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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...

 

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...

 

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..."

 

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.

 

  • Veronica Swift
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Veronica Swift
  • City/Place: New York City
  • Country: United States
  • Hometown: Charlottesville, Virginia

Current News

  • What's Up? This Bitter Earth:

    Veronica Swift flips the script on This Bitter Earth, the captivating follow-up to her 2019 Mack Avenue Records debut, Confessions. Whereas Confessions played out like pages from her personal diary, on the new album, the 27-year-old singer and master song interpreter looks outward while addressing social ills that plague the world today.

    This Bitter Earth takes on the song-cycle characteristics of such classic LPs as Marvin Gaye’s What’s Going On, Kate Bush’s Hounds of Love, and Mary J. Blige’s My Life. For her album, Swift tackles sexism [“How Lovely to Be a Woman”], domestic abuse [“He Hit Me (And It Felt Like a Kiss)”], racism/ xenophobia [“You’ve Got to Be Carefully Taught”] and the dangers of fake news [“The Sports Page”].

    Accompanied by a team of kindred spirts that includes pianist Emmet Cohen, guitarist Armand Hirsch and flutist Aaron Johnson, bassist Yasushi Nakamura, and drummer Bryan Carter, Swift curates material that covers multiple genres, including jazz, American musicals, vintage R&B and contemporary rock.

    “I’ve been waiting to do this album for years,” Swift says before explaining that she usually conceives her albums far in advance. She recorded much of the material in 2019, before the coronavirus pandemic forced the world into a near total standstill. But the time allowed her to live with songs at different parts of her life. Eventually, she recognized the connective tissue between them. The big challenge, however, was crafting a cohesive narrative.

    Swift delves into a dramatic yet sardonic makeover of “How Lovely to Be a Woman,” a Charles Strouse and Lee Adams tune from the 1960 musical, Bye Bye Birdie. “As I’m coming into the world, having more of a feeling of who I am and being more confident in that, I realize now how this song had a lot more ambiguity and cynicism involved,” Swift says. “I tried to make an arrangement that maintained the childlike feel I had while listening to it but still insert some of that sarcasm in it. The song also allows me to present more of my humorous side.”

    Themes of abuse appears with Swift’s cover of the Crystals’ 1962 provocative R&B tune “He Hit Me (And It Felt Like a Kiss).” “This song just makes your stomach curdle,” Swift says. “It’s uncomfortable to sing; it’s uncomfortable to listen. But the original version by the Crystals is so the opposite; it’s so indicative of the 1960s victim woman who stays with the man who physically assaults her. I’ve never heard a version of this song that had gone the other way in terms of making it a somber piece. I wanted to give listeners another option in listening to this song. So, I stripped away all the other instruments and chord progressions and just made it me and guitar. I arranged it to sound almost singer-songwriterly.”

    “You’ve Got to Be Carefully Taught” comes from a musical – 1949’s South Pacific. The envelope-pushing, Richard Rodgers and Oscar Hammerstein II-penned song illustrates how racism and xenophobia are learned behaviors, often projected onto children during their early development. “I was always perplexed at how such a deep and dark subject matter in South Pacific was sung so upbeat,” Swift recalls. “I think it was written intentionally to not sit well with the audience. I wanted to come up with an arrangement that’s very antsy and mad. So, I put a little bit of that rock beat on the chorus and sing angrily. To me, it sounds like what the song was meant to be.”

    The album switches gears with Swift’s cunning version of Dave Frishberg’s socially conscious song “The Sports Page.” She uses the song’s topical lyrics to invoke the prevalence of fake news during President Trump’s administration. “It is amazing how a song written in the late 1960s is still relevant, and its brilliance is that it doesn’t target a specific demographic,” Swift says.

    “I want this album to have two separate approaches,” she explains. “I wanted to start with women’s place in society now and how it’s changing. During the second half, I wanted to address other ailments in the world, whether it’s racism or fake news. But I don’t take any political stances. I’m very clear with my audience that as an artist I address certain issues as an outsider looking in.”

    Now with This Bitter Earth, her second Mack Avenue Records album, Swift’s ascendance as a 21st century jazz torchbearer continues.

    THIS BITTER EARTH is available now.

Life & Work

  • Bio: Before college graduation, Swift competed in the 2015 Thelonious Monk International Vocal Competition, in which she placed second. Two years later, she moved to New York City to further her career and has since performed and/or toured with a host of jazz luminaries, including trumpeters Wynton Marsalis and Chris Botti, and pianists Benny Green, Michael Feinstein and Emmet Cohen.

Contact Information

  • Contact by Webpage: http://veronicaswift.com/contact
  • Management/Booking: Management
    The Colomby Group
    Bobby Colomby
    Archie Castillo
    4115 Glencoe Avenue, Unit 114
    Marina Del Rey, CA 90292
    310-399-8881
    [email protected]

    Booking
    Unlimited Myles
    Myles Weinstein
    732-566-2881
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://veronicaswift.com/store
  • ▶ Twitter: vswiftjazz
  • ▶ Instagram: veronicaswiftjazz
  • ▶ Website: http://veronicaswift.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCz6_vsge3DgUT8NIsCbO0vw
  • ▶ YouTube Music: http://music.youtube.com/channel/UC_tlfxQcgWH5YzjuKYek99A
  • ▶ Spotify: http://open.spotify.com/album/1yi4NWdyakAZVxpnbKhrCG
  • ▶ Spotify 2: http://open.spotify.com/album/46Kn3u0Fzlvo1Zmba26EB7
  • ▶ Spotify 3: http://open.spotify.com/album/5ONLFeBhrqRDGq5Y9x3ccD
  • ▶ Spotify 4: http://open.spotify.com/album/4XXPql9sU0JcimiBzm4ZGe

Clips (more may be added)

  • 5:23
    Emmet Cohen w/ Veronica Swift | I Want To Get Happy
    By Veronica Swift
    102 views
  • 4:20
    "Social Call" - Benny Benack III ft. Veronica Swift
    By Veronica Swift
    113 views
  • 2:54
    Veronica Swift "I Get a Kick Out of You"
    By Veronica Swift
    130 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 Veronica Swift:

  • 3 Composer
  • 3 Jazz
  • 3 New York City
  • 3 Singer
  • Carl Allen Music Director
  • Chucho Valdés Afro-Cuban Jazz
  • Margareth Menezes Salvador
  • Varijashree Venugopal Jazz
  • Fred P Ambient Music
  • Capinam Diretor de Museu, Museum Director
  • Issac Delgado Timba
  • Marc-André Hamelin Piano
  • The Brain Cloud New York City
  • Liron Meyuhas Composer
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  • David Bragger Mandolin
  • Nelson Cerqueira Brasil, Brazil
  • Danilo Pérez Multi-Cultural
  • Jovino Santos Neto Piano
  • Michael W. Twitty Washington, D.C.
  • Kiya Tabassian كيا طبسيان Setar
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  • Plamen Karadonev Composer
  • Seckou Keita Percussion
  • Nei Lopes Singer-Songwriter
  • Justin Brown Drums
  • Gary Clark Jr. Singer-Songwriter
  • Raymundo Sodré Samba
  • Jorge Ben Brazil
  • Elio Villafranca Jazz
  • Júlio Caldas Guitarra Baiana
  • Bill Callahan Austin, Texas
  • Mike Compton Mandolin
  • Mateus Asato Songwriter
  • Alan Williams Metal Artist
  • Muireann Nic Amhlaoibh County Kerry
  • Andrew Gilbert Writer
  • Justin Stanton Keyboards
  • Margareth Menezes Singer-Songwriter
  • Woody Mann Folk & Traditional
  • Tom Oren Israel
  • Shannon Sims Writer
  • João Callado Rio de Janeiro
  • Mickalene Thomas Video Artist
  • Mykia Jovan Blues
  • Yunior Terry NYU Faculty
  • Louis Marks Ropeadope Sur
  • Helen Shaw New York City
  • Rogério Caetano Violão de Sete
  • Martyn Techno
  • Django Bates Jazz
  • Gabriel Grossi Composer
  • Keshav Batish Multi-Cultural
  • Leon Bridges R&B
  • Hercules Gomes Composer
  • Jamael Dean Jazz
  • Casa da Mãe Samba
  • Marcus Teixeira Guitar
  • Nicholas Daniel Classical Music
  • Vincent Valdez Painter
  • Scotty Barnhart Trumpet
  • David Sánchez Georgia State University School of Music Faculty
  • Victor Wooten Multi-Instrumentalist
  • Ron Carter Cello
  • Pasquale Grasso Jazz
  • Jeff Tweedy Singer-Songwriter
  • John Zorn Record Label Owner
  • Jason Parham Publisher
  • Brian Stoltz Singer
  • The Umoza Music Project Senga Bay
  • Baiba Skride Classical Music
  • Edsel Gomez Piano
  • Rayendra Sunito Jazz
  • José Antonio Escobar Santiago de Chile
  • Weedie Braimah Jazz
  • Paulo César Figueiredo Brasil, Brazil
  • Issac Delgado Cuba
  • Arthur Verocai Rio de Janeiro
  • Luis Perdomo Venezuela
  • André Vasconcellos Produtor Musical, Music Producer
  • Luizinho do Jêje Percussion
  • David Bruce Multi-Cultural
  • Gavin Marwick Multi-Cultural
  • Nabihah Iqbal DJ
  • Andrew Dickson Radio Presenter
  • Susana Baca Folklorist
  • Vinson Cunningham New York City
  • Janine Jansen Classical Music
  • THE ROOM Shibuya DJs
  • Rita Batista Brasil, Brazil
  • Stefano Bollani Writer
  • Margaret Renkl Writer
  • Roots Manuva Rapper
  • Alisa Weilerstein Berlin
  • Lenny Kravitz Photographer
  • Kenny Garrett Saxophone
  • James Andrews Singer
  • Bule Bule Forró
  • John Francis Flynn Tin Whistle
  • The Rheingans Sisters Folk & Traditional
  • Scott Kettner New School for Jazz and Contemporary Music Faculty
  • Lynn Nottage Film Producer
  • Joatan Nascimento Choro
  • Craig Ross Record Producer
  • Psoy Korolenko Псой Короленко Songwriter
  • Jane Ira Bloom New York City
  • Kehinde Wiley Portrait Painter
  • Germán Garmendia Singer
  • Natan Drubi Violão de Sete, Seven-string Guitar
  • Quatuor Ebène Classical Music
  • Bisa Butler Quilts
  • Avishai Cohen אבישי כה Bass
  • Shabaka Hutchings Saxophone
  • John Boutté Blues
  • Stephan Crump Jazz
  • Soweto Kinch Hip-Hop
  • Tedy Santana Brazil
  • David Greely Louisiana
  • Daedelus Record Producer
  • Biréli Lagrène Composer
  • Hugues Mbenda Congo
  • Jorge Glem Mandolin
  • Jam no MAM Jazz
  • Kiya Tabassian كيا طبسيان Multi-Cultural
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  • Rema Namakula Uganda
  • Andrew Huang Songwriter
  • Gaby Moreno Guitar
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  • Itamar Vieira Júnior Writer
  • Fernando Brandão Choro
  • David Sánchez Ropeadope
  • Plinio Oyò Chula
  • Marc Cary Composer
  • Hugues Mbenda France
  • Thomas Àdes Opera
  • Taylor Eigsti New York City
  • Guinha Ramires Rio Grande do Sul
  • Marcelinho Oliveira Brazil
  • Tam-Ky Supermarket
  • Béco Dranoff Record Producer
  • Tray Chaney Rapper
  • Ariane Astrid Atodji Director
  • Laércio de Freitas Choro
  • Dan Tyminski Bluegrass
  • Shaun Martin Songwriter
  • Dani Deahl Journalist
  • Kiko Souza R&B
  • Sergio Krakowski Experimental Music
  • Seth Rogovoy Klezmer
  • Marcos Portinari Rio de Janeiro
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  • Darol Anger Composer
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  • Bill Hinchberger Writer
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  • Nomcebo Zikode South Africa
  • Spider Stacy New Orleans
  • J. Pierre Illustrator
  • Jonathan Griffin Reporter
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  • Gilson Peranzzetta Composer
  • PATRICKTOR4 Global Bass
  • Tiganá Santana Salvador
  • Aloísio Menezes Samba
  • Maia Sharp NYU Steinhardt Faculty
  • Helen Shaw Writer
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  • John Morrison Sample-Flipper
  • Booker T. Jones Soul
  • Arthur Verocai Piano
  • Alicia Svigals Writer
  • Ed Roth Music Producer
  • Abderrahmane Sissako Screenwriter
  • Bill Frisell Americana
  • Marcus Teixeira EMESP Tom Jobim Faculty
  • David Castillo Opera
  • Spok Frevo Orquestra Recife
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  • Trombone Shorty Second Line
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  • Rogério Caetano Violão de Sete
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  • Hank Roberts Composer
  • Nubya Garcia DJ
  • June Yamagishi Guitar
  • Elisa Goritzki Bahia
  • Rissi Palmer Americana
  • Matt Ulery Multi-Instrumentalist
  • Michael Olatuja Afrobeat
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  • Chris Potter Saxophone
  • Tyshawn Sorey Avant-Garde Jazz
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  • Jorge Alfredo Roteirista, Screenwriter
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  • Welson Tremura Choro
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  • Tom Green Writer
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  • Yunior Terry Havana
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  • Yotam Silberstein Jazz
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  • Stormzy London
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  • John Edward Hasse Record Producer
  • Colm Tóibín Ireland
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  • Jon Faddis Composer
  • Mingo Araújo Brazil
  • Deborah Colker Choreographer
  • Ricardo Bacelar MPB
  • Babau Santana Chula
  • Pharoah Sanders Saxophone
  • Marcos Sacramento Brazil
  • Quincy Jones Arranger
  • Tam-Ky Asian-African Foods
  • Cássio Nobre Samba de Roda
  • Urânia Munzanzu Cineasta, Filmmaker
  • Giovanni Russonello Music Critic
  • Magary Lord Brazil
  • Nath Rodrigues Minas Gerais
  • Jon Batiste New York City
  • Caroline Shaw New York City
  • Luciana Souza Singer
  • Stanton Moore Funk
  • Anouar Brahem Multi-Cultural
  • Yotam Silberstein New School for Jazz and Contemporary Music Faculty
  • Atlantic Brass Quintet Jazz
  • Joe Newberry Banjo
  • Chau do Pife Forró
  • Tab Benoit Blues
  • Jill Scott Model
  • João Callado Rio de Janeiro
  • Morgan Page DJ
  • Jason Moran New England Conservatory of Music Faculty
  • Marcelo Caldi Composer
  • Rudy Royston Educator

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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