
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
Replete with Brazilian greatness, but we listened to Miles Davis and Jimmy Cliff in there too; visitors are David Dye & Kim Junod for NPR/WXPN
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
This list is random, and incomplete. Reload the page for another list.
Ex Terra Brasilis
Wolfram MathWorld
UNIVERSAL
Alicia Svigals
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Luciano Calazans
Kamasi Washington
Randy Brecker
Gustavo Caribé
J Velloso
Lázaro Ramos
Fernando Guerreiro
Maria Marighella
Russell Okung
Bule Bule
Caetano Veloso
Sparrow/Pardal Roberts
RÁDIO MATRIX