Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • (Bahia)
  • Questions?
  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

This is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Donny McCaslin
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

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

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
    107 views
  • 0:07:54
    From Blackstar to Blow: A Conversation with Donny McCaslin and Michael Alago
    By Donny McCaslin
    90 views
  • 5:04
    Donny McCaslin feat. Gail Ann Dorsey & Jason Lindner - Eye of the Beholder (WMA Studio Session)
    By Donny McCaslin
    87 views
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YOU RECOMMEND

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Donny McCaslin:

  • 1 Brooklyn, NY
  • 1 Composer
  • 1 Jazz
  • 1 Saxophone

Nodes below are randomly generated. Reload for a different stack.

  • Nêgah Santos Pandeiro
  • Rita Batista Apresentadora de Televisão, Television Presenter
  • Amy K. Bormet Washington, D.C.
  • Maia Sharp Country
  • Mariana Zwarg Saxophone
  • Christopher James Composer
  • Courtney Pine London
  • Maria Drell Chicago, Illinois
  • Emily Elbert Guitar
  • Concha Buika Singer-Songwriter
  • Danilo Brito Brazil
  • Niwel Tsumbu Ireland
  • Matt Parker London
  • Otmaro Ruiz Piano
  • Babau Santana Salvador
  • Willy Schwarz Multi-Cultural
  • Marquis Hill R&B
  • Keith Jarrett Jazz
  • Gino Sorcinelli Music Production, Rapping, Sampling, Beatmaking
  • Tom Bergeron Niterói, Rio de Janeiro
  • Banning Eyre African Guitar
  • Juliana Ribeiro Samba de Roda
  • Chris Boardman Arranger
  • Anna Mieke Ireland
  • Carlos Henriquez Composer
  • Terrace Martin Rapper
  • BIGYUKI Jazz, Electronic, R&B, Soul
  • Larry Grenadier Bass Instruction
  • Deesha Philyaw University of Pittsburgh Faculty
  • Marcel Powell Guitar
  • Teddy Swims R&B
  • Sam Reider Singer-Songwriter
  • Adenor Gondim Brazil
  • Alyn Shipton Music Critic
  • Tatiana Campêlo Brazil
  • Immanuel Wilkins New School Faculty
  • Rudy Royston Jazz
  • William Skeen Baroque Cello
  • Shaun Martin Ropeadope
  • Amit Chatterjee Composer
  • Carlinhos 7 Cordas Violão de Sete
  • Jau Singer-Songwriter
  • Caterina Lichtenberg Hochschule für Musik und Tanz Köln
  • Caetano Veloso Singer-Songwriter
  • Danilo Caymmi Flute
  • Little Simz Actor
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  • Victor Gama Contemporary Musical Instrument Design
  • Paulinho Fagundes Rio Grande do Sul
  • Ivan Bastos MPB
  • Terence Blanchard Educator
  • Bill Hinchberger Journalist
  • Luciana Souza Brazil
  • Guto Wirtti Multi-Instrumentalist
  • Ferenc Nemeth New York City
  • Isaiah Sharkey Composer
  • Bob Reynolds Composer
  • Art Rosenbaum Muralist
  • Osvaldo Golijov Argentina
  • Steve Bailey Berklee College of Music Faculty
  • Varijashree Venugopal India
  • Daphne A. Brooks Liner Notes
  • Sam Wasson Los Angeles
  • Angelique Kidjo Benin
  • Denzel Curry Los Angeles
  • Woz Kaly Singer-Songwriter
  • Ênio Bernardes Pandeiro
  • Bebel Gilberto MPB
  • Yazhi Guo 郭雅志 Suona
  • Elif Şafak Writer
  • Gaby Moreno Singer-Songwriter
  • Frank Negrão Music Director
  • Rissi Palmer Singer-Songwriter
  • Dan Auerbach Record Producer
  • Walmir Lima Songwriter
  • Shamarr Allen Singer-Songwriter
  • Iroko Trio São Paulo
  • Vivien Schweitzer Writer
  • Leo Genovese Composer
  • The Weeknd Singer-Songwriter
  • Dwayne Dopsie Singer-Songwriter
  • Jon Otis Drums
  • Dave Weckl Jazz Fusion
  • Papa Mali Guitar
  • Duane Benjamin Trombone
  • Robertinho Silva Brazilian Jazz
  • Sean Jones Composer
  • Little Dragon Sweden
  • David Sedaris Writer
  • Shannon Sims Rio de Janeiro
  • Oscar Peñas Jazz
  • Chico Buarque Rio de Janeiro
  • Arturo O'Farrill Piano
  • Imanuel Marcus News Site Owner, Editor-in-Chief
  • Marisa Monte MPB
  • Keita Ogawa Pandeiro
  • Nicholas Daniel Trossingen Musikhochschule Staff
  • Christopher James Piano
  • Natan Drubi Brasil, Brazil
  • Andrew Gilbert International Music
  • Ben Wolfe New York City
  • Shanequa Gay Poet
  • Muireann Nic Amhlaoibh Radio Presenter
  • Etienne Charles Composer
  • Chris Thile Composer
  • Eamonn Flynn R&B
  • Tito Jackson R&B
  • Tito Jackson Soul
  • Ari Rosenschein Seattle
  • Anouar Brahem Tunis
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  • Yosvany Terry Cuba
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  • Fernando César Choro
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  • Ricardo Herz São Paulo
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  • Dave Eggers Writer
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  • Tito Jackson Pop
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  • Adam Rogers Classical Guitar
  • Marcos Sacramento Rio de Janeiro
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  • Terrace Martin Ropeadope
  • Zachary Richard Louisiana
  • Jeremy Pelt Jazz
  • Morten Lauridsen Contemporary Classical Music
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  • Alicia Keys Actor
  • ANNA Berlin
  • Tom Moon MPB
  • Peter Dasent Television Scores
  • Şener Özmen Kurdish Culture
  • Brian Q. Torff Piano
  • David Binney New York City
  • Michael Janisch Funk
  • Laura Cole Canada
  • Alessandro Penezzi Guitar
  • João Parahyba Brazil
  • Etienne Charles Michigan State University Faculty
  • Paulo Aragão Choro
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  • Elisa Goritzki Brazil
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  • Mário Santana São Braz
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  • Muhsinah Soul
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  • Ricardo Bacelar Compositor, Composer
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  • John Edward Hasse Record Producer
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  • Luizinho Assis Jazz
  • Rebeca Omordia Romania
  • Jeremy Pelt Trumpet Instruction
  • John Medeski Composer
  • Wilson Simoninha Singer-Songwriter
  • Peter Erskine USC Thornton School of Music Faculty
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  • Kaveh Rastegar Los Angeles
  • Milford Graves Composer
  • Rosa Cedrón Spain
  • Fred Hersch Classical Music
  • Eliane Elias São Paulo
  • Alan Williams Found & Recycled
  • Luciano Salvador Bahia Theater Composer
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  • Alexandre Vieira Baixo, Bass
  • Rodrigo Amarante Rio de Janeiro
  • Stuart Duncan Bluegrass
  • Rayendra Sunito Songwriter
  • Veronica Swift Composer
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  • Lucía Fumero Spain
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  • Flora Purim Guitar
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  • Kareem Abdul-Jabbar Writer
  • Michael Kiwanuka Record Producer
  • Robert Glasper Piano
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  • Gilmar Gomes Salvador
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  • Michael Cuscuna Writer
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  • Dave Smith Drums
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  • Justin Stanton Composer
  • Yoko Miwa Jazz
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  • Philip Glass Composer
  • Omer Avital Bass
  • Lucian Ban Composer
  • Nelson Faria Guitar Instruction, Master Classes
  • Yayá Massemba Brasil, Brazil
  • Jon Faddis Manhattan School of Music Faculty
  • Joey Alexander Jazz
  • Jacám Manricks Saxophone
  • Ryuichi Sakamoto Electronic Music
  • Swizz Beatz Songwriter
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  • J. Cunha Salvador
  • Deesha Philyaw Columnist
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