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  • 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...

 

It 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..."

 

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.

 

  • Fred Hersch
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Fred Hersch
  • City/Place: New York City
  • Country: United States
  • Hometown: Cincinnati, Ohio

Life & Work

  • Bio: A select member of jazz’s piano pantheon, Fred Hersch is a pervasively influential creative force who has shaped the music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. He has been proclaimed “the most arrestingly innovative pianist in jazz over the last decade” by Vanity Fair, “an elegant force of musical invention” by The L.A. Times, and “a living legend” byThe New Yorker.

    A fifteen-time Grammy nominee, Hersch has regularly garnered jazz’s most prestigious awards, including recent distinctions as a 2016 Doris Duke Artist, 2016 and 2018 Jazz Pianist of the Year from the Jazz Journalists Association, and the 2017 Prix Honorem de Jazz from L’Acádemie Charles Cros for the totality of his career.

    If good things happen slowly, as the title of Hersch’s 2017 memoir attests, such good fortune has nonetheless accrued to the point where the pianist can enjoy the accolades and adulation of peers, critics and audiences alike. He has long set the standard for expressive interpretation and inventive creativity in a stunning variety of settings, whether through his exquisite solo performances, as the leader of one of jazz’s era-defining trios, or in eloquent dialogue with his deeply attuned duo partners.

    With more than three-dozen albums to his credit as a leader or co-leader, Hersch consistently receives lavish critical praise and numerous international awards for each highly anticipated new release. His latest album with his long-standing trio, 2018’s Live In Europe(Palmetto), documents one remarkable evening in Brussels and has been hailed as its best to date – considerable praise for an ensemble that consistently plays at such a staggeringly high level.

    The trio, in which Hersch has been joined by bassist John Hébert and drummer Eric McPherson for the last decade, was voted the #2 Jazz Group in the 2018 DownBeat Critics Poll, recognizing its unique ability to traverse a wide range of styles and approaches while maintaining profound depths of emotion and the exhilarating spark of invention. Its previous two Palmetto releases, 2016’s Sunday Night at the Vanguardand 2014’s Floating, were both nominated for Grammy Awards in the categories of Best Jazz Solo and Best Jazz Album.

    Also in 2014, Hersch garnered his sixth Grammy nomination for his solo on “Duet” from Free Flying, a duo album with guitarist Julian Lage that received a rare 5-star rating from DownBeat. An exceptionally responsive and intuitive collaborator, Hersch has engaged in duo partnerships with a number of spirited artists, including Anat Cohen, Bill Frisell, Esperanza Spalding, Julian Lage and Miguel Zenon; and vocalists Kurt Elling, Kate McGarry and Renée Fleming.

    As versatile and exploratory as his trio and duo excursions can be, nowhere is the boundless range and emotional diversity of Hersch’s artistry as evident as in his breathtaking solo performances. JazzTimes has hailed his unaccompanied playing as “a complete, self-sufficient, uniquely pure art form,” while All About Jazzhas remarked that “when it comes to the art of solo piano in jazz, there are two classes of performers: Fred Hersch and everybody else.”

    In 2006, Hersch became the first artist in the 75-year history of New York’s legendary Village Vanguard to play a weeklong engagement as a solo pianist. His second solo run there was documented on the Grammy-nominated Alone at the Vanguard, one of five recordings he’s made at the iconic New York City club. His 2017 Palmetto album Open Book was, as the title implies, his most revealing and intimate solo outing, and was nominated for two 2018 Grammy Awards.

    The album’s release coincided with the publication of his acclaimed memoir, Good Things Happen Slowly(Crown Archetype Books/Random House). The book compellingly reveals the story of his life in music along with a frank recounting of his struggles and triumphs as the first openly gay, HIV-positive jazz musician. It was featured in the Sunday New York Timesand on NPR’s “Fresh Air,” named one of 2017’s Five Best Memoirs by the Washington Postand The New York Times, and acclaimed as 2018’s Book on Jazz of the Year by the Jazz Journalists Association. His story has also been told via the feature documentary The Ballad of Fred Hersch, which premiered to a sold-out house at the prestigious Full Frame Film Festival in March 2016 and is now streaming on Vimeo.

    While widely renowned for his playing, Hersch has earned similar distinction with his writing, garnering a 2003 Guggenheim Fellowship in Composition among other awards. The same year he created Leaves of Grass, a large-scale setting of Walt Whitman’s poetry for two voices (Kurt Elling and Kate McGarry) and an instrumental octet. Leaves of Grasswas selected to open the 2017 Jazz at Lincoln Center season at the Appel Room.

    Hersch’s visionary 2010 theatrical project, My Coma Dreams,prompted the New York Times Sunday Magazine to describe the composer as “singular among the trailblazers of their art, a largely unsung innovator of this borderless, individualistic jazz—a jazz for the 21st century.” Based on visions Hersch experienced during a two-month coma in 2008, the evening-length multimedia collaboration with writer/director Herschel Garfein for 11 instrumentalists and an actor/singer was captured on video at Columbia University and released by Palmetto on a 2014 DVD.

    For two decades Hersch has been a passionate spokesman and fund-raiser for AIDS services and education agencies. He has produced and performed on four benefit recordings and in numerous concerts for charities including Classical Action: Performing Arts Against AIDS and Broadway Cares/Equity Fights AIDS. To date, his efforts have raised more than $300,000. He has also been a keynote speaker and performer at international medical conferences in the U.S. and Europe.

    A committed educator, Hersch has taught at New England Conservatory, The Juilliard School, The New School and The Manhattan School of Music. He is currently a Visiting Artist at Rutgers University. He holds honorary doctorate degrees from Grinnell College and Northern Kentucky University. Hersch’s influence has been widely felt on a new generation of jazz pianists, from former students Brad Mehldau and Ethan Iverson to his colleague Jason Moran, who has said, “Fred at the piano is like LeBron James on the basketball court. He’s perfection.”

Contact Information

  • Email: [email protected]
  • Management/Booking: For bookings worldwide except Europe:
    Epstein and Co.
    email: [email protected]
    phone: 256-344-SHOW
    www.epsteinco.com

    For bookings in Europe:
    Rob Leurentop
    mobile: +32 477 890 056
    email: [email protected]

    For Publishing Information:
    Angela Riddles
    email: [email protected]

    Publicity Inquiries:
    Ann Braithwaite
    Braithwaite & Katz Communications
    781-259-9600
    email: [email protected]

    Record Label:
    Palmetto Records
    www.palmetto-records.com

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://fredhersch.com/discography/
  • ▶ Book Purchases: http://fredhersch.com/books/good-things-happen-slowly/
  • ▶ Twitter: fredherschmusic
  • ▶ Instagram: fredherschmusic
  • ▶ Website: http://fredhersch.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCn7Uh2qpex0fczcTeJVMhgA
  • ▶ YouTube Music: http://music.youtube.com/channel/UCqGUM2i-Gg80VY5Ezt2vnBA
  • ▶ Spotify: http://open.spotify.com/album/1xf8Ny57YgeCJxNKm2oVDd
  • ▶ Spotify 2: http://open.spotify.com/album/5eeSHIlJkI0bcgn2DdOnZa
  • ▶ Spotify 3: http://open.spotify.com/album/5hydRdnOK8shwMuksd0yMQ
  • ▶ Spotify 4: http://open.spotify.com/album/04MDIVbs4OXk2qwW328ahS
  • ▶ Spotify 5: http://open.spotify.com/album/1SQwrLQmmwb9sDt8W8fhpM
  • ▶ Spotify 6: http://open.spotify.com/album/3oUTSZR19WHXHPdxwyFkXk
  • ▶ Articles: http://fredhersch.com/press/articles/

My Writing

  • Publications: Good Things Happen Slowly

    Five Best Memoirs of 2017
    - The Washington Post
    - The New York Times

    Best Book on Jazz 2017
    - Jazz Journalists Association

    “Raw honesty and immediacy is probably why so many of us find his music co compelling. By the same token, that’s why this book earns a place as one of the great contemporary jazz memoirs.”
    - Ted Gioia, The Wall Street Journal

    Jazz could not contain Fred Hersch. His meteoric rise as a in-demand sideman–one who played with the giants of the 20th century in the autumn of their careers, including Art Farmer, Joe Henderson, and more– blossomed further in the nineties and beyond into a compositional genius that defied the boundaries of bop, sweeping in elements of pop, classical, and folk to create a wholly new music.

    Good Things Happen Slowly is a memoir, but it is also more than that. It’s the story of the first openly gay, HIV-positive jazz player, and a deep look into the cloistered, largely African-American jazz culture that made such a status both transgressive and groundbreaking. It is a remarkable, at times lyrical evocation of New York in the twilight days of post-Stonewall hedonism, and a powerfully brave narrative of the illness that led to Hersch’s two-month-long medically induced coma in 2007, from which he would emerge to create some of the finest, most direct and emotionally compelling music of his career.

Clips (more may be added)

  • Fred Hersch Trio: Wichita Lineman | Elbphilharmonie Hamburg
    By Fred Hersch
    322 views
  • The Fred Hersch Trio - Some Other Time (Styne) / We See (Monk arr. Hersch)
    By Fred Hersch
    220 views
  • Fred Hersch - Both Sides Now (Joni Mitchell)
    By Fred Hersch
    270 views
  • The Song is You - Fred Hersch
    By Fred Hersch
    232 views
  • Fred Hersch & Bill Frisell - Wave
    By Fred Hersch
    264 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 Fred Hersch:

  • 1 Classical Music
  • 1 Composer
  • 1 Jazz
  • 1 New York Jazz Academy Faculty
  • 1 Piano
  • 1 Rutgers University Faculty
  • Eric R. Danton Writer
  • Tomo Fujita Jazz
  • Kiko Freitas Jazz
  • Walmir Lima Singer
  • Mick Goodrick Author
  • Mingus Big Band Big Band
  • Steve Bailey Berklee College of Music Faculty
  • David Braid Composer
  • Vivien Schweitzer Culture Journalist
  • Bebel Gilberto Brazil
  • Jean Rondeau Harpsichord
  • Jean-Paul Bourelly Record Producer
  • Paul Mahern Record Producer
  • Andrew Dickson Art Critic
  • Casa Preta Salvador
  • Pururu Mão no Couro Brasil, Brazil
  • Ken Avis Washington, D.C.
  • Archie Shepp Paris, France
  • Daniel Jobim Bossa Nova
  • Sara Gazarek Los Angeles
  • Arturo O'Farrill Composer
  • Vanessa Moreno MPB
  • David Binney Saxophone
  • Ilê Aiyê Bloco Afro
  • Hopkinson Smith Lute
  • Nicolas Krassik Composer
  • Nara Couto Afropop
  • Chris Potter Saxophone
  • César Orozco Cuba
  • Alex Clark Documentary Filmmaker
  • Lucio Yanel Argentina
  • Roots Manuva Hip-Hop
  • Marcelinho Oliveira Brazil
  • Cory Wong Minneapolis, Minnesota
  • Rosa Cedrón Spain
  • Ryuichi Sakamoto Composer
  • Alexandre Vieira Compositor, Composer
  • Danilo Pérez Boston
  • Tyshawn Sorey Wesleyan University Faculty
  • Marcello Gonçalves Rio de Janeiro
  • Sebastian Notini Percussão, Percussion
  • Carl Joe Williams Painter
  • Mary Halvorson Avant-Garde Jazz
  • Monarco Rio de Janeiro
  • Morgan Page House
  • Nublu Brazilian Music
  • Tony Allen Afrobeat
  • Leo Genovese Composer
  • Laércio de Freitas Composer
  • Lenna Bahule São Paulo
  • Mark Stryker Author
  • Julian Lage Americana
  • Ajurinã Zwarg Brazilian Jazz
  • Toninho Horta Brazil
  • Lívia Mattos Salvador
  • Ben Wolfe Composer
  • Harold López-Nussa Composer
  • Denzel Curry Singer-Songwriter
  • Rick Beato YouTuber
  • Veronica Swift Composer
  • Elif Şafak Women's Rights Activist
  • Leo Nocentelli New Orleans
  • Ken Avis Documentary Filmmaker
  • Nelson Ayres Jazz
  • Hélio Delmiro Rio de Janeiro
  • Zoran Orlić Chicago
  • Cinho Damatta Brasil, Brazil
  • Aperio Houston
  • Kenny Garrett Flute
  • António Zambujo Singer
  • Geraldo Azevedo Singer-Songwriter
  • Damon Albarn Film Scores
  • Nels Cline Guitar
  • Angelique Kidjo Multi-Cultural
  • Jonathan Griffin Manchester
  • Lenny Kravitz Multi-Instrumentalist
  • Luizinho Assis Produtor Musical, Music Producer
  • André Mehmari Brazil
  • Celso Fonseca Singer
  • Swami Jr. Brazilian Jazz
  • Steve McKeever Entertainment Lawyer
  • Mauro Diniz Singer-Songwriter
  • Paulo Dáfilin Arranger
  • Nicholas Daniel Music Director
  • Lula Moreira Samba de Coco
  • Nabihah Iqbal Music Producer
  • Eric R. Danton Music Critic
  • Anoushka Shankar Author
  • Elio Villafranca Piano
  • Oswaldinho do Acordeon Composer
  • Larry Grenadier Composer
  • Miguel Atwood-Ferguson Arranger
  • Wilson Simoninha MPB
  • Sara Gazarek Jazz
  • Ricardo Herz Violin
  • José Antonio Escobar Santiago de Chile
  • Leonardo Mendes Violão, Guitar
  • Ivan Sacerdote Clarinet
  • Jeff Tweedy Singer-Songwriter
  • Susana Baca Multi-Cultural
  • Bruce Molsky Guitar
  • Adam O'Farrill Trumpet
  • Shemekia Copeland Singer
  • Guga Stroeter Bandleader
  • Danilo Caymmi Television Scores
  • Philipp Meyer Austin, Texas
  • Gui Duvignau Brazil
  • Joel Best London
  • Fred P Techno
  • Kenny Barron Jazz
  • Gilberto Gil Salvador
  • Fred Dantas Euphonium
  • Ryuichi Sakamoto Japan
  • Emicida Singer-Songwriter
  • The Brain Cloud Americana
  • Gal Costa Salvador
  • Ivan Bastos Faculdade da UFBA, Federal University of Bahia Faculty
  • Catherine Bent Composer
  • Margaret Renkl Nashville, Tennessee
  • Ron McCurdy Composer
  • Moreno Veloso MPB
  • Colson Whitehead Short Stories
  • Jorge Ben Rio de Janeiro
  • Curtis Hasselbring Brooklyn, NY
  • Willy Schwarz Jewish Music
  • Glória Bomfim Afoxé
  • Tyler Gordon San Jose, California
  • Bobby Fouther Educator
  • Maia Sharp Record Producer
  • Marcus J. Moore Pundit
  • Zakir Hussain Tabla
  • Arismar do Espírito Santo Brazilian Jazz
  • Bebel Gilberto MPB
  • Hendrik Meurkens Harmonica
  • John McLaughlin Composer
  • Oswaldo Amorim Bass
  • Dale Farmer Fiddle
  • Cory Henry R&B
  • Snigdha Poonam Journalist
  • Dan Nimmer New York City
  • Rosângela Silvestre Candomblé
  • Duane Benjamin Trombone
  • Anthony Hamilton Singer-Songwriter
  • Patricia Janečková Prague
  • Emily Elbert Guitar
  • Scotty Barnhart Trumpet Instruction
  • John McWhorter Author
  • Wayne Escoffery Yale Faculty
  • Joshue Ashby Violin
  • Ana Luisa Barral Choro
  • Daymé Arocena Composer
  • Alain Mabanckou Africa
  • Oded Lev-Ari Music Producer
  • Keita Ogawa Percussion Samples
  • Etienne Charles Michigan State University Faculty
  • Pasquale Grasso New York City
  • Mulatu Astatke Ethio-Jazz
  • Cara Stacey Composer
  • Béco Dranoff DJ
  • Philip Sherburne Photographer
  • Paulinho da Viola Singer-Songwriter
  • Beth Bahia Cohen Lyras
  • Tia Surica Singer
  • Amilton Godoy Classical Music
  • Vadinho França Salvador
  • Billy Strings Bluegrass
  • Giorgi Mikadze გიორგი მიქაძე Georgian Folk Music
  • Yazhi Guo 郭雅志 Chinese Traditional Music
  • Olivia Trummer Germany
  • Shalom Adonai Chula
  • Armandinho Macêdo Frevo
  • Armen Donelian Piano
  • Garth Cartwright Poet
  • Nelson Cerqueira Faculdade da UFBA, Federal University of Bahia Faculty
  • Stomu Takeishi Jazz
  • Eduardo Kobra Artista da Rua, Street Artist
  • Chris Potter New York City
  • Tom Bergeron Frevo
  • June Yamagishi R&B
  • Kevin Burke Irish Traditional Music
  • Muireann Nic Amhlaoibh Irish Traditional Music
  • Orlando Costa Percussion
  • João Luiz Brazilian Classical Guitar
  • Gab Ferruz Salvador
  • Jon Batiste Funk
  • Brian Blade Composer
  • Ivo Perelman Painter
  • Rolando Herts Singer
  • Jay Mazza New Orleans
  • Larry McCray Guitar
  • Gabrielzinho do Irajá Versador
  • Harish Raghavan Jazz
  • Jacob Collier Singer
  • Chick Corea Composer
  • Jill Scott R&B
  • Corey Henry Songwriter
  • Marc Johnson Bossa Nova
  • Gavin Marwick Multi-Cultural
  • Mikki Kunttu Lighting Designer
  • Kronos Quartet String Quartet
  • Masao Fukuda Yokahama
  • Branford Marsalis Saxophone
  • Lokua Kanza Singer-Songwriter
  • Tom Piazza New Orleans
  • Sam Eastmond Record Producer
  • Nettrice R. Gaskins Writer
  • Jimmy Cliff Reggae
  • Michael Cleveland Fiddle
  • Arto Tunçboyacıyan Multi-Cultural
  • Dan Trueman Princeton University Faculty
  • Dorian Concept Keyboards
  • Magda Giannikou Composer
  • Augustin Hadelich New York City
  • Towa Tei テイ・トウワ Japan
  • King Britt DJ
  • JD Allen Composer
  • Nei Lopes Rio de Janeiro
  • Brandon Seabrook Composer
  • Morgan Page DJ
  • Fantastic Negrito Singer-Songwriter
  • Elizabeth LaPrelle Folk & Traditional
  • Howard Levy Harmonica
  • Pedro Martins Brazil
  • Stephen Guerra New York City
  • Priscila Castro Música Afro-Amazônica, Afro-Amazonian Music
  • Mateus Aleluia Bahia
  • Carl Allen Record Producer
  • Molly Tuttle Guitar
  • Issa Malluf Middle Eastern Percussion
  • Lula Moreira Documentary Filmmaker
  • Tambay Obenson Writer
  • Nicholas Daniel England
  • Fred P Composer
  • Sam Harris New York City
  • Laura Beaubrun Choreographer
  • Turíbio Santos Composer
  • Yvette Holzwarth Theater Sound Design
  • Ray Angry Keyboards
  • Loli Molina Piano
  • Colm Tóibín Short Stories
  • Taylor McFerrin Beatboxer
  • Samuel Organ Electronic Music
  • Marcela Valdes Journalist
  • China Moses Jazz
  • Paulo Costa Lima Bahia
  • Safy-Hallan Farah Journalist
  • Gonzalo Rubalcaba Havana
  • Manassés de Souza Brazil
  • Warren Wolf Vibraphone
  • Fantastic Negrito Blues
  • Will Holshouser Musette
  • Richie Barshay Klezmer
  • Clint Smith Poet
  • André Vasconcellos Produtor Musical, Music Producer
  • Eamonn Flynn Keyboards
  • James Andrews Jazz
  • Asanda Mqiki Singer-Songwriter
  • Corey Henry Second Line
  • Nate Chinen Writer
  • Stefano Bollani Brazilian Music
  • Yosvany Terry Afro-Cuban Jazz
  • Gerson Silva Salvador
  • Deborah Colker Rio de Janeiro
  • Jonga Cunha Bahia
  • Guinha Ramires Brazil
  • Andy Kershaw Radio Presenter
  • Khruangbin Houston, Texas
  • Noam Pikelny Nashville, Tennessee
  • Yamandu Costa Choro
  • Zigaboo Modeliste Songwriter
  • Júlio Lemos Composer
  • Marko Djordjevic Balkan Music
  • Cláudio Jorge Singer-Songwriter
  • Taylor McFerrin DJ
  • Curtis Hasselbring Composer
  • Dhafer Youssef ظافر يوسف Singer
  • Imani Winds New York City
  • Felipe Guedes Salvador
  • Trombone Shorty Funk
  • Avishai Cohen אבישי כה Bass
  • Abel Selaocoe Manchester
  • Shannon Ali Jazz
  • Alana Gabriela Percussão, Percussion
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