Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ 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...

 

This 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...

 

Harlem to Bahia to the Planet



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. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

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.

 

  • Sierra Hull
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Sierra Hull
  • City/Place: Nashville, Tennessee
  • Country: United States
  • Hometown: Byrdstown, Tennessee

Life & Work

  • Bio: In her first 25 years alone, singer/songwriter/multi-instrumentalist Sierra Hull hit more milestones than many musicians accomplish in a lifetime. After making her Grand Ole Opry debut at the age of 10, the Tennessee-bred virtuoso mandolinist played Carnegie Hall at age 12, then landed a deal with Rounder Records just a year later. Now 28-years-old, Hull is set to deliver her fourth full- length for Rounder: an elegantly inventive and endlessly captivating album called 25 Trips.

    Revealing her profound warmth as a storyteller, 25 Trips finds Hull shedding light on the beauty and chaos and sometimes sorrow of growing up and getting older. To that end, the album’s title nods to a particularly momentous year of her life, including her marriage to fellow bluegrass musician Justin Moses and the release of her widely acclaimed album Weighted Mind—a Béla Fleck- produced effort nominated for Best Folk Album at the 2017 Grammy Awards.

    “There’s a lot of push-and-pull on this record, where in some moments I feel like everything’s happening so fast and I wish I could slow it all down so I can really enjoy it,” Hull points out. “But then there are also times where I’m looking forward to the day when the craziness has died down a bit, and life’s a little calmer.”

    Made with producer/engineer Shani Gandhi (Kelsea Ballerini, Dierks Bentley, Sarah Jarosz, Alison Krauss), 25 Trips continues the musical journey begun on Weighted Mind, a body of work that built off Hull’s bluegrass roots and ventured into entirely new terrain. But while its predecessor assumed a sparse and stripped-back palette, 25 Trips embodies a far more intricately arranged sound—an effect achieved with the help of peers like guitarist Mike Seal, bassist Ethan Jodziewicz, violinist Alex Hargreaves, and fiddler Christian Sedelmyer, as well as several musicians that Hull has long admired (including bassist Viktor Krauss, guitarist Bryan Sutton, and multi-instrumentalist Stuart Duncan). Along with integrating electric instrumentation and percussion into her material for the first time, Hull dreamed up the album’s eclectic textures by embracing a free-flowing process that often gave way to lightning-in-a-bottle improvisation.

    “There were some songs that we created from the ground up, where I’d go in and play by myself, and from there we’d bring in other musicians to add more and more layers,” Hull says. “It was really wonderful to work that way, where we started from a place of mystery and then just let the song show us what it wanted or needed to become.”

    Immediately proving the power of that approach, 25 Trips lures the listener into its unpredictable sonic world on the beguiling opening track “Beautifully Out of Place.” With its shifting tempos and gently tempestuous mood, the song was sparked from words of encouragement spoken by Hull’s husband at a time of self-doubt and confusion. “I remember Justin saying to me, ‘I believe in you, so you’re just going to have to learn to believe in yourself,’” she recalls. “That inspired the first line for me, and the song just wrote itself from there.”

    Although much of the album bears a rich complexity, 25 Trips also includes moments of stark simplicity that perfectly showcase Hull’s stunning vocal range. On “Everybody’s Talking,” for instance, her luminous vocals quietly capture the frustration of finding clarity in the midst of constant chatter from the outside world. And on “Ceiling to the Floor”—co-written with Kai Welch, a songwriter/musician known for his work with Glen Campbell and Abigail Washburn—Hull spins a tender metaphor from her longtime fear of heights. “I was telling Kai about how when I was little my dad used to try to get me over that fear by holding me up to the ceiling and saying, ‘Just touch it—I’m not gonna let you fall,’” she explains. Featuring a performance from legendary steel-guitar player Paul Franklin, “Ceiling to the Floor” drifts from memory to real-time reflection, slowly unfolding as a nuanced meditation on courage and love.

    One of the most unexpected turns on 25 Trips, “Escape” emerges as a delicate collage of hypnotic percussion, otherworldly electric-mandolin tones, and poetic yet plainspoken lyrics (e.g., “I want to escape to a world that’s not closing in”). “I didn’t even have that song on my list for the album, but I played Shani a voice memo and right away she said, ‘I wanna record that,’” remembers Hull, who penned “Escape” with singer/songwriter Angel Snow. “I was a little hesitant since it’s so unlike anything else I’ve done, but in the end it was really exciting to play electric and come up with something in a completely different vein.”

    In closing out 25 Trips, Hull shares an especially poignant track titled “Father Time.” “I wrote that song with Mindy Smith after spending a week with my husband and his grandma, after his grandpa had a stroke on Christmas morning,” she says. “His grandma had suffered with Alzheimer’s for years and couldn’t really stay by herself, and through that experience I decided to write about watching my husband take such good care of her, and how that made me love him even more.” With its heavy-hearted melody and choir-like harmonies, “Father Time” shows Hull’s effortless finesse in embedding her music with so many subtle details (including an instrumental reference to “Jingle Bells” tucked into the second verse). “We had our instruments with us at Christmas, so at some point we played ‘Jingle Bells’ for my husband’s grandma,” says Hull. “She can’t remember my name or Justin’s name now, but for some reason ‘Jingle Bells’ stuck, and she still asks for it year- round—it’s the most amazing thing.”

    Even as its songs continually shift in genre, encompassing everything from bluegrass to folk-pop to ethereal alt-rock, 25 Trips remains rooted in the sophisticated musicianship that Hull has cultivated almost her entire life. Hailing from the tiny Tennessee hamlet of Byrdstown, she learned to sing from her mother as toddler, took up mandolin just a few years later, and began joining in local bluegrass jams by the young age of eight. With her childhood triumphs including joining her hero and mentor Alison Krauss onstage at the Grand Ole Opry at age 11, she made her Rounder debut with the 2008 album Secrets and promptly garnered the first of many nominations for Mandolin Player of the Year at the International Bluegrass Music Association Awards. In 2016, after a near- decade of consecutive nominations, Hull became the first-ever woman to win the award—then claimed that prize again at the 2017 and 2018 IBMAs. Over the years, Hull has also maintained a rigorous touring schedule, and has made occasional guest appearances with such icons as the Indigo Girls, Garth Brooks, and Gillian Welch.

    Marking a bold new era in Hull’s artistic evolution, 25 Trips wholly channels the pure and palpable joy she discovered in the album’s creation—and ultimately illuminates certain truths about the indelible connection between risk-taking and reward. “One of the things I most enjoyed about making this record was getting to show the wide variety of music I love,” says Hull. “I don’t really know what category the album falls in, but I also think that matters less and less. What really matters to me is trusting myself to be who I am, and just putting my voice and my heart out there in the most sincere way that I possibly can.”

Contact Information

  • Management/Booking: Management
    Chris Harris
    Rainmaker Music Management
    P&F: 813-867-7209
    [email protected]
    rainmakermanagement.net

    Booking
    Crossover Touring, LLC
    P: (404)793-7023 x102
    F: 404-793-7032
    [email protected]

    Record Label
    Rounder Records
    1201 Demonbreun St #600, Nashville, TN 37203
    rounder.com

    Publicist
    Regina Joskow
    Director of Publicity, Rounder Records
    P: 917-532-5687
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.sierrahull.com/store
  • ▶ Buy My Vinyl: http://www.sierrahull.com/store
  • ▶ Buy My Merch: http://www.sierrahull.com/store
  • ▶ Twitter: sierrahull
  • ▶ Instagram: sierradawnhull
  • ▶ Website: http://www.sierrahull.com
  • ▶ YouTube Channel: http://www.youtube.com/user/sierrahullmusic
  • ▶ YouTube Music: http://music.youtube.com/channel/UCUekYWeYs6J7X3Dw-jtgAWA
  • ▶ Spotify: http://open.spotify.com/album/0nTkvZbIYUw9gMh3mW52y9
  • ▶ Spotify 2: http://open.spotify.com/album/5MW8vgKSki8FkuzIeEbDjG
  • ▶ Spotify 3: http://open.spotify.com/album/25KVnBF9aOnK3gRxkHEdmd
  • ▶ Spotify 4: http://open.spotify.com/album/6QNcb3Y6yNePv0w5mMPtLJ

Clips (more may be added)

  • 4:18
    Sierra Hull - Everybody's Talking (Acoustic Session)
    By Sierra Hull
    164 views
  • 1:00
    Sierra Hull - "Unfamilar Times"
    By Sierra Hull
    177 views
  • 0:53
    Sierra Hull & Chris Thile warming up backstage at Telluride
    By Sierra Hull
    174 views
  • 0:09:55
    Sierra Hull - Whiskey Sour Happy Hour featuring Ed Helms / Episode 2
    By Sierra Hull
    184 views
Previous
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YOU RECOMMEND

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 Sierra Hull:

  • 1 Americana
  • 1 Bluegrass
  • 1 Guitar
  • 1 Mandolin
  • 1 Nashville, Tennessee
  • 1 Singer-Songwriter

Nodes below are randomly generated. Reload for a different stack.

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  • Rudy Royston Photographer
  • Tal Wilkenfeld Los Angeles
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