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  • (Bahia)
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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.

 

  • Chucho Valdés
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Chucho Valdés
  • City/Place: Havana
  • Country: Cuba

Life & Work

  • Bio: Winner of six GRAMMY® and three Latin GRAMMY® Awards, the Cuban pianist, composer and arranger Chucho Valdés is the most influential figure in modern Afro-Cuban jazz.

    A protean performer, as comfortable offering solo performances as leading small and large ensembles, his most recent project, Jazz Batá 2, is an exceptional work in which he revisits an idea he first explored in 1972: a piano jazz trio featuring batá drums in place of the conventional trap set. The batá are the sacred, hourglass shaped drums used in the ritual music of the Yoruba religion, better known as Santeria. Released on November 16, 2018, Jazz Batá 2 marks Chucho’s debut on Mack Avenue Records.

    A few days earlier, on November 13, Chucho received a Lifetime Achievement Award from the Latin Academy of Recording Arts & Sciences™ in a ceremony held during Latin GRAMMY week in Las Vegas. Chucho was also inducted in the Latin Songwriters Hall of Fame, and received a DC Jazz Festival Lifetime Achievement Award, his name joining an illustrious list that includes Kenny Barron, James Moody, Ellis Marsalis, George Wein, and Dave Brubeck. Also, Chucho enjoyed another type of honor, personally satisfying as pianist and performer, as he debuted in the historic Tchaikovsky Concert Hall in Moscow, last March.

    Finally, in August, Chucho and pianist, composer and educator Rebeca Mauleón presented “Decoding Afro-Cuban Jazz: The Music of Chucho Valdés & Irakere” (213 pages, Sher Music Co.) This tome includes an overview of Cuban music; biographical information; and a history of Chucho’s Irakere, a band that, with its bold fusion of Afro-Cuban ritual music, popular Afro- Cuban music styles, jazz and rock, marked a before and after in Latin jazz. The book also includes lead sheets of 11 of Chucho´s most notable compositions, including classics such as ”Misa Negra,” “Mambo Influenciado,” and “Bacalao Con Pan,” and a glossary of terms and Afro-Cuban rhythms.

    A very active performer, in early 2018 Chucho completed a two-year tour with Trance, a two-piano duo project. Trancerepresented a dramatic change of sound for Chucho, as it followed the celebration of the 40th anniversary of the birth of Irakere, a group that for all intents and purposes, suggested a small big band. The extensive tour was highlighted by a live recording,Tribute to Irakere: Live at Marciac (Jazz Village / Comanche Music), which won a Grammy for the Best Latin Jazz Album in 2016.

    Born in a family of musicians in Quivicán, Havana province, Cuba, on October 9, 1941, Dionisio Jesús "Chucho" Valdés Rodríguez, has distilled elements of the Afro-Cuban music tradition, jazz, classical music, rock and more, into an organic, personal style that has both, a distinct style and substance. His first teacher was his father, the great pianist, composer and bandleader Ramón “Bebo” Valdés. By the age of three, Chucho was already playing the melodies he heard on the radio at the piano, using both hands and in any key. He began taking lessons on piano, theory and solfege at the age of five and continued his formal musical education at the Conservatorio Municipal de Música de la Habana, from which he graduated at 14. A year later, he formed his first jazz trio and in 1959 he debuted with the orchestra Sabor de Cuba, directed by his father. Sabor de Cuba is considered one of the great orchestras in modern Cuban music history. As it turns out, Chucho is perhaps best known as the founder, pianist and main composer and arranger of yet another landmark ensemble in Cuban music: Irakere (1973-2005). Not well known outside Cuba, Irakere was discovered by Dizzy Gillespie, who was visiting Havana on a jazz cruise, in 1977. The following year, producer Bruce Lundvall, then president of CBS, went to Cuba on Dizzy´s advice, heard the band live and signed it on the spot.

    The same year Irakere debuted, unannounced, as “surprise guests,” at Carnegie Hall as part of the Newport Jazz Festival. Selections from that performance were later included in Irakere (CBS), the band’s debut recording in the United States. The album won a Grammy as Best Latin Recording in 1979. That original band featured future global jazz stars such as Paquito D’Rivera and Arturo Sandoval, but over its rich, long life, Irakere became a rolling university of Afro-Cuban music while also featuring influential musicians such as the late Miguel “Angá” Díaz; Jose Luis Cortés (who would later found NG La Banda) and Germán Velazco.
    Chucho stayed with Irakere until 2005.

    Through the many changes the band experienced over the years, he remained the one, essential constant. But Irakere’s success had its personal costs, as Chucho’s talent as a pianist was largely obscured by his responsibilities as a leader.

    In 1998 — having won his second Grammy the previous year for Habana (Verve), this time as a member of trumpeter Roy Hargrove’s group Crisol — Chucho launched a parallel career as a solo player and small-group leader.

    An enormously fruitful period followed, highlighted by albums such as Solo Piano (Blue Note, 1991), Solo: Live in New York (Blue Note, 2001) and New Conceptions (Blue Note, 2003), as well as quartet recordings such as Bele Bele en La Habana (Blue Note, 1998), Briyumba Palo Congo (Blue Note, 1999) and Live at the Village Vanguard(Blue Note, 2000), which won a Grammy for Best Latin Jazz Album.

    Since, Chucho also won Grammys for Juntos Para Siempre (Calle 54, 2007), the duet recording with his father, Bebo; and for Chucho’s Steps (Comanche, 2010), which introduced his new group, the Afro-Cuban Messengers.

Contact Information

  • Management/Booking: INTERNATIONAL MUSIC NETWORK
    Worldwide (except for Spain and France)
    Tel: 978-283-2883
    [email protected]
    www.imnworld.com

    FRANCE
    Claire Hénault
    [email protected]
    T : +33 (0)1 43 73 70 70
    C :+33 (0)6 12 44 43 29

    SPAIN
    Comanche Music S.L.
    [email protected]net
    www.comanchemusic.net

    Prensa/Press:
    [email protected]

Media | Markets

  • ▶ Twitter: chuchovaldes
  • ▶ Instagram: chucho_valdes_oficial
  • ▶ Website: http://valdeschucho.com
  • ▶ YouTube Channel: http://www.youtube.com/c/ChuchoValdesoficial
  • ▶ YouTube Music: http://music.youtube.com/channel/UC5wmyjwARfHYFecFEY8iQfw
  • ▶ Spotify: http://open.spotify.com/album/3KqVBTW2XNykZ5r1yRRjo6
  • ▶ Spotify 2: http://open.spotify.com/album/4lWVDzxHpWQbyUSrR5AyiH
  • ▶ Spotify 3: http://open.spotify.com/album/5RSAwCSsdJX4UwabnrFZHF
  • ▶ Spotify 4: http://open.spotify.com/album/1gfILNnSqDPSjHhyydy5vP
  • ▶ Spotify 5: http://open.spotify.com/album/2qNItLdcFnSId2094fNe3A
  • ▶ Spotify 6: http://open.spotify.com/album/2S1w7Sc9NukidqKfpylJDX

Clips (more may be added)

  • Chucho Valdés “Jazz Batá 2” @Tourcoing Jazz Festival Ochún Montage Final
    By Chucho Valdés
    234 views
  • Bebo Valdés & Chucho Valdés.- Tres palabras
    By Chucho Valdés
    333 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 Chucho Valdés:

  • 3 Afro-Cuban Jazz
  • 3 Composer
  • 3 Cuba
  • 3 Havana
  • 3 Piano
  • Terrace Martin Multi-Instrumentalist
  • Zara McFarlane Guitar
  • Robertinho Silva Brazilian Jazz
  • Nubya Garcia Flute
  • Sharita Towne Pacific Northwest College of Art Faculty
  • Chris Thile Bluegrass
  • Matthew Guerrieri Washington, D.C.
  • Ray Angry Gospel
  • Isaiah Sharkey Composer
  • Jane Ira Bloom Multi-Cultural
  • Oscar Bolão MPB
  • Bebê Kramer Accordion
  • Otto Recife
  • Nahre Sol Composer
  • Yosvany Terry Afro-Cuban Jazz
  • Steve Cropper R&B
  • Nação Zumbi Rap
  • Michael Janisch Funk
  • Jessie Reyez Hip-Hop
  • Thomas Àdes Piano
  • Kiko Souza Flauta, Flute
  • Gustavo Caribé Brasil, Brazil
  • Leo Nocentelli Songwriter
  • Brian Stoltz Singer
  • Kevin Hays Singer-Songwriter
  • Echezonachukwu Nduka Musicologist
  • João Camarero Samba
  • Neo Muyanga South Africa
  • Doug Adair Braver Angels
  • Bobby Sanabria Manhattan School of Music Faculty
  • Renato Braz Singer
  • Curtis Hasselbring Jazz
  • Alisa Weilerstein Contemporary Classical Music
  • Mykia Jovan Soul
  • Christone 'Kingfish' Ingram Singer
  • Uli Geissendoerfer Jazz
  • John Medeski Piano
  • Carlos Malta Composer
  • Gêge Nagô Samba
  • Jared Jackson Literary Critic
  • Alegre Corrêa Guitar
  • Howard Levy Harmonica
  • Zeca Pagodinho Samba
  • Ry Cooder Singer-Songwriter
  • Gerônimo Santana Bahia
  • Cinho Damatta Guitarra, Guitar
  • Osvaldo Golijov Argentina
  • Edmar Colón Piano
  • Maia Sharp Multi-Instrumentalist
  • Armandinho Macêdo Choro
  • Siobhán Peoples County Clare
  • Itiberê Zwarg Brazil
  • Jon Batiste Bandleader
  • Super Chikan Delta Blues
  • Gabriel Policarpo Repique
  • Iuri Passos Bahia
  • George Garzone Jazz
  • Nath Rodrigues Brazil
  • Luques Curtis Jazz
  • Sam Wasson Los Angeles
  • George Cables Jazz
  • José Antonio Escobar Chile
  • Ron Miles MSU Denver Music Faculty
  • Kiko Horta Composer
  • Martín Sued Accordion
  • Nilze Carvalho Mandolin
  • Adriene Cruz Quilts
  • Garth Cartwright Journalist
  • Walmir Lima Songwriter
  • Nelson Sargento Samba
  • Priscila Castro Cantora-Compositora, Singer-Songwriter
  • Fidelis Melo Brasil, Brazil
  • Tonynho dos Santos Trompete, Trumpet
  • Stephen Guerra Bronx Conservatory of Music Faculty
  • Joshue Ashby Afro-Panamanian
  • Raymundo Sodré Samba de Roda
  • Tom Green Contemporary Classical Music
  • Jerry Douglas Record Producer
  • Ethan Iverson Avant-Garde Jazz
  • Greg Osby Saxophone
  • Miles Mosley Multi-Instrumentalist
  • Edu Lobo Brazil
  • Stan Douglas Vancouver
  • Huey Morgan Songwriter
  • Dadi Carvalho Bass
  • Terri Hinte Jazz Publicist
  • Lula Moreira Pernambuco
  • Léo Rugero São Paulo
  • Oscar Bolão Author
  • Guto Wirtti Bass
  • Hank Roberts Avant-Garde, Folk, Classical
  • Greg Osby Record Label Owner
  • Bob Bernotas Writer
  • Linda May Han Oh Double Bass
  • Olivia Trummer Germany
  • Yuja Wang China
  • Bukassa Kabengele Congo
  • Tom Oren Tel Aviv
  • The Brain Cloud Western Swing
  • Leci Brandão Pandeiro
  • Camille Thurman Singer
  • Ricardo Bacelar Brasil, Brazil
  • Kiko Freitas Drum Instruction
  • Alex Cuadros Journalist
  • Michael Olatuja Lagos
  • Gregory Tardy University of Tennessee Knoxville School of Music Faculty
  • Celino dos Santos Samba de Roda
  • Eli Degibri אלי דג'יברי Israel
  • Miguel Zenón New York City
  • Olga Mieleszczuk Warsaw
  • Johnathan Blake Drums
  • Simon Shaheen Composer
  • Jam no MAM Salvador
  • Adam Rogers Classical Guitar
  • Caoimhín Ó Raghallaigh Irish Traditional Music
  • Xenia França MPB
  • Lívia Mattos Brazil
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  • Emily Elbert Folk Funk Jazz Blues
  • Nate Smith Drums
  • Gevorg Dabaghyan Yerevan State Conservatory Faculty
  • Derek Sivers Singer-Songwriter
  • Robi Botos Ropeadope
  • Carl Joe Williams Painter
  • D.D. Jackson Conservatory of Music at Brooklyn College Faculty
  • Gino Banks Drums
  • Irma Thomas New Orleans
  • Jeff Coffin Record Label Owner
  • Isaiah Sharkey Composer
  • Brandon Wilner Writer
  • Kendrick Scott Composer
  • Jeremy Pelt New York City
  • Paddy Groenland Jazz
  • Marquis Hill Trumpet
  • Bob Reynolds Los Angeles
  • Stormzy Singer-Songwriter
  • Dave Smith England
  • Philip Ó Ceallaigh Bucharest
  • The Assad Brothers San Francisco
  • Fred Hersch Classical Music
  • Jonathon Grasse Guitar
  • Carl Joe Williams Sculptor
  • Lenine Singer-Songwriter
  • Nancy Ruth Piano
  • Marquis Hill Composer
  • Dan Trueman Software Designer
  • Maria Drell Produção Cultural, Cultural Production
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  • Léo Rugero Composer
  • Chief Xian aTunde Adjuah Mardi Gras Indian
  • Nelson Cerqueira Poeta, Poet
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  • Tal Wilkenfeld Los Angeles
  • Asali Solomon Haverford College Faculty
  • Branford Marsalis Saxophone
  • James Sullivan Writer
  • Mickalene Thomas Sculptor
  • Stephan Crump Bass
  • Marco Pereira Guitar
  • Flavio Sala Italy
  • Michael Cleveland Folk & Traditional
  • MARO Singer-Songwriter
  • Alicia Svigals Composer
  • Ben Williams Jazz
  • Jurandir Santana Timple
  • Alan Brain Filmmaker
  • David Sánchez Jazz
  • Nicolas Krassik Brazil
  • Mariana Zwarg Rio de Janeiro
  • André Vasconcellos Baixo, Bass
  • David Simon Television Producer
  • Sérgio Pererê Actor
  • Bejun Mehta Countertenor
  • Teresa Cristina Songwriter
  • Scotty Apex Record Producer
  • Robert Glasper Composer
  • Malin Fezehai Brooklyn, NY
  • Elizabeth LaPrelle Banjo
  • Di Freitas Violin
  • Ken Avis Guitar
  • Ricardo Herz MPB
  • Buck Jones Música Afro-Baiana, Afro-Bahian Music
  • Parker Ighile Hip-Hop
  • H.L. Thompson Artist Development
  • Scott Yanow Jazz Journalist
  • Gretchen Parlato Jazz
  • Chau do Pife Maceió
  • Oteil Burbridge Multi-Instrumentalist
  • Rick Beato Educator
  • Walmir Lima Brazil
  • Msaki South Africa
  • Zé Luíz Nascimento Barcelona
  • Luíz Paixão Brazil
  • Gilson Peranzzetta Piano
  • Guto Wirtti Choro
  • Billy O'Shea Steampunk
  • Dr. Lonnie Smith Composer
  • Questlove Record Producer
  • Ben Hazleton Composer
  • David Hepworth Music Journalist
  • Edsel Gomez Puerto Rico
  • Fábio Luna Violão, Guitar
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  • The Rheingans Sisters England
  • Lolis Eric Elie Journalist
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  • Tony Austin Composer
  • Alain Mabanckou UCLA Faculty
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  • LaTasha Lee R&B
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  • Marcus Gilmore Composer
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  • Abhijith P. S. Nair India
  • Jeff Coffin Vanderbilt University Blair School of Music Faculty
  • Yacouba Sissoko Mali
  • Mike Marshall Author
  • Aditya Prakash Composer
  • Banning Eyre Photographer
  • Frank Olinsky Parson's School of Design Faculty
  • Ferenc Nemeth Hungary
  • Ariane Astrid Atodji Cameroon
  • Victor Gama Contemporary Musical Instrument Design
  • André Muato Brazil
  • Alex de Mora Director
  • TaRon Lockett Drums
  • Errollyn Wallen Composer
  • Negra Jhô Brazil
  • Shaun Martin Songwriter
  • Margareth Menezes Samba-Reggae
  • Mickalene Thomas Video Artist
  • Alphonso Johnson USC Thornton School of Music Faculty
  • Miguel Atwood-Ferguson Violin
  • Amilton Godoy Brazilian Jazz
  • Tom Schnabel Author
  • Savoy Family Cajun Band Louisiana
  • Hugues Mbenda Marseille
  • Caridad De La Luz Puerto Rico
  • Yacouba Sissoko Griot
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  • Kermit Ruffins Composer
  • Guto Wirtti Composer
  • Ry Cooder Writer
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  • Dudu Reis Salvador
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  • Burhan Öçal Turkish Music
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  • Elif Şafak Women's Rights Activist
  • Luizinho Assis Piano
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