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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 Yamandu Costa:

  • 5 Brazil
  • 5 Choro
  • 5 Composer
  • 5 Guitar
  • 5 Samba
  • 5 Violão de Sete

What's Up

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  • Yamandu Costa
    João Callado → Samba has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Rio de Janeiro has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Painter has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Music Producer has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Composer has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Choro has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Cavaquinho has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Brazilian Jazz has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    João Callado → Brazil has been recommended via Yamandu Costa.
    • August 4, 2021
  • Yamandu Costa
    Lucio Yanel → Singer has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Lucio Yanel → Guitar Courses has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Lucio Yanel → Guitar has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Lucio Yanel → Gaucho Culture has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Lucio Yanel → Composer has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Lucio Yanel → Brazil has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Lucio Yanel → Argentina has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Elodie Bouny → Venezuela has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Elodie Bouny → Lisbon, Portugual has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Elodie Bouny → Composer has been recommended via Yamandu Costa.
    • May 10, 2021
  • Yamandu Costa
    Elodie Bouny → Classical Guitar has been recommended via Yamandu Costa.
    • May 10, 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...

 

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



  • Yamandu Costa
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Yamandu Costa
  • City/Place: Lisbon
  • Country: Portugal
  • Hometown: Passo Fundo, Rio Grande do Sul, Brazil

Life & Work

  • Bio: Yamandu Costa, 7-string guitar virtuoso, was born in Passo Fundo, Rio Grande do Sul, Brazil, where he began his guitar studies with his father Algacir Costa, band leader of "Os Fronteiriços", when he was 7 years old. Later, he perfected his technique with Lucio Yanel, Argentine virtuoso who was then settled in Brazil.

    Until the age of 15, Yamandu´s only music school was the folk music from the south of Brazil, Argentina and Uruguay. Nevertheless, after he heard Radamés Gnatalli´s work, he decided to get in contact with the music of other renowned Brazilian musicians, such as Baden Powell, Tom Jobim, Raphael Rabello, among others. When he was 17, he played for the first time in São Paulo at "Circuito Cultural Banco do Brasil" (BB Cultural Tour). The event was produced by "Estúdio Tom Brazil" (Tom Brazil studio), and from then on he was recognized as one of the most gifted guitar players of Brazil. The music documentary by Finnish film maker Mika Kaurismaki, called “Brasileirinho” on “choro music” also featured Yamandu Costa, which gave him additional international attention.

    Yamandu has created his very particular style of compositions, somewhere between the typical music from the south of Brazil, Choro and Samba with finger acrobatic like passages, high tempo and yet very delicate and melodious pieces. For the audience his music is somewhere between breathtaking and breathholding, accompanied by Yamandu´s way of melting with his instrument and being one for the duration of the concert.

    Yamandu is embracing the range of root-Latinamerican music with a clear basis on South Brazilian swing.

    One of the greatest geniuses of Brazilian music of all times, Yamandu deserves the highest praise. Whenever he is on stage, he fills with joy the most select audience since his impressive performance shows the deep intimacy between Yamandu and his guitar. The recognition he has earned throughout the years reveals what he can offer the audience - recreation of the magic of music - once from his fingers the music he plays travels through his body and soul and is almost miraculously transformed.

    Yamandu is a guitar player, composer and arranger that does not fit into a single music style, yet he creates his own when he combines all of them playing his 7-string guitar. Yamandu fully deserves his beautiful name which in "tupi-guarani", the native language of Brazilian Indians, means "the precursor of the waters of the world".

    So far, Yamandu has recorded 25 albuns and 4 DVDs, Solo, in Duo, Trio, Quarter, with the Symphony Orchestra of the State of Mato Grosso and the OCTSP-São Pedro Theater Chamber Orchestra.

    He has also performed with several Brazilian orchestras, from the Brazilian Symphony Orchestra to the “Youth Camerata” from the Social Action for Music and outside Brazil with the Calgary Philharmonic Orchestra conducted by conductor Roberto Minczuk, with the “Orchestre National de France” conducted by conductor Kurt Masur and Debora Waldman as well as “Orchestre de Paris” by conductor Kristjan Järvi and Alondra de Parra , with the Rotterdam Philharmonic Orchestra, with the National Orchestra of Belgium by conductor Roberto Minczuk,, with the Adelaide Art Orchestra by conductor Brett Kelly, with the MDR Symphony Orchestra by conductor Kristjan Järvi, with the Philharmonic Orchestra of Monte Carlo by conductor Alondra del Parra, with the National Orchestra of Argentine Music - Buenos Aires, with the Queensland Philharmonic Orchestra by conductor Alondra del Parra and with the Talinn Chamber Orchestra.

    His guitar style has inspired many young musicians who are following his new school of guitar playing. He is performed among others also with Bob McFerrin, Melody Gardot, Baden Powell, Sergio Assad, Richard Galliano, Stefano Bollani, Shelly Berg, Vicent Peirani, Daniel Mille, Sylvain Luc, Stochelo Rosenberg, Sebastien Giniaux, Alfredo Rodriguez, Edmar Castañeda, Fito Paez, Antonio Zambujo, Pepe Romero, Romero Lubambo, Slava Grigoryan, Juan Falú, Luis Salinas, Lucio Yanel, Pedro Jóia, Carlos Nuñez, Doug de Vries, Gerardo Núñez, Vladimir Sumin, Vladimir Markushevich, Mayra Andrade, Carminho, Susana Travassos, Gilberto Gil, Djavan, Seu Jorge, Hermeto Pascoal, Mario Adnet, Paulo Jobim, Toquinho, João Bosco, Zeca Pagodinho, Ney Matogrosso, Marisa Monte, Roberta Sá, Naná Vasconcelos, Dominguinhos, Renato Borghetti, Hamilton de Holanda, Armandinho Macedo, Elba Ramalho, Guinga, Ricardo Herz, Baby Consulelo, Henrique Cazes, Robertinho Silva, Época de Ouro, Trio Madeira Brasil, Guto Wirtti, Nina Wirtti, Grazie Wirtti, Rogerio Caetano, Alessandro Penezzi, Nicolas Krassik, Bebê Kramer, Danilo Brito, Zé Nogueira, Edu Ribeiro, Tiago Espírito Santo, Jazz Cigano Quinteto, Luis Carlos Borges and Alegre Côrrea.

    Besides numerous concerts throughout Brazil, Yamandu has toured in France, La Reunion, Portugal, Spain, Belgium, Germany, Italy, Austria, Switzerland, Liechtenstein, Monte Carlo, Netherlands, Sweden, Norway, Denmark, Finland, Estonia, Slovenia, Russia, Lithuania, Serbia, Croatia, Czech Republic, Australia, USA, Canada, Greece, Macedonia, Israel, Cyprus, India, China, Japan, South Korea, Zimbabwe, Cape Verde, Angola, Mozambique, United Arab Emirates, Tunisia, Iran, Kuwait, Turkey, Ecuador, Cuba, Colombia, Chile, Costa Rica, Mexico, Argentina, Paraguay and Uruguay.

    Violonista e compositor nascido em Passo Fundo em 1980, Yamandu começou a estudar violão aos 7 anos de idade com o pai, Algacir Costa, líder do grupo “Os Fronteiriços” e aprimorou-se com Lúcio Yanel, virtuoso argentino radicado no Brasil. Até os 15 anos, sua única escola musical era a música folclórica do Sul do Brasil, Argentina e Uruguai. Depois de ouvir Radamés Gnatalli, ele começou a procurar por outros brasileiros, tais como Baden Powell, Tom Jobim, Raphael Rabello entre outros. Aos 17 anos apresentou-se pela primeira vez em São Paulo no Circuito Cultural Banco do Brasil, produzido pelo Estúdio Tom Brasil, e a partir daí passou a ser reconhecido como músico revelação do violão brasileiro. Um dos maiores fenômenos da música brasileira de todos os tempos, o jovem Yamandu confirma e merece todos os elogios que recebe quando toca seu violão. Sozinho no palco, é capaz de levantar em êxtase platéias das mais especializadas e de emocionar o grande publico aos mais apurados ouvidos. Suas interpretações performáticas conseguem remodelar cada música que ele toca e revela uma profunda intimidade com seu instrumento. Todo reconhecimento que recebe é apenas um reflexo do que ele leva ao seu público, recriando a magia da música em seu toque, passando pelo seu corpo e transformando-se quase milagrosamente. Yamandu toca de choro a música clássica brasileira, mas também é um gaúcho cheio de milongas, tangos, zambas e chamamés. Um violonista e compositor que não se enquadra em nenhuma corrente musical ele é uma mistura de todos os estilos e cria interpretações de rara personalidade no seu violão de 7 cordas. Yamandu faz jus ao significado de seu belo nome “o precursor das águas”.

    Considerado um dos maiores talentos do violão brasileiro, Yamandu Costa é uma referência mundial na interpretação da nossa música, a qual domina e recria a cada performance, inclusive em suas composições. Quem o vê no palco percebe seu incrível envolvimento, sua paixão pelo instrumento e pela arte. Sua criatividade musical se desenvolve livremente sobre uma técnica absolutamente aprimorada, explorando todas as possibilidades do violão de 7 cordas, renovando antigos temas e apresentando composições próprias de intenso brilho, numa performance sempre apaixonada e contagiante.

    Revelando uma profunda intimidade com seu instrumento e com uma linguagem musical sem fronteiras, percorreu os mais importantes palcos do Brasil e do mundo, participando de grandes festivais e encontros, vencedor dos mais relevantes prêmios da musica brasileira. Em 2010, o CD Luz da Aurora com Hamilton de Holanda foi indicado para o Grammy Latino.

    Em 2012 ganhou em Cuba o Prêmio Internacional Cubadisco pelo CD Mafuá e uma Menção do Prêmio ALBA pelo CD Lida.

    Yamandu Costa é na atualidade o músico brasileiro que mais se apresenta no exterior, abrangendo os mais diversos países do globo: França, Portugal, Espanha, Bélgica, Alemanha, Itália, Áustria, Suíça, Liechtenstein, Monte Carlo, Holanda, Suécia, Noruega, Finlândia, Estônia, Eslovênia, Rússia, Lituânia, Sérvia, EUA, Canadá, Austrália, Índia, China, Japão, Coréia do Sul, Grécia, Macedônia, República Tcheca, Israel, Chipre, Zimbabwe, Cabo Verde, Angola, Moçambique, La Reunion, Emirados Árabes, Kuwait, Tunísia, Iran, Equador, Cuba, Colômbia, Chile, Argentina, Uruguai, México, Paraguai e Costa Rica.

    Apresentou-se e compôs com renomados artistas como: Bob McFerrin, Melody Gardot, Richard Galliano, Vincent Peirani, Anat Cohen, Daniel Mille, Sylvain Luc, Alfredo Rodriguez, Antonio Zambujo, Pepe Romero, Juan Falú, Luis Salinas, Richard Scofano, Elodie Bouny, Pedro Jóia, Carlos Nuñez, Doug de Vries, Gerardo Núñez, Vladimir Sumin, Vladimir Markushevich, Mayra Andrade, Gilberto Gil, Djavan, Hermeto Pascoal, Toquinho, Jõao Bosco, Ney Matogrosso, Roberta Sá, Dominguinhos, Naná Vasconcelos, Renato Borghetti, Hamilton de Holanda, Toquinho, João Bosco, Armandinho Macedo, Elba Ramalho, Mario Adnet, Robertinho Silva, Época de Ouro, Trio Madeira Brasil, Alexis Cadenas & Recoveco, Alessandro Penezzi, Ricardo Herz, Gabriel Grossi, Nicolas Krassik, Mestrinho, Rudi Flores, Luis Carlos Borges e Alegre Côrrea.

    Em 2018, foi vencedor do Prêmio da Música Brasileira nas categorias Melhor Álbum Instrumental e Melhor Solista, com o álbum Quebranto, com o violonista Alessandro Penezzi e gravou com o mesmo violonista o programa especial Sounds of Brazil para a TV NHK, do Japão. Recebeu duas indicações ao Grammy Latino, de Melhor Álbum Instrumental, com o disco Recanto (Bagual), e, ao lado de Renato Borghetti, e Melhor Álbum de Música de Raízes em Língua Portuguesa, com Borghetti/Yamandu (Estação Filmes).

Contact Information

  • Management/Booking: Contratação para shows:
    [email protected]

    Midia Social / Aplicativo:
    [email protected]

Media | Markets

  • ▶ Twitter: yamanducosta_
  • ▶ Instagram: yamandu.costa.oficial
  • ▶ Website: http://yamandu.com.br
  • ▶ YouTube Channel: http://www.youtube.com/user/yamandutube
  • ▶ YouTube Music: http://music.youtube.com/channel/UCx61NJ9Rdq6hQwQq53Z9vDg
  • ▶ Spotify: http://open.spotify.com/album/70QLa02zm19XEJAWUwNk4R
  • ▶ Spotify 2: http://open.spotify.com/album/5s0i4tCZouyfRypHmtnmz0
  • ▶ Spotify 3: http://open.spotify.com/album/0zqn8UQgpP23IQQAh1QF2d
  • ▶ Spotify 4: http://open.spotify.com/album/6M1cmcN4jAGoRRNYTbwj7H
  • ▶ Spotify 5: http://open.spotify.com/album/2Q7imAUuBpqC7St4BIWEIB
  • ▶ Spotify 6: http://open.spotify.com/album/0gwpJMOhaioObtVSpn4XYQ

Clips (more may be added)

  • Especial Visita Boa: Yamandu Costa e Martin Sued
    By Yamandu Costa
    526 views
  • ENTIDADE - Yamandu Costa e Mônica Salmaso
    By Yamandu Costa
    529 views
  • Yamandu Costa e Guto Wirtti - El Pollo Ricardo
    By Yamandu Costa
    261 views
  • Yamandu Costa - Live Orquestra - Portugal
    By Yamandu Costa
    261 views
  • Yamandu Costa - Samba Pro Rafa
    By Yamandu Costa
    297 views
  • Yamandu Costa - Choro Loco
    By Yamandu Costa
    306 views
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