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  • Edmar Colón

    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: Edmar Colón
  • City/Place: Boston, Massachussetts
  • Country: United States
  • Hometown: Coamo, Puerto Rico

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Edmar Colón is a saxophonist, pianist and composer from Coamo, Puerto Rico, currently living in Boston.

    Colón was awarded the prestigious Presidential Scholarship and graduated from the Berklee College of Music with a dual major in Performance and Classical Composition. As part of his undergraduate studies, Edmar was a student at the Berklee Global Jazz Institute directed by Danilo Pérez and Marco Pignataro. He went on to complete his Master’s degree in Global Studies at the Berklee Global Jazz Institute.

    Edmar has toured and played in venues and events such as the Detroit Jazz Festival, Puerto Rico Heineken Jazz Festival, Toronto Jazz Festival, Panama Jazz Festival, Montreal Jazz Festival, and Monterrey Jazz Festival, among others. He recently played in the Kennedy Center for the Arts Mary Lou Williams Jazz Festival, Abbey Lincoln tribute tour with Grammy-award recipients Terri Lyne Carrington, Esperanza Spalding, Dianne Reeves and Dee Dee Bridgewater. Colón has performed with artists such as Joe Lovano, John Patitucci, Danilo Pérez, Danny Rivera, Hal Crook, Kenny Werner, Lionel Louke, John Michel Pilc, Patti Austin, Ledisi, Judith Hill, David Sanchez, Arturo Sandoval, George Garzone, Luis Enrique and Ivan Lins, among other notable artists of various musical genres.

    In 2016, Colón was awarded the Latino 30 Under 30 Award New England from the El Mundo newspaper. He was also awarded first prize at the "Keep An Eye" International Jazz Awards in Amsterdam as a part of the Berklee Global Jazz Institute. In 2017, he was honored in the annual Patron Saint festivities of his hometown of Coamo, Puerto Rico.

    As a writer in the last two years Edmar has worked with some of the biggest names in Jazz. In 2018 Colón was the copyist for Wayne Shorter’s newest orchestral work, an opera. During the same year Edmar was commissioned to write a 30 minute long orchestral piece for the Detroit Jazz Festival Symphony Orchestra. Also in 2018, he wrote the orchestrations for the piece “12 Little Spells” of Esperanza Spalding’s most recent album by the same name. On December of that year, Edmar worked as copyist/arranger for the Kennedy Center Honors award ceremony honoring Wayne Shorter. In addition, the young saxophonist worked as the arranger/orchestrator for Terri Lyne Carrington’s upcoming album.

    Today, Edmar Colón is working on an orchestral commission by the National Symphony Orchestra for a number of concerts celebrating the centenary of Nat King Cole, as well as working on original material with a new working band for his debut album as Saxophonist and Composer.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Instagram: edmarcolon
  • ▶ Website: http://www.edmarcolon.com

Clips (more may be added)

  • 0:06:02
    Edmar Colón Trio - J-Lo (Live at Berklee)
    By Edmar Colón
    342 views
  • 0:49:16
    Lefteris Kordis & Edmar Colón Duo - Live @ Corfu Jazz World Festival 2019
    By Edmar Colón
    341 views
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Edmar Colón Curated
pathways in

  • 3 Berklee College of Music Faculty
  • 3 Composer
  • 3 Flute
  • 3 Jazz
  • 3 Piano
  • 3 Puerto Rico
  • 3 Saxophone

What's Been Happening?

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  • Edmar Colón
    Joe Lovano → Saxophone has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Joe Lovano → Jazz has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Joe Lovano → Flute has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Joe Lovano → Composer has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Joe Lovano → Clarinet has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Joe Lovano → Berklee College of Music Faculty has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Joe Lovano → Author has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    A category was added to Edmar Colón:
    Jazz
    • July 9, 2020
  • Edmar Colón
    Miguel Zenón → Saxophone has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Miguel Zenón → Puerto Rico has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Miguel Zenón → New York City has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Miguel Zenón → Jazz has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    Miguel Zenón → Composer has been recommended via Edmar Colón.
    • July 9, 2020
  • Edmar Colón
    A video was posted re Edmar Colón:
    Edmar Colón Trio - J-Lo (Live at Berklee)
    Edmar Colón Trio performs his original "J-Lo" inspired by Berklee Global Jazz Institute (BGJI) faculty and master saxophonist/composer Joe Lovano.
    • July 9, 2020
  • Edmar Colón
    A video was posted re Edmar Colón:
    Lefteris Kordis & Edmar Colón Duo - Live @ Corfu Jazz World Festival 2019
    Lefteris Kordis & Edmar Colón Duo - Live at the International Corfu Jazz World Festival October 12, 2019 @ Peoples' Garden
    • July 9, 2020
  • Edmar Colón
    A category was added to Edmar Colón:
    Flute
    • July 9, 2020
  • Edmar Colón
    A category was added to Edmar Colón:
    Composer
    • July 9, 2020
  • Edmar Colón
    A category was added to Edmar Colón:
    Piano
    • July 9, 2020
  • Edmar Colón
    A category was added to Edmar Colón:
    Puerto Rico
    • July 9, 2020
  • Edmar Colón
    A category was added to Edmar Colón:
    Berklee College of Music Faculty
    • July 9, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João had something priceless to offer the world.
But he was impossible for the world to find.
✅—João do Boi

✅—Pardal/Sparrow
Royalty work in NYC for
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
I've been screamed at by Aretha Franklin,
and harangued by Allen Klein over
royalties for the estate of Sam Cooke.
I built this matrix beginning with João do Boi.
Please link to, tell others about, join us!
[email protected]
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

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

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


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

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

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

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

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

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

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

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

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

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

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

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



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

Samba Chula / Samba de Roda

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

There’s a lot of spectacle in Bahia…

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

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

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

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

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

 

 

Why Brazil?

 

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

 

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

 

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

 

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

 

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

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


João tinha algo inestimável a oferecer ao mundo.
Mas ele era impossível pro mundo encontrar.
✅—João do Boi

✅—Pardal/Sparrow
Trabalho de royalties para
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
Fui gritado por Aretha Franklin,
e arengado por Allen Klein sobre
royalties para o patrimônio de Sam Cooke.
Eu construi este matrix a partir de João do Boi.
Por favor, faça um link para, conte aos outros, junte-se a nós!
[email protected]
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

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

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


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

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

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

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

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

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

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

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

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

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

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

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


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

Samba Chula / Samba de Roda

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

Há muito espetáculo na Bahia...

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

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

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

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

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

 

 

Por que Brasil?

 

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

 

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

 

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

 

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

 

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

 

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

 

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  • Iara Rennó São Paulo
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  • Jeff Spitzer-Resnick Radio Presenter
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  • Anissa Senoussi VFX Artist
  • Woody Mann Blues
  • Jason Reynolds Lesley University Faculty
  • Shirazee Benin
  • Sérgio Machado São Paulo
  • Catherine Bent Boston
  • Miroslav Tadić Guitar
  • Marcelinho Oliveira Salvador
  • Dadi Carvalho Rio de Janeiro
  • Hercules Gomes Brazil
  • Bodek Janke World Music
  • Mestrinho Accordion
  • King Britt Record Producer
  • Oscar Peñas Jazz
  • Larry McCray Blues
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  • Brady Haran Podcaster
  • Arson Fahim Piano
  • Jon Lindsay Record Producer
  • Plinio Oyò Brasil, Brazil
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  • Wouter Kellerman Flute
  • Parker Ighile London
  • Flora Gil Brasil, Brazil
  • Joe Fiedler Jazz
  • Omari Jazz Music Producer
  • Kyle Poole Drums
  • Stefan Grossman Educator
  • Rebeca Tárique Bahia
  • Dudu Reis Samba
  • Marc Ribot Guitar
  • Arto Lindsay Brasil, Brazil
  • Brian Q. Torff Fairfield University Faculty
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  • Michael Formanek Peabody Conservatory of Music Faculty
  • Gilsons Brazil
  • João Rabello Brazil
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  • Ricardo Herz Choro
  • Tam-Ky France
  • Shemekia Copeland R&B
  • Lula Gazineu Violão, Guitar
  • Tyshawn Sorey Wesleyan University Faculty
  • Ben Williams New York City
  • Djamila Ribeiro Ensaísta, Essayist
  • Steve McKeever Entertainment Lawyer
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  • Toninho Horta Singer
  • Anderson Lacerda Choro
  • Shannon Sims Writer
  • Inon Barnatan Piano
  • Armandinho Macêdo Salvador
  • Spok Frevo Orquestra Brazil
  • Jamz Supernova DJ
  • João Parahyba Songwriter
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  • Julie Fowlis Multi-Instrumentalist
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  • Louis Michot Western Swingbilly Cajun Punk
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