Bio:
Natural de Salvador, Bahia, Ubiratan Marques é pianista, compositor, arranjador e maestro de música sinfônica.
Tendo iniciado seus estudos como autodidata em 1983, ingressou na Universidade Federal da Bahia em 1986, em Salvador, quando estudou Composição com Ernest Widmer, Lindenberg Cardoso e Agnaldo Ribeiro. Mais tarde, em 1994, já na Universidade Livre de Música Tom Jobim, em São Paulo, estudou Instrumentação, Orquestração e Arranjo, além de Piano Popular, com Roberto Faria, Cyro Pereira e Hans-Joachim Koellreutter, entre outros.
Professor, sua vida docente se iniciou em 1998 na Universidade Livre de Música Tom Jobim, experiência que se estenderia por 10 anos, até seu retorno a Salvador, quando fundou o Núcleo Moderno de Música, suporte ao desenvolvimento de aproximadamente 500 profissionais e berço para o surgimento da Orquestra Afrosinfônica.
Ainda em São Paulo, na década de 2000, fundou junto ao Projeto Guri a Orquestra Zumbi dos Palmares, trabalho sinfônico voltado à cultura negra que lhe permitiu atuar como regente dirigindo jovens de 8 a 18 anos. Essa experiência foi retomada em 2011 com a introdução do ensino de instrumentos de orquestra a jovens da rede municipal de ensino de Camaçari, Bahia, formando e dirigindo a Orquestra Sinfônica Popular Brasileira jovem e adulta.
O Maestro segue dirigindo a Orquestra Afrosinfônica e a Orquestra Sinfônica Popular Brasileira. Em 2015, incursionou no formato da orquestra experimental de câmara com formações variadas, a que deu o nome Asè Ensemble.
Neto da Mãe de Santo Guiomar Carolina, de Belmonte, no sul da Bahia, o Maestro tem como traço marcante de sua obra a influência da música ancestral africana.
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These are pathways, originating in the sprawling cultural matrix of Brazil (Indigenous, African, Sephardic and then Ashkenazik, Arab, European, Asian...), integrating cultural matrixes worldwide.
Matrix ground zero is the Recôncavo of Bahia...virtually unknown center of gravity circumscribing Bahia's Bay of All Saints...end of voyage for more enslaved human beings than any other such throughout all of human history...birthplace of some of the most physically & spiritually uplifting music ever made. Many countries are happier than Brazil, but none are more joyous.
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
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 MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced (that's me below left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).