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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 Wouter Kellerman:

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  • Wouter Kellerman
    A video was posted re Wouter Kellerman:
    'In A Different Light' Trailer
    Get the album here: https://orcd.co/0daxo2m
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    African Music
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Alto Flute
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Fife
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Bass Flute
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Bansuri
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    World Music
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Composer
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Flute
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    South Africa
    • September 19, 2019
  • Wouter Kellerman
    A category was added to Wouter Kellerman:
    Johannesburg
    • September 19, 2019
  • Wouter Kellerman
    Wouter Kellerman is matrixed!
    • September 19, 2019
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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



  • Wouter Kellerman
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Wouter Kellerman
  • City/Place: Johannesburg
  • Country: South Africa

Life & Work

  • Bio: Globe-trotting flutist and composer Wouter Kellerman received a 2015 Grammy® Award at the 57th Annual Grammy® Awards for his album Winds of Samsara, a collaboration with Indian composer and producer Ricky Kej. Winds Of Samsara reached #1 on the US Billboard New Age Albums Chart and also peaked at #1 on the Zone Music Reporter Top 100 International Radio Airplay Chart in the month of July 2014, winning both the ZMR ‘Album of the Year’ and ‘Best World Album’ awards.

    Kellerman’s newest album LOVE LANGUAGE was released in August 2015 and debuted at number 1 on the World Music Billboard charts in its first week. Love Language draws influence from Senegal and Spain, Cuba and India, Greece and the United States. The album encapsulates the myriad ways that people connect on the topics of life and love — and the countless languages with which people speak of the universal connection that binds them one to another. In the spirit of Love Language, all proceeds from album sales go to the SOS Children’s Villages in South Africa.

    Kellerman has also been recognised at home, most recently winning three SAMA’s (South African Music Award, equivalent to the American Grammy®) in 2015 to add to his previous wins in 2010 and 2011, reinforcing his status as one of South Africa’s foremost musicians. A true crossover artist, Kellerman thrives on experimenting with the shades, textures and colours that his magic flute is capable of painting, and creatively blending them with other instrumentation and vocal sounds.

    Wouter has travelled extensively over the last few years, performing around the globe in places like Berlin, Shanghai, New York and Sydney, including sold-out concerts at Carnegie Hall in New York City and the Grammy Museum in LA in 2014. His 2012 U.S. tour included appearances at the prestigious Kennedy Centre in Washington DC, at Summerstage and Joe’s Pub in New York City, and at Caesars Palace in Las Vegas.

    Kellerman performed his composition 'The Long Road' - a flute solo for Nelson Mandela, - on Nelson Mandela Day in South Africa for a stadium of 80,000 people and a television audience in August 2013. He has also performed at the opening of MIDEM in Cannes, France; MIDEM is the world’s largest music conference and festival and Kellerman was part of a Department of Arts and Culture delegation, representing South Africa. Kellerman's 2013 album Mzansi spent 6 months in the Top 40 of the international ZMR charts, (peaking at number 4) as well as 18 weeks in the Top 40 of the CMJ New World charts. It won the 2014 IMA (Independent Music Award) Vox Pop award in the USA for 'Best World Beat Album'. Kellerman's debut album, Colour, enjoyed rave reviews, topped the charts and was nominated for a 2008 South African Music Award for ‘Best Instrumental Album’. Three of his albums - Colour, Two Voices and Mzansi - were mixed in Los Angeles by Grammy-winning engineer Husky Hoskulds. In 2010 his show ‘Kellerman Colour Live’ won the 2010 SAMA for ‘Best Jazz/Instrumental/Popular Classical DVD’. He followed his performance at the FIFA Soccer World Cup Closing Ceremony with concerts at the Standard Bank Joy of Jazz festival in Johannesburg and two performances at the Shanghai World Expo in China.

    Passionate about teaching and empowering young people, Kellerman has sponsored the living expenses of ten children in the SOS Children’s Village in Ennerdale, South Africa for the past 14 years. He has also financed the building of a house in the SOS Children’s Village in Rustenburg, South Africa. For his continued efforts in helping give these children a better life, Kellerman was nominated by the SOS Children’s Villages for the Inyathelo Special Recognition Award for Philanthropy. He continues to also facilitate the teaching of young dance and music students in his country.

    Wouter Kellerman started playing the flute at the age of ten, and in 1981 appeared as a soloist with the Johannesburg Symphony Orchestra. He went on to feature in several South African orchestras, garnering numerous musical accolades along the way. Among these was winning the Perrenoud Foundation Prize during the 1997 Vienna International Music Competition.

    Using his classical training as a foundation, Kellerman focused his attention on world music, exploring the versatility of the flute and fusing classical and contemporary sounds, resulting in a potent and thrilling musical encounter. He is taking his crossover world music to a global audience, having gained a solid following in his native South Africa.

    His albums have been released in Germany, Austria, Switzerland, North America and in Australia, where he combined his release with a nationwide tour, including an opening slot on Johnny Clegg’s Down Under tour. Kellerman’s strikingly original flute-playing can be heard on the soundtrack of the Emmy Award-winning film, Eye of the Leopard.

Contact Information

  • Management/Booking: Manager: Tholsi Pillay
    +27 (0)78 458 9090
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.wouterkellerman.net/store/
  • ▶ Twitter: wouterkellerman
  • ▶ Instagram: wouterkellerman
  • ▶ Website: http://www.wouterkellerman.net
  • ▶ YouTube Channel: http://www.youtube.com/wkellerman
  • ▶ YouTube Music: http://music.youtube.com/channel/UCbU2nGxzKA9SlkvUhZLUCNw
  • ▶ Spotify: http://open.spotify.com/album/24uEWbIkkKQZwwld2s5crb
  • ▶ Spotify 2: http://open.spotify.com/album/3bTjzitaB8C6riE6VrLFMr
  • ▶ Spotify 3: http://open.spotify.com/album/0GGh40b4RJMZVpyZdbryLU
  • ▶ Spotify 4: http://open.spotify.com/album/4P4rR06zS6ejDVhdmV5KRh
  • ▶ Spotify 5: http://open.spotify.com/album/3thD8ds72ZUuiAxeJiEVtd
  • ▶ Spotify 6: http://open.spotify.com/album/0YQWhJAoLIs6MMNDKJyQ2d

Clips (more may be added)

  • 'In A Different Light' Trailer
    By Wouter Kellerman
    385 views
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