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  • Aindrias de Staic

    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: Aindrias de Staic
  • City/Place: Galway
  • Country: Ireland

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Born in Galway Ireland, Aindrias's rich 'n' rare style of fiddle playing is as unique to the west of Ireland as his story-telling, antics and humor.

    Aindrias is well known internationally for his one man theatre show "Around the World on 80 quid" which won Best Solo Show at New Zealand Fringe and rave reviews thoughout Australia. "Around the World on 80 quid" also got Aindrias the nomination for Most Outstanding Performer at the Dunedin Fringe Festival 2008.

    "The year I got Younger" was initially written as a spoken word novel loosely based on Aindrias own experience in Australia. Aindrias joined thousands of other Irish travelers to enjoy the sun and the 1year working holiday visa in Aus. The story was later fashioned into a one-man theatre show, which was nominated for the Malcolm Hardee Award at Edinburgh Fringe in 2008, and won rave reviews.

    Later, holiday video, found footage and other scenes were edited into a performative documentary, directed by Gen Bailey with new music composed by Aindrias, who also produced the short film. "The Year I got Younger" went on to screen internationally and won BEST IRISH SHORT DOCO at Galway Film Fleadh as well as Best Documentary at Open Channel's Love Your Work event in Melbourne.

    Other Theatre shows include "Summer I Did The Leaving" which won the Three Weeks Editors Award at Edinburgh 2009.

    Star of stage and screen, Aindrias de Staic has enjoyed recent success in film, music and theatre. has enjoyed various other acting roles in Film and Tv including the role John the drug dealer in Ras na Rún (TG4), ) an Argentine patient The Clinic (RTE) a street trader in Neighbours, and has been cast as a diverse range of characters in various feature films including "Simon The Gypsy Fiddler" in feature movie "Further we Search" by Darias Devas, as well as mixed roles in the Magma Films: Green Freedom(1998), Summer of my Flying Saucer (2007). Aindiras recently played the lead role of Michael in "Moment of Grace", which won the Bright Spark Award at Trop Fest 2010.

    "The Year that I got Younger" - The show, written and performed by Aindrias was Nominated for The Malcom Hardee Award at Edinburgh Fringe this year. The award is for comic originality in performance, and is made in honour of the late Malcom Hardee, god father of Alternative comedy. The short trailer movie of the same title, written and produced by Aindiras to promote a larger project, "The Year I Got Younger" (dir Gen Bailey 2008) won BEST SHORT Doco at the Galway Film Fleadh 2008.

    Aindrias grew up primarily in the West of Ireland. But, by his teenage years, the globe-roving youth would be as familiar with the nearby Mayo Gaeltacht as he would with the Spanish speaking Mission district of San Francisco. From Hobo to Boho via Soho, this multilingual traveling entertainer has delighted audiences around the world with his unique humour, lively storytelling and captivating music.

    Originators of Gyp-Hop (Gaelic gypsy hip-hop!), Aindrias and his band, The Latchikós, deliver a sound heavy with wild fiddle playing, driving Gaelic beats and comical lyrics, combined to give new sound in the colourful tapestry of World music.

    They regularly perform at major festivals and popular music venues. During 2015, The Latchikós brought their dance music pandemonium to multiple stages at the Electric Picnic, the Body & Soul and the Tuam Trad Festivals, rounding out the year with shows in Dublin, Galway, several appearances during Fleadh Cheoil na hÉireann in Sligo and the Quicksilver World Surfing Championships in Hossegor, France.

    In 2014, Aindrias and The Latchikós played large events countrywide, including the Body & Soul Festival, Fleadh Cheoil na hÉireann in Sligo, a Night Circus Extravaganza in Salthill, the Tuam Trad Festival and the Electric Picnic - a performance which was featured on the Irish television cultural and artistic entertainment programme, "Imeall."

    Earlier that year, The Latchikós took their rare and witty combination of sham-poetry, blues harmonica, and gypsy violin to eastern Australia, delivering a legendary New Year’s Eve performance at Woodford Folk Festival, plus shows at the Illawarra Folk Festival, Sydney and Melbourne. They also launched their hit single song, "Off to Bondi Junction," with a packed St. Patrick's Day season tour of Sydney, Bondi Beach, Melbourne and a guest appearance with Damien Dempsey. "Off to Bondi Junction" first became a popular YouTube hit, showing a humorous contrast between the wet west of Ireland and sunny Sydney beaches. The song reached No. 2 in Ireland's folk music charts as the band appeared on several television and radio shows, including SKY TV's "Up for the Match" and the first ever broadcast of TG4's "Roisin" which focused on Australian immigration.

    Starting out as a busking band in Galway City, The Latchikós gained international popularity in 2013 after supporting the Saw Doctors on their US tour. Following their selection for the Folk Alliance showcase in Toronto, The Latchikós exploded onto the national and international festival circuit; appearing at Glastonbury, the Main Stage at Body & Soul, Calgary Folk Music Festival, Halifax International Busker Festival, playing alongside 'The Waterboys' at The Vancouver Folk Festival and lastly returning to Ireland for the 10th anniversary of The Electric Picnic.

    Over his career, Aindrias has collaborated on many musical projects. In 2015, he co-wrote and appeared as front man in the Rolling Tav Revue's wildly popular YouTube and chart hit protest song, "No Privatisation - Irish Water, Irish Nation," which they performed in front of a massive crowd in Dublin at the December 2014 Irish Water protest.

Contact Information

  • Email: aindrias (@) gmail.com

Media | Markets

  • ▶ Twitter: aindestaic
  • ▶ Website: http://www.aindrias.com
  • ▶ YouTube Channel: http://www.youtube.com/user/latchicko
  • ▶ Spotify: http://open.spotify.com/album/5dH4bwlEDLJEzA7wm31Uzw

More

  • Quotes, Notes & Etc. "... exquisite, picaresque. Rarely has storytelling been so foot-tappingly funny."
    - Nick Awde, Theatre Guide, London

    "A wild-eyed shock of Celtic unpredictability, the man's got talent and humour in abundance."
    - Malcolm Jack, The Scotsman

    "The performance is half seanchaí, half shaman, half 'Fiddler of Dooney' with a whallop of Flann O’Brien thrown into the mix for good measure."
    - Philip Dunne, State.ie

    "A demented Trad trio whipping an already frothing crowd into a frenzy ... highlight of the festival ... The Latchikós had steam coming off bald men’s heads."
    - Mark Graham, The Irish Times

    "... We just love their energy ... their repertoire includes political songs, spoken word and some of the best damn fiddling on the planet from actor, musician and storyteller Aindrias de Staic ..."
    - Francois Marchand, The Vancouver Sun

Clips (more may be added)

  • Irish storyteller gets told "watch your language" by young audience member
    By Aindrias de Staic
    327 views
  • From Medication to Meditation and Now...Mackeral-eatin’! | Aindrias De Staic | TEDxGalway
    By Aindrias de Staic
    315 views
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    From Medication to Meditation and Now...Mackeral-eatin’! | Aindrias De Staic | TEDxGalway
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


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 above — 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 →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


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.

 

 

  • Bule Bule Brazil
  • Brian Blade Louisiana
  • Ron Blake Flute
  • Judy Bady Jazz
  • Beeple Short Films
  • John Francis Flynn Rough Trade, River Lea
  • Zeca Pagodinho Rio de Janeiro
  • Georgia Anne Muldrow Neo-Soul
  • Milford Graves Jazz
  • Bernardo Aguiar Brazil
  • Fred Hersch New York Jazz Academy Faculty
  • Teddy Swims Georgia
  • Negrizu Dançarino, Dancer
  • Dona Dalva Samba de Roda
  • Terreon Gully Composer
  • Ben Wolfe Bass
  • Bob Mintzer Multi-Instrumentalist
  • Maria de Xindó Música Tradicional da Bahia
  • Seu Jorge Brazil
  • Sharita Towne Video Artist
  • Sam Eastmond Record Producer
  • Casa da Mãe Bahia
  • Kiko Freitas Drum Instruction
  • Ron Mader Professional Speaker
  • Fabiana Cozza Phonoaudiologist
  • Thundercat Los Angeles
  • Merima Ključo Klezmer
  • Brian Lynch Latin Jazz
  • Tonynho dos Santos Cantor-Compositor, Singer-Songwriter
  • João Luiz Classical Guitar
  • Mischa Maisky Classical Music
  • Garth Cartwright Music Critic
  • Michelle Burford Collaborative Memoirist
  • Nailor Proveta Jazz
  • Sergio Krakowski Jazz
  • Rhiannon Giddens Celtic Music
  • Marcos Sacramento Samba
  • Chano Domínguez Piano
  • Awadagin Pratt Classical Music
  • Dan Tyminski Nashville, Tennessee
  • Hilton Schilder Composer
  • Darol Anger Record Producer
  • Yilian Cañizares Violin
  • Christopher James Piano
  • Carol Soares Samba
  • Gabriel Grossi Choro
  • Barry Harris Jazz
  • Bob Telson New York City
  • Larissa Luz Music Producer
  • Shuya Okino Tokyo
  • Rosa Passos Samba
  • Sandro Albert Brazilian Jazz
  • Nubya Garcia London
  • Peter Dasent Film Scores
  • Jorge Glem New York City
  • Kehinde Wiley New York City
  • Fábio Peron Multi-Cultural
  • Lula Galvão Arranger
  • Laércio de Freitas Piano
  • Andra Day Jazz
  • João Jorge Rodrigues Brasil, Brazil
  • Ariane Astrid Atodji Yaoundé
  • David Simon Journalist
  • Tobias Meinhart Jazz
  • Aubrey Johnson New York City
  • Stefon Harris Vibraphone
  • Lynn Nottage Pulitzer Prize
  • Vânia Oliveira Educadora, Educator
  • Airto Moreira Jazz
  • Fábio Peron Choro
  • Yelaine Rodriguez Multimedia Art
  • Johnny Lorenz Brazil
  • Serginho Meriti Composer
  • Congahead Afro-Cuban Jazz
  • Doug Adair Singer-Songwriter
  • Júlio Lemos Violão de Sete
  • Luedji Luna Brazil
  • Ethan Iverson Jazz
  • Vincent Herring Flute
  • Marcelinho Oliveira Keyboards
  • Leci Brandão Samba
  • Yacouba Sissoko Mali
  • David Sacks Latin Jazz
  • Brian Lynch Composer
  • Philip Watson Ireland
  • Lucio Yanel Composer
  • Adenor Gondim Bahia
  • Omar Sosa Marimba
  • Lina Lapelytė Contemporary Classical Music
  • João Luiz Guitar
  • Bruce Williams Composer
  • Bodek Janke World Music
  • Toninho Horta Belo Horizonte
  • Julian Lage Americana
  • Branford Marsalis Theater Composer
  • Igor Osypov Guitar
  • Gearóid Ó hAllmhuráin Concertina
  • James Gadson R&B
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  • Bill Charlap Concert Producer
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  • Kenyon Dixon Los Angeles
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  • Alexa Tarantino New York City
  • VJ Gabiru Fotógrafo, Photographer
  • Sara Gazarek USC Thornton School of Music Faculty
  • Anoushka Shankar Author
  • Anton Fig Session Drummer
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  • Kendrick Scott Drums
  • Fabian Almazan Havana
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  • Tom Wilcox Singer-Songwriter
  • Fidelis Melo Assessor de Comunicação, Public Relations
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  • Roberto Mendes Guitar
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  • June Yamagishi R&B
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  • Kiko Loureiro Brazil
  • José Antonio Escobar Barcelona
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  • Hugo Linns Multi-Instrumentalist
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  • Mike Compton Old-Time Music
  • Ubiratan Marques Salvador
  • Ricardo Bacelar Ceará
  • Kiko Loureiro Helsinki
  • Seckou Keita Kora
  • Scott Yanow Jazz Journalist
  • Tutwiler Quilters Mississippi
  • Alessandro Penezzi Brazil
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  • Joatan Nascimento Choro
  • Zé Luíz Nascimento Bahia
  • Jonga Lima Radialista, Radio Presenter
  • Tonynho dos Santos Guitarra, Violão, Guitar
  • Fred Dantas Euphonium
  • João Jorge Rodrigues Ativista Cultural, Cultural Activist
  • Lalah Hathaway Soul
  • Don Byron Avant-Garde Jazz
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  • Tessa Hadley Novelist
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  • Leigh Alexander Public Speaker
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  • Marco Lobo Brasil, Brazil
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  • Nath Rodrigues Singer-Songwriter
  • Fred Dantas Big Band Leader
  • Charlie Bolden Composer
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  • Ben Azar Composer
  • Milford Graves New York City
  • Luciana Souza Brazil
  • Giorgi Mikadze გიორგი მიქაძე New York City
  • Léo Rugero Film Scores
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  • Laércio de Freitas Brasil, Brazil
  • Geraldo Azevedo Forró
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  • Ênio Bernardes Diretor Musical, Music Director
  • Kirk Whalum Memphis, Tennessee
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  • Urânia Munzanzu Escritora, Writer
  • Stephen Guerra Guitar
  • Paquito D'Rivera Author
  • Gregory Tardy University of Tennessee Knoxville School of Music Faculty
  • Al Kooper Multi-Instrumentalist
  • Ron Carter Jazz
  • Chano Domínguez Jazz

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