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  • Burhan Öçal

    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: Burhan Öçal
  • City/Place: Istanbul
  • Country: Turkey

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Currently living between Istanbul and Zurich, Burhan Öçal found himself in the bosom of the world of music and art from the very first days of his arrival in Europe.

    His inclination and enthusiasm for discovering new horizons led him to meet prominent global musicians and artists at an early age, with many of whom he had joint projects, and he continues working with them today.

    During his early years in Switzerland, Burhan worked with Pierre Favre, a national jazz celebrity. His works with Swiss jazz piano artist George Gruntz, world renowned Portuguese classical pianist Maria João Pires and Australian pianist Peter Waters followed.

    Meeting the legendary Joe Zawinul, creator of Weather Report, radically changed Burhan's career plans. He performed as a soloist for 10 years as a part of Zawinul’s symphonic jazz project.

    Öçal’s first solo album was the Butcher's Dance. During the same period, he made albums with his funk jazz band “Burhan Öçal Group”. Never losing touch with his roots, Öçal formed the “Istanbul Oriental Ensemble”. In the course of 16 years, the band gave concerts across the globe and became a world famous ensemble. The first two albums, Gypsy Rum and Sultan’s Secret Door, which Öçal recorded with the “Istanbul Oriental Ensemble” received the “Preis der Deutschen Schallplattenkritik” award, the German equivalent of Grammy. During that time he met Sting with whom he has performed for many years. He gave concerts in several countries, including prominently the US, alongside the world famous Kronos Quartet. In the same year, Öçal met Eliot Fisk, the renowned classical guitarist. This duo gave concerts across the US and Europe for 10 years.

    Öçal released the Groove Alla Turca album with American jazz bass guitar player Jamaaladeen Tacuma, an important jazz artist and also a close friend. His solo album Jardin Otoman received Le Monde de la Musique’s “Choc” award.

    Having great interest in the Ottoman era, the artist started a 36 CD project called “Sultan” in remembrance of the 36 sultans which he intends to complete within the next 10 years. Burhan Öçal recorded two albums and gave various concerts alongside “Trakya All Stars band”, which he formed as a tribute to his home town Kirklareli.

    He is a regular guest at the Jazz Festivals in Montreal (where he before an audience of 150 thousand) Montreux, Chicago, Paris, Rome, Istanbul, Vienna, Berlin as well as at the Womad World Music Festival.

    Öçal also performs as a soloist with many symphony orchestras. With British conductor Howard Griffiths and the Zurich Chamber Orchestra he released the Concerto Alla Turca album in 2007. Öçal is currently working on two major pieces for himself and orchestra.

Contact Information

  • Email: [email protected]
  • Management/Booking: For Bookings

    -Turkey-
    [email protected]
    +90 212 244 1201

    -Germany-
    [email protected]
    +49 70 73 2250

Media | Markets

  • ▶ Twitter: burhan_ocal
  • ▶ Instagram: burhanocalofficial
  • ▶ Website: http://burhanocal.com
  • ▶ YouTube Channel: http://www.youtube.com/user/burhanoecal
  • ▶ YouTube Music: http://music.youtube.com/channel/UCP4JUDC4CKpyhg7GqFFnjgA
  • ▶ Spotify: http://open.spotify.com/album/1DURVKsHdAyVtjbLbpqZ8b
  • ▶ Spotify 2: http://open.spotify.com/album/3rDCRpbMgz0wC1JUlkkRif
  • ▶ Spotify 3: http://open.spotify.com/album/5jTgLJaksIU8UZM2H1w4Gz

Clips (more may be added)

  • 1:01
    Kaputa Vur
    By Burhan Öçal
    316 views
  • Atışmalar
    By Burhan Öçal
    660 views
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Burhan Öçal Curated
pathways in

  • 2 Bendir
  • 2 Divan-Saz
  • 2 Istanbul
  • 2 Kös
  • 2 Kudüm
  • 2 Percussion
  • 2 Singer
  • 2 Tanbur
  • 2 Turkey
  • 2 Turkish Music

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  • Burhan Öçal
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    Kaputa Vur
    Produksiyon: HAVAS
    • October 9, 2020
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    • May 4, 2020
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    Wayne Shorter → Saxophone has been recommended via Burhan Öçal.
    • March 27, 2019
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    Wayne Shorter → Jazz has been recommended via Burhan Öçal.
    • March 27, 2019
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    • March 27, 2019
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    • March 27, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João had something priceless to offer the world.
But he was impossible for the world to find.
✅—João do Boi

✅—Pardal/Sparrow
Royalty work in NYC for
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
I've been screamed at by Aretha Franklin,
and harangued by Allen Klein over
royalties for the estate of Sam Cooke.
I built this matrix beginning with João do Boi.
Please link to, tell others about, join us!
[email protected]
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 tinha algo inestimável a oferecer ao mundo.
Mas ele era impossível pro mundo encontrar.
✅—João do Boi

✅—Pardal/Sparrow
Trabalho de royalties para
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
Fui gritado por Aretha Franklin,
e arengado por Allen Klein sobre
royalties para o patrimônio de Sam Cooke.
Eu construi este matrix a partir de João do Boi.
Por favor, faça um link para, conte aos outros, junte-se a nós!
[email protected]
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.

"Fico muitíssimo feliz em receber seu e-mail! 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.

 

  • Elie Afif Bass
  • Bruce Molsky Fiddle
  • Ibrahim Maalouf Jazz
  • Karsh Kale कर्ष काळे Composer
  • Edsel Gomez Composer
  • Luciano Calazans Bahia
  • Stacy Dillard New York City
  • Marcelo Caldi Música Nordestina
  • Della Mae Americana
  • Marcus Printup Trumpet
  • Gilmar Gomes Singer-Songwriter
  • Jovino Santos Neto Cornish College of the Arts Faculty
  • Matt Dievendorf Composer
  • Diosmar Filho Escritor, Writer
  • Sombrinha Singer-Songwriter
  • Jason Marsalis Vibraphone
  • Ivan Bastos Jazz Brasileiro, Brazilian Jazz
  • Bob Telson Composer
  • Luedji Luna Bahia
  • Marcelo Caldi Accordion
  • Rolando Herts Delta State University Faculty
  • João do Boi Samba de Roda
  • Cara Stacey Johannesburg
  • Gabriel Geszti Piano
  • Hélio Delmiro Jazz
  • Rick Beato Educator
  • Myles Weinstein Percussion
  • Johnny Vidacovich New Orleans
  • João Teoria Ska
  • Kevin Hays Piano Instruction
  • Lalá Evangelista Bahia
  • John Medeski Keyboards
  • Carl Joe Williams New Orleans
  • Sebastião Salgado Brasil, Brazil
  • Zeca Baleiro Escritor, Writer
  • Leigh Alexander Video Game Story Designer
  • Inaicyra Falcão Bahia
  • Wilson Simoninha MPB
  • Brett Orrison Austin, Texas
  • David Byrne Multi-Instrumentalist
  • Reena Esmail Los Angeles
  • Paul Mahern Indiana University Jacobs School of Music Faculty
  • Sameer Gupta Drums
  • John Patrick Murphy Saxophone
  • Alana Gabriela Cantora, Singer
  • Romulo Fróes Violão, Guitar
  • Rosângela Silvestre Salvador
  • Tyshawn Sorey Composer
  • Arturo O'Farrill New York City
  • Brian Lynch Composer
  • Luíz Paixão Rabeca
  • Luis Perdomo Jazz
  • Eric Galm Percussion
  • Michael Sarian Buenos Aires
  • Bruno Monteiro Salvador
  • Jimmy Greene Gospel
  • Bruce Molsky Berklee College of Music Faculty
  • Gel Barbosa Bahia
  • Richard Galliano Choro
  • Itiberê Zwarg Brazil
  • Casa da Mãe Samba
  • João Teoria Compositor, Composer
  • Steve Abbott Singer-Songwriter
  • Joe Chambers Composer
  • Duncan Chisholm Traditional Scottish Music
  • Miguel Atwood-Ferguson Composer
  • Intisar Abioto Journalist
  • Trilok Gurtu Multi-Cultural
  • Kirk Whalum Songwriter
  • PATRICKTOR4 Bahia
  • Ned Sublette Musicologist
  • Barry Harris Jazz
  • Billy Strings Guitar
  • Jonathon Grasse California State University, Dominguez Hills Faculty
  • Nate Smith Drums
  • Steve McKeever Hidden Beach Recordings
  • Karla Vasquez Los Angeles
  • Geraldo Azevedo Música Nordestina
  • José James Jazz
  • Alexandre Leão Cantor-Compositor, Singer-Songwriter
  • Monk Boudreaux Percussion
  • Michael Sarian Composer
  • Ballaké Sissoko Bamako
  • Omari Jazz Brainfeeder
  • Kimmo Pohjonen Helsinki
  • Lynn Nottage Columbia University Faculty
  • Rhiannon Giddens Celtic Music
  • Atlantic Brass Quintet Classical Music
  • Guto Wirtti Rio de Janeiro
  • Run the Jewels Rap
  • Marcus Strickland Brooklyn, NY
  • Betsayda Machado Tambor
  • Eric Coleman Documentary Filmmaker
  • Elisa Goritzki Flute
  • Simon Shaheen Violin
  • Victor Gama Composer
  • Lô Borges Guitarra, Violão, Guitar
  • Eric Harland Drums
  • Fabrício Mota Historiador, Historian
  • Rose Aféfé Bahia
  • Fabrício Mota Brasil, Brazil
  • Peter Dasent Australia
  • Alex Mesquita Composer
  • Lina Lapelytė Installation Artist
  • Terri Hinte Liner Notes
  • Léo Rugero Música Nordestina
  • Mario Ulloa Brazil
  • Seu Regi de Itapuã Bahia
  • Congahead African Music
  • Colm Tóibín Ireland
  • Michael Janisch Soul
  • Lolis Eric Elie New Orleans
  • Edsel Gomez Jazz
  • Jaleel Shaw Composer
  • Aditya Prakash Carnatic Music
  • Custódio Castelo Portugal
  • Dorian Concept Record Producer
  • Deborah Colker Choreographer
  • Little Simz Actor
  • David Mattingly Matte Painter
  • Ammar Kalia Poet
  • Tarus Mateen R&B
  • Oscar Bolão MPB
  • Alex Conde Madrid
  • Cedric Watson Cajun Music
  • Olivia Trummer Singer
  • John Francis Flynn Irish Traditional Music
  • João Rabello Guitar
  • Maladitso Band Malawi
  • André Becker MPB
  • Béla Fleck Banjo
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