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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.

 

  • Biréli Lagrène
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Biréli Lagrène
  • City/Place: Soufflenheim
  • Country: France

Life & Work

  • Bio: Un merveilleux musicien, un magicien de la guitare parmi les plus éblouissants, un “chorégraphe” de la six-cordes comme on les compte actuellement sur les doigts d’une main.

    Biréli Lagrène est un guitariste de jazz manouche, né le 4 septembre 1966, en Alsace, dans la commune de Soufflenheim. Issu d’une famille de culture manouche, il apprend auprès de son frère et de son père le répertoire de Django Reinhardt.

    D’emblée, la musique fut son langage, et celle de Reinhardt son école. Destinée inévitable quand l’on naît, comme lui, en Alsace (en 1966), que l’on est issu de la grande famille manouche, et que la chance vous désigne comme un surdoué en la matière.

    Esprit vif-argent, Biréli pigera très vite l’histoire. Au-delà de la rigueur qui fut celle de son apprentissage (avec son père, puis avec son frère), de ce mélange inouï de force et de précision, Lagrène aura la grâce insigne de ne jamais négliger l’essentiel : “Django m’a aidé à aller voir ce qui se passe ailleurs ”, aime-t-il à rappeler.

    De cette formidable leçon de liberté, qu’il sut capter comme aucun autre, ses premières grandes prestations publiques (notamment à Montreux, en 1981 LINK) offrent un témoignage saisissant.

    Le jeune Lagrène devient rapidement un virtuose de la guitare et rencontre Stéphane Grappelli, un illustre violoniste de jazz du 20ème siècle. Outre les concerts avec le violoniste, au cours de son adolescence, Biréli prend part à quelques tournées en compagnie d’artistes de renom comme Benny Carter, le contrebassiste danois Niels-Henning Ørsted Pedersen, et bien d’autres encore.

    Son style évolue au fil des années et de ses rencontres. A ses débuts, la touche Reinhardt se fait ressentir, mais assez rapidement le jeune guitariste découvre de nouveaux horizons avec des musiciens tels que Jimi Hendrix et George Benson, et un nouveau courant musical le jazz fusion.

    Sa rencontre avec le bassiste américain Jaco Pastorius, en 1985, l’invite à s’améliorer en tant que bassiste, instrument sur lequel Biréli peut jouer parfois en concert. Quatre années plus tard, il forme en compagnie de Larry Coryell et de Al di Meola un trio de guitaristes hors pair.

    Du côté de ses albums, Biréli Lagrène s’essaie à plusieurs univers, une période acoustique avec l’album Acoustic Moments en 1990, une époque jazz fusion avec les albums Inferno et Foreign Affairs en 1988 et 1989, et une réinterprétation des standards de jazz en 1992 avec l’album Standards. A nouveau en 1994, il compose un trio avec cette fois-ci Chris Mink Doky et André Ceccarelli, l’ancien batteur des Chats Sauvages.

    Les années 90 seront pour Biréli celles de la reconnaissance et de la consécration, obtenue en jouant les standards (“Live in Marciac”, 1994). Vertu du classicisme (puisque Lagrène possède, aussi, cette carte-là en stock).

    Django d’Or en 1993, Victoire de la Musique en 2001 et en 2002, Biréli collectionne les trophées, et relève à l’aube des années 2000 un incroyable défi : rejouer la musique de ses origines, tout en demeurant lui-même. A ce jeu habituellement dangereux, il est (seul, face au miroir) l’un des rares à ne pas sombrer dans l’écueil du narcissisme.

    Exercice de haute voltige et prouesse véritable, l’épopée du “Gipsy Project” est un triomphe (qui culmine avec un “Live à Vienne” absolument décoiffant). La boucle est donc bouclée, et le moment venu pour l’un des plus grands guitaristes de ce temps d’aller vers de nouveaux rivages. Nouvelle formule, nouvelle inspiration et nouvelle musique à explorer, plus proche du blues, pour un homme définitivement “en mouvement”.

    En 1999, en collaboration avec le guitariste Sylvain Luc, il travaille sur l’album Duet. Gipsy Project signe le retour de Biréli à ses premiers émois. L’année 2006 connaît deux albums du guitariste manouche, mais dans des registres différents pour lui, To Bi Or Not To Bi un album solo et Djangology en compagnie du WDR Big Band.

    Retour au jazz fusion en 2008 avec l’album Electric Side. Cet album reprend quelques-unes de ses compositions avec la collaboration d’un DJ. En 2009, Gipsy Trio marque son retour au jazz manouche avec des collaborations déjà épurées, notamment le contrebassiste Diego Imbert, le guitariste Hono Winterstein et au saxophone Franck Wolf.

    En 2012, le ministre de la Culture, Frédéric Mitterrand, le décore Chevalier de l’Ordre des Arts et des Lettres, récompense qui consacre Biréli Lagrène dans son domaine artistique de prédilection, la musique.

    Depuis 2015, Lagrène alterne entre le Gipsy Project et le quartet d’Antonio Farao.

    Retrouvez toute une sélection de pièces détachées de guitare pour jouer du Jazz sur https://www.guitarnblues.com.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: birelilagrene
  • ▶ Instagram: birelilagreneguitar
  • ▶ Website: http://bireli-lagrene.fr
  • ▶ YouTube Music: http://music.youtube.com/channel/UCijzy0AVlGIh0VYL1avO5bQ
  • ▶ Spotify: http://open.spotify.com/album/1Apldnk3Xzz6nL9l2VGfGd
  • ▶ Spotify 2: http://open.spotify.com/album/7vhTMQdAZ6B8twE5ZDLJQK
  • ▶ Spotify 3: http://open.spotify.com/album/2oAlS40m9Rbi8nJKxA4eKv
  • ▶ Spotify 4: http://open.spotify.com/album/7b72INt45BjSUtZ9gGG73I
  • ▶ Spotify 5: http://open.spotify.com/album/1DNS8sdDCRMhp4WQENxmAu

Clips (more may be added)

  • Bireli Lagrene & Thomas Dutronc - Django's Tiger
    By Biréli Lagrène
    393 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 Biréli Lagrène:

  • 2 Composer
  • 2 France
  • 2 Guitar
  • 2 Gypsy Jazz
  • 2 Jazz
  • 2 Manouche
  • Plamen Karadonev Berklee College of Music Faculty
  • Angel Bat Dawid Composer
  • Ben Harper Funk
  • Mariene de Castro Samba
  • Mona Lisa Saloy Writer
  • Béla Fleck Banjo
  • Gustavo Caribé Brasil, Brazil
  • Gab Ferruz Brasil, Brazil
  • Estrela Brilhante do Recife Brazil
  • Omer Avital Middle Eastern Music
  • Dan Tepfer Jazz
  • Michael League Record Label Owner
  • Nancy Viégas Brasil, Brazil
  • Paquito D'Rivera Composer
  • Allen Morrison Songwriter
  • Carwyn Ellis Multi-Cultural
  • Stephen Guerra Author
  • Asa Branca Chula
  • Richard Rothstein Historian
  • Priscila Castro Carimbó
  • Eric Harland Drums
  • Jorge Ben Sambalanço
  • David Ngwerume Harare
  • Tom Green Glasgow
  • Paulo César Figueiredo Rio de Janeiro
  • Filhos da Pitangueira Brazil
  • Cinho Damatta Brasil, Brazil
  • Ariane Astrid Atodji Africa
  • Daniil Trifonov Russia
  • Lilli Lewis New Orleans
  • H.L. Thompson DJ
  • Henrique Araújo Choro
  • Fernando Brandão Berklee College of Music Faculty
  • Ben Williams New York City
  • Derrick Adams Sculptor
  • Conrad Herwig Composer
  • Marquis Hill R&B
  • Jimmy Dludlu South Africa
  • Barlavento Samba
  • Casey Driessen Fiddle
  • Riley Baugus North Carolina
  • Ajurinã Zwarg Drums
  • Abderrahmane Sissako Film Director
  • Mauro Diniz Samba
  • Derek Sivers Guitar
  • Luiz Santos New York City
  • Keyon Harrold Hip-Hop
  • Christone 'Kingfish' Ingram Mississippi
  • David Bragger Banjo Instruction
  • Aruán Ortiz Contemporary Classical Music
  • Ben Wolfe Composer
  • Tom Oren Israel
  • Pretinho da Serrinha Brazil
  • Paulinho do Reco Brazil
  • Joey Alexander Piano
  • Bobby Vega Bass
  • Capinam Diretor de Museu, Museum Director
  • Ray Angry Record Producer
  • Christian McBride Composer
  • John Zorn Film Scores
  • Uli Geissendoerfer Composer
  • Kermit Ruffins Composer
  • Thiago Espírito Santo Educador, Educator
  • Laércio de Freitas Composer
  • Liberty Ellman Composer
  • Leo Genovese Composer
  • Djuena Tikuna Indigenous Brazilian Music
  • Ron McCurdy Jazz
  • Joshue Ashby Afro-Caribbean Music
  • Sombrinha Samba
  • Terrace Martin Record Label Owner
  • Gustavo Caribé Santo Amaro
  • Vincent Herring William Paterson University Faculty
  • Jurandir Santana Bahia
  • Steve Bailey Multi-Instrumentalist
  • Stan Douglas Installation Artist
  • Ron Mader Writer
  • Liron Meyuhas Percussion
  • Irma Thomas R&B
  • Johnny Lorenz Essayist
  • Maria Bethânia Samba de Roda
  • Jeremy Pelt Composer
  • Marcus Gilmore Drums
  • Fábio Luna Samba
  • Philip Sherburne Essayist
  • Carlinhos 7 Cordas Rio de Janeiro
  • Paul Cebar Multi-Cultural
  • Keola Beamer Slack Key Guitar
  • Alex Clark Documentary Filmmaker
  • Huey Morgan Singer
  • Gui Duvignau Contemporary Classical Music
  • Raul Midón Songwriter
  • Luiz Santos Drums
  • Samuca do Acordeon Bossa Nova
  • Hugo Rivas Guitar
  • Keshav Batish Percussion
  • Munir Hossn Multi-Instrumentalist
  • Mingus Big Band Jazz
  • Dafnis Prieto Afro-Latin Music
  • Sahba Aminikia San Francisco
  • Maciel Salú Cavalo Marinho
  • David Byrne New York City
  • PATRICKTOR4 Brasil, Brazil
  • Pedro Aznar Singer-Songwriter
  • Moacyr Luz Singer
  • Jonathan Griffin BBC
  • Amitava Kumar Poet
  • Shannon Alvis Choreographer
  • Teresa Cristina Songwriter
  • Varijashree Venugopal India
  • Thana Alexa Music Producer
  • Larissa Fulana de Tal Cineasta, Filmmaker
  • Karla Vasquez Salvadoran Food
  • Eli Saslow Journalist
  • Rahim AlHaj Composer
  • Chad Taylor Philadelphia
  • Chris Acquavella Classical Music
  • Jill Scott Hip-Hop
  • Laura Beaubrun Haiti
  • J. Cunha Salvador
  • Ronald Bruner Jr. Drums
  • Chico Buarque MPB
  • Benny Benack III New York City
  • Egberto Gismonti Composer
  • Arifan Junior Percussão, Percussion
  • Júlio Lemos Composer
  • Laércio de Freitas MPB
  • Ron Blake Saxophone
  • Cory Henry Organ
  • Igor Osypov Germany
  • Juliana Ribeiro Brazil
  • Towa Tei テイ・トウワ Keyboards
  • Elodie Bouny Lisbon, Portugual
  • Arto Tunçboyacıyan Multi-Cultural
  • Carl Allen New York City
  • The Rheingans Sisters Folk & Traditional
  • Joana Choumali Photographer
  • Jupiter Bokondji Kinshasa
  • Raymundo Sodré Forró
  • Mike Moreno Aaron Copeland School of Music Faculty
  • Ramita Navai Documentary Filmmaker
  • Áurea Martins Rio de Janeiro
  • Terreon Gully Composer
  • Louis Michot Louisiana
  • Aruán Ortiz Composer
  • Arturo Sandoval Trumpet
  • Simon Brook Writer
  • David Kirby Novelist
  • Tiganá Santana Bahia
  • Dan Auerbach Multi-Instrumentalist
  • Frank Olinsky Artist
  • Huey Morgan Songwriter
  • Kotringo Singer-Songwriter
  • Ken Avis World Jazz
  • Derek Sivers Entrepreneur
  • Kurt Andersen Essayist
  • Zé Luíz Nascimento Percussion
  • Miroslav Tadić Film, Theater, Dance Scores
  • Mario Ulloa Salvador
  • Adam Cruz Jazz
  • Art Rosenbaum Folklorist
  • Evgeny Kissin Short Stories
  • James Martin Brass Band
  • Bobby Sanabria Composer
  • Susheela Raman London
  • Anthony Coleman Composer
  • Kurt Andersen Short Stories
  • Dan Weiss Tabla
  • Ryuichi Sakamoto Composer
  • Weedie Braimah Pan-African Culture
  • Harish Raghavan Brooklyn, NY
  • Mohamed Diab Cairo
  • Maria Drell Produtora Musical, Music Producer
  • Edivaldo Bolagi Produtor Musical, Music Producer
  • Guga Stroeter Brazilian Jazz
  • Merima Ključo Author
  • Bodek Janke Germany
  • Merima Ključo Klezmer
  • Anoushka Shankar Singer
  • Abhijith P. S. Nair Indian Classical Music
  • Vânia Oliveira Dança Afro
  • Munir Hossn Brazil
  • Vadinho França Presidente de Bloco de Carnaval, Carnival Bloco President
  • Anthony Hamilton R&B
  • Fidelis Melo Assessor de Comunicação, Public Relations
  • Darren Barrett Jazz
  • António Zambujo Singer
  • Kaia Kater Appalachian Music
  • Guto Wirtti Brazil
  • Jahi Sundance DJ
  • John Donohue Journalist
  • Mark Turner Saxophone
  • Zachary Richard Louisiana
  • Adam Neely YouTuber
  • Gabriel Geszti Rio de Janeiro
  • Augustin Hadelich New York City
  • Marcus Strickland Jazz
  • Jamael Dean Jazz
  • Fred Dantas Ethnomusicologist
  • Oscar Peñas Composer
  • Mário Santana Percussion
  • Bonerama Jazz
  • Leigh Alexander Video Game Story Designer
  • Pharoah Sanders Jazz
  • Tia Surica Samba
  • Nêgah Santos Percussion
  • Keita Ogawa Multi-Cultural
  • Carlos Lyra Rio de Janeiro
  • Bruce Molsky Fiddle Instruction
  • LaTasha Lee Soul
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  • Ben Williams Jazz
  • Kurt Andersen Novelist
  • Little Simz Actor
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  • Louis Marks Record Label Owner
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  • Joshua White Composer
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  • Dermot Hussey Broadcaster
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  • Lucía Fumero Composer
  • Eric Bogle Scotland
  • Cristovão Bastos Samba
  • Fred P Record Producer
  • Mateus Alves Bass
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  • Jaleel Shaw Manhattan School of Music Faculty
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  • Kurt Andersen Journalist
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  • Lalah Hathaway Piano
  • Jim Farber Clive Davis Institute of Recorded Music Faculty
  • Kiko Horta Rio de Janeiro
  • Luciano Salvador Bahia Record Producer
  • Roy Ayers Film Scores
  • Melissa Aldana New York City
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  • Afrocidade Brazil
  • David Sánchez Jazz
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  • Maladitso Band Lilongwe
  • Olivia Trummer Classical Guitar
  • Alan Bishop Bass
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  • Arthur Jafa Video Artist
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  • Questlove Rapper
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  • Greg Osby Record Label Owner
  • Colm Tóibín Literary Critic
  • Warren Wolf Baltimore, Maryland
  • Armandinho Macêdo Salvador
  • Kurt Andersen New York City
  • Marcus J. Moore Writer
  • Carlos Lyra Brazil
  • Colson Whitehead Essayist
  • Mario Caldato Jr. Keyboards
  • Badi Assad Guitar
  • Nahre Sol Composer
  • Kareem Abdul-Jabbar Television Producer
  • Sabine Hossenfelder Frankfurt Institute for Advanced Studies
  • Damon Albarn Film Scores
  • Ann Hallenberg Opera Singer
  • Daniel Owoseni Ajala Nigeria
  • James Brandon Lewis Composer
  • Ricky (Dirty Red) Gordon Zydeco
  • Béla Fleck Bluegrass
  • Antônio Queiroz Samba Rural
  • Reena Esmail Composer
  • Merima Ključo Sevdalinka
  • Sergio Krakowski Brazil
  • Philip Watson Journalist
  • Milton Nascimento Minas Gerais
  • Jeff Coffin Record Label Owner
  • Celso de Almeida Drums
  • Anthony Coleman New York City
  • Toninho Nascimento Samba
  • Colm Tóibín Ireland
  • Keith Jarrett Multi-Instrumentalist
  • Bongo Joe Records Café
  • Guillermo Klein Jazz
  • Saul Williams Singer-Songwriter
  • Giorgi Mikadze გიორგი მიქაძე Piano
  • Angel Bat Dawid Black American Traditional Music
  • Andra Day Jazz
  • Alex Mesquita Guitar
  • Dadi Carvalho Rio de Janeiro
  • Fábio Luna Forró
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  • Danilo Pérez Composer
  • Brentano String Quartet Contemporary Classical Music
  • Tshepiso Ledwaba Steinway Piano Technician
  • Osvaldo Golijov Composer
  • Ben Street New York City
  • Ana Luisa Barral Brazil
  • Moreno Veloso Cello
  • Mayra Andrade Cape Verde
  • Dale Farmer Screenwriter
  • Bruce Williams Jazz
  • Mika Mutti MPB
  • Cédric Villani Paris
  • Mou Brasil Compositor, Composer
  • David Castillo Moorpark College Faculty
  • Martyn House
  • Daniil Trifonov Piano
  • Jamel Brinkley Writer
  • Martin Hayes Ireland
  • J. Period Hip-Hop
  • Ferenc Nemeth Composer
  • Gabriel Grossi MPB
  • Marco Pereira Classical Guitar
  • Bebel Gilberto Samba
  • Alex Conde Piano Instruction
  • Nigel Hall Funk
  • Léo Rodrigues Pandeiro Instruction Online
  • Pedro Martins Choro
  • Nana Nkweti Cameroon
  • Guillermo Klein Tango
  • Márcio Valverde Bahia
  • Yosvany Terry New York City
  • Tiganá Santana Brasil, Brazil
  • Margareth Menezes Guitar
  • Karla Vasquez Los Angeles
  • Hot Dougie's Bar Restaurante
  • Caterina Lichtenberg Mandolin
  • Sebastian Notini Percussão, Percussion
  • Elisa Goritzki Choro
  • Fantastic Negrito Guitar
  • Sérgio Mendes Brazil
  • Yilian Cañizares Classical Music
  • Nduduzo Makhathini Fort Hare University Faculty

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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