Robb Royer speaking: If you’re here at all, I’m guessing you already know I was one of the founding members of Bread, won an Oscar for 'For All We Know', yadayadayada.

The real significance of all that is that I’ve been able to pursue the art of songwriting, screenwriting, writing in general, and music production without the 'starving' part.

In other words, 95% of everything I have tried has failed, but the 5% has enabled me to keep on trying in comfort, and for that I am quite grateful.

And when I say failed, that only means one thing: it wasn’t picked up by a giant corporation, so the chances are you never got a chance to hear it. Very few of my songs that were actually released have not done well. As I explained in my mission statement, I am totally convinced that most of my best work is basically unheard, except for a small coterie of friends and followers...
Sparrow speaking: In New York City, I rescued unpaid royalties for people including hitman Robb Royer (above), Mongo Santamaria, Led Zeppelin, Jim Hall, Barbra Streisand, Aretha Franklin, the estate of Duke Ellington, and many others...

  But a music I was particularly interested in was not to be found on CDs in the bins of small East Village shops. I had to get on a plane, get on buses, walk down lonely roads, and drink cachaça with men in black hats.

Then I was forced to open my own record shop for the few like-minded people out there in the world.

But another problem arose in that my shop is in not in the East Village. One must get on a plane...

To solve THIS problem I built a codex wherein engaging has the sense of gears connecting and people are carried places.
Musical house parties in Bahia usually take place outside on those fulsome tropical nights.

The Saturno Brothers are
Brazil's deepest historical icons.
  And there's magic in this all, because people we don't know can recommend people who recommend us (back through generations of recommendations)...creating a potent gumbo, a witches' brew in the best sense; there are pathways to us through people we don't know, and we help create pathways to others who don't know us.

This is what the codex was built for: To provide bridges of discovery to musicians and others in the general field of music (even as musicophiles), in a system whereby publicizing ourselves and people we know helps to expand awareness beyond our own personal and/or professional circles.

The codex was conceived in a village founded as a quilombo, a refuge of runaway slaves, as a means to spread knowledge of them and their music via integration with the musicians of the world. It is run from Salvador, the capital of Bahia, Brazil.

-- Sparrow Roberts
    The Codex gets people to musicians, some unknown almost to the eyes of God and others famous and fêted. For this it uses Engagement, links placed by participants as active recommendations to be followed, this in itself a utilization of Vectored Crowd Intelligence, whereby people are helped to weed out what they're not interested in, separating what they consider to be the wheat from what they consider to be the chaff...

Because crowds might not seem intelligent, but they have intelligence in them: A vector is a direction, and Vectored Crowd Intelligence (VCI) means following the advice of knowing crowd members pointing to others, who point to others, and on, thus providing a means for gathering up the wisdom and knowledge we're looking for, even if we're not exactly sure what that is.

Or where we'll wind up.

Jump in anywhere below and see who you find. If you're moved, help engage others.

  Aaron wasted no time in the Big Apple. He quickly established himself as an in-demand sideman, performing with a vast array of leaders including Al Foster, Freddie Hubbard, Stefon Harris, Tom Harrell, Greg Tardy, John Ellis, Nicholas Payton and many others. In 1998 he joined the band of Joshua Redman, with whom he toured for 4 years and recorded two albums (Beyond, 2001 and Passage of Time, 2002). He subsequently spent 3 years performing with guitar guru Kurt Rosenwinkel and a year with trumpet icon Wynton Marsalis, in his quartet as well as the Lincoln Center Jazz Orchestra.

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  Bruce Saunders is a guitar player, composer, author and educator. He's on the faculty of the Berklee College of Music, where he teaches jazz guitar, and he's recorded, toured, and performed with Jack DeJohnette, Dave Holland, Bill Stewart, Peter Erskine, Kenny Werner, Mark Murphy, John Riley, Ben Monder, Curtis Fowlkes, George Garzone, Leon Parker, David Berkman, Gerald Cleaver, Steve Cardenas, Donny McCaslin, and Scott Colley, among others.

Dan Moretti is a full-time professor at Berklee and he plays and has played and recorded extensively with artists including Aretha Franklin, The Temptations, Mike Stern, Dave Samuels, Dave Liebman, Marvin Stamm, The Crusaders, and Nile Rogers/Chic.

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  Mitch Jones lived by the river when London was calling, back in the days of The Clash. He went on to Big Audio Dynamite and now partners with Tony James in Carbon | Silicon.

Simon Brook -- son of British theater lion Peter Brook, is the cub who roars. His latest documentary features the above-cited Mitch Jones, along with Paul McCartney.

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  Nilze Carvalho first recorded at twelve years of age. She's a sophisticated lady who plays sophisticated choro and sweet, sweet of the keystones of the current generation of Brazilians' great national art forms.

Raimundo Sodré roared out of the Bahian backlands and into national fame in 1980. His career was crushed during Brazil's dictatorship and he fled the country in fear for his life. He's back, older now, maybe wiser, but definitely producing more soul-churning music than ever.

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  Beyond scoring George A. Romero's ("Night of the Living Dead") films "Martin" and "Knightriders", and co-composing the theme for the series "Tales from the Darkside", Donald Rubinstein is best known for his avant-garde jazz/rock collaborations with the likes of Bill Frisell, Emil Richards, and Wayne Horwitz. He's also partnered with a number of other notable performers, including Hank Roberts, Bob Moses, Steve Gorn, Vinny Golia, collaborating in film recordings and live performances.

Bobby Sanabria has performed with Mario Bauzá, Dizzy Gillespie, Tito Puente, Mongo Santamaría, Chico Freeman, Paquito D'Rivera, Candido, Ray Barretto, Chico O'Farrill, Francisco Aguabella, Henry Threadgill, Luis "Perico" Ortiz, Daniel Ponce, Michael Gibbs and others. He teaches at the Manhattan School of Music and The New School for Jazz and Contemporary Music.

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  World Café is hosted by David Dye, broadcasting a highly eclectic mix of music ranging through blues, rock, and wide-world to folk and alternative country, with live performances and interviews featuring both celebrated and emerging artists. The program is produced by WXPN in Philadelphia and is distributed nationally through NPR Music to over 200 stations across the United States.

Born in Africa, raised in Scotland, at home nowhere and everywhere, Toby Gough is a British theatrical director, producer and writer whose productions have played the UK, Europe, India, Sri Lanka, Malaysia, Australia, New Zealand, Cuba, Africa, and New York City, among other places.

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"I'm Toby Gough and I've probably gotten more musicians out of Cuba and before the world than anybody else alive. Sparrow's codex is another version of what I'm doing!"

  Tommy Peoples is the legendary Donegal fiddler. He worked with The Bothy Band, participating in the recording of one of the biggest selling album of traditional Irish music of all time (and there's a problem there but he'll have to tell you about it).

James Gavin has contributed liner notes to over 400 CDs, including reissues he produced for Verve, Blue Note, and Koch Jazz. He writes for the New York Times, Vanity Fair, and numerous other publications. He's the author of biographies of Chet Baker and Lena Horne.

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  Wah Wah Watson was a Motown Funk Brother (the label's house band). He was one of Herbie Hancock's Headhunters. He created the guitar sound used in Shaft and every other movie in the genre. He's one of the hardest working session men putting the groove in today.

Casey Driessen is a fiddle player who's played/collaborated with Béla Fleck, Bassekou Kouyate, The Sparrow Quartet, Tim O’Brien, Darrell Scott, Steve Earle, and Frank Vignola (along with musicians from China, from the Republic of Tuva, and from four African countries).

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  Marco Pereira Marco Pereira is a scintillating Brazilian guitarist, taught by an Uruguaian master and educated at the Sorbonne.

Beyond concerts, recordings, composing and arranging, he is a professor himself, at the Federal University of Rio de Janeiro.

Juliana Ribeiro is a Bahiana who sings the styles of Brazilian plantations -- chulas, lundus, jongos -- the drawing-room music of 19th century Rio -- maxixes -- Angolan semba and Brazilian urban samba. She's a historical musicologist with a master's degree from the Federal University of Bahia, and will be appearing in Spike Lee's upcoming documentary about Brazilian music.

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      Paulinho da Viola has matured as gracefully as he plays and composes, into Brazil's elder statesman of samba, a living connection to Brazil's golden age of samba and an artist who never bowed to the foreign winds of crossover. For this his music today sounds as undated as it did in his early days of composing, at the beginning of the 1960s.

    Although shy by nature, Paulinho played on equal terms musically with the greats who'd come up through the twenties, thirties, forties and fifties, and today it can be said without exaggeration that he is truly a Brazilian national treasure.

    He is founder of the Velha Guarda da Portela (and is quite naturalmente um portelense de coração!).