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.

 

  • Trilok Gurtu
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Trilok Gurtu
  • City/Place: Hamburg
  • Country: Germany
  • Hometown: Mumbai, India

Current News

  • What's Up? With every track on “Spellbound” Trilok Gurtu has turned to the instrument that Cherry himself played: the trumpet. This brass instrument is practically a symbol for Gurtu's own musical vision. In its different versions, the trumpet has found a place in countless cultural circles around the world and has become an essential element of many different styles. The trumpet plays an important role in classical, symphonic music, just as in pop, world and, of course, jazz music.

Life & Work

  • Bio: A world class, virtuoso percussionist, Trilok has attracted a world class set of collaborators over a long career; these started with John McLaughlin in whose trio, Trilok flourished as the featured soloist for 4 years, other jazz greats continued this path - Joe Zawinul, Jan Garbarek, Don Cherry, Bill Evans, Pharoah Sanders, Dave Holland were all attracted to Trilok's burning sense of rhythm. Of course he is deeply rooted in the Indian tradition, so it is no surprise to see that collaborations also took place with the glitterati of Indian musical society - his mother, Shobha Gurtu, Zakir Hussain, L. Shankar, Shankar Mahadevan, Hariprasad Chaurasia, The Misra Brothers and Sultan Khan. World music has become an established genre in which Trilok has further “ploughed his own furrow” with his own group, to great effect, performing and recording with Salif Keita, Oumou Sangare, Angelique Kidjo, Neneh Cherry, Omara Portuondo, Tuvan throat singers, Huun Huur Tu, to such effect that Rita Ray of BBC Radio described him as “a serial collaborator”.

    In 2006/7, Trilok has recorded and performed with the Malian musicians from the Frikywa Family and the Italian, Arke String Quartet. Although these performances continue, he has also formed a World Music group featuring Bass, Guitar, Violin, Didjeridoo and Santoor, which showcases his talents thru the coming seasons. He will also offer his Twenty Years of Talking Tabla a solo event focussing on speech and tabla, with a chance for small audiences to exchange musical views with him and learn about his broad compositional techniques.

    Trilok Gurtu was born into a highly musical family in Bombay, India where his grandfather was a noted Sitar player and his mother Shobha Gurtu, a classical singing star and constant influence. He began to play practically from infancy at the age of six. Eventually Trilok traveled to Europe, joining up with trumpeter Don Cherry (father of Neneh and Eagle Eye) for two years; touring worldwide with Oregon, the highly respected jazz group and was an important part of the quartet that L. Shankar led with Jan Garbarek and Zakir Hussain.

    In 1988 Trilok performed with his own group, finally being able to present his compositions on the debut album USFRET which many musicians claim as an important influence; young Asian musicians from London like Talvin Singh, Asian Dub Foundation and Nitin Sawhney see him as a mentor and so Trilok's work finds its way onto the turntables at dance clubs years later. But back in 1988 Trilok met The Mahavishnu Orchestra and its leader, John McLaughlin and for the next four years played an integral part in The John McLaughlin Trio.

    In 1993 Trilok toured his own trio in support of the album THE CRAZY SAINTS, which featured not only Joe Zawinul but also Pat Metheny. Audiences were enthralled by his compositions that linked subtle Indian rhythms and Indian singing with elements of modern jazz and rock. The following year the band was expanded to a quartet and touring extended to include a US coast-tocoast tour and 40+ European shows.

    The composer and band leader had evolved from the Trilok of earlier years: consummate musicianship now joined entertainment skills as his humorous presentations for the group, between bouts of serious music, brought uproarious laughter from his spectators.

    Band tours continued annually establishing Trilok Gurtu as a regular and popular visitor to many European and US cities; his group, THE GLIMPSE which was formed in 1996 grew from his musical roots in India's timeless acoustic tradition. By the late 90's they were touring worldwide and appearing in Festivals where he performed alongside the megastars of the entertainment business (Bob Dylan, Eric Clapton, REM) as well as his colleagues in the World Music scene like Youssou N'Dour, Baaba Maal, Cesaria Evora and Salif Keita. The KATHAK, AFRICAN FANTASY and BEAT OF LOVE CDs came about in 1998/9, 2000/1 as a direct result of these years: Trilok's music entered a distinctly World Music setting. - a new sound that contained the core of his previous works but expanded on it allowing guest singers like Neneh Cherry, Salif Keita, Angelique Kidjo and Oumou Sangare to display their talents on Trilok's own recordings.

    When Trilok hit the live performance circuit in 2000 and 2001, audiences saw the group with special guest appearances by Nitin Sawhney, Angelique Kidjo, Salif Keita and THE BEAT OF LOVE producer Wally Badarou in New York and London. In between group performances he appeared at a number of prestigious solo percussion recitals and gave guest performances on albums by John McLaughlin, Pharoah Sanders, Nitin Sawhney, Lalo Schifrin, Gilberto Gil, Bill Laswell & Annie Lennox.

    The release of REMEMBRANCE in 2002 was a major milestone for Trilok. The guests Shankar Mahadevan, Zakir Hussain, Ronu Majumdar and Shobha Gurtu gave superb performances. Reviews in London were all 4**** and better, including The Times, Daily Express, The Guardian, Q, Songlines and FRoots. Combined with extensive touring across Europe and especially Scandinavia, this led to Trilok's second nomination for the BBC World Music Awards and for an EMMA. Stand out performances were at London's Hyde Park for the Queen's 50th Anniversary and in Bombay as part of a global satellite-delivered concert with Youssou N'Dour and Baaba Maal celebrating the BBC's 70th Anniversary of their World Service.

    2003 saw a wide variety of over 50 performances all over the globe from Trilok Gurtu in quartet, trio and solo formats. His first collaboration in an orchestral piece took place in Koln in October, with the World Premiere of “Chalan” written especially for him by Maurizio Sotelo. Other key 2003 performances were at Cité de la Musique, Paris in April with special guest Shankar Mahadevan; in Utrecht with Robert Miles, Kudsi Erguner and Hassan Hakmoun and in Sardinia with Dave Holland. The most spectacular was certainly in Copenhagen at “The Images of Asia Festival” where he orchestrated a joint performance of his own band with Samul Nori (Korean Percussionists) and Huun Huur Tu (Mongolian Throat Singers). All this on a floating stage in Copenhagen Harbour at sunset - quite delicious!

    Trilok started 2004 with a 10-date tour of Norway in February followed by an extensive tour of 25 concerts in France to announce the release of his eleventh CD BROKEN RHYTHMS. As with all Trilok records, the accent was on rhythm and drumming - but this one more so. Featured collaborations with the Tuvan Throat Singers Huun Huur Tu, the Arké String Quartet and an outstanding screaming guitar part from Gary Moore bring a heady mix of bright and fast with gentle and peaceful. The album was released in France in March 2004 and received all 4**** reviews. Two visits to the USA with his group included the huge Stern Grove Festival in San Francisco in front of 20,000 spectators.

    As a composer, player and leader, Trilok released the brilliant MASSICAL in 2009 and the ambitious large ensemble compositions of 21 SPICES with drumming great Simon Phillips and the NDR Big Band in 2011. In 2013 Trilok released SPELLBOUND as a tribute to his one-time mentor and dear friend Don Cherry. The trumpet, which was the main instrument of the great Don Cherry, is featured throughout SPELLBOUND with guest appearances by trumpeters Nils Petter Molvær, Paolo Fresu, Matthias Schriefl, Ibrahim Maalouf, Ambrose Akinmusire, Hasan Gözetlik and Matthias Höfs playing compositions by Trilok as well as compositions by trumpet legends Miles Davis and Dizzy Gillespie.

    Trilok's versatile wide vision within other projects has continued with contributions to the work of Adriano Celentano, the Grammy Award winning “Gracias” by Omara Portuondo, Marcus Miller, Angelique Kidjo, Bill Laswell, Sheila E, Tigran Hamasyan, Pedro Javier Gonzalez, Gianna Nannini, Niels Petter Molvaer and Carles Benevent. He has also recently performed with the classical percussion star Martin Grubinger and continues to tour with master musician Jan Garbarek.

    With his unique genius which has played a major role in creating some of the finest works of his fellow master musicians, amongst others, John Mclaughlin, Joe Zawinul, Dave Holland and Jan Garbarek, Trilok Gurtu continues to define and redefine his position as one of the percussive art's greatest innovators of all time. Although his approach to playing and composing is non-stylistic, it is built upon a solid and deep understanding of many global styles. His drumming and composing are universal, personal and fueled by tremendous love and discipline.

Contact Information

  • Email: [email protected]
  • Management/Booking: Live Appearances (UK and World excluding France, India and Dubai):
    Address: Provo Culture, Via Oceano Pacifico n. 1, 01014 Montalto di Castro (VT), Italia
    Contact: Claudio De Rocco
    Email:[email protected]
    Tel: +39-0766-802380
    Fax: +39-0766-802991

    Live Appearances (France only):
    Address: Jazz Musiques Productions, 520 rue de la Ducques, 34730 Prades le Lez, France
    Web: www.jmp.fr
    Contact: Franck Feret
    Email: [email protected]
    Tel: +33-(0)467 59 74 97
    Fax: +33-(0)467 59 72 84

    Live Appearances (India and Dubai):
    Contact: Narendra Gurtu
    Email: [email protected]
    Tel: +91-22 24999310
    Mobile: +91-98202 49027

Media | Markets

  • ▶ Twitter: trilokgurtu
  • ▶ Instagram: trilokgurtu
  • ▶ Website: http://www.trilokgurtu.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCbyJsVuuR9eWhEE0Z9A0UcA
  • ▶ Spotify: http://open.spotify.com/album/78KxbRnFUZ0BLp7EOMxHIq
  • ▶ Spotify 2: http://open.spotify.com/album/7ck0qKcQyQdIIYoh1aZhNj
  • ▶ Spotify 3: http://open.spotify.com/album/3Zi8s0mb2kdoQQDGcXl8dx
  • ▶ Spotify 4: http://open.spotify.com/album/5RcXAgfEYkYYJ4EDsaW68p
  • ▶ Spotify 5: http://open.spotify.com/album/0cCJXiWivR5ah3Dbj81mU3
  • ▶ Article: http://www.jazzfederation.de/de/aktuell/aktuell-detail/interview-trilok-gurtu

Clips (more may be added)

  • Marcus Miller + Trilok Gurtu + Johann Berby on Bass Jazz at Solidarity of Arts
    By Trilok Gurtu
    222 views
  • Joe Zawinul & Trilok Gurtu 25 Festival Jazz Frankfurt 1994
    By Trilok Gurtu
    345 views
  • Trilok Gurtu Solo I Udupa Music Festival 2016
    By Trilok Gurtu
    283 views
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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 Trilok Gurtu:

  • 3 Drums
  • 3 Indian Classical Music
  • 3 Jazz
  • 3 Multi-Cultural
  • 3 Percussion
  • 3 Tabla

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