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  • Curtis Hasselbring

    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: Curtis Hasselbring
  • City/Place: Brooklyn, NY
  • Country: United States
  • Hometown: Fort Wayne, Indiana

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: The Basics

    Curtis Hasselbring is a trombonist, guitarist and composer. Growing up in the midwest, Curtis relocated to the Boston, where he attended New England Conservatory and found himself immersed in a creative scene of like-minded musicians who channeled their love of a broad palette of genres into their musical language. After earning Masters degree at Rutgers University (M.M. in Jazz Performance), Curtis made his home in Brooklyn, N.Y. where he immediately immersed himself in the jazz, world and experimental music scenes. Curtis has performed and recorded with many artists including Medeski Martin & Wood, Slavic Soul Party, Matt Wilson, John Hollenbeck, Golem, the Either Orchestra, and Tom Harrell among others. Curtis appears on close to 100 recordings including four releases as a leader.

    Mostly known for his trombone playing, Curtis has also played guitar since his teens and continues to freelance on that instrument playing in a wide variety of situations ranging from instrumental rock (with Chris Lightcap's Superette), Romanian music (with Sanda Weigl) to his own prog-surf trop-tronica band, the Curha-chestra.

    Leadership

    Curtis leads the group "the New Mellow Edwards", a quartet showcasing Curtis's unusual rock/jazz hybrid compositions and consisting of Curtis (trombone), Chris Speed (tenor saxophone and clarinet), Trevor Dunn (bass) and John Hollenbeck (drums and percussion). The group has released two recordings on Skirl Records. In 2010, Curtis, through a grant from Chamber Music America, composed and recorded "Number Stations" featuring the New Mellow Edwards plus Mary Halvorson, Matt Moran and Satoshi Takeishi. That recording was released in 2013 on Cuneiform. Curtis has also co-lead a big band with Andrew D'Angelo, and leads a quartet called "Decoupage" featuring Mary Halvorson, Matt Moran and Satoshi Takeishi.

    Composer/Arranger

    Since his teens, Curtis has been composing music. Starting off primarily composing in the jazz idiom, he developed his passion as a composer by writing music for the Either Orchestra, an adventurous ten-piece big band that he was a member of when he was based in Boston (1986-1991). Since then, Curtis has composed a large body of works including a trove of big band music, a series of trombone quartets, a plethora of small group-based jazz pieces and varied chamber music including a suite for wind ensemble and a quintet for trumpet and strings. His music has also been recorded by other groups including the Either Orchestra, Chris Lightcap's Superette, Jerry Granelli and the TilT Brass Ensemble. Most recently, Curtis has been involved as an arranger in the Ghost Train Orchestra's "Music of Moondog" project, including arranging a piece for the Kronos Quartet.

    Curha

    Curtis is also active under his nickname, Curha, making a combination of home recorded multi-instrumentalist/electronic music since 2000. He has made several remixes for Frank London and Slavic Soul Party in addition to a variety of EPs self-released on Bandcamp. In 2018, Curha's first full length, "I," was released on Chant Records.

Contact Information

  • Email: cunha1 at gmail.com

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://curtishasselbring.bandcamp.com/
  • ▶ Instagram: curtishasselbring
  • ▶ Website: http://www.curha.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCojdesK5P1RyWufg2EyWk1Q
  • ▶ YouTube Music: http://music.youtube.com/channel/UCT6pZQVvU4V8oKbf2cCio1Q
  • ▶ Spotify: http://open.spotify.com/album/0SUtqivPRgAa8PaYss71Y6

My Recordings

  • Discography: 2018
    Curha I (Chant Records)
    Chris LIghtcap Superette (Royal Potato Family)
    ​
    2017
    Satoko Fujii Fukishima (Libra)
    The Four Bags Waltz (guest appearance)
    Curha The Logue EP (Bandcamp)
    The Ghost Train Orchestra Book of Rhapsodies Volume II (Accurate)
    ​
    2016
    Banda De Los Muertos (Barbes)
    Ken Schaphorst Big Band How To Say Goodbye (Jca Recordings)
    ​
    2015
    Ghost Train Orchestra Hot Town (Accurate)
    Golem Tanz (Discos Corason)
    ​
    2014
    She and Him Classics (Columbia)
    ​
    2013
    Curtis Hasselbring Number Stations (Cuneiform)
    Ghost Train Orchestra Book of Rhapsodies (Accurate)
    ​
    2012
    Ben Holmes Quartet Anvil Of The Lord (Skirl)
    Eric Person Thoughts on God (Distinction)
    ​
    2011
    Curha Selected C-Sides (B.L.I.M.)
    The Spokes Not So Fast (Strudelmedia)
    Satoko Fujii Orchestra New York
    Eto (Libra)
    Satoko Fujii Min-Yoh Ensemble Watershed (Libra)
    Tilt Brass To Tilt: Volume 1
    (Non-Site Records) (featuring the
    Hasselbring composition "Revisitor")
    Brian Carpenter's Ghost Train Orchestra
    Hothouse Stomp (Accurate)
    Girls in Trouble Half You Half Me (JDub)
    ​
    2010
    One Ring Zero Planets (UrbanGeekRecords)
    Sleigh Bells Treats (Mom and Pop Music)
    Lycaon Pictus (Avant God)

    2009
    The New Mellow Edwards Big Choantza (Skirl)
    Golem Citizen Boris (JDub)

    2008
    Gloria Deluxe Don't Must Whip 'Um
    Beat Circus Dreamland (Cuneiform)
    Slavic Soul Party Remixed (Barbes)
    (features three Curha remixes)

    2007
    Satoko Fujii Min-Yoh Ensemble Fujin Rainjin (Victo)
    Rob Reddy The Book of the Storm (Reddy Music)
    Gogol Bordello Super Taranta! (Side One Dummy)
    ​
    2006
    The New Mellow Edwards (Skirl)
    Golem Fresh Off Boat (JDub)
    Satoko Fujii Orchestra NY Undulation (P.J.L.)
    One Ring Zero Wake Them Up (Barbes)

    2005
    Gloria Deluxe Accidental Nostalgia
    Frank London's Klezmer Brass All Stars
    Carnival Conspiracy (Piranha)
    Slavic Soul Party Bigger (Barbes)
    Sam Bardfeld Periodic Tresspasses (Fresh Sounds)
    (as a guest on the "megamouth")

    2004
    George Schuller Jigsaw (482 Music)
    Golem Homesick Songs (Aeronaut)
    Boban Markovich Boban Y Marko (Piranha)
    (as a guest on one track)
    Septeto Roberto Rodriguez Baila, Gitano Baila! (Tzadik)
    Aaron Alexander Midrash Mish Mosh (Tzadik)
    Satako Fujii Orchestra Blueprint (Natsat)
    Club D'Elf Live Tonic NYC 5/26/04 (Kufala)

    2003
    Satoko Fujii Orchestra The Future of the Past (Enja)
    Matt Wilson Quartet Humidity (Palmetto)

    2002
    Drazy Hoops Bring on the Hate (Slow Burn)
    Frank London’s Klezmer Brass Brotherhood of Brass (Piranha )
    Slavic Soul Party Live in Makedonia (Knitting Factory Works)
    Sanda Weigl Gypsy Killer (Knitting Factory Works)

    2001
    EZ Pour Spout Don’t Shave the Feeling (Love Slave)
    Ballin the Jack Big Head (Knitting Factory Works)
    Cindy Hopkins Devotionals ( )
    Satoko Fujii Double Take (Ewe)
    Oren Bloedow and Jennifer Charles La Mar Enfortuna (Tzadik)
    Club D’Elf As Above (Grapeshot)

    2000
    Frank Carlberg Variations on a Summer Day (Fresh Sound)
    Satoko Fujii Jo (Buzz )
    Drazy Hoops the Infinite Starlight (Slow Burn)
    Dorgon y su Grupo (Jumbo)
    Gloria Deluxe Hooker

    1999
    Tom Harrell Time’s Mirror (BMG)
    Jerry Granelli Crowd Theory (Songlines)
    Ron Sexsmith Whereabouts (BMG)
    Brian Ales November (Intuition)

    1998
    Jazz Passengers featuring Deborah Harry Live in Spain (32 Records)
    Jerry Granelli Enter, a Dragon (Songlines)
    Satoko Fujii South Wind (Leo)
    Ken Schaphorst Purple (Naxos Jazz)

    1997
    Bobby Previte Too Close to the Pole (Enja)

    1996
    Either Orchestra Across the Omniverse (Accurate)
    Ken Schaphorst Over the Rainbow (Accurate)

    1993
    Medeski, Martin and Wood Notes From the Underground (Accurate)
    Charlie Kohlhase Quintet Good Deeds (Accurate)
    Benny Carter Harlem Suite (Musicmasters)
    Ken Schaphorst Big Band When the Moon Jumps (Accurate)

    1992
    Either Orchestra the Calculus of Pleasure (Accurate)
    Mandala Octet the Last Elephant (Accurate)

    1991
    Mandala Octet La Spada di San Galgano (Accurate)
    Charlie Kohlhase Quintet Research and Development (Accurate)
    Ken Schaphorst Big Band After Blue (Accurate)

    1990
    Either Orchestra The Half Life of Desire (Accurate)
    Ken Schaphorst Big Band Making Lunch (Accurate)

    1989
    Orange Then Blue Where Were You? (GM)
    Gunther Schuller Jumpin’ in the Future (GM)
    ​
    1988
    Either Orchestra Radium (Accurate)

Clips (more may be added)

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    By Curtis Hasselbring
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Curtis Hasselbring Curated
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


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 below — 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 →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


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.

 

 

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  • Sebastian Notini Salvador
  • Jack Talty Record Producer
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  • Ken Coleman Reporter
  • Matt Garrison Composer
  • Tony Austin Sound Designer
  • John Luther Adams Contemporary Classical Music
  • Pierre Onassis Singer-Songwriter
  • Gretchen Parlato New York City
  • Wilson Café Percussão, Percussion
  • Otmaro Ruiz Composer
  • Mestre Nenel Brazil
  • Jussara Silveira Singer
  • Joshua White Composer
  • Georgia Anne Muldrow Singer-Songwriter
  • Magda Giannikou Singer
  • John Medeski Composer
  • Jim Beard Record Producer
  • Art Rosenbaum Folklorist
  • Nara Couto Coreógrafa, Choreographer
  • André Becker Bahia
  • Elie Afif Beirut
  • John Edwin Mason Writer
  • Ben Paris Salvador
  • Daniel Jobim Samba
  • Jimmy Duck Holmes Mississippi
  • Carlos Lyra Brazil
  • Glenn Patscha Jazz
  • David Virelles Jazz
  • Roberto Mendes Brazil
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  • NIcholas Casey Madrid
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  • Dale Bernstein Wet Plate Photography
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  • Nelson Cerqueira Escritor, Writer
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