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  • Brandon Coleman

    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: Brandon Coleman
  • City/Place: Los Angeles, California
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Bending the future of sound, taking ivory and ebony to destinations unknown, is keyboard maestro, vocalist, composer, producer, arranger and astral traveler Brandon Coleman. A regular fixture with Babyface, Donald Glover, Flying Lotus, and Kamasi Washington’s band, Coleman represents a new chapter in the evolution of jazz and funk fusion. His celebrated sophomore album, Resistance, released in late 2018, brought him “All Around The World” to Japan, South America, and Europe alongside Kamasi and traveling North America to support Flying Lotus, with his future funk band, Brandon Coleman’s SpaceTalker.

    “For those accustomed to Coleman’s role laying the foundation for expansive spiritual-jazz explorations in Kamasi Washington’s band, it’s revelatory to hear him so spry on his feet and down to get down. If his work with Washington contains all the weight and gravitas of Sunday church, Coleman’s Resistance has all the fun, breeziness- and yes, sunlight- of an afternoon church picnic,” said Andy Beta of Pitchfork. At a typical Brandon Coleman show, whether trio, quartet, quintet, sextet, septet or SpaceTalker, it’s common to get the entire Sunday extravaganza.

    from https://www.foxperformances.com/artist-roster/brandon-coleman

Contact Information

  • Record Company: Brainfeeder

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://brandon-coleman.bandcamp.com
  • ▶ Twitter: BrandonColeKeys
  • ▶ Instagram: brandoncoleman
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCU7hFZ6FjWtGTb3MK2-IHvQ
  • ▶ YouTube Music: http://music.youtube.com/channel/UCJztSoJx89SkMtMcY9qs4cQ
  • ▶ Spotify: http://open.spotify.com/album/5CoW7EEjCrnqM6ChKHmtE0
  • ▶ Spotify 2: http://open.spotify.com/album/6o6BMJ5jsTJApjDHeEl8OE
  • ▶ Spotify 3: http://open.spotify.com/album/0KCS1fUY06johTjOmISE2l
  • ▶ Spotify 4: http://open.spotify.com/album/0Ltvb0U1l3jPXv7j6dSL3E
  • ▶ Spotify 5: http://open.spotify.com/album/6mHBzghmqQjofqqea2anGU
  • ▶ Spotify 6: http://open.spotify.com/album/7IX6id1lCZoVEBSE8DhO4h
  • ▶ Article: http://daily.bandcamp.com/features/brandon-coleman-interview

More

  • Quotes, Notes & Etc. Brainfeeder is proud to present “Resistance” - a funk odyssey by keyboard maestro, vocalist, composer, producer, arranger and astral traveller Brandon Coleman. A regular fixture in the Kamasi Washington band, wylin’ out on the keys or wielding his keytar, he is introduced onstage at gigs as “Professor Boogie” by his longtime friend and collaborator. “Resistance” represents a new chapter in the Funk dynasty that spans George Clinton / Parliament Funkadelic and Zapp through to Dr. Dre, DJ Quik and Dam Funk as the Los Angeles resident salutes his musical heroes - Herbie Hancock, Peter Frampton, Roger Troutman - and honours their ethos of freedom and experimentation in his search for Funk’s future.

    “Resistance” is a powerful statement from an artist who is passionate about hybridity and innovation - stitching together threads from jazz, disco, boogie, R&B, electro, soul and Funk. “I’ve been in the studio a lot in recent years, writing with this or that artist and I always felt constrained… like I had to compromise and submit to a ‘pop’ sensibility,” he explains. “This time I just wanted to create something that was really free… something original… to incorporate all the styles that I represent, because often when I’ve tried to do that in the past it’s been met with resistance.”

    The list of artists with whom Coleman has collaborated is simultaneously inspiring and exhausting. From Ciara to Mulatu Astatke and Childish Gambino to Shuggie Otis… but one of his most consistent studio partners during the last decade has been R&B icon Babyface. “I’ve learned a lot from him… working on countless projects… he would just call me at any time and say: ‘Hey man, I’m in the studio with Aretha Franklin at the piano and I want you to come in and help us arrange some songs.’ And I would be like: ‘Erm ok, I’m on my way’,” he shakes his head and laughs. “Those experiences shaped the way I hear and appreciate music”.

    Coleman’s epiphany came aged 16 when he’d only really just taken up piano. “My brother gave me a Herbie Hancock record - ‘Sunlight’,” he says. “I put it on and just kept listening to it on repeat ‘cos I couldn’t fathom how he was singing like that… it sounded electric. That was it for me.” Utterly bewitched by the marriage of human touch and robotic texture in those vocals, he moved on to Peter Frampton and Roger Troutman (celebrated for their mastery of the talk box) and decided to create his own signature synth patch for his vocals. “I wanted to take it further… if Siri could sing, this is how Siri would sing,” he laughs.

    It is fitting that “Resistance” should arrive on the imprint founded by Flying Lotus - a perpetual free-thinker and champion of genre-exploding. “I can remember the first time I met him,” says Brandon. “It was at a ‘Suite For Ma Dukes’ rehearsal with Miguel Atwood-Ferguson and I walked in and noticed this mad set-up with crazy pedals and stuff and I’m usually the guy who has that. Who the hell does this guy think he is, doing what I do but different gear?… and then I was like ‘Holy shit - this is Flying Lotus!’” The pair have subsequently worked together on music for Bladerunner, FlyLo’s directorial debut Kuso and Brandon plays on “Until The Quiet Comes” and “You’re Dead!” too. It was an easy decision to sign the album to Brainfeeder: “It just feels like family, y’know?”, he explains. “Stephen [Thundercat] is there… plus I’ve toured a lot with Kamasi and the type of shows we were playing - the venues and the crowds - it wasn’t a jazz audience and I dug that. I feel like that was something that Brainfeeder brought to the table”.

Clips (more may be added)

  • 3:39
    Brandon Coleman - 'Giant Feelings (feat. Patrice Quinn & Techdizzle)'
    By Brandon Coleman
    234 views
  • 0:12:48
    Brandon Coleman Performs at NAMM 2020
    By Brandon Coleman
    290 views
  • 1:13:37
    Brandon Coleman - Live at The Teragram Ballroom, DTLA 2/7/2019
    By Brandon Coleman
    225 views
  • 0:14:09
    Brandon Coleman - Against The Clock
    By Brandon Coleman
    306 views
Previous
Next

Brandon Coleman Curated
pathways in

  • 2 Composer
  • 2 Jazz, Funk, R&B, Soul
  • 2 Keyboards
  • 2 Los Angeles
  • 2 Singer-Songwriter

What's Been Happening?

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  • Brandon Coleman
    Patrice Quinn → Singer has been recommended via Brandon Coleman.
    • March 28, 2022
  • Brandon Coleman
    Patrice Quinn → Los Angeles has been recommended via Brandon Coleman.
    • March 28, 2022
  • Brandon Coleman
    Patrice Quinn → Jazz has been recommended via Brandon Coleman.
    • March 28, 2022
  • Brandon Coleman
    Patrice Quinn → Actor has been recommended via Brandon Coleman.
    • March 28, 2022
  • Brandon Coleman
    Richie Pena → Writer has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Richie Pena → Programmer has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Richie Pena → New York City has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Richie Pena → Drums has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Herbie Hancock → Piano has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Herbie Hancock → Keyboards has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Herbie Hancock → Jazz has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    Herbie Hancock → Composer has been recommended via Brandon Coleman.
    • August 24, 2020
  • Brandon Coleman
    A video was posted re Brandon Coleman:
    Brandon Coleman - 'Giant Feelings (feat. Patrice Quinn & Techdizzle)'
    Taken from the album 'Resistance', released 14 September 2018 on Brainfeeder
    • August 24, 2020
  • Brandon Coleman
    A video was posted re Brandon Coleman:
    Brandon Coleman Performs at NAMM 2020
    Brandon Coleman performed at the Kawai exhibit at the NAMM Show on Friday, January 17, 2020. The multifaceted keyboardist, who has long been associated with Kamasi Washington and has played with a long list of the music industry's finest from Stevie Wond...
    • August 24, 2020
  • Brandon Coleman
    A video was posted re Brandon Coleman:
    Brandon Coleman - Live at The Teragram Ballroom, DTLA 2/7/2019
    February 7, 2019 - Brandon Coleman's Family Jam featuring Kamasi Washington + Special Guests perform live at The Teragram Ballroom, downtown Los Angeles, California.
    • August 24, 2020
  • Brandon Coleman
    A video was posted re Brandon Coleman:
    Brandon Coleman - Against The Clock
    Brandon Coleman is at the forefront of a contemporary renaissance in the LA jazz scene - spearheaded by the likes of Thundercat, Kamasi Washington and Miles Mosley - and 2018 has been his busiest year yet. Following the release of his debut album for B...
    • August 24, 2020
  • Brandon Coleman
    A category was added to Brandon Coleman:
    Jazz, Funk, R&B, Soul
    • August 24, 2020
  • Brandon Coleman
    A category was added to Brandon Coleman:
    Singer-Songwriter
    • August 24, 2020
  • Brandon Coleman
    A category was added to Brandon Coleman:
    Composer
    • August 24, 2020
  • Brandon Coleman
    A category was added to Brandon Coleman:
    Los Angeles
    • August 24, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

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


WHY BRAZIL?

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

 

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

 

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

 

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

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


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

  • Hendrik Meurkens Vibraphone
  • Mino Cinélu Percussion
  • Kim Hill Songwriter
  • Magda Giannikou Composer
  • Theon Cross Tuba
  • Serginho Meriti Brazil
  • Marc Ribot Free Jazz
  • Jorge Glem Venezuela
  • Rodrigo Caçapa Viola Brasileira
  • Mateus Asato Brazil
  • Aderbal Duarte Bossa Nova
  • Lula Gazineu Arranjador, Arranger
  • Celso Fonseca Singer
  • Dan Trueman Norwegian Traditional Music
  • Arany Santana Bahia
  • James Brady Arranger
  • Bill Summers Afro-Cuban Music
  • Bebê Kramer Tango
  • Richie Stearns Old-Time Music
  • Frank Beacham Photographer
  • Chano Domínguez Cádiz
  • Mika Mutti MPB
  • Sabine Hossenfelder YouTuber
  • Walter Smith III Berklee College of Music Faculty
  • Curtis Hasselbring Jazz
  • Clint Mansell Film Scores
  • Christian McBride Bass
  • Ivo Perelman Saxophone
  • Gustavo Caribé Bahia
  • Fabrício Mota Pesquisador, Researcher
  • Stephanie Soileau University of Chicago Faculty
  • Massimo Biolcati Composer
  • Seth Swingle Banjo
  • 小野リサ Lisa Ono Guitar
  • Yazz Ahmed Bahrain
  • Michael Janisch Soul
  • André Becker Jazz
  • Leandro Afonso Screenwriter
  • Fábio Luna Multi-Instrumentista, Multi-Instrumentalist
  • David Hoffman YouTuber
  • Edivaldo Bolagi Produtor Cultural, Cultural Producer
  • Danilo Caymmi Rio de Janeiro
  • Yamandu Costa Samba
  • Massimo Biolcati App Developer
  • Phineas Harper Journalist
  • Spider Stacy Actor
  • Jessie Montgomery Violin
  • David Castillo Moorpark College Faculty
  • Awadagin Pratt Piano
  • Jaques Morelenbaum Cello
  • Ricky (Dirty Red) Gordon Second Line
  • Iara Rennó Diretora, Director
  • Mokhtar Samba Morocco
  • Brigit Katz Canada
  • Cécile McLorin Salvant Jazz
  • Gilad Hekselman Composer
  • Casa da Mãe Brasil, Brazil
  • Avner Dorman Conductor
  • Alexandre Vieira Jazz
  • Celino dos Santos Viola Machete
  • Victor Gama Multi-Cultural
  • Kiko Loureiro Helsinki
  • Hisham Mayet Photographer
  • Robb Royer Pop
  • Silas Farley Choreographer
  • Camille Thurman Jazz
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