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  • Bill Pearis

    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: Bill Pearis
  • City/Place: Brooklyn, NY
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Bill Pearis is a senior editor at BrooklynVegan.

Media | Markets

  • ▶ Twitter: soundbitesnyc
  • ▶ Instagram: soundbitesnyc
  • ▶ Website: http://www.brooklynvegan.com

Bill Pearis Curated
pathways in

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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.

 

  • Michael Sarian Composer
  • Ênio Bernardes Samba
  • Louis Marks Apparel & Fashion
  • Aaron Diehl Jazz
  • Garth Cartwright London
  • Robert Glasper Hip-Hop
  • David Binney Saxophone Lessons
  • Liam Farrell 'Dr L' Senegal
  • Michael Janisch Soul
  • Isaias Rabelo Bahia
  • Roy Nathanson Jazz
  • Bai Kamara Jr. Brussels, Belgium
  • Andy Romanoff Storyteller
  • Dan Trueman Composer
  • Tia Fuller Jazz
  • Egberto Gismonti Composer
  • 9th Wonder Long Island University Roc Nation Faculty
  • Mário Pam Bahia
  • Jon Faddis Purchase College Conservatory of Music Faculty
  • Kengo Kuma Japan
  • Marquis Hill Jazz
  • Caridad De La Luz Playwright
  • Alex Conde Madrid
  • Mandla Buthelezi Jazz
  • Eric Roberson Singer-Songwriter
  • Sérgio Machado São Paulo
  • Jeff 'Tain' Watts Composer
  • Abderrahmane Sissako Mali
  • Herbie Hancock Jazz
  • Aruán Ortiz Contemporary Classical Music
  • Ukrainian Freedom Orchestra Класична музика, Classical Music
  • Sameer Gupta Jazz
  • Jon Lindsay Record Producer
  • Stephanie Soileau Writer
  • Paquito D'Rivera Cuba
  • Mauro Senise Rio de Janeiro
  • Dafnis Prieto Drums
  • Anna Webber Avant-Garde Jazz
  • Fred Hersch Composer
  • Gustavo Di Dalva Composer
  • Aloísio Menezes Brazil
  • Ammar Kalia Poet
  • Beth Bahia Cohen Middle Eastern Music
  • Alan Brain Journalist
  • Academia de Música do Sertão Música Clássica Contemporânea, Contemporary Classical Music
  • Matt Glaser Composer
  • Maladitso Band African Music
  • Bruce Molsky Banjo Instruction
  • John Santos Record Label Owner
  • Bongo Joe Records Record Shop
  • Glória Bomfim Samba
  • Dan Tepfer Piano
  • Swami Jr. Guitar
  • Alfredo Rodriguez Jazz
  • Clint Smith Black American Culture & History
  • Jamael Dean Piano
  • Alegre Corrêa Guitar
  • Siphiwe Mhlambi South Africa
  • Tonynho dos Santos Brasil, Brazil
  • Marcos Portinari Brasil, Brazil
  • Jamz Supernova London
  • Wynton Marsalis Composer
  • Bejun Mehta Opera
  • Pretinho da Serrinha Songwriter
  • David Byrne Record Label Owner
  • Karim Ziad Multi-Instrumentalist
  • Walter Pinheiro Composer
  • Anthony Wilson Guitar
  • Cacá Diegues Diretor de Filmes, Film Director
  • Bright Red Dog Ropeadope
  • Lucas Santtana MPB
  • Philip Watson Journalist
  • Brian Cross aka B+ Filmmaker
  • John Francis Flynn Singer-Songwriter
  • Mestre Nelito Capoeira Angola
  • Magda Giannikou Greece
  • Ben Wolfe Double Bass
  • Demond Melancon New Orleans
  • Kirk Whalum Flute
  • Robb Royer Multi-Instrumentalist
  • Frank Beacham Videographer
  • Henrique Araújo Composer
  • Sam Yahel Organ
  • Arthur Verocai Rio de Janeiro
  • Jovino Santos Neto Brazil
  • Beth Bahia Cohen Viola
  • Kronos Quartet San Francisco
  • Damon Albarn Film Scores
  • Cayenna Ponchione-Bailey Percussion
  • Richie Barshay Klezmer
  • Robert Everest Singer-Songwriter
  • Les Filles de Illighadad Tende
  • Béla Fleck Multi-Cultural
  • Steve Earle Multi-Instrumentalist
  • Ken Avis Radio Presenter
  • Dave Smith Drums
  • Bob Bernotas Liner Notes
  • Shannon Ali Arts Journalist
  • Otto Percussion
  • Bright Red Dog Improvising Collective
  • Wayne Shorter Jazz
  • Eli Degibri אלי דג'יברי Tel Aviv
  • Juliana Ribeiro MPB
  • Tutwiler Quilters Quilts
  • Corey Ledet University of Louisiana at Lafayette Faculty
  • Pedrito Martinez Cuba
  • Jaques Morelenbaum Film Scores
  • Djuena Tikuna Tikuna
  • Andra Day Singer-Songwriter
  • Issa Malluf Arabic Percussion
  • Jorge Aragão Percussion
  • Shane Parish Multi-Cultural
  • Willie Jones III Drums
  • Greg Spero Jazz
  • David Sacks Latin Jazz
  • Mikki Kunttu Set Designer
  • Christopher James Record Producer
  • Theon Cross Composer
  • Adriana L. Dutra Screenwriter
  • Plínio Fernandes Classical Guitar
  • Hamilton de Holanda Rio de Janeiro
  • Scott Devine Bass Instruction
  • Ronald Bruner Jr. Singer
  • Asa Branca Federal University of Bahia Faculty
  • Leci Brandão Pandeiro
  • Michael League Record Producer
  • Stanton Moore R&B
  • Harish Raghavan Brooklyn, NY
  • Bongo Joe Records Record Label
  • Liz Pelly Writer
  • Eric Bogle Folk & Traditional
  • Guilherme Varella Gestor Cultural, Cultural Director
  • Joyce Moreno Bossa Nova
  • João Camarero Brazil
  • Nabihah Iqbal London
  • Leandro Afonso Bahia
  • Jurandir Santana Salvador
  • Tony Allen Nigeria
  • Raynald Colom Spain
  • Jeff Coffin Saxophone
  • Africania Chula
  • Caoimhín Ó Raghallaigh Dublin
  • Saul Williams Singer-Songwriter
  • Jeremy Pelt Trumpet
  • Steve McKeever Hidden Beach Recordings
  • Oleg Fateev Moldavia
  • André Vasconcellos São Paulo
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  • Carwyn Ellis Experimental Music
  • Adriana L. Dutra Brazil
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  • Ken Avis Singer-Songwriter
  • Léo Rodrigues Côco
  • David Wax Museum Charlottesville, Virgina
  • Stan Douglas Photographer
  • Walter Pinheiro Flute
  • Simon Brook Paris
  • NEOJIBA Música Clássica, Classical Music
  • Janine Jansen Classical Music
  • Stuart Duncan Banjo
  • Diosmar Filho Salvador
  • Cassie Kinoshi Bandleader
  • Marcel Powell Guitar
  • Bob Telson Film Scores
  • Mona Lisa Saloy New Orleans
  • Bobby Vega Bass
  • Manassés de Souza Viola de Doze
  • Brian Lynch Jazz
  • Burhan Öçal Percussion
  • 9th Wonder Raleigh, North Carolina
  • Paulo Costa Lima Música Clássica Contemporânea, Contemporary Classical Music
  • Milton Primo Brazil
  • Julian Lloyd Webber Cello
  • John Morrison Writer
  • Onisajé Dramaturga, Playwright
  • Walmir Lima Singer
  • Swami Jr. Samba
  • Mark Lettieri Composer
  • Paddy Groenland Composer
  • Aubrey Johnson Berklee Faculty
  • Adam Cruz Drums
  • Nicole Mitchell Jazz
  • Riley Baugus Banjo
  • Philip Ó Ceallaigh Romania
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  • Larissa Luz Brazil
  • Kiko Freitas Jazz
  • Carlos Aguirre Composer
  • Richie Pena Writer
  • Sharita Towne Portland, Oregon
  • Robert Everest Multi-Instrumentalist
  • Caroline Shaw Contemporary Classical Music
  • Aurino de Jesus Samba de Viola
  • Aaron Parks Jazz
  • Marília Sodré Salvador
  • Hopkinson Smith Switzerland
  • Jared Sims Flute
  • Michael League Multi-Cultural
  • Rema Namakula Kampala
  • Leonard Pitts, Jr Journalist
  • Plinio Oyò Viola Machete
  • João Bosco Guitar
  • Muhsinah Piano
  • Munir Hossn Composer
  • Ariel Reich Dance for PD®
  • Edsel Gomez New York City
  • Matt Garrison Record Producer
  • Dieu-Nalio Chery New York City
  • Ênio Bernardes Percussão, Percussion
  • Yayá Massemba Brasil, Brazil
  • Frank Negrão Composer
  • Leon Parker Percussion
  • Martin Fondse Jazz
  • G. Thomas Allen Opera
  • Cayenna Ponchione-Bailey Marimba
  • Hugo Rivas Buenos Aires
  • Bisa Butler Textile Artist
  • Wayne Shorter Composer
  • Nação Zumbi Rock
  • Marco Pereira Classical Guitar
  • Marcus Strickland Record Producer
  • Terell Stafford Classical Music
  • Yazz Ahmed Flugelhorn
  • James Brandon Lewis New York City
  • June Yamagishi New Orleans
  • Mike Compton Mandolin
  • Massimo Biolcati Brooklyn, NY
  • Chris Thile Americana
  • Eric Harland Composer
  • Nubya Garcia Saxophone
  • Horacio Hernández Havana
  • Oded Lev-Ari New York City
  • Aurino de Jesus Brazil
  • Kenyon Dixon Los Angeles
  • Arifan Junior Diretor Musical, Music Director
  • Sérgio Pererê Percussion
  • David Sánchez Saxophone
  • Jane Ira Bloom Contemporary Classical Music
  • João Luiz Guitar
  • Jimmy Dludlu AfroJazz
  • Hamilton de Holanda Bandolim
  • Dee Spencer Piano
  • Elio Villafranca Jazz
  • Flora Gil Brasil, Brazil
  • Renato Braz Brazil
  • Musa Okwonga Writer
  • Daniel Owoseni Ajala Nigeria
  • Aaron Goldberg New York City
  • Dermot Hussey Reggae
  • Fábio Luna Percussão, Percussion
  • Rez Abbasi Pakistani Music
  • Jan Ramsey Jazz
  • Hercules Gomes Piano
  • Adam Shatz Music Critic
  • Dave Smith Alternative, Improv
  • Warren Wolf Bass
  • Bisa Butler Quilts
  • Luiz Antônio Simas Professor
  • Rotem Sivan Guitar
  • Melvin Gibbs Jazz Fusion
  • Jon Faddis Manhattan School of Music Faculty
  • Joey Baron Jazz
  • Yasushi Nakamura Bass
  • Luciano Matos Apresentador de Rádio, Radio Presenter
  • Shaun Martin Hip-Hop
  • David Sacks MPB
  • Diego Figueiredo São Paulo
  • Towa Tei テイ・トウワ Electronica
  • Shez Raja Composer
  • Alan Williams Found & Recycled
  • Adriano Souza MPB
  • Liam Farrell 'Dr L' DJ
  • Mono/Poly Electronic Music
  • Cara Stacey South Africa
  • Walter Blanding Jazz
  • Negrizu Ator, Actor
  • Greg Ruby Composer
  • Dom Flemons Old-Time Music
  • Matias Traut Argentina
  • Turtle Island Quartet San Francisco, California
  • Yasmin Williams Singer-Songwriter
  • BaianaSystem Salvador
  • David Chesky Composer
  • Sunn m'Cheaux Guitar
  • Raelis Vasquez Dominican Republic
  • Maia Sharp Country
  • Anat Cohen Jazz
  • Sierra Hull Americana
  • Tommy Orange Novelist
  • China Moses Jazz
  • Ronell Johnson Funk
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