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  • Corey Ledet

    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: Corey Ledet
  • City/Place: Parks, Louisiana
  • Country: United States
  • Hometown: Houston, Texas

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Corey Ledet was born and raised in Houston, Texas, but spent his summers with family in small-town Parks, Louisiana. The Creole culture has its roots in Louisiana, but spread across the country, including neighboring Texas. Because of this, he was able to be immersed at all times in the Creole culture he loved so much. The summers in the family home molded and shaped Corey’s world in a profound way.

    He learned everything he could so that he could incorporate the culture in all areas of his life – the traditions, the food, and most importantly, the music.

    His love for the Creole/Zydeco music was instant and hard for him to ignore. He studied the originators of the music such as Clifton Chenier, John Delafose, and Boozoo Chavis. He branched out to include studying any (and all) artists of Zydeco. At the early age of 10, he picked up shows playing drums for Houston-based band Wilbert Thibodeaux and the Zydeco Rascals and slowly learned the main instrument of the music – the accordion. He came to truly love any type of accordion – the single-note, triple-note and piano key accordions – and any others. He worked at building his skills until he knew each one fluently.

    By the time he graduated from high school, he was certain that music was the focal point of his future. Corey eventually moved to Louisiana in order to be surrounded by this beautiful culture at all times. He remains true to his roots and earnestly searches for ways to include them in his music. He keeps one foot firmly in the tradition while exploring surrounding influences in order to create the best of both worlds. He is able to infuse old and new styles of Zydeco into his own unique sound from all of the people he studied and was influenced by.

    He also appreciates the other traditional sound indigenous to Louisiana in Cajun music and has been able to expand his repertoire to include these influences as well. Corey’s versatile sound enables him to please any audience. Whether he is playing a solo acoustical set or he is backed up by a full band, you as a listener will always be thoroughly entertained. He finds joy in giving his listeners a true dance/music experience in the ways of old-time house parties. So, come and enjoy the music of old presented in a new way but still very tied to tradition. He looks forward to entertaining you!

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://coreyledet.com/web/music/
  • ▶ Twitter: coreyledet
  • ▶ Instagram: coreyledetzydeco
  • ▶ Website: http://coreyledet.com
  • ▶ YouTube Channel: http://www.youtube.com/user/CoreyLedetTV
  • ▶ YouTube Music: http://music.youtube.com/channel/UC7z_ci-GjZuxRaea8AYLtJQ
  • ▶ Spotify: http://open.spotify.com/album/5BDHzun5HpuyGe3xNdfnRp
  • ▶ Spotify 2: http://open.spotify.com/album/1dTUH3jIB0s8M85GwjfoNM
  • ▶ Spotify 3: http://open.spotify.com/album/68CHKqcRhyTtvTEDjuTnzi
  • ▶ Spotify 4: http://open.spotify.com/album/02JflGaZZMV5ale6FIQuOc
  • ▶ Spotify 5: http://open.spotify.com/album/1hpXmn1MbAkuXpa74WmhlU
  • ▶ Spotify 6: http://open.spotify.com/album/2osYSw9S3iZTWujYXBR9fY

Clips (more may be added)

  • 0:07:11
    Corey Ledet Zydeco Live
    By Corey Ledet
    329 views
  • 4:33
    Corey Ledet Zydeco covers Twisting The Night Away
    By Corey Ledet
    206 views
  • 2:51
    KRVS - Corey Ledet and his Zydeco Band "Promised Land Two Step"
    By Corey Ledet
    233 views
Previous
Next

Corey Ledet Curated
pathways in

  • 1 Accordion
  • 1 Creole Music
  • 1 Singer-Songwriter
  • 1 University of Louisiana at Lafayette Faculty
  • 1 Zydeco

What's Been Happening?

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  • Corey Ledet
    Dwayne Dopsie → Zydeco has been recommended via Corey Ledet.
    • May 20, 2022
  • Corey Ledet
    Dwayne Dopsie → Singer-Songwriter has been recommended via Corey Ledet.
    • May 20, 2022
  • Corey Ledet
    Dwayne Dopsie → New Orleans has been recommended via Corey Ledet.
    • May 20, 2022
  • Corey Ledet
    Dwayne Dopsie → Louisiana has been recommended via Corey Ledet.
    • May 20, 2022
  • Corey Ledet
    Dwayne Dopsie → Accordion has been recommended via Corey Ledet.
    • May 20, 2022
  • Corey Ledet
    A video was posted re Corey Ledet:
    Corey Ledet Zydeco Live
    • September 28, 2020
  • Corey Ledet
    A video was posted re Corey Ledet:
    Corey Ledet Zydeco covers Twisting The Night Away
    This video is about Twisting The Night Away
    • September 28, 2020
  • Corey Ledet
    A video was posted re Corey Ledet:
    KRVS - Corey Ledet and his Zydeco Band "Promised Land Two Step"
    KRVS Local Produce Live at Cypress Lake Studios featuring Corey Ledet and his Zydeco Band, "Promised Land Two Step", written and performed by Corey Ledet. Corey Ledet, accordion, vocals; Chad Fouquier, guitar, vocals; Li'l Buck Sinegal, guitar; Cedryl Bal...
    • September 28, 2020
  • Corey Ledet
    A category was added to Corey Ledet:
    Singer-Songwriter
    • September 28, 2020
  • Corey Ledet
    A category was added to Corey Ledet:
    Accordion
    • September 28, 2020
  • Corey Ledet
    A category was added to Corey Ledet:
    University of Louisiana at Lafayette Faculty
    • September 28, 2020
  • Corey Ledet
    A category was added to Corey Ledet:
    Creole Music
    • September 28, 2020
  • Corey Ledet
    A category was added to Corey Ledet:
    Zydeco
    • September 28, 2020
  • Corey Ledet
    Corey Ledet is matrixed!
    • September 28, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

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

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


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

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

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

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

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

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

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

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

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

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

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

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



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

Samba Chula / Samba de Roda

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

There’s a lot of spectacle in Bahia…

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

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

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

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

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

 

 

Why Brazil?

 

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

 

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

 

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

 

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

 

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

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


João do Boi, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"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: Soa assim: O que a música que você ama diz sobre você

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.

 

  • Nabih Bulos Journalist
  • Geraldine Inoa Writer
  • Molly Jong-Fast New York City
  • Nelson Cerqueira Academia de Letras da Bahia, Bahian Academy of Letters
  • Aderbal Duarte Guitar
  • Don Byron Dance Performance Scores
  • Sabine Hossenfelder Frankfurt Institute for Advanced Studies
  • Arturo Sandoval Film Scores
  • Stephanie Foden Bahia
  • Sam Yahel Piano Instruction
  • Missy Mazolli Opera
  • Joanna Majoko Zimbabwe
  • Martin Shore Educator
  • Leonard Pitts, Jr Writer
  • Robert Glasper Hip-Hop
  • Carlos Paiva Bahia
  • Lionel Loueke Jazz
  • JD Allen Jazz
  • David Mattingly School of Visual Arts Faculty
  • Otto Singer-Songwriter
  • Itamar Vieira Júnior Journalist
  • Dan Auerbach Record Producer
  • Flora Gil Brasil, Brazil
  • Steve Lehman Saxophone
  • Laura Beaubrun Interior Architect
  • Wolfgang Muthspiel Composer
  • Andrew Dickson Journalist
  • Mou Brasil Bahia
  • Diana Fuentes Singer-Songwriter
  • Wadada Leo Smith Jazz
  • Ronell Johnson Second Line
  • Tom Schnabel Music Salon
  • John Boutté Singer
  • Philipp Meyer Novelist
  • Tony Austin Sound Designer
  • Elisa Goritzki Salvador
  • Marcelo Caldi Accordion
  • Arto Lindsay New York City
  • 9th Wonder Record Producer
  • Wouter Kellerman African Music
  • Gabriel Policarpo Brazil
  • Catherine Russell New York City
  • Sarz Afrobeat
  • Ann Hallenberg Sweden
  • Cinho Damatta Brasil, Brazil
  • Gringo Cardia Set Designer
  • Gêge Nagô Cachoeira
  • Mário Pam Percussion
  • Toby Gough Writer
  • Matias Traut MPB
  • Marquis Hill African-American Music
  • Ariane Astrid Atodji African Cinema
  • Bill Summers New Orleans
  • John Patitucci Jazz
  • Joshue Ashby Jazz
  • Romulo Fróes São Paulo
  • Alicia Svigals Writer
  • Eric Galm Hartford, Connecticut
  • Amit Chatterjee Vocalist
  • Zeca Baleiro Cantor-Compositor, Singer-Songwriter
  • Jeff Preiss Producer
  • Jan Ramsey New Orleans
  • Caoimhín Ó Raghallaigh Irish Traditional Music
  • Pharoah Sanders Composer
  • Loli Molina Singer-Songwriter
  • Fred P Future Jazz
  • Jura Margulis Classical Music
  • Rudy Royston Drums
  • Mahsa Vahdat Multi-Cultural
  • Ricky (Dirty Red) Gordon Drums
  • Nicholas Daniel Oboe
  • Nabihah Iqbal Music Producer
  • Nate Smith Ropeadope
  • Jim Farber Music Critic
  • Sunn m'Cheaux Harvard Faculty
  • Luiz Santos New York City
  • Tab Benoit Music Venue Owner
  • Yola Americana
  • Michael Doucet Fiddle
  • Rhiannon Giddens Writer
  • Del McCoury Old-Time Music
  • Jerry Douglas Americana
  • Anton Fig Session Drummer
  • José Antonio Escobar Classical Guitar
  • Felipe Guedes Brazilian Jazz
  • Cristiano Nogueira Travel Marketer
  • Criolo Brasil, Brazil
  • Heriberto Araujo Brazil
  • Plamen Karadonev Piano
  • Jon Batiste New Orleans
  • OVANA Angola
  • Victor Wooten Berklee College of Music Faculty
  • Kimberlé Crenshaw Critical Race Theory
  • Eliane Elias Brazil
  • Matt Garrison App Developer
  • Neymar Dias Viola Caipira
  • Cinho Damatta Salvador
  • Milton Primo Brazil
  • Kíla Multi-Cultural
  • Adam Rogers Composer
  • Joan Chamorro Clarinets
  • Lô Borges Minas Gerais
  • Jovino Santos Neto Cornish College of the Arts Faculty
  • Greg Ruby Composer
  • Corey Ledet Creole Music
  • Jonga Lima MPB
  • Ana Moura Portugal
  • Sharita Towne Stereo Photography
  • Africania Chula
  • VJ Gabiru Fotógrafo, Photographer
  • Harish Raghavan Jazz
  • Gel Barbosa Paraiba
  • Anoushka Shankar Piano
  • Dani Deahl Journalist
  • Kermit Ruffins New Orleans
  • Glenn Patscha Piano
  • Nicolas Krassik MPB
  • Roosevelt Collier Songwriter
  • Terry Hunter House Music
  • Camille Thurman New York City
  • Stephanie Jones Classical Guitar
  • Jamz Supernova Radio Presenter
  • Alex Mesquita Bahia
  • Benoit Fader Keita Electro Music
  • Keola Beamer Hawaii
  • Lucía Fumero Composer
  • Maria Struduth Cachoeira
  • Bai Kamara Jr. Sierra Leone
  • Daymé Arocena Singer
  • Mauro Refosco Compositor de Teatro, Theater Scores
  • Lilli Lewis Piano
  • Tonynho dos Santos Teclado, Keyboards
  • Hot Dougie's Local de Música ao Vivo
  • Natan Drubi Samba
  • Luíz Paixão Rabeca
  • Yola England
  • Tiganá Santana Brasil, Brazil
  • Carwyn Ellis Experimental Music
  • Luques Curtis Double Bass
  • Joe Fiedler Composer
  • Antonio Sánchez Jazz
  • Carlos Paiva Brasil, Brazil
  • Kurt Rosenwinkel Record Label Owner
  • Joshue Ashby Timba
  • Martín Sued Composer
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