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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is 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. It 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 — 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 an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Anoushka Shankar
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Anoushka Shankar
  • City/Place: London
  • Country: United Kingdom

Life & Work

  • Bio: To read a list of Anoushka Shankar’s accomplishments is to read many life stories in one: masterful sitarist; film composer; impassioned activist; the youngest and first female recipient of a British House of Commons Shield; the first Indian musician to perform live or to serve as presenter at the Grammy Awards with seven nominations under her belt, and the first Indian woman to be nominated; one of the first five female composers to have been added onto the UK A-level music syllabus. Immersed from a young age on the world stage, with over a quarter-century’s performing behind her, she is a singular, genre-defying artist across realms - classical and contemporary, acoustic and electronic.

    The Shankar house, a respite from a world where she grew up under the public’s intense gaze, was seldom a silent place. Musicians were a permanent presence - learning, rehearsing, improvising, or simply playing musical games around the dinner table. Anoushka began studying the sitar - and Indian classical music - from the age of 9 under the intensive tutelage of her father, Pandit Ravi Shankar: a master of the instrument, and a figure without whom 20th Century music would quite simply not have been what it was. After making her professional debut at thirteen, she began touring worldwide alongside her father then embarked on a successful touring career when she was 18, becoming known for her virtuosic yet emotional playing style, unusual instrumentation, and precise rhythmic interplay. Having discovered electronic music as a teenager before later immersing herself in the Goan psychedelic trance scene, she found parallels with the meditative, introspective qualities of Indian classical music in the ecstatic release of the dancefloor: using different colours to paint the same picture.

    Having released three classical albums for Angel Records EMI and performed at venues such as Carnegie Hall and the Barbican multiple times by the age of 25, the switch to earthy ambience and deep textures on 2005’s Rise was fuelled by a desire “to create music that more fully represents who I am.”

    Self-composed and produced, and infused with electronics created alongside Gaurav Raina of the MIDIval Punditz, Rise “was a way to speak the language of my own history: growing up across three continents with one foot in the past and one in the present.”

    Earning her a 2nd Grammy nomination, this cinematic album formed the blueprint for her intensive solo career. Notions of physical and sonic space are inverted; instruments flow into each other like merging streams; disparate systems of tuning, scale, and instrumentation are made to sound as if they were always meant to co-exist. Her follow-up album Breathing Underwater, created in collaboration with multi-instrumentalist Karsh Kale, envisioned a sonic world where ragas, bright analogue soundscapes, contemplative electronics, and guest turns by Ravi Shankar, Sting, and Anoushka’s half-sister Norah Jones could all slot next to each other without seeming an inch out of place.

    Signing to Deutsche Grammophon in 2011 marked the start of a decade of unbridled fertility. Over the course of four distinct albums, each Grammy-nominated, disparate threads were woven into a tapestry, even as themes shifted and sound palettes expanded. Deep meditations of love and loss on the Nitin Sawhney-produced Traces Of You nestled against a quietly-triumphant return to pure raga improvisations on Home; the historical relationship between Indian classical music and Spanish flamenco was explored on the Javier Limón-produced Traveller whilst the current global refugee crisis informed the rallying cry of Land Of Gold. Co-written with frequent collaborator and handpan exponent Manu Delago and featuring M.I.A, Vanessa Redgrave and Alev Lenz, Land Of Gold crystallised Anoushka’s sound: a de-exotified, high-definition sitar resonating across unpredictable, genre-resistant instrumentation. Alev’s hypnotic presence is also felt on Love Letters - Anoushka’s most recent release, existing in its own universe. The co-produced EP contains startingly-beautiful turns by Ibeyi, Shilpa Rao and Ayanna Witter-Johnson and distills the raw emotions of each note, showcasing an artist who is increasingly comfortable with being vulnerable.

    In a world market designed more for the solo auteur, those who grow up with an impulsive and collective music-making process may often find themselves at a loose end. Anoushka’s environment entrenched a liquid approach to composition and performance - letting the creative process itself provide clarity, and lighting the path ahead with the sparks of connection that develop. A love of that connection has drawn her to collaborate with diverse artists including Herbie Hancock, Patti Smith, Joshua Bell, Gold Panda, Rodrigo y Gabriela, Jules Buckley and His Holiness the Dalai Lama. Her touring career has taken her from legendary jazz cafes to iconic Symphony Halls and festival stages in front of 40,000 people, and her versatility transforms each of these locations into an intimate experience for all listening. That versatility comes out of years spent building the confidence to be artistically truthful and to connect to her audience from the heart.

    Anoushka’s foray into composing for film birthed what she considers her most challenging piece of work: scoring the British Film Institute’s restoration of Shiraz, one of the first major Indian silent feature films, and performing it live at screenings. The flexibility of live performance is tethered by the technical exactitude of film, and the heavy weights of the histories and cultures being showcased, but also the ability to subvert audience expectations and not give in to any obvious signifiers. Her recent work co-composing the score to Mira Nair’s A Suitable Boy is a sonic portrait of post-partition India, showcasing how she can flit between the decades effortlessly whilst not compromising artistic integrity.

    As her music speaks to timeless pasts and urgent futures, so she is just as tireless in her activism work. She has been outspoken about her experiences as a woman and a survivor of child abuse, throwing her weight behind campaigns such as One Billion Rising. She frequently works with organisations such as the UNHCR and Help Refugees to raise funds and awareness for the refugee crisis. In 2020 she was announced as the inaugural President of the F-List: a UK database created to help bridge the gender-gap in music, and as an Ambassador for The Walk: an international artistic project in support of refugees.

    All of this speaks to a rare breed of artist; one who can balance many lives in one, each one seeming as natural as the next. Anoushka’s tempests of sound present ancient instruments in modern lights, not as exotic set pieces, but as living, breathing, and wildly expressive, full-bodied gifts to this world. Every note played comes from the soul, “playing to connect to the innermost part of my myself and hopefully the listener, evoking empathy or a feeling of hope…you have to believe you might make a difference in order to bother trying”.

Contact Information

  • Management/Booking: Management/Bookings/Queries:
    Alessia Avallone at Language of Sound
    [email protected]
    www.languageofsound.com

Media | Markets

  • ▶ Buy My Vinyl: http://www.anoushkashankar.com/shop
  • ▶ Twitter: shankaranoushka
  • ▶ Instagram: anoushkashankarofficial
  • ▶ Website: http://www.anoushkashankar.com
  • ▶ YouTube Channel: http://www.youtube.com/c/AnoushkaShankarOfficial
  • ▶ YouTube Music: http://music.youtube.com/channel/UC15sxfLaN0gd0aGDNggedyA
  • ▶ Spotify: http://open.spotify.com/album/2YIGIiMYhsnDSeot1MQm0H
  • ▶ Spotify 2: http://open.spotify.com/album/5v2AgCxdfQlVcoXQ0QQEoP
  • ▶ Spotify 3: http://open.spotify.com/album/4zPcbxBEKkZDEjsdbQoEJi
  • ▶ Spotify 4: http://open.spotify.com/album/7FaPH6ZYyCQS6S5Frf6ib7
  • ▶ Spotify 5: http://open.spotify.com/album/7sfPpcM1aT9tq6ibVJ1gnE
  • ▶ Spotify 6: http://open.spotify.com/album/1PLFjFH557aoApbm2t9OtZ

Clips (more may be added)

  • 0:06:40
    Anoushka Shankar - Sister Susannah (Lyric Video)
    By Anoushka Shankar
    79 views
  • 3:31
    Anoushka Shankar - Wallet ft. Alev Lenz, Nina Harries
    By Anoushka Shankar
    78 views
  • 0:06:27
    Anoushka Shankar - Bright Eyes ft. Alev Lenz
    By Anoushka Shankar
    81 views
  • 3:22
    Anoushka Shankar - Lovable (Lyric Video) ft. Ibeyi
    By Anoushka Shankar
    82 views
  • 4:44
    Anoushka Shankar - Crossing the Rubicon
    By Anoushka Shankar
    89 views
  • 2:54
    Fathers by Anoushka Shankar and Nitin Sawhney
    By Anoushka Shankar
    115 views
  • 2:59
    Sandhya Raga by Ravi Shankar, performed by his students
    By Anoushka Shankar
    82 views
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YOU RECOMMEND

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Anoushka Shankar:

  • 5 Author
  • 5 Composer
  • 5 Film Scores
  • 5 Indian Classical Music
  • 5 Journalist
  • 5 Multi-Cultural
  • 5 Piano
  • 5 Singer
  • 5 Sitar
  • 5 Tanpura
  • Jess Gillam Radio Presenter
  • Welson Tremura Bossa Nova
  • Célestin Monga Cameroon
  • Colm Tóibín Ireland
  • Luizinho Assis Compositor, Composer
  • Alex Conde Spain
  • Tab Benoit Louisiana
  • Ry Cooder Writer
  • Cara Stacey Mbabane
  • Adam Cruz Jazz
  • Vijay Gupta Classical Music
  • David Fiuczynski Guitar
  • Mark Lettieri Ropeadope
  • Martín Sued Buenos Aires
  • Joanna Majoko Zimbabwe
  • Fernando Brandão Brazil
  • Courtney Pine Clarinet
  • Shannon Ali New York City
  • Roberta Sá Brazil
  • Edsel Gomez Composer
  • Lorna Simpson Photographer
  • James Elkington Record Producer
  • Sandro Albert Brazilian Jazz
  • Tomoko Omura Brooklyn, NY
  • Oscar Bolão Drums
  • Linda Sikhakhane South Africa
  • Paulinho Fagundes Porto Alegre
  • Ricardo Herz Brazil
  • Germán Garmendia Record Producer
  • Ben Allison Concert Producer
  • Tam-Ky France
  • Marcus Teixeira MPB
  • Jim Hoke Nashville, TN
  • Julian Lloyd Webber Classical Music
  • Rick Beato Author
  • Restaurante Axego Salvador
  • Jonathon Grasse Contemporary Music
  • Brenda Navarrete Percussion
  • Jovino Santos Neto Composer
  • Cláudio Badega Bahia
  • MicroTrio de Ivan Huol Salvador
  • Terence Blanchard Educator
  • Joachim Cooder Multi-Cultural
  • The Assad Brothers Classical Guitar
  • Paulo Aragão Brazil
  • Sarah Jarosz Singer-Songwriter
  • Jimmy Dludlu AfroJazz
  • Barry Harris Piano
  • Adonis Rose Jazz
  • VJ Gabiru Fotógrafo, Photographer
  • Michael Olatuja Composer
  • Filhos da Pitangueira Samba
  • Ryuichi Sakamoto Experimental Music
  • Wadada Leo Smith Jazz
  • David Virelles Piano
  • Jakub Knera Musical Event Producer
  • Gilmar Gomes Salvador
  • Antonio Sánchez Drums
  • Yo La Tengo Experimental Rock
  • Luis Perdomo Venezuela
  • Harold López-Nussa Piano
  • Brenda Navarrete Singer
  • Gian Correa Guitar
  • James Brandon Lewis Essayist
  • Inaicyra Falcão Candomblé
  • Omari Jazz Electronic Futurism
  • Trilok Gurtu Jazz
  • Nancy Viégas Cantora-Compositora, Singer-Songwriter
  • Custódio Castelo Fado
  • Karsh Kale कर्ष काळे Indian Classical Music
  • Fred Dantas Salvador
  • Wayne Krantz Guitar Instruction
  • Alexandre Gismonti Guitar
  • Diedrich Diederichsen Music Journalist
  • Kirk Whalum R&B
  • Jay Blakesberg Photographer
  • Mariene de Castro Brazil
  • Mick Goodrick Berklee College of Music Faculty
  • Amy K. Bormet Jazz
  • Steve Lehman Experimental Music
  • Jau Salvador
  • Terell Stafford Classical Music
  • Mayra Andrade Singer
  • Kiya Tabassian كيا طبسيان Film Scores
  • Seth Rogovoy Journalist
  • Jean Rondeau Classical Music
  • Cashmere Cat Electronic Music
  • Kiko Loureiro Guitar Instruction
  • Johnathan Blake Drums
  • Arthur L.A. Buckner Drum Instruction
  • Third Coast Percussion Percussion Ensemble
  • Luizinho Assis Piano
  • Helado Negro Singer-Songwriter
  • J. Velloso MPB
  • Rotem Sivan Guitar
  • Edgar Meyer Classical Music
  • Patty Kiss Compositora, Songwriter
  • Mateus Alves Film Scores
  • Marcel Camargo Cavaquinho
  • Gregory Tardy Composer
  • Laércio de Freitas Piano
  • Frank Negrão MPB
  • Varijashree Venugopal Jazz
  • Caterina Lichtenberg Author
  • Louis Marks Apparel & Fashion
  • Bebê Kramer Accordion
  • Rick Beato YouTuber
  • Bruce Molsky Banjo Instruction
  • David Kirby New York City
  • Ronaldo Bastos Composer
  • Shannon Alvis Choreographer
  • JD Allen New York City
  • Asali Solomon Writer
  • Mariene de Castro Samba de Roda
  • Monk Boudreaux New Orleans
  • Brandon J. Acker Theorbo
  • Mestrinho Forró
  • Alexa Tarantino Jazz
  • Myron Walden Piccolo
  • Rumaan Alam Literary Critic
  • Sergio Krakowski Rio de Janeiro
  • Fred Hersch Rutgers University Faculty
  • Priscila Castro Santarém
  • Darryl Hall Paris
  • Jovino Santos Neto Cornish College of the Arts Faculty
  • Caroline Shaw Violin
  • Márcio Bahia Brazil
  • Jimmy Duck Holmes Mississippi
  • Kiko Horta Rio de Janeiro
  • John Waters Songwriter
  • Bill Hinchberger Brazil Expert
  • Shanequa Gay Multimedia Artist
  • Paul McKenna Irish Traditional Music
  • Vanessa Moreno Brazilian Jazz
  • Gustavo Caribé Chula
  • Ron McCurdy Trumpet
  • Kenny Garrett Jazz
  • Moreno Veloso Cello
  • Neymar Dias Classical Music
  • Rodrigo Amarante Singer-Songwriter
  • Juçara Marçal Brazil
  • Welson Tremura Singer
  • Concha Buika Singer-Songwriter
  • Edgar Meyer Composer
  • Donald Harrison Saxophone
  • Ed O'Brien Guitar
  • Jacám Manricks Jazz
  • George Cables Composer
  • Jimmy Greene Composer
  • Trilok Gurtu Tabla
  • Yelaine Rodriguez Bronx, NY
  • Luis Paez-Pumar Writer
  • D.D. Jackson Opera
  • Theon Cross Jazz
  • Walmir Lima Brazil
  • Terri Hinte Liner Notes
  • Arturo Sandoval Composer
  • Lula Moreira Composer
  • Paulo César Pinheiro Lyricist
  • Swami Jr. Guitar
  • Greg Osby Jazz
  • Cainã Cavalcante Guitar
  • Dan Weiss Composer
  • Kalani Pe'a Singer-Songwriter
  • Rodrigo Caçapa Composer
  • Rachael Price Jazz
  • Michael Cuscuna Jazz
  • Jovino Santos Neto Flute
  • Gui Duvignau Brooklyn, NY
  • Nelson Sargento Samba
  • Sergio Krakowski Pandeiro Instruction
  • Jim Lauderdale Nashville, Tennessee
  • Louis Marks Ropeadope Sur
  • Maciel Salú Composer
  • Michael Garnice Mento
  • Arifan Junior Percussão, Percussion
  • Moses Boyd Jazz
  • Wouter Kellerman Johannesburg
  • John Francis Flynn Irish Traditional Music
  • Bob Bernotas Jazz
  • Adriano Giffoni Brazil
  • Wayne Shorter Jazz
  • Léo Rugero Composer
  • Aditya Prakash Ropeadope
  • ANNA Berlin
  • Betsayda Machado Folk & Traditional
  • Neymar Dias Brazil
  • Flying Lotus Electronic Music
  • Maria Bethânia Singer
  • Marcelo Caldi Singer
  • Sombrinha Cavaquinho
  • Julian Lloyd Webber Classical Music
  • Alana Gabriela Cantora, Singer
  • Endea Owens Double Bass
  • Cleber Augusto Rio de Janeiro
  • Jau Singer-Songwriter
  • Johnny Lorenz Essayist
  • Dafnis Prieto Percussion
  • Spok Frevo Orquestra Recife
  • Emily Elbert Folk Funk Jazz Blues
  • Pedro Aznar Guitar
  • Ron Carter Cello
  • Abel Selaocoe Cello
  • Marquis Hill Jazz
  • Hugues Mbenda France
  • Lionel Loueke African Music
  • Sérgio Pererê Percussion
  • Edil Pacheco Bahia
  • Alfredo Del-Penho Samba
  • Alexia Arthurs Short Stories
  • Django Bates Vocalist
  • Martin Fondse Arranger
  • Eric R. Danton Reporter
  • Questlove DJ
  • Paulo Costa Lima Escritor, Writer
  • Shemekia Copeland Gospel
  • Cleber Augusto Samba
  • Dwayne Dopsie Accordion
  • OVANA Angola
  • Paul McKenna Scottish Traditional Music
  • Milford Graves Drums
  • Uli Geissendoerfer Jazz
  • June Yamagishi New Orleans
  • Burhan Öçal Percussion
  • Max ZT Composer
  • Jussara Silveira Samba
  • Sam Yahel Piano
  • Alicia Svigals Writer
  • Lynn Nottage Playwright
  • Mou Brasil Compositor, Composer
  • Roots Manuva Record Producer
  • Stephanie Soileau University of Chicago Faculty
  • Jurandir Santana Composer
  • Şener Özmen Writer
  • Chris Acquavella Mandolin
  • Célestin Monga Cameroon
  • Rogê Singer-Songwriter
  • Meddy Gerville Réunion
  • Ryuichi Sakamoto Film Scores
  • Utar Artun Piano
  • Roy Germano Author
  • João Teoria Bahia
  • Los Muñequitos de Matanzas Cuba
  • Robi Botos Jazz
  • Laura Beaubrun Haitian Dance Instruction
  • John Archibald Pulitzer Prize
  • Loli Molina Singer-Songwriter
  • Leandro Afonso Salvador
  • JD Allen Composer
  • Olga Mieleszczuk Accordion
  • Jack Talty Record Label Owner
  • Marco Pereira Choro
  • Marcus Miller Singer
  • Hugues Mbenda Congo
  • Luciano Salvador Bahia Theater Composer
  • Gabriel Policarpo Brazil
  • Curtis Hasselbring Arranger
  • Bobby Fouther Multidisciplinary Artist
  • Devin Naar Jewish Studies
  • Estrela Brilhante do Recife Brazil
  • Beats Antique World Fusion
  • Joshue Ashby Panama
  • Jon Cowherd Piano
  • Aruán Ortiz Contemporary Classical Music
  • Wilson Simoninha Singer-Songwriter
  • Felipe Guedes Multi-Instrumentalist
  • Restaurante Axego Salvador
  • Steve Cropper Record Producer
  • Barry Harris New York City
  • Pierre Onassis Música AFRO
  • Kamasi Washington Multi-Cultural
  • Jonathan Scales Multi-Cultural
  • Muhsinah R&B
  • Serwah Attafuah Digital 3D Artist
  • Isaiah Sharkey Composer
  • Jazzmeia Horn New York City
  • Mário Pam Bahia
  • Carlos Henriquez Jazz
  • PATRICKTOR4 Brasil, Brazil
  • Yilian Cañizares Lausanne, Switzerland
  • Jupiter Bokondji African Music
  • Hopkinson Smith Lute
  • Michael Pipoquinha MPB
  • Aruán Ortiz Cuba
  • David Sánchez Jazz
  • Wolfgang Muthspiel Guitar
  • Taylor Ashton Banjo
  • Michael Formanek Composer
  • Imani Winds New York City
  • Dan Weiss Tabla
  • John Patitucci Bass
  • Marcus Miller Multi-Instrumentalist
  • Yelaine Rodriguez African Diaspora Culture
  • Del McCoury Old-Time Music
  • Curly Strings Folk & Traditional
  • Margareth Menezes Axé
  • Merima Ključo Composer
  • Henrique Cazes Choro
  • Chris Potter Saxophone
  • Lina Lapelytė Installation Artist
  • Jill Scott Actor
  • Yoron Israel Composer
  • Giba Gonçalves Percussion
  • John Waters Writer
  • Joel Guzmán Austin, Texas
  • Onisajé Brasil, Brazil
  • Louis Michot Western Swingbilly Cajun Punk
  • Pierre Onassis Singer-Songwriter
  • Ronald Bruner Jr. Record Producer
  • Jamel Brinkley Writer
  • Ajurinã Zwarg Percussion
  • Mônica Salmaso São Paulo
  • Siphiwe Mhlambi Jazz Photographer
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