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  • Donny McCaslin

    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: Donny McCaslin
  • City/Place: Brooklyn, NY
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Days before his January 2016 death, David Bowie released his final album, Blackstar. While the record represented an endpoint for the legendary artist, it also marked a new beginning for jazz lifer Donny McCaslin who, armed with his saxophone, defined Blackstar's visionary stylistic fusion.

    Now, two and a half years after Blackstar's release, McCaslin returns with a new album, Blow., a new definitive statement that fully realizes Bowie's influence and McCaslin’s evolved artistic direction. "Before working with him, things like this didn't seem possible to me," McCaslin says of Blow., the most daring work of his two-decade, GRAMMY®-nominated career – set for October 5 release on Motéma Music. "The affirmation of that project and how wonderfully that turned out artistically — I feel like anything is possible now."

    Despite McCaslin's extensive, acclaimed career — he grew up gigging with his father's jazz ensembles in Santa Cruz, California, attended Boston's esteemed Berklee College of Music, and began his recording career in the late '90s — collaborating with Bowie altered how he approached his craft. "His aesthetic in the studio was, 'Go for what you're hearing, don't worry about what it's going to be called or categorized as,'" McCaslin recalls of the late icon. "'Let's have some fun. Let's make some music.'" With the expansive, diverse Blow., McCaslin takes Bowie's philosophy to heart.

    McCaslin hinted at his new direction earlier this summer with the release of the project's first single "What About the Body," a sizzling cut that blends alt-rock, jazz, and politically suggestive lyrics from singer-songwriter Ryan Dahle (Limblifter, Mounties) for a potent product — but it's just one of the many flavors he explores on the diverse record.

    Supported by a top-notch cast of musicians that includes Sun Kil Moon's Mark Kozelek, Blackstar bandmate Tim Lefebvre, and fellow Bowie collaborator Gail Ann Dorsey, McCaslin applies his jazz roots in thrilling ways throughout Blow.'s hour runtime. "The idea was to just really go for exploring these collaborations and documenting everything," explains McCaslin, adding that the project had a "good gestation process" and developed "in a way that didn't feel rushed."

    McCaslin emphasizes Blow.'s "wide range of moods," and some of them — like the driving, 10-minute instrumental "Break the Bond" or the chaotic and appropriately titled "Exactlyfourminutesofimprovisedmusic" — will sound familiar to longtime McCaslin fans. Others, not so much. "Tempest," a searing blast of prog-punk, clocks in at only 79 seconds and features off-the-cuff vocals from Jeff Taylor. Dorsey's soulful pipes complete the downtempo quiet storm of closer "Eye of the Beholder." And Kozelek — who McCaslin met and performed with when their tour itineraries recently intersected in Australia — delivers a hyper-detailed, characteristically batty narrative on "The Opener" to accompany an instrumental influenced by Beastie Boys and A Tribe Called Quest.

    Naturally, McCaslin's horn unites Blow.'s disparate elements, though not in the way one might expect. Thinking back to the Blackstar sessions, McCaslin remembers how Bowie urged him to manipulate his instrument's sound, to create "different loops and textures" while improvising. "That really stuck with me” says McCaslin. "It’s such a big part of what I'm doing now, how I integrate the electronics and the saxophone.”

    According to McCaslin, the "natural progression" that led to Blow. began with 2016's Beyond Now. Compromised of originals written after Blackstar's recording but before Bowie's death, as well as covers of Bowie, Mutemath, and Deadmau5, the record contains what McCaslin describes as "the seed" that grew into Blow.: His moody, electro-tinged rendition of Bowie's "A Small Plot of Land." "That's the connecting point for what I'm doing now," he says.

    But because McCaslin recorded Beyond Now nearly immediately after Bowie's death, it didn't capture Blackstar's full influence on his playing and writing — it took months of relentless touring for those lessons to seep in. "I was hearing something different and trying to explore what that was," he reveals. "The direction of this record is something I wouldn't have imagined myself doing 10 years ago. But having the opportunity to play so much and then see where my creative imagination would go, and to be in that space for a lot longer, led me down this new pathway." Adds McCaslin: "Because we had been playing so much, it felt pretty natural just to go into the studio and do this."

    Once he got down to business on Blow. pre-production in the fall 2017, McCaslin says producer Steve Wall (Lucius, Tall Heights) began to conceptually tie the album's many diverse styles together. “He’s very methodical and deliberate. I give a lot of credit to Steve," McCaslin shares, “he had a vision for this album from the beginning and was right there working with me as the music developed. He’s a unique talent and he does it all; engineering, mixing, song writing, producing, sound design.”

    Vocals also play a crucial role on Blow., in ways that they haven't previously in McCaslin's career. "There's so much that's possible," he realized after the Blackstar sessions. "Why don't I make a vocal record?" Besides his fruitful collaborations with Taylor, Dorsey, and Kozelek, McCaslin teamed with Dahle on "What About the Body" and three other tracks — "New Kindness," "Club Kidd," and "Great Destroyer" — that constitute the album's emotional core.

    "There's some social commentary" on "New Kindness," says McCaslin, likening the song's themes of partisan polarization to those on "What About the Body." "At least from my perspective, we're in a really f---ed-up time in this country — sorry for the French," he notes wryly. "What's going to get us out of this? Maybe it's new kindness. I think that's something that's really timely and really powerful." "Club Kidd," meanwhile, unites two unlikely topics — bee migration and McCaslin's own experiences as a college student going to club shows — for a unique, intricate result.

    Ultimately, McCaslin returns repeatedly to a specific phrase: "new territory." Along with his bandmates, he's propelling his music to places that seemed unreachable — to the extent that he'd even conceived of them —just a few years ago. And Blow. isn't the endpoint. "The live show is really evolving," says McCaslin, thrilled to share his fresh material with audiences around the world. "It's going to continue to evolve and we have this vision of how it's going to evolve. It's going to be much different from what it has been." Recent years have been a whirlwind for McCaslin, but Blow. proves he's ready for his next chapter: "Going all in with new territory is really stimulating to me."

Contact Information

  • Management/Booking: Management:
    Steven Saporta
    Invasion Group, Ltd
    [email protected]
    212-414-0505 x102

    Booking Inquires:
    Epstein & Company
    [email protected]
    256-344-7469

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://donnymccaslin.merchdirect.com/
  • ▶ Buy My Vinyl: http://donnymccaslin.merchdirect.com/
  • ▶ Buy My Merch: http://donnymccaslin.merchdirect.com/
  • ▶ Twitter: DonnyMcCaslin
  • ▶ Instagram: donnymccaslinmusic
  • ▶ Website: http://www.donnymccaslin.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UChFPtIa43nuaEuV5a3WP2xw
  • ▶ YouTube Music: http://music.youtube.com/channel/UChCSL0LDvRBTJ_yI4kuTZ-g
  • ▶ Spotify: http://open.spotify.com/album/1n1fLfkVtWxBjtDB44STDp?si=7c0d08764f6a415a
  • ▶ Spotify 2: http://open.spotify.com/album/5smb24NOxlxKOQTMfSNmSg?si=19b38173bf6e46f3
  • ▶ Spotify 3: http://open.spotify.com/album/60GZJyntKspBvsw7J9TTki?si=2e2ace16efa14d65
  • ▶ Spotify 4: http://open.spotify.com/album/4jV2RWMwMjRfIoxYNqpTAZ?si=b85ec3f747d5420c
  • ▶ Spotify 5: http://open.spotify.com/album/5yvWwpInfrM1owxLN3n1eH?si=dc198c3fd8244de5
  • ▶ Spotify 6: http://open.spotify.com/album/4Sy2PYoA2JK9xqyDz1Yp7P?si=13cde3a0a0d647c3

Clips (more may be added)

  • 3:24
    Reckoning - Donny McCaslin (Official Music Video)
    By Donny McCaslin
    206 views
  • 0:07:54
    From Blackstar to Blow: A Conversation with Donny McCaslin and Michael Alago
    By Donny McCaslin
    183 views
  • 5:04
    Donny McCaslin feat. Gail Ann Dorsey & Jason Lindner - Eye of the Beholder (WMA Studio Session)
    By Donny McCaslin
    142 views
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Donny McCaslin Curated
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  • 1 Brooklyn, NY
  • 1 Composer
  • 1 Jazz
  • 1 Saxophone

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  • Donny McCaslin
    A video was posted re Donny McCaslin:
    Reckoning - Donny McCaslin (Official Music Video)
    "Reckoning" by Donny McCaslin.
    • March 26, 2021
  • Donny McCaslin
    A video was posted re Donny McCaslin:
    From Blackstar to Blow: A Conversation with Donny McCaslin and Michael Alago
    Donny McCaslin talks to record executive Michael Alago about his transformative musical journey from working with David Bowie on Blackstar to creating a vocal-driven sound on his new album Blow.
    • March 26, 2021
  • Donny McCaslin
    A video was posted re Donny McCaslin:
    Donny McCaslin feat. Gail Ann Dorsey & Jason Lindner - Eye of the Beholder (WMA Studio Session)
    Gail Ann Dorsey features on "Eye of the Beholder" from Donny McCaslin's album 'Blow.'
    • March 26, 2021
  • Donny McCaslin
    A category was added to Donny McCaslin:
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    • March 26, 2021
  • Donny McCaslin
    A category was added to Donny McCaslin:
    Brooklyn, NY
    • March 26, 2021
  • Donny McCaslin
    A category was added to Donny McCaslin:
    Jazz
    • March 26, 2021
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    • March 26, 2021
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    Donny McCaslin is matrixed!
    • March 26, 2021
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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.

 

 

  • Anderson Lacerda Samba
  • Ronald Bruner Jr. Los Angeles
  • Burhan Öçal Istanbul
  • Gringo Cardia Video Director
  • Gord Sheard Toronto
  • Isaac Butler Theater Director
  • Jim Beard Keyboards
  • Toby Gough Producer
  • Lina Lapelytė Contemporary Classical Music
  • Asa Branca Folk & Traditional
  • Pedro Martins Jazz
  • Gunter Axt Secretário de Cultura, Secretary of Culture
  • David Simon Television Producer
  • Miho Hazama Composer
  • Lynn Nottage Columbia University Faculty
  • Dónal Lunny Bodhrán
  • Bebel Gilberto Bossa Nova
  • Nooriyah نوريّة North African Music
  • Cláudia Leitão Faculdade da UECE, State University of Ceará Faculty
  • Molly Jong-Fast New York City
  • Gabrielzinho do Irajá Rio de Janeiro
  • Caridad De La Luz Playwright
  • David Binney Saxophone
  • Seckou Keita Composer
  • Zisl Slepovitch Belarus
  • Renato Braz São Paulo
  • Hugo Rivas Argentina
  • Anthony Hervey Jazz
  • Riley Baugus North Carolina
  • Lucinda Williams Country
  • João Rabello Samba
  • César Camargo Mariano Brazil
  • Donald Harrison Berklee College of Music Faculty
  • Babau Santana Salvador
  • Joatan Nascimento Salvador
  • Sheryl Bailey Berklee College of Music Faculty
  • MicroTrio de Ivan Huol Carnaval, Carnival
  • Richard Bona Multi-Instrumentalist
  • Greg Kot Journalist
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