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CURATION
from this page:
by Matrix
Network Node
Name:
María José Llergo
City/Place:
Barcelona
Country:
Spain
Hometown:
Pozoblanco, Andalusia
Life & Work
Bio:
José Llergo, nacida en 1994 en Pozoblanco, exhibió una temprana pasión por la música al inscribirse en la escuela local de violín y dejar una notable huella en el coro del Colegio Concepcionistas durante sus años formativos. A los 19 años, dio un paso significativo en su trayectoria musical al mudarse a Barcelona, impulsada por el respaldo de una beca musical, donde continuó su educación y lanzó su carrera profesional como cantante.
Marcando su entrada en la escena musical, el primer sencillo de José Llergo, "Niña de las dunas" (2018), destacó sus talentos junto al guitarrista Marc López. Construyendo sobre esto, lanzó una serie de temas, incluyendo piezas destacadas como "Nana del Mediterráneo" y "Me miras pero no ves", culminando en el lanzamiento de su primer EP, titulado Sanación, en 2020.
En un logro notable en 2022, José Llergo obtuvo un premio Goya por su excepcional contribución a la banda sonora de la película española Mediterráneo con la hermosa y evocadora "Te Espera El Mar". A medida que su carrera continuaba ascendiendo, se reveló una colaboración significativa en junio del mismo año, con el anuncio de su asociación con Zahara para la reedición de "REPUTA". Este esfuerzo colaborativo dio frutos el 23 de septiembre, con el lanzamiento del esperado tema coincidiendo con el lanzamiento general del álbum. La trayectoria de José Llergo, marcada por el talento y los reconocimientos, sigue cautivando a audiencias y labrando un lugar distintivo en el ámbito de la música española.
ENGLISH
José Llergo, born in 1994 in Pozoblanco, exhibited an early passion for music, enrolling in the local violin school and making a notable impact in the choir of Colegio Concepcionistas during her formative years. At the age of 19, she took a significant step in her musical journey by moving to Barcelona, propelled by the support of a musical scholarship, where she continued her education and launched her professional singing career.
Marking her entry into the music scene, José Llergo's inaugural single, "Niña de las dunas" (2018), showcased her talents alongside guitarist Marc López. Building on this, she released a series of tracks, including notable pieces like "Nana del Mediterráneo" and "Me miras pero no ves," culminating in the release of her first EP, titled Sanación, in 2020.
In a notable achievement in 2022, José Llergo secured a Goya award for her exceptional contribution to the soundtrack of the Spanish film Mediterráneo with the hauntingly beautiful "Te Espera El Mar." As her career continued to ascend, a significant collaboration was unveiled in June of the same year, with the announcement of her partnership with Zahara for the reissue of "REPUTA." This collaborative endeavor bore fruit on September 23, with the release of the anticipated track coinciding with the overall launch of the album. José Llergo's journey, marked by talent and accolades, continues to captivate audiences and carve a distinctive place in the realm of Spanish music.
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Universalization from Brazil:ˈmātriks / original meaning: WOMB or SOURCE / derived from "mater", Latin for "mother" (we're real mothers for ya!)
Stoked, steamed and sensual in the broadest sense of the word, sprawled across broad equatorial latitudes, limned in prosody and cadenced melody, bewitching (and bewitched) Bahia is where the magic (mathematical and otherwise) and enchantment upon which this matrix is based, begins...
A matrix wherein it's not which pill you take, it's what pathways you take, pathways originating in the sprawling cultural matrix of Terra Brasilis: Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian... Matrix Ground Zero being the Recôncavo, contouring the Bay of All Saints, Earth's absolute center of gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's inffable Black Rome: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
The Matrix is a small world network in which creators may recommend other creators and be recommended by other creators. And where, like stars coalescing into a galaxy, creators in the Matrix mathematically gravitate to proximity to all other creators in the Matrix, no matter how far apart in location, fame or society. This gravity is called "the small world phenomenon".
While the Matrix's utilization of small world gravity is unprecedented (position everybody in the creative universe within discoverable range of everybody else in the creative universe), small world networks are all around us, even inside us: our brains contain small world networks. Humanity itself is a small world network, wherein over 8 billion human beings average 6 or fewer steps between any two given people, anywhere. Those steps are seldom all transitable though. In the Matrix they are. In a small world great things are possible.
Conceived in conversation with Raymundo Sodré (now 75 years old ~ born among the trod-upon folk of the Brazilian hinterlands ~ rocket-like career smashed under Brazil's dictatorship) — during a discourse connecting the quilombos and senzalas of Cachoeira and Santo Amaro to the wards of New Orleans to the South Side of Chicago, to the sidewalks of Harlem to the villages of Ireland to the Roma camps of France and Belgium, to the Vienna of Beethoven to the shtetls of Eastern Europe — and wherein Sodré opined for the ages something now inscribed on the wall of Plato's cave: "Where there's misery, there's music!"
I built the Matrix in the place below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira, with Mateus Aleluia... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter; designed by Walter Mariano of the Federal University of the Recôncavo of Bahia).
Developed here in the Historic Center of Salvador ↓
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).