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  • Ali Jackson

    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: Ali Jackson
  • City/Place: West Orange, New Jersey
  • Country: United States
  • Hometown: Detroit, Michigan

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Award-winning musician, composer, arranger, educator, and percussionist Ali Jackson developed his talent at an early age. A virtuoso, Ali has contributed significant musical works as a composer and arranger and he holds the distinction of being the first percussionist to perform and create music across the entire spectrum of musical styles.

    He began playing drums at the age of two and piano by the age of five. As a child growing up in Detroit, Ali found himself immersed in serious study alongside his father, the great jazz bassist Ali Jackson Sr., who gave him an intense introduction to music, taking him on gigs where he began playing professionally at eight years old.

    Ali’s natural ability and passion for music bloomed and by the age of 11 his aptitude flourished as a result of a steady stream of lessons and mentoring from an all-star lineup of music legends, including Max Roach, Milt Hinton, Dr. Donald Byrd, Betty Carter, Aretha Franklin and James Mtume. During one lesson when he was 12, Ali met Wynton Marsalis and impressed the trumpet virtuoso and future collaborator with his maturity and his advanced knowledge of the piano and music theory — skills rare among drummers.

    Ali graduated as a music major with high honors from Detroit’s prestigious Cass Tech High School, a program with a rich legacy of consistently producing the country’s top musicians.

    As a student at the New School University for Contemporary Music in New York City, he was privileged to study with Max Roach and Elvin Jones. He attended college on a full academic scholarship, earning an undergraduate degree in music composition. In 1994 Ali was selected as the guest soloist for the Beacons of Jazz program honoring legendary jazz drummer Max Roach. The Thelonius Monk Institute and Jazz Aspen selected him to participate in the first annual Jazz Aspen for gifted and talented musicians. Ali was also the first recipient of the state of Michigan’s prestigious Artserv Emerging Artist award in 1998.

    After moving to New York for college, Ali became highly sought after for his distinctive, powerful swing, which is marked by a comprehensive knowledge of different styles, genres and historical eras. Known for playing innovative, melodic drum solos utilizing all of the surfaces of the drum set, Ali’s playing is compact, tight and full of a simmering intensity that is unmistakable.

    Upon graduation Ali spent several years touring and recording with a diverse group of musicians before accepting the role as Drum Chair of the Jazz at Lincoln Center Orchestra in 2005. Ali was the driving heartbeat of the big band, which was founded by Wynton Marsalis to bring together the world’s top jazz musicians on every instrument to showcase the music of Duke Ellington and other great composers and arrangers. As an integral part of the rhythm section, Ali’s playing helped define the sound of the JLCO and Wynton Marsalis for more than a decade and is documented in hundreds of recordings and videos of concerts that were witnessed by millions around the globe.

    Ali has performed and recorded with a multitude of artists including Wynton Marsalis, Jon Batiste, Willie Nelson, Tony Bennett, Faith Hill, Karriem Riggins, Bobby McFerrin, Buster Williams, Norah Jones, Eric Clapton, Dee Dee Bridgewater, Aretha Franklin, George Benson, Harry Connick, Jr., KRS-1, Marcus Roberts, Joshua Redman, Vinx, Seito Kinen, Seiji Ozawa, Diana Krall, Gerald Albright, Michael Heise, Russell Gunn, James Morrison, Craig Handy, Jacky Terrasson, Kurt Rosenwinkel, and the New York City Ballet.

    As a bandleader, Ali has recorded five albums, including Amalgamations, Wheelz Keep Rollin’, Big Brown Getdown and the Yes! Trio album. Ali’s playing is featured on more than 40 other albums, including Congo Square, Touchdown, Gunn Fu, Young Gunn Plus, European Sessions, Live at Yoshi’s, Reflections in Change, Back East, Two Men With The Blues, Three-Five, Here We Go Again: Celebrating the Genius of Ray Charles, He and She, The Magic Hour and From the Plantation to the Penitentiary. Jackson also collaborated with jazz greats Cyrus Chestnut, Reginald Veal, and James

    Carter on Gold Sounds, an innovative album that sought to transform songs by indie alternative rock band Pavement into unique virtuosic interpretations with the spirit of the church and the attitude of the juke joint. His production skills can be heard on George Benson’s album Irreplaceable. He is also the voice of Duck Ellington, a character in the Penguin book series Baby Loves Jazz.

    Ali is also an acclaimed composer whose voice is unique in its command of the universal language of the groove and the power of thoughtful use of space — both rhythmically and harmonically. His most recent masterworks include the Jazz at Lincoln Center Orchestra-commissioned Living Grooves: A World in Jazz Rhythm, and a ballet composed for the Alvin Ailey Dance Company titled r-Evolution, Dream.

    Ali’s collaborations with other artists continue to push the envelope of jazz music and its connection to the human spirit. In 2010, Ali executive produced an original work called Beats of NYC, a project blending the musical idioms of Congolese, Senegalese, Tap, and modern dances juxtaposed with various styles of spoken word and the history of the blues. He also composed a ballet with long-time collaborator Hope Boykin titled Ballet: Watching go by the Day.

    Beyond the performance stage, Ali takes a leading role in advocating for arts and musical education to build stronger communities around the world. As an active supporter of the arts, music, and the humanities, Ali believes in the power of jazz education to help students cope with life experiences by creating a positive mindset and working collectively toward common goals. He has donated musical instruments and conducted numerous master classes in the effort to improve music knowledge and uplift aspiring students. He has given lectures on jazz and culture at New York University, Stanford University, Eastman College of Music and Columbia University and has taught hundreds of music education classes for grade school students across the country.

Contact Information

  • Email: [email protected]
  • Management/Booking: Management & Booking

    Robert Fleischmann
    Management & Booking US /America
    [email protected]

    Elvire Delagrange
    Note Only Management & Booking France / Europe:
    [email protected]

Media | Markets

  • ▶ Twitter: alidrums
  • ▶ Instagram: ajaxdrums
  • ▶ Website: http://alidrums.com
  • ▶ Blog: http://alidrums.com/news/
  • ▶ YouTube Channel: http://www.youtube.com/user/alijacksonjr
  • ▶ YouTube Music: http://music.youtube.com/channel/UCqTKVaJ5P_S9Jp9eN4AO7zg
  • ▶ Spotify: http://open.spotify.com/album/5HpcL5QwL69nFU2Ew6QOKL
  • ▶ Spotify 2: http://open.spotify.com/album/3xhKoxjBmsiJTEG75Ct9iJ
  • ▶ Spotify 3: http://open.spotify.com/album/3H779IqcX12IPfKnVnWBlp

Clips (more may be added)

  • 0:07:41
    Yes! Trio: "C'est Clair" (Ali Jackson/Aaron Goldberg/Omer Avital)
    By Ali Jackson
    267 views
  • In the Studio: ALI JACKSON
    By Ali Jackson
    541 views
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Ali Jackson Curated
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  • 2 Drums
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  • Ali Jackson
    A video was posted re Ali Jackson:
    Yes! Trio: "C'est Clair" (Ali Jackson/Aaron Goldberg/Omer Avital)
    Ali Jackson, drums Omer Avital, bass Aaron Goldberg, piano Composed by Omer Avital.
    • October 15, 2020
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    A video was posted re Ali Jackson:
    In the Studio: ALI JACKSON
    Watch and listen to jazz drummer ALI JACKSON explain multiple different rhythms during Jazz at Lincoln Center's 2014-15 season shoot. Subscribe to our channe...
    • August 2, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, for incandescent Brazil, for the entire creative world, new ways...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & 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



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.

 

 

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.

 

PORTUGUÊS (to English →)

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, para o Brasil incandescente, pro mundo criativo inteiro, novos caminhos...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) 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


A 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.

 

 

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.

 

  • Joatan Nascimento Choro
  • Maria Rita Bossa Nova
  • Babau Santana Pandeiro
  • Thiago Trad Música Experimental, Experimental Music
  • Nahre Sol Piano
  • Duane Benjamin Trombone
  • Maladitso Band African Music
  • Marcus Rediker Activist
  • Dr. Lonnie Smith Hammond B-3
  • Stan Douglas Photographer
  • Tom Bergeron Samba
  • Marc Maron Guitar
  • Tarus Mateen Jazz
  • John Boutté New Orleans
  • Molly Tuttle Banjo
  • Zé Katimba Rio de Janeiro
  • International Anthem Recording Company
  • Jill Scott Actor
  • Paquito D'Rivera Composer
  • Cristovão Bastos Choro
  • Cassie Kinoshi Composer
  • Garth Cartwright Poet
  • David Hepworth Music Journalist
  • Sharita Towne Multidisciplinary Artist
  • Donny McCaslin Jazz
  • Nicholas Payton Record Label Owner
  • Stefano Bollani Classical Music
  • Paquito D'Rivera Classical Music
  • Mestrinho Sergipe
  • Léo Rugero Composer
  • Marco Pereira Guitar
  • Les Thompson Singer
  • Miguel Atwood-Ferguson DJ
  • NIcholas Casey New York Times
  • Ben Cox Cinematographer
  • Andrew Huang Songwriter
  • Nettrice R. Gaskins Cultural Critic
  • Gilsons Brazil
  • Jake Webster Indiana
  • Dhafer Youssef ظافر يوسف Singer
  • Eliane Elias Classical Music
  • Berta Rojas Berklee College of Music Faculty
  • Dale Barlow Jazz
  • Denzel Curry Hip-Hop
  • Nego Álvaro Percussion
  • Samba de Nicinha Samba de Roda
  • Danilo Caymmi Flute
  • As Ganhadeiras de Itapuã Folk & Traditional
  • João Bosco Singer-Songwriter
  • Rhiannon Giddens Fiddle
  • Sebastião Salgado Fotojornalista, Photojournalist
  • Shabaka Hutchings Saxophone
  • Bob Bernotas Music Journalist
  • João Teoria Brasil, Brazil
  • Morten Lauridsen USC Thornton School of Music Faculty
  • Alain Pérez Bass
  • Rema Namakula African Music
  • Gustavo Di Dalva New York City
  • Harish Raghavan Brooklyn, NY
  • Woody Mann Americana
  • Paulo Aragão Rio de Janeiro
  • David Virelles Piano
  • Tom Bergeron Brazilian Jazz
  • ANNA Techno
  • Michelle Burford Collaborative Memoirist
  • Arturo Sandoval Cuba
  • Jon Faddis Composer
  • Ron McCurdy Writer
  • Pat Metheny Composer
  • Chico Buarque Brasil, Brazil
  • Nancy Viégas Salvador
  • Mark Lettieri Instructor
  • Munir Hossn Record Producer
  • Maria Marighella Ativista Cultural, Cultural Activist
  • Hank Roberts Ithaca, New York
  • Ivan Huol Brazil
  • João Rabello Classical Guitar
  • Airto Moreira Cantor, Singer
  • Jeremy Danneman Jazz
  • Nêgah Santos New York City
  • Alan Bishop Egypt
  • Brian Jackson Record Producer
  • Matt Parker Mathematics
  • Robi Botos Toronto
  • Zé Katimba Singer-Songwriter
  • Ken Coleman Essayist
  • Marc Maron Actor
  • Little Simz Actor
  • William Parker Composer
  • James Andrews New Orleans
  • Bright Red Dog Albany, New York
  • Nahre Sol Classical Music
  • Keyon Harrold Multi-Instrumentalist
  • Beats Antique Multi-Cultural
  • Ari Hoenig New York City
  • Christian McBride Composer
  • Joe Newberry Raleigh
  • Jonathan Finlayson New York City
  • Ben Okri Poet
  • Will Vinson New York City
  • Harvey G. Cohen Songwriter
  • Marcos Portinari Rio de Janeiro
  • Jonga Cunha Brazil
  • Alexandre Vieira Bahia
  • Jahi Sundance Record Producer
  • Daniel Owoseni Ajala Dance Instructor
  • Gab Ferruz MPB
  • Askia Davis Sr. Writer
  • J. Pierre New Orleans
  • Gerald Albright Contemporary Jazz
  • Africania Brazil
  • Dave Douglas Festival Director
  • Bob Lanzetti Brooklyn, NY
  • Ellie Kurttz Photographer
  • Imanuel Marcus War Correspondent
  • Bob Reynolds Composer
  • Swami Jr. Bass
  • Emily Elbert Guitar
  • Richard Bona Africa
  • Duane Benjamin Arranger
  • Vijay Iyer Composer
  • Ellie Kurttz England
  • Mokhtar Samba Paris
  • Tyshawn Sorey Multi-Instrumentalist
  • Kaia Kater Folk & Traditional
  • Vincent Valdez Drawings
  • Brian Cox Actor
  • Robert Glasper R&B
  • Gregory Hutchinson New York City
  • Tyler Gordon Artist
  • Joshue Ashby Jazz
  • Matt Glaser Author
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