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  • Why a "Matrix"?
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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 Tom Bergeron:

  • 1 Bossa Nova
  • 1 Brazilian Jazz
  • 1 Choro
  • 1 Composer
  • 1 Ethnomusicologist
  • 1 Frevo
  • 1 Jazz
  • 1 Niterói, Rio de Janeiro
  • 1 Samba
  • 1 Saxophone

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  • Tom Bergeron
    A video was posted re Tom Bergeron:
    Tom Bergeron Brasil Band - "A Carioca"
    Wagner Trindade performing at The Jazz Station, Eugene OR Tom Bergeron Brasil Band: Tom Bergeron, tenor sax; Dan Gaynor, piano; Wagner Trindade, bass and Cam Siegal, drums.
    • October 22, 2021
  • Tom Bergeron
    A video was posted re Tom Bergeron:
    Floresta Urbana
    Tom Bergeron Brasil Band | Floresta Urbana - Marvio Ciribelli | The Jazz Station - Eugene OR
    • October 22, 2021
  • Tom Bergeron
    A video was posted re Tom Bergeron:
    Wave
    Tom Bergeron Brasil Band | Wave - Tom Jobim | The Jazz Station - Eugene OR
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Ethnomusicologist
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Jazz
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Niterói, Rio de Janeiro
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Composer
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Brazilian Jazz
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Frevo
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Bossa Nova
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Samba
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Choro
    • October 22, 2021
  • Tom Bergeron
    A category was added to Tom Bergeron:
    Saxophone
    • October 22, 2021
  • Tom Bergeron
    Tom Bergeron is matrixed!
    • October 22, 2021
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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..."

 

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.

 

@ 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...

 

It 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...

 

From Harlem to Bahia



  • Tom Bergeron
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Tom Bergeron
  • City/Place: Camp Sherman, Oregon
  • Country: United States

Life & Work

  • Bio: Tom Bergeron has performed throughout the United States, and in France, Poland, Germany, Costa Rica, and Brazil.

    Since 2000 Tom has been deeply involved in studying, playing, and teaching Brazilian music – returning regularly to Brazil to further explore choro, samba, bossa nova, frevo, and Brazilian jazz. This passion led to the formation of the Tom Bergeron Brasil Band in 2012, which plays regularly throughout Oregon’s Willamette Valley and beyond. He also co-leads Vianna Bergeron Brazilian Jazz, based in Seattle, Washington.

    Tom also draws musical inspiration from the jazz heritage and other music traditions from around the world. In the 1980s, he studied with the late Zimbabwean master-percussionist Dumisani Maraire, and was a founding member of the Eugene, Oregon-based African marimba group Shumba. He has premiered dozens of new “concert” works for the saxophone, and is the author of a comprehensive book on saxophone multiphonics, the esoteric technique of producing several notes at once on the saxophone.

    During his varied career as a performer, Tom has performed with renown artists such as Ella Fitzgerald, Lynn Anderson, Hal Blaine, Anthony Braxton, Marvio Ciribelli, Rosemary Clooney, Natalie Cole, Robert Cray, Myron Florin, Vinnie Golia, Dick Hyman, Oliver Lake, Graham Lear, Joe Lovano, Glen Moore, Bernadette Peters, Luis Resto, Curtis Salgado, Bobby Shew, Sunny Turner, Gust Tsilis, Mason Williams, The Fifth Dimension, The Temptations, Guy Lombardo's Royal Canadians, and Marin Alsop's String Fever.

    Tom began his musical journey as a multi-instrumentalist in Manchester, New Hampshire, studying piano and music theory with Roland Belisle, who learned stride piano from Fats Waller. His first professional experiences date to 1968, when he joined the New Hampshire Philharmonic as a bassoonist, and he formed his first band — The Tom Bergeron Dance Band — which played music of the Great American Songbook and The Beatles for wedding receptions and other events throughout New Hampshire. In 1974, he co-founded the jazz collective Antares — which for a bright moment in the mid 1970s was a fixture on the New England jazz club and steak house circuit.

    Since that time, Bergeron has performed and/or recorded as a leader or sideman with many bands and ensembles, including The American Metropole Orchestra, Cathexis Orchestra, Cabrillo Festival of Contemporary Music, Cascade Festival of Music, Eugene Symphony, Grande Ronde Symphony, Hagberg/Bergeron Quartet, Kansas City Symphony, Labirynt, Midnight Serenaders, Newport Symphony, Oregon Bach Festival, Oregon Coast Music Festival, Oregon Festival of American Music, Pittsburg New Music Ensemble, Portland Center Stage, Portland Chamber Orchestra, Sacramento Symphony, Third Angle New Music Ensemble, Western Rebellion, Whirled Jazz, and Whirled News.

    Tom’s academic credentials begin with BA and BM degrees in music theory and saxophone under the tutelage of David Seiler, followed by a Master of Music degree in woodwinds with the legendary concert saxophonist and teacher Donald Sinta – who had served as a role model and mentor since Tom’s high school years. Upon moving to Oregon in 1981, Tom earned a doctorate in saxophone with another mentor and good friend, J. Robert Moore, who was among the last generation of students of Marcel Mule, the French Godfather of the classical saxophone. Tom has premiered dozens of new works for the saxophone and is the author of Saxophone Multiphonics: A Scalar Model.

    For 28 years, Tom was Professor of Music at Western Oregon University, where he taught woodwinds, music theory, ethnomusicology, music business, songwriting, jazz, and Brazilian music — and served as both Department Head and Chair of the Creative Arts Division. He had previously taught at Eastern Oregon University, Lane Community College, the University of Oregon, Crescent Music Studios in Ann Arbor, and Groton School in Massachusetts.

    He and his wife, Rosi, spend most of the year in the mountains of Camp Sherman, Oregon, and the rest of the year at their home in Niterói, Brazil, across the bay from Rio de Janeiro. When not working on music projects, Tom can often be found kayaking or hiking in the Oregon Cascades, or walking the beaches of Rio.

Contact Information

  • Email: [email protected]
  • Telephone: +1 503-917-9835
  • Address: Tom Bergeron
    Teal Creek Music
    PO Box 716
    Camp Sherman OR 97730

Media | Markets

  • ▶ Twitter: tombersax
  • ▶ Website: http://tombergeron.us
  • ▶ Spotify: http://open.spotify.com/album/0FIZg3EmNsVqmzKXEmRfmq
  • ▶ Spotify 2: http://open.spotify.com/album/5WeLFW6wBvQuIviAlwrZyY
  • ▶ Articles: http://tombergeron.us/press.html

More

  • Quotes, Notes & Etc. "Tom Bergeron stunned the audience...with some brilliant alto saxophone improvisation."
    ~ Sue Pilla, Eclipse Jazz Newsletter (Ann Arbor, MI)

    "Tom Bergeron brought the house down with a stunning performance."
    ~ W. Thomas Marrocco, Register-Guard (Eugene, OR)

    "Tom Bergeron's sax is so sweet your blood sugar soars."
    "Outrageously good."
    "Whatever Bergeron was paid...it wasn't enough."
    ~ Karen Kammerer, Register-Guard (Eugene, OR)

    "Bergeron is a virtuosic saxophonist....He is a master of classical, improvisatory, avant garde, and jazz performance."
    ~ Jason DuMars, International Saxophone Home Page

    "The climax of the evening [was] Bergeron's rapturous and brilliant work."
    "Tom Bergeron stole the show with his frisky Eric Dolphy-like romps."
    ~ Mike Heffley, What's Happening (Eugene, OR)

    "Bergeron, like Osby, produces clear, precise lines."
    ~ Mark Corroto, AllAboutJazz.com

    "Bergeron's compositions move like a well-plotted story."
    ~ Lynn Darroch, The Oregonian

    "Ferociously talented, pyrotechnically gifted."
    ~ Scott Williams, Sentinel and Enterprise (Fitchburg, MA)

    "Bergeron's rounded tone is so smooth, his dynamic control so exquisite that the sound envelops you like a cool flannel sheet."
    "Bergeron's music is an Oregon microbrew of rich flavors and rare quality."
    "So good he's scary."
    ~ Brett Campbell, Eugene Weekly/What's Happening (Eugene, OR)

Clips (more may be added)

  • 0:07:09
    Tom Bergeron Brasil Band - "A Carioca"
    By Tom Bergeron
    70 views
  • 0:07:28
    Floresta Urbana
    By Tom Bergeron
    97 views
  • 0:07:04
    Wave
    By Tom Bergeron
    66 views
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