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  • Yoron Israel

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Yoron Israel
  • City/Place: Boston
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Yoron Israel, a native Chicagoan, is one of the most gifted and sought-after musicians of his generation. Yoron’s exciting and tasteful drumming, along with his compositional and arranging talents are spotlighted on his most recent release “This Moment“ (Ronja Music) as well as the recordings; “Visions” – The Music of Stevie Wonder” (Ronja Music), “Basic Traneing” (Ronja Music), “Chicago” (Double Time), “Live at the Blue Note” (Half Note) and “A Gift for You” (Ronja Music). As co-leader of the Frank Walton/Yoron Israel Sextet, the recordings “Live in Chicago” and “The Back Step” (Han-Wal Productions) are noteworthy. All of these fine works have received enthusiastic praise from journalists, musical peers and fans alike. They represent the extensive depth of Yoron Israel’s musicianship as he continues to evolve as a bandleader. He brings his unique influences and experiences in Jazz, World Styles, Gospel, Contemporary Christian, Funk, R & B and Orchestral idioms full circle with his compositions, arrangements, repertoire and ensemble concept: “Music to be enjoyed by all”. As Jack DeJohnette quotes, “A Gift for You” is a sparkling musical offering from a drummer who has good taste. He has a sense of direction and a feeling of joy in his drumming, compositions, and arrangements. Yoron Israel is an important voice you should listen to.”

    Yoron leads the dynamic trio “New Dreams”, featuring the artistry of pianist/keyboardist Kevin Harris and bassist Will Slater. “New Dreams” presents original compositions, personalized arrangements by influential composers, as well as their own open improvisations. Stay tuned for Yoron’s upcoming recording later this year, which will prominently highlight the special musicality of this trio.

    As well as the Boston based quartet “High Standards”, which is featured on both of his most recent projects, “This Moment” and “Visions”. The quartet currently features; Laszlo Gardony – piano/keyboard, Lance Bryant – tenor & soprano saxophones and Henry Lugo – bass, along with special guests Larry Roland – spoken word and Thaddeus Hogarth – harmonica and guitar. This core foursome represents a depth of virtuosity and musical cohesiveness that is infectious. This ensemble is committed to forging ahead “new standards” for the 21st century and beyond, while adding a personalized perspective to familiar performance, compositional and arrangement references, by which future generations of listeners and musicians will be inspired by.

    “Basic Traneing”, reached number three on the National Jazz chart in 2004. It features his organ trio “Organic” with organist Kyle Koehler, guitarist Ed Cherry, along with special guests Jay Hoggard (vibraphone/ marimba) and Billy Pierce (tenor and soprano saxophone). Yoron’s “Organic”, performs original compositions and works associated with the soulful musical legacies of Jimmy Smith, Jack McDuff, Jimmy McGriff, Charles Earland and Dr. Lonnie Smith while highlighting the versatility and virtuosity of the trio.

    The recording “Chicago”, released in 2000 on the Double Time label, features saxophonist Joe Lovano, organist Larry Goldings, and guitarist Marvin Sewell. Yoron pays tribute to his birthplace by performing original works and compositions by other influential Chicago natives such as Johnny Griffin, Maurice White, Jack Dejohnette, Clifford Jordan, Donny Hathaway and Julian Priester.

    “Live from the Blue Note” is Yoron Israel’s second recording, featuring his quintet “Connection”, with vibraphonist Bryan Carrott, guitarist Ed Cherry, and bassist Sean Conly, along side special guests, trombonist Steve Turre and saxophonist Eric Alexander.

    “A Gift for You”, Yoron’s debut recording was produced by Ronja Music Company, originally released in 1996 and recently re-released in 2006. It includes performances by pianist James Williams, saxophonists Lance Bryant and Donald Harrison, trumpeter Phillip Harper and bassist John Lockwood along with regulars Carrott and Cherry. “Connection”, a jazz quintet formed in 1994, featuring the unique and enticing instrumental blend of drums/percussion, vibraphone, guitar, tenor/soprano saxophone, and bass. Concert presentations are inspiring and joyful. The common musical vocabularies shared by the band members formulate a unified ensemble sound that connects the listener to their combined musical experiences that encompass a wide range of musical styles.

    “Live in Chicago” and “The Back Step” represents Yoron’s work with his long time friend and mentor, trumpeter Frank Walton. Their sextet also features Allan Chase or Jaleel Shaw – alto saxophone, Lance Bryant –tenor & soprano saxophone, Kevin Harris – piano and Avery Sharpe – bass. This ensemble is firmly rooted in the classic be-bop and hard bop traditions reminiscent of such giants as Art Blakey and the Jazz Messengers, Horace Silver, Miles Davis, with renewed fire and urgency. Also featured are original works and arrangements by all the members of the sextet.

    He co-leads the “Yoron Israel / Bill Pierce – ICU Revisited”, with Miles Griffith – vocals, John Lockwood – bass and Kevin Harris – piano, all except Kevin were original members of the James Williams “Intensive Care Unit” band. This group pays tribute to the magnificent compositional and artistic legacy of the late James Williams while extending the possibilities of “Gospel Jazz”.

    Additionally, Mr. Israel leads the “Yoron Israel Septet, A Musical Tribute to David “Fathead” Newman”, features Bill Easley, Marcus Belgrave, Curtis Fuller, Howard Johnson, David Leonhardt and John Menegon, all of which share long associations with David Newman throughout various periods of his career, which inspires a richness in the Septet’s sound. This seven piece, four – horn band is a special project and is reminiscent of Newman’s 2007 “Cityscape” as well as earlier recordings, including those dating back to the Ray Charles era.

    For select engagements and recordings, the above listed groups are sometimes augmented with such artists as Hendrik Meurkins, Tom Harrell, Houston Person, Cecil Bridgewater, Steve Turre, Miles Griffith, Antonio Hart, Eric Alexander, Amina Claudine Meyers, Joe Lovano, Thaddeus Hogarth, George Russell, Jr., Steve Hunt, Jeff Lockhart, Stan Strickland, John Lockwood, Ron Mahdi and Ernesto Diaz among others, bringing even more diversity and impact to his performances.

    In addition to leading his various projects as a bandleader. Yoron’s brilliant musicality, intensity, and versatility are appreciated worldwide, through consistent performances at prestigious concerts, notable festivals, and prominent clubs as well as on more than 200 recordings as an accompanist. Sonny Rollins, Abbey Lincoln, Ahmad Jamal, Horace Silver, Tony Bennett, Joe Williams, Gloria Lynne, Dakota Staton, Grover Washington, Kenny Burrell, Jim Hall, Clark Terry, Joe Henderson, Bobby Hutchinson, Art Farmer, Clifford Jordan, Jerome Richardson, Freddie Hubbard, Jimmy Heath, Cedar Walton, Freddie Cole, Pharoah Sanders, George Adams, Charles Mingus Dynasty Big Band, David “Fathead” Newman, Red Holloway, Larry Coryell, Henry Butler, Doctor Lonnie Smith, Benny Golson, Joe Lovano, Tom Harrell, Roy Hargrove, Joshua Redman, Curtis Fuller, Bennie Wallace, Vanessa Rubin, Kevin Mahogany, Bill Mays, James Williams, Danilo Perez, Cyrus Chestnut, Otis Clay and Shirley Caesar are among the numerous artists that he has worked with. Yoron currently tours regularly with bassist Avery Sharpe, vibraphonist Jay Hoggard, and saxophonist Marco Pignataro.

    Since 2000, he has maintained a busy schedule of performing and recording with many outstanding Boston based artists, such as Laszlo Gardony, The Makanda Project, Donna McElroy, Gabrielle Goodman to name a few. Additionally, he has become a first-call accompanist for a wide range of artists appearing in the New England area; this list includes Mary Wilson, Abraham Laboriel, Eddie Gomez, Frank Morgan, Joanne Brackeen, Eliane Elias, Larry Goldings, Ann Hampton Callaway, Jane Ira Bloom, Greg Osby, Clark Terry and Joey DeFrancesco, among others.

    Additionally, Yoron Israel is currently Interim Chair and Professor of Percussion at Berklee College of Music, Boston Massachusetts and Music Director at Destiny Life Center International with locations in Randolph and Boston MA.

    He received his Master of Music degree from Rutgers University ‘97 (New Brunswick, NJ) and Bachelor of Music degree from Roosevelt University’86 (Chicago IL).

    As an educator, he is the author of the acclaimed educational DVD, “Creative Jazz Improvisation for Drum Set”, published by Hal Leonard and Berklee Press. He has also author of the online course “Drum Set Fundamentals”, which is offered through BerkleeMusic.com.

    Mr. Israel was formerly on the faculty at Rutgers University, William Paterson University and Mannes College -The New School For Music, he continues to teach privately, conduct clinics, workshops, residencies and music camps throughout the world. These include the Modern Music Camp, Shanghai China (2017), Jiong Summer Drum Camps Beijing & Wuhan China (2017), Berklee at Umbria Clinics (2019, 2018, 2017), Berklee in San Domingo (2017, 2016, 2015), Art Music School (Bologna Italy, 2014), Conservatory of Pescara (2014), Havana (Cuba) Jazz Festival, Hokkaido Groove Camp, Sapporo, Japan (2009, 2008, 2007), the Seminario & Encuentro Internacional de Jazz, Xalapa Mexico (2010, 2006 & 2004), Berklee Percussion Festivals (2003 – 2010), Taichung Jazz Festivals, Taiwan (2003 & 2004), The International Association of Jazz Educators Convention (2002), The Percussive Arts Society International Convention (2009, 2001), Young Audiences of New Jersey (1994 – 2006), The Vermont Jazz Camp (1990 – 1997) and The Litchfield Music School (2012, 2013,1998 and 1999).

    The Percussive Arts Society International Convention (2009, 2001), Young Audiences of New Jersey (1994 – 2006), The Vermont Jazz Camp (1990 – 1997) and The Litchfield Music School (2012, 2013,1998 and 1999).Yoron’s varied credits have earned recognition in such publications as The Patriot Ledger, The Enterprise, Jazz.com, Variety, The Royal Gazette, Bermuda, Jazz Improv Magazine, Rocky Mount (NC) Telegraph, Outstanding Young Men of America, Down Beat, Jazz Times, Modern Drummer, Stick It, Percussive Notes, New York Times, Boston Globe and Boston Herald, among others. He is an endorser of Sonor Drums, Zildjian Cymbals, Evans Drum Heads, Axis Percussion, Vater; Drumsticks, Mallets, Brushes and Hamilton Stands.

    Yoron is thankful for the loving support of his wife A. Gail Moore – Israel and daughters: Gavriel, Amaylah, and Jaline. He is proud to say all are extremely talented in their own rights.

Contact Information

  • Email: [email protected]
  • Management/Booking: For Management and Booking information contact: A. Gail Moore, Ronja Music Company, [email protected], 212-629-2058

    For Publicity contact Lisa Reedy, Lisa Reedy Promotions, [email protected], www.jazzpromotion.com, 775-826-0755

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://yoronisrael.com/store/
  • ▶ Twitter: yoron_israel
  • ▶ Website: http://yoronisrael.com
  • ▶ YouTube Channel: http://www.youtube.com/user/jazzis7
  • ▶ YouTube Music: http://Yoron Israel
  • ▶ Spotify: http://open.spotify.com/album/4MfirpC78bSD43wYqcwoJO
  • ▶ Spotify 2: http://open.spotify.com/album/5W0pWOFl4wq8YsOSHg57xr
  • ▶ Spotify 3: http://open.spotify.com/album/7H2JDKtWKiJm1HFGEDhx87
  • ▶ Spotify 4: http://open.spotify.com/album/4XWde2ZY6Cf6E5TiD5lU04

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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


WHY BRAZIL?

Brazil is not a European nation. It's not a North American nation. It's 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.

 

Brazil 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 — the hand drum in the opening scene below — 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 a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

  • Carol Soares Santo Amaro
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  • Ari Hoenig Author
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  • Masao Fukuda Samba
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  • Paulo Costa Lima Bahia
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  • Shez Raja Composer
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  • Luques Curtis Afro-Latin Dance Music
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  • Chris Dingman Multi-Cultural
  • Casa da Mãe Salvador
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  • Greg Ruby Composer
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  • Léo Rugero Forró
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  • Amit Chatterjee Guitar
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  • John Zorn Record Label Owner
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  • Cory Wong Songwriter
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  • Gian Correa Composer
  • John Patitucci Jazz
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  • Luke Daniels Glasgow
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  • Şener Özmen Artist
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  • Miho Hazama Big Band Leader
  • Hugues Mbenda Chef
  • Buck Jones Cantor, Singer
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  • Chris McQueen Austin, Texas
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  • Gui Duvignau Brazil
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  • Guiga de Ogum Samba
  • Tatiana Eva-Marie Singer
  • Egberto Gismonti Brasil, Brazil
  • Hercules Gomes Choro
  • Jorge Glem Venezuela
  • Shamarr Allen R&B
  • Damon Krukowski Writer
  • Kurt Rosenwinkel Record Label Owner
  • Keshav Batish Composer
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  • Paulo Martelli Violão de 11, 11-String Guitar
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  • Luiz Antônio Simas Historiador, Historian
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  • Léo Rodrigues Côco
  • Sam Eastmond Record Producer
  • David Fiuczynski Jazz
  • John McWhorter Linguist
  • Tony Allen Drums
  • Chico Buarque Author
  • Samuca do Acordeon Tango
  • Jocelyn Ramirez Online Cooking Classes
  • Paul Mahern Singer-Songwriter
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  • Bill Frisell Brooklyn, NY
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  • Martyn Techno
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  • Liam Farrell 'Dr L' Composer
  • Afrocidade Bahia
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  • Duncan Chisholm Fiddle
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  • Leonard Pitts, Jr Writer
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  • Ricardo Bacelar Ceará
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  • Chano Domínguez Brooklyn, NY

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