CURATION
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from this page:
by Matrix
Network Node
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Name:
Terri Hinte
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City/Place:
San Francisco Bay Area
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Country:
United States
Life
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Bio:
Soon after arriving in the Bay Area from her native New York in the early 1970s, Terri Hinte began working at Berkeley’s Fantasy Records. By the end of that decade she’d become the label’s publicity director, a post she held for nearly 30 years. She was privileged during that time to promote the music and professional endeavors of many hundreds of artists, ranging from Bill Evans and Hank Crawford to Sylvester and Sonny Rollins. Terri took a special interest in Brazilian music, learning Portuguese and traveling extensively in Brazil. In 2006—the year she left the company—she was honored as the De Facto Curator of Fantasy Records by the Jazz Journalists Association, which presented her with one of its A Team Awards.
As a freelancer, Terri continues to handle public relations for artists and musical enterprises whose work she admires. She is also a travel writer and essayist, a longtime student of metaphysics, and former chair of the Arts and Culture Commission for the city of Richmond, California, where she works and gardens.
Terri is currently working with Sonny Rollins, whom she has represented since 1978; Chicago vocalist Carolyn Fitzhugh, whose second album Living in Peace was produced by Mark Ruffin and arranged by Amina Figarova; Songs: The Music of Allen Toussaint, the new album by the New Orleans Jazz Orchestra and their first under the artistic direction of Adonis Rose; vocalist Laurie Antonioli's The Constant Passage of Time, her third recording with her American Dreams band; Encantada Live, the latest by Rio-born, California-based vocalist-composer Claudia Villela; keyboardist-composer Marcos Silva's third album (and first in 30 years), Brasil From Head to Toe; Transitions, the latest work by the Marcus Shelby Orchestra, featuring a four-part suite exploring Negro League baseball; and Sailing Home, the new Origin CD by Texas singer-songwriter Rosana Eckert, produced by Peter Eldridge.
During her many years at Fantasy Records, Terri Hinte was responsible for writing, assigning, and/or editing all bios, press releases, liner notes, newsletters, ads, brochures, and miscellaneous copy generated in connection with the company’s CDs and supporting promotional materials. “Her newsletters and advisories were light-years beyond the puffery that passes for publicity in too many precincts of the music business,” wrote Doug Ramsey in his blog, Rifftides.
Terri was the principal contributor to the Brazilian music section of the original All Music Guide (1993). Travelers’ Tales Brazil (1997) includes two of her essays, one of which—“Argentino”—was a first-prize winner in the 1994 Book Passage Travel Writing Conference writing contest. Since 1994 she has been a member of the Women Writers’ Workshop of Oakland, California. She co-edited (with Elizabeth Fishel) and contributed to the group’s two collections, Wednesday Writers: Ten Years of Writing Women’s Lives (2003) and Something That Matters (2007).
In 2006 Terri wrote the booklet essay for the boxed set The Prime of Antonio Carlos Jobim (Runt/Water Music). She was honored in the annual Solas Awards for Best Travel Writing in 2007 (Silver Certificate for her story “Ask and Receive,” in the Travel and Healing category) and 2010 (Gold Certificate for “Hulk and Me,” Animal Encounter category).
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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