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  • Sheryl Bailey

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Sheryl Bailey
  • City/Place: New York City
  • Country: United States
  • Hometown: Pittsburgh, Pennsylvania

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: There's no description more apt for Sheryl Bailey than "A sizzling guitar goddess", coined by Elliot Simon of All About Jazz. He's not alone with his superlatives-Adam Levy of Guitar Player Magazine calls Sheryl "One of the most compelling tones of her generation", and Frank Forte of Just Jazz Guitar ranks her "among the best bop guitar players with a fresh approach and something new."

    Sheryl's playing is unquestionably "sizzling". She has groomed incredible chops and impeccable taste with which she applies them. It's said (by Lee Metcalf, The Villager) that she can "go from zero to blazing in two beats", but she is continually praised for never sacrificing melody and lyricism for technique. "She balances superior technical skills with a strong lyrical sense and swinging touch..." continues Metcalf, and Joe Taylor of Soundstage says "Bailey combines an astonishing command of the fingerboard with a seemingly endless flow of melodic invention."

    As for the guitar, she's hardly had it out of her hands since the age of 13. That was when her mother finally relented to Sheryl's begging for a Harmony Strat from the J.C. Penney catalogue. Though Sheryl was a rock-star wannabe, the influence of her pianist mother got her obsessed with learning harmony, and her first teacher in Pittsburgh, John Maione, introduced her to the guitar tradition-Wes, Jimmy Raney, George Van Eps, Joe Pass and others. She eventually attended Berklee College of Music. Her years of dedication and focus won her 3rd place in the Thelonius Monk International Jazz Guitar competition in 1995, and she was chosen as a Jazz Ambassador for the U.S. State Department in 2000 for a South American tour. She is now said to be "One of the top players in an emerging generation of jazz guitarists" (John Heidt, Vintage Guitar).

    Her own trio, The Sheryl Bailey 3, is a modernized version of the organ trio-"the ultimate organ trio" according to JazzInside Magazine. In addition to their 15-year plus residency at NYC's 55 Bar, they have toured China, Canada, Europe and the US. She also tours the world as a member of David Krakauer's "Ancestral Groove". A partial list of others with whom she has performed and recorded with includes Richard Bona, George Garzone, Lincoln Goines, Kim Plainfield, Bill O'Connell, Mike LeDonne, Irene Cara, Lea Delaria, Jack Wilkins, Howard Alden, Shingo Okudaira, Ingrid Jensen, Dwayne Burno, Tommy Campbell, Simon Woolf, Alex Garnett and Ken Peplowski.

    To date, Sheryl has 9 CDs out under her name, and a live DVD, The Sheryl Bailey 3 Live in NYC (Mel Bay). Each successive release has drawn more accolades. Of Live at the Fat Cat, Joe Taylor says, "...this disc proves again that Sheryl Bailey is one of the most gifted and exciting jazz guitarists on the scene", and that she is a "jazz composer of the first order". In 2010 MCG Jazz released A New Promise, her tribute to Emily Remler, produced by Grammy-award winner, Marty Ashby, featuring Sheryl as the solo artist with Three Rivers Jazz Orchestra. In Downbeat Magazine Phillip Booth commented, "She is one of the new greats of her chosen instrument". Her 2014 release on the Cellar Live label, A Meeting Of Minds features The Sheryl Bailey 3. A feature on the disc in Guitar Player Magazine states: "They are so in sync they seem to finish each other's ideas". In 2015, she and bassist Harvie S debuted their acoustic duo, Plucky Strum on Whaling City Sound. JazzTimes Magazine remarked of Bailey’s approach: "her fluidity of style is impressive, her agility uncommon".

    Sheryl is a Professor at Berklee College of Music, and at the Collective in New York. In keeping with Sheryl's philosophy of "giving back", her 2011 quartet release, "For All Those Living" donates 20% of sales to the Ronald McDonald House of NYC. She has been an Artist in Residence at countless other programs, including NYU, Bates College, the Stanford Jazz Workshop, Towson University, the LA Music Academy and GIT. In 2009, Mel Bay published her book Moveable Shapes: Concepts for Re-Harmonizing II-V-I's. She has also developed a complete curriculum in jazz improvisation for interactive cyber study via Truefire's Guitar Sherpa program, The Bebop Dojo. In addition she has top selling courses available from Mike's Masterclasses, Jazz Guitar Society, JamPlay, and Truefire.

    So, Sheryl lives up to Elliot Simon's description, in all facets of her work. Earning "Rising Star" status on Downbeat's Critic's Poll 2013, 2014, and 2015. At a recent duo performance in New York-Sheryl and Jack Wilkins-I sat next to Jimmy Wyble. After a couple of tunes, Jimmy leaned over and whispered, "She's one of the top five" ...as in, one of the top five guitarists in the country. And Vintage Guitar terms her "one of jazz guitars current front runners."

    — Evelyn Palmer

Contact Information

  • Email: [email protected]
  • Telephone: +1 917-476-4336

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://myiesstore.com/sherylbailey/
  • ▶ Buy My Merch: http://myiesstore.com/sherylbailey/
  • ▶ Book Purchases: http://www.amazon.com/MBGU-Jazz-Moveable-Shapes-II-V-ebook/dp/B01I25FGV2
  • ▶ Twitter: SherylBailey
  • ▶ Instagram: gtrnerd
  • ▶ Website: http://www.sherylbailey.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCm6BuzHxr9RXryCNsQVblqA
  • ▶ YouTube Music: http://music.youtube.com/channel/UCm6BuzHxr9RXryCNsQVblqA
  • ▶ Spotify: http://open.spotify.com/album/1oevVi72hJTXKMvtt3IW8s
  • ▶ Spotify 2: http://open.spotify.com/album/0FoKXe2mL3O6PHF46FsnPL
  • ▶ Spotify 3: http://open.spotify.com/album/1ahvRKGdLgX6D4q4UZDCBd
  • ▶ Spotify 4: http://open.spotify.com/album/2tqeE1l3auysSDpfEfQFsa
  • ▶ Spotify 5: http://open.spotify.com/album/6yaiMdhT4juM6TUYI1EDo2
  • ▶ Spotify 6: http://open.spotify.com/album/7dcBeieQ0vDuB52qP2bK7K

More

  • Quotes, Notes & Etc. "I came from a family of professional musicians and we all had to study the piano. Maybe it was because I was rebellious, but I wanted to play the guitar instead of the piano. I think it was because you could play rock music on the guitar. So I had studied piano and trumpet as a kid, but when I got the guitar, that's when I got really serious about music."

    "[The guitar] is loud. It's a contemporary instrument. The electric guitar, which is mostly what I play, to me it's a contemporary sound. It's a voice, and it seemed like the voice that expressed me the best. There are so many things you can do with the guitar, whether you want to play straight jazz, or you want to be a singer songwriter, or a composer, or a film scorer. You can get a good background in harmony, melody, and rhythm from studying guitar. It's in many ways a complete instrument."

    "I try to make my teaching as practical and as based in the real world as possible. Because I do perform and I tour a lot, and record, I try to bring that experience to my students, to tell them this is what you really need to know to go out there and do it, and be successful."

    "The ideals of being professional-being prepared, being on time, having a good attitude, being someone who's friendly and easy to work with-sometimes is as important about getting the gig as anything. Because there are so many great players, the more that you're prepared and the more that you're a good person to work with, you're going to move to the top of the list of people to call."

    "For me, what's important is that the material that we're dealing with in class is practical to what a real musician has to deal with. It's about developing the skills that you're really going to need to make you successful. Those are the skills that I learned at Berklee, too. I think that's what's awesome about Berklee: You get to study with people who are really out there doing it, and to learn from that experience."

Clips (more may be added)

  • The Sheryl Bailey 3 - Live in NYC: Jazz Trio
    By Sheryl Bailey
    308 views
  • Sheryl Bailey - "A New Promise" LIVE
    By Sheryl Bailey
    262 views
  • "Starbrite" The Sheryl Bailey 3: Live in NYC at The Bar Next Door
    By Sheryl Bailey
    362 views
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Sheryl Bailey Curated
pathways in

  • 1 Author
  • 1 Berklee College of Music Faculty
  • 1 Composer
  • 1 Guitar
  • 1 Jazz
  • 1 New York City

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  • Sheryl Bailey
    A video was posted re Sheryl Bailey:
    The Sheryl Bailey 3 - Live in NYC: Jazz Trio
    The Sheryl Bailey 3 performing "Cedar's Mood" (dedicated to Cedar Walton) from the live jazz DVD recorded in New York available from Mel Bay. Featuring Shery...
    • June 15, 2020
  • Sheryl Bailey
    A video was posted re Sheryl Bailey:
    Sheryl Bailey - "A New Promise" LIVE
    Assistant Chair Sheryl Bailey performing "A New Promise" live
    • June 15, 2020
  • Sheryl Bailey
    A video was posted re Sheryl Bailey:
    "Starbrite" The Sheryl Bailey 3: Live in NYC at The Bar Next Door
    "Starbrite," by composer/guitarist, Sheryl Bailey, performed in December 2015 at The Bar Next Door in NYC along with her band: Ian Froman on drums and Ron Os...
    • June 15, 2020
  • Sheryl Bailey
    A category was added to Sheryl Bailey:
    Author
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → Tel Aviv has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → New York City has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → Jazz has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → Israel has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → Clarinet has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → Choro has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    Anat Cohen → Brazilian Music has been recommended via Sheryl Bailey.
    • June 11, 2020
  • Sheryl Bailey
    A category was added to Sheryl Bailey:
    Composer
    • June 11, 2020
  • Sheryl Bailey
    A category was added to Sheryl Bailey:
    New York City
    • June 11, 2020
  • Sheryl Bailey
    A category was added to Sheryl Bailey:
    Berklee College of Music Faculty
    • June 11, 2020
  • Sheryl Bailey
    A category was added to Sheryl Bailey:
    Jazz
    • June 11, 2020
  • Sheryl Bailey
    A category was added to Sheryl Bailey:
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    • June 11, 2020
  • Sheryl Bailey
    Sheryl Bailey is matrixed!
    • June 11, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


WHY BRAZIL?

Brazil is not a European nation. It's not a North American nation. It's 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.

 

Brazil 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 — the hand drum in the opening scene below — 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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

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