CURATION
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from this page:
by Matrix
Network Node
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Name:
Sergio Reze
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City/Place:
São Paulo
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Country:
Brazil
Life
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Bio:
Graduado com menção honrosa pelo Musicians Institute of Technology nos EUA, o baterista e compositor Sergio Reze retornou ao Brasil e construiu uma prestigiosa carreira, tornando-se um dos bateristas mais respeitados e requisitados do meio musical. Ele atuou em shows e gravações ao lado de grandes nomes da música brasileira e internacional, como André Mehmari, Ivan Lins, Toninho Horta, Monica Salmaso, Paulinho da Viola, Zélia Duncan, João Bosco, Dominguinhos, Hamilton de Holanda, Orquestra Popular de Câmara, Arnaldo Antunes, Nei Matogrosso, Lenine, Chico Buarque, Edu Lobo, Flávio Venturini, Elza Soares, Arrigo Barnabé, Ivan Vilela, Badih Assad, Zé Renato, Swami Jr., Fabiana Cozza, Ceumar, Palavra Cantada, Marco Pereira, José Miguel Wisnik, Ná Ozzetti, Marcelo Jeneci, Zé Manoel, Lívia Mattos, Luiz Tatit, Benjamim Taubkin, Tonkunstler Orchester (Áustria), Antonio Arnedo (Colômbia), Sônia Rubinsky, Patrick Zimmerli (EUA), Carlos Aguirre (Argentina), Shoji Kaneda (Japão), Giovanni Guidi (Itália), entre outros.
Seu trabalho na bateria, marcado por forte identidade estilística, foi indicado ao Prêmio Visa de Instrumentistas e tem contribuído para a ampliação dos limites da Bateria por meio da utilização de novos timbres e elementos melódicos.
Ao longo de sua carreira, Sergio está presente em mais de 100 discos e também em trilhas para espetáculos de teatro, dança e cinema. Tem se apresentado em diversos países como Alemanha, Áustria, França, EUA, Espanha, Portugal, Inglaterra, Cuba, Argentina, Uruguai, Equador, Bolívia, Colômbia, Nova Zelândia e Japão.
Recentemente, Sergio estreou seu primeiro projeto como líder, o "Sergio Reze Falando Música Quarteto", que tem sido muito bem recebido pelo público e já apareceu em palcos como a Casa de Francisca, o Festival Internacional de Música de Londrina, o Festival de Jazz de Sorocaba e o Instrumental Sesc Brasil. Este último gerou um documentário que será lançado em breve.
English:
Graduating with honors from the Musicians Institute of Technology in the USA, drummer and composer Sergio Reze returned to Brazil and built a prestigious career, becoming one of the most respected and sought-after drummers in the music industry. He has performed in concerts and recordings alongside renowned figures in Brazilian and international music, such as André Mehmari, Ivan Lins, Toninho Horta, Monica Salmaso, Paulinho da Viola, Zélia Duncan, João Bosco, Dominguinhos, Hamilton de Holanda, Orquestra Popular de Câmara, Arnaldo Antunes, Nei Matogrosso, Lenine, Chico Buarque, Edu Lobo, Flávio Venturini, Elza Soares, Arrigo Barnabé, Ivan Vilela, Badih Assad, Zé Renato, Swami Jr., Fabiana Cozza, Ceumar, Palavra Cantada, Marco Pereira, José Miguel Wisnik, Ná Ozzetti, Marcelo Jeneci, Zé Manoel, Lívia Mattos, Luiz Tatit, Benjamim Taubkin, Tonkunstler Orchester (Austria), Antonio Arnedo (Colombia), Sônia Rubinsky, Patrick Zimmerli (USA), Carlos Aguirre (Argentina), Shoji Kaneda (Japan), Giovanni Guidi (Italy), among others.
His work on the drums, characterized by a strong stylistic identity, was nominated for the Visa Instrumental Award and has contributed to expanding the boundaries of drumming through the use of new tones and melodic elements.
Throughout his career, Sergio has been featured on over 100 albums and has contributed to soundtracks for theater, dance, and cinema productions. He has performed in various countries, including Germany, Austria, France, the USA, Spain, Portugal, England, Cuba, Argentina, Uruguay, Ecuador, Bolivia, Colombia, New Zealand, and Japan.
Recently, Sergio debuted his first project as a leader, the "Sergio Reze Falando Música Quarteto," which has been warmly received by audiences and has graced stages such as Casa de Francisca, the International Music Festival of Londrina, the Sorocaba Jazz Festival, and the Instrumental Sesc Brasil. The latter resulted in a documentary that will be released soon.
Clips (more may be added)
When creators curate people (and entities) for what they do and where they do it, a matrix is generated.
Following human society, by the mathematical magic of the small-world phenomenon, all inside such a matrix tend to within degrees of all others inside.
And by logical extension, to within degrees of all humanity.
It is almost completely unknown that the Recôncavo of Bahia was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
And it is widely unknown that Brazil — a repository of African deities now largely forgotten in their lands of origin — absorbed over ten times the number of Africans taken to the United States of America.
And that Brazil was a refuge for Sephardim fleeing an Inquisition which pursued 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.
In an Integrated Global Creative Economy, great culture is great power. And in a small-world great things are possible.
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"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
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
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.
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