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  • David Virelles

    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: David Virelles
  • City/Place: New York City
  • Country: United States
  • Hometown: Santiago de Cuba

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Cuban-born pianist David Virelles grew up in a musical home, his father a singer-songwriter and his mother a flutist and music teacher. Even though classically trained at the conservatory, he was also surrounded by many types of music in the culturally rich Santiago while growing up. Eventually, Virelles also discovered Bud Powell, Thelonious Monk and Andrew Hill, and he would soon start studying the connections between this musical tradition and those from his birthplace.

    Since his arrival to NYC, he has appeared on live concerts and recordings with musicians as distinct as Steve Coleman, Mark Turner, Henry Threadgill, Andrew Cyrille, Chris Potter, Wadada Leo Smith, Tom Harrell, Milford Graves and Ravi Coltrane.

    Virelles is a Shifting Foundation Fellow, a recipient of the Canada Council for the Arts, Louis Applebaum Award and Jazz Gallery Commission. While a student at Humber College in Toronto he won the Oscar Peterson Prize, presented by Peterson himself.

    David’s 2012 release Continuum (Pi Recordings) united Andrew Cyrille, Ben Street and Román Díaz. This album ended on many “Best Of The Year” lists, including The New York Times. Since then, he has released three more albums on the Munich label ECM to critical acclaim, documenting a wide sonic range – Mbóko (a book of compositions commissioned by The Jazz Gallery), Antenna, and his latest Gnosis – these last two works were made possible by the generous support of The Shifting Foundation. Virelles was named #1 Rising Star in the Piano category by DownBeat in 2017. He is also one of the 2018 Cristobal Díaz Ayala Travel Grant recipients.

Media | Markets

  • ▶ Twitter: DavidVirelles
  • ▶ Instagram: davidvirellespiano
  • ▶ Website: http://www.davidvirelles.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UC22IA1mXKmpFco9W8fMXIUg
  • ▶ Spotify: http://open.spotify.com/album/6VuKwQK0spar0MQIUVOWPX
  • ▶ Spotify 2: http://open.spotify.com/album/3qxxcmMwPapjv1bjOtrILF
  • ▶ Spotify 3: http://open.spotify.com/album/0GAKlp2nssdLxHXwS2KHho

More

  • Quotes, Notes & Etc. “Virelles looks set to make big differences in contemporary music for years to come.”
    - The Guardian

    “A different side to the great legacy of pianists that come from Cuba… He is the new school.”
    - Gilles Peterson

    “…there is a young Cuban pianist named David Virelles, whom I consider a genius.”
    - Chucho Valdés

    “It’s got nerve and soul and memory.”
    - The New York Times

Clips (more may be added)

  • 3:45
    Gnosis
    By David Virelles
    436 views
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David Virelles Curated
pathways in

  • 0 Composer
  • 0 Cuba
  • 0 Jazz
  • 0 New York City
  • 0 Piano

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  • David Virelles
    Román Díaz → Santeria has been recommended via David Virelles.
    • December 9, 2019
  • David Virelles
    Román Díaz → Percussion has been recommended via David Virelles.
    • December 9, 2019
  • David Virelles
    Román Díaz → Havana has been recommended via David Virelles.
    • December 9, 2019
  • David Virelles
    Román Díaz → Cuba has been recommended via David Virelles.
    • December 9, 2019
  • David Virelles
    A video was posted re David Virelles:
    Gnosis
    This album was made possible with the generous support from The Shifting Foundation. David Virelles: piano, marímbula Román Díaz: lead vocals and percussion Allison Loggins-Hull: piccolo, flute Rane Moore: clarinet, bass clarinet Adam Cruz: percu...
    • September 19, 2019
  • David Virelles
    A category was added to David Virelles:
    Composer
    • September 19, 2019
  • David Virelles
    A category was added to David Virelles:
    New York City
    • September 19, 2019
  • David Virelles
    A category was added to David Virelles:
    Cuba
    • September 19, 2019
  • David Virelles
    A category was added to David Virelles:
    Jazz
    • September 19, 2019
  • David Virelles
    A category was added to David Virelles:
    Piano
    • September 19, 2019
  • David Virelles
    David Virelles is matrixed!
    • September 19, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

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


WHY BRAZIL?

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

 

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

 

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

 

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

 

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

 

Nowhere else but here. Brazil itself is a matrix.

 


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

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

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


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

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

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

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

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

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

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

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

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

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

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

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


RESPLENDENT BAHIA...

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

Samba Chula / Samba de Roda

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

There’s a lot of spectacle in Bahia…

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

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

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

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

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

 

 

PORTUGUÊS (to English →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

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


POR QUE BRASIL?

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

 

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

 

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

 

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

 

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

 

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

 


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

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

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


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

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

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

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

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

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

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

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

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

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

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

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


RESPLANDECENTE BAHIA...

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

Samba Chula / Samba de Roda

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

Há muito espetáculo na Bahia...

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

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

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

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

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

 

 

  • Maria de Xindó Música Tradicional da Bahia
  • Hélio Delmiro Jazz
  • Stephen Kurczy Journalist
  • Nonesuch Records Movie Soundtracks
  • Toumani Diabaté Bamako
  • Paulinho Fagundes Guitar
  • Léo Brasileiro Brasil, Brazil
  • Joanna Majoko Germany
  • Daniil Trifonov Composer
  • Mike Moreno Aaron Copeland School of Music Faculty
  • Tony Trischka Country
  • César Orozco Venezuela
  • Riley Baugus Old-Time Music
  • Márcia Short Cantora, Singer
  • Mykia Jovan Singer-Songwriter
  • Rez Abbasi Multi-Cultural
  • Elisa Goritzki Salvador
  • Jon Madof Guitar
  • Nduduzo Makhathini Jazz
  • Sheryl Bailey Berklee College of Music Faculty
  • Masao Fukuda Brazil
  • Nabihah Iqbal Electronic, Experimental, Alternative Music
  • Chano Domínguez Composer
  • Amanda Tropicana Salvador
  • Ronaldo Bastos Composer
  • Zeca Freitas Bahia
  • Giovanni Russonello Journalist
  • Yvette Holzwarth Singer
  • Arto Tunçboyacıyan Duduk
  • Africania Bahia
  • Larry Achiampong London
  • John Santos California Jazz Conservatory Faculty
  • Seth Rogovoy Jewish Music
  • Samuca do Acordeon Composer
  • Stephanie Soileau University of Chicago Faculty
  • Yunior Terry Jazz
  • McCoy Mrubata Cape Town
  • Dan Auerbach Multi-Instrumentalist
  • Michael Janisch Double Bass
  • Rob Garland Jazz, Funk
  • Joe Lovano Flute
  • Bebel Gilberto Bossa Nova
  • Criolo Ator, Actor
  • Nara Couto Diretora, Director
  • Sam Wasson Author
  • Alan Bishop Record Label Owner
  • Yelaine Rodriguez Fashion Design
  • Cassie Kinoshi Theater Composer
  • Alphonso Johnson USC Thornton School of Music Faculty
  • Mazz Swift Composer
  • Luiz Antônio Simas Ifá
  • Jean Rondeau Harpsichord
  • Gustavo Di Dalva Bahia
  • Vânia Oliveira Brasil, Brazil
  • Bebê Kramer Jazz
  • Jan Ramsey Second Line
  • Kehinde Wiley New York City
  • Adriano Souza Bossa Nova
  • The Bayou Mosquitos Netherlands
  • Lucía Fumero Composer
  • Lalah Hathaway Jazz
  • Amy K. Bormet Washington, D.C.
  • Christian Sands Composer
  • MonoNeon Bass
  • Alexa Tarantino Jazz
  • Billy Strings Mandolin
  • Intisar Abioto Journalist
  • Fabiana Cozza Writer
  • Seckou Keita Senegal
  • Renell Medrano Dominican Republic
  • Muireann Nic Amhlaoibh Television Presenter
  • Jane Cornwell Liner Notes
  • Cut Worms Brooklyn, NY
  • Molly Tuttle Bluegrass
  • Maia Sharp Multi-Instrumentalist
  • Marcelinho Oliveira Record Producer
  • Eric Coleman Los Angeles
  • Ben Wendel Composer
  • Terrace Martin Hip-Hop
  • Natan Drubi Brasil, Brazil
  • Christopher Seneca Writer
  • Yotam Silberstein Guitar Instruction
  • Cleber Augusto Samba
  • Dexter Story Composer
  • Steve Bailey Berklee College of Music Faculty
  • Martin Koenig Liner Notes
  • Kurt Andersen Television Writer
  • Ronald Bruner Jr. Composer
  • Barry Harris Educator
  • Wajahat Ali Essayist
  • Ajeum da Diáspora Salvador
  • Ben Monder New York City
  • Pedrão Abib Samba
  • Nooriyah نوريّة DJ
  • Adriano Souza MPB
  • Dudu Reis Cavaquinho
  • Marilda Santanna Bahia
  • Jura Margulis Classical Music
  • Kimberlé Crenshaw Critical Race Theory
  • David Bragger Mandolin
  • Rachael Price Americana
  • Dee Spencer Piano
  • Leo Genovese New York City
  • Vijay Iyer Piano
  • Mickalene Thomas Painter
  • Caterina Lichtenberg Soprano Lute
  • Brian Jackson Record Producer
  • Choronas Choro
  • Fábio Luna Samba
  • Ned Sublette Singer-Songwriter
  • Berkun Oya Actor
  • Marcos Portinari Compositor, Composer
  • Judith Hill Singer-Songwriter
  • Chris Acquavella Mandolin Instruction
  • Brady Haran Podcaster
  • Ned Sublette Record Producer
  • James Martin Brass Band
  • Jim Beard Arranger
  • Bob Lanzetti Brooklyn, NY
  • Tom Wilcox Accountant
  • André Muato Rio de Janeiro
  • Michael W. Twitty Culinary Historian
  • Afrocidade Hip-Hop
  • Nelson Latif Violão de Sete
  • Jonathan Scales Jazz Fusion
  • Virgínia Rodrigues Bahia
  • Horace Bray Funk
  • Isaak Bransah Salvador
  • Scott Kettner Second Line
  • Germán Garmendia Chile
  • Ray Angry Songwriter
  • Gord Sheard Multi-Cultural
  • Celino dos Santos Samba de Roda
  • Amaro Freitas Maracatu
  • Thiago Trad Berimbau
  • David Castillo Pierce College Faculty
  • Diego Figueiredo Jazz Brasileiro, Brazilian Jazz
  • Miles Okazaki University of Michigan Faculty
  • James Gadson Drums
  • As Ganhadeiras de Itapuã Folk & Traditional
  • Andrew Finn Magill Jazz
  • Neymar Dias Viola Caipira
  • Eric Coleman Photographer
  • Tomoko Omura Japan
  • Instituto Oyá Treinamento Artístico, Artistic Training
  • Greg Ruby Composer
  • Lucinda Williams Country
  • Stefon Harris Jazz
  • Edsel Gomez Latin Jazz
  • Cayenna Ponchione-Bailey Sheffield University Staff
  • Dale Bernstein Photographer
  • Ukrainian Freedom Orchestra Класична музика, Classical Music
  • Demond Melancon Black Masker
  • Tia Surica Singer
  • Pedrito Martinez Cuba
  • Yazz Ahmed Composer
  • Linda Sikhakhane Jazz
  • Arturo O'Farrill New York City
  • Celso de Almeida Brazil
  • Gabriel Geszti Brasil, Brazil
  • Nego Álvaro Percussion
  • Sierra Hull Americana
  • Betsayda Machado Singer
  • Adriana L. Dutra Film Festival Director
  • Lazzo Matumbi Brazil
  • Rosa Passos Bahia
  • Serginho Meriti Brazil
  • Adonis Rose Jazz
  • Imanuel Marcus News Site Owner, Editor-in-Chief
  • Chris Acquavella Mainz
  • Rhiannon Giddens Writer
  • Calida Rawles Writer
  • Cara Stacey Mbabane
  • Dale Barlow Flute
  • Marilda Santanna Cantora, Singer
  • Grant Rindner Writer
  • D.D. Jackson Opera
  • Rita Batista Apresentadora de Televisão, Television Presenter
  • Jaques Morelenbaum Rio de Janeiro
  • Louis Michot Western Swingbilly Cajun Punk
  • James Andrews Songwriter
  • Charles Munka Collage
  • Rebeca Tárique Produtora Cultural, Cultural Producer
  • Catherine Bent Classical Music
  • Dan Nimmer Composer
  • Lula Moreira Arcoverde
  • Beth Bahia Cohen Tanbur
  • Olodum Salvador
  • Ann Hallenberg Opera Singer
  • John McEuen Banjo
  • Dona Dalva Brazil
  • Adriano Souza Piano
  • Intisar Abioto Writer
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