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  • Gary Clark Jr.

    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

Network Node

  • Name: Gary Clark Jr.
  • City/Place: Austin, Texas
  • Country: United States

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: He owns it all on This Land, which won 3 Grammy awards and is his third studio album for Warner Records, is sure to be seen as a breakthrough in establishing just how much stylistic variation Clark has at his command. There are plenty of the guitar-hero sounds that have already established him as a headliner, with tunes that reiterate that Cream influences always rise to the top, from a guy who’s long since come to be considered by Clapton as a friend and contemporary, not just acolyte. But if a lot of fans would consider Clark the closest thing we have to a modern Hendrix, what comes through implicitly in This Land is the sense of just how much Jimi loved and borrowed from Curtis Mayfield. You can think of Clark as one of the last of the real rock gods, along with fellow master singer/guitarists like Jack White, John Mayer, or the late, great Prince and the new album certainly won’t do anything to diminish that perception. But This Land is also a great soul record — one in which it’s easy to hear the lineage that connects Muddy Waters and Childish Gambino, with distinct nods to Marvin Gaye somewhere in the middle.

    You’ll hear strains of Gaye not just in Clark using his falsetto more than he ever has before. It’s in the mixture of social consciousness and sensuality that was a matter of course for records like “What’s Goin’ On”… not to mention “Sign O’ the Times.” Obviously you hear the awareness of what’s goin’ on in the song This Land itself, in which Clark finds himself “paranoid and pissed off” among well-heeled neighbors who “think I’m up to something” just because his family doesn’t fit the local demographics. The attention to the greater good also informs “What About Us,” which has Clark announces that “the young bloods are taking over” — something he says to a fictional figure who recurs in several songs, “Mr. Williams,” a guy who could be a past-his-prime neighborhood boss… or, who knows, a stand-in for some bigger political figure who also has to go. “Feed the Babies” brings in the brass to augment a call for understanding that’s a pleading, purposeful antidote to the raw nerves of the title song.

    Yet Clark also uses the album to get more personal than he ever has on record before, often assessing the tough balance between career and family. “Pearl Cadillac” is a payback to a mother’s devotion. He’s the parent in “When I’m Gone,” preparing a child for yet another trip away on the road, a topic he also takes up with a significant other in “Guitar Man,” where he’s weighing the “stamps in my blue book” and the fellowship of the road against the fear of a toll taken by time apart at home.

    But if it’s the ballsy tropes of rock, blues and R&B that you’d like a fresh spin on, This Land hardly foregoes the twin towers of swagger and regret. “Friday night and I just got paid/I’m out looking for some trouble,” he sings in “Feel Like a Million,” a number that starts out as Peter Tosh and ends up somewhere closer to an arena-rock anthem. He’s found that trouble and then some in “Don’t Wait Til Tomorrow,” a balladic plea to the woman at home to forgive dalliances, with the knowledge that she may exact some what’s-good-for-the-goose revenge. “Low Down Rolling Stone” is an affair-ending lament from a wayward soul who’s discovered “darkness is my comfort zone.” But there’s no sorrow — yet – in a pair of kick-ass “got to” songs. “Got to Get Up” brings on the trumpet as Clark repeats “Kill ‘em all!” like the rock mantra it is, and “Gotta Get Into Something” finds him reaching to pure Chuck Berry territory… or maybe not so pure, since there’s something positively Ramones-y in his take on furious proto-punk rock and roll.

    It may sound diffuse as an album, but it all holds together as part of a singular vision from Clark and his co-producer, Jacob Sciba, a longtime Austin friend and chief engineer at Arlyn Studios where most of This Land was laid down. Clark has had interest from some of the top producers in music but has found most of them are interested in bringing out just one aspect of his multi-faceted musical persona. Sciba is the pal and sonic wizard who comprehends the scope of what Clark does, and welcomes it… and is faced with the challenge of making something sonically coherent out of all these styles.

    How to position Clark has been a cheerful problem from the start, since he was a blues aficionado who loved hanging with the hip-hop kids just as much as he relished going to local Pinetop Perkins shows. He grew up watching music television, but not so much MTV. “I kind of got introduced to everything by watching ‘Austin City Limits,’ which had Buddy Guy, B.B. King, Bonnie Raitt, Jimmie Vaughan, Robert Cray,” he’s said. “It all kind of hit me at once, and I just loved anything that sounded bluesy or rock & roll that felt dangerous and had loud guitar solos up front. Ultimately I figured out where it all came from, and I think the thing that really resonated with me was guys like Albert King and Freddie King — the three Kings,” along with B.B. Soon, as a barely-teen prodigy, he was making his way out in to the real world, being mentored by Austin club owner Clifford Antone as he hooked up with every available local legend.

    Local legend Doyle Bramhall brought him to meet Eric Clapton at a Crossroads Festival in 2010, where they jammed with Sheryl Crow. A year later, his Warner Bros. debut release Bright Lights EP became the first EP ever to get the lead review in Rolling Stone, which wrote, “A genuine 21st-century bluesman, raised on the form in all its roughneck roadhouse glory but marked by the present day? That’s been as hard to find as a 21st century clockmaker.”

    But Rolling Stone may have really been on to something when the magazine got past his prodigious licks and added, “Suddenly you can envision him dueting with Adele, swapping tunes with Jack Johnson or singing hooks for Nas.” Not all those collaborations came to be, but soon enough he was asked by Alicia Keys to co-write and play guitar on “Fire We Make,” a song from her Girl on Fire album, not long before he released his Warner Bros. Records debut album, Blak And Blu, in 2012. Not long after, "Ain't Messin Round", from Blak And Blu was also nominated for Grammy in 2013 and in 2014, Clark had won his first Grammy for Best Traditional R&B Performance for the track "Please Come Home", from that album. Before long he was benefitting from the advocacy of the Rolling Stones, who’ve repeatedly enlisted him as an opening act and on-stage guest. He played for the Obamas at the White House alongside not just Mick Jagger but B.B. King, Jeff Beck, and Buddy Guy. On a prime-time tribute to the Beatles, he performed alongside Dave Grohl and Joe Walsh. On a similar TV tribute to Stevie Wonder, he teamed up with Beyoncé and Ed Sheeran. On record, he co-wrote and played guitar on Childish Gambino’s “The Night Me and Your Mama Met.” In 2017 he was widely praised as a standout among standouts at the MusiCares benefit honoring Tom Petty & the Heartbreakers, making two appearances that night, one by himself and once in collaboration with the Foo Fighters, huge fans who had recorded with and taken Clark out as their opening act before he graduated to major headliner status.

    When the (then-) president of the United States has not only included you on his famous Spotify playlists but called you “the future,” is there anywhere to go from there? This Land proves there is — and it’s a genre-free future that encompasses virtually the entirety of electric roots music and African-American forms and moves forward from there. It’s a landscape that’s his eminent domain.

Contact Information

  • Management/Booking: Management
    Scooter Weintraub
    Pam Adams
    W Management, Inc
    [email protected]
    (212) 274-8952

    Booking
    WME Entertainment
    John Marx
    Seth Seigle
    [email protected]
    Brian Edelman
    [email protected]
    Brian Cohen - International
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.garyclarkjr.com/music
  • ▶ Website: http://www.garyclarkjr.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCqOvoj8ToHKN5YzyBGZCgUQ
  • ▶ YouTube Music: http://music.youtube.com/channel/UCVR9bXK4dTfX-UbBO05Lwlw
  • ▶ Spotify: http://open.spotify.com/album/0YCTY6KpkPWp2etKx9ZNyM
  • ▶ Spotify 2: http://open.spotify.com/album/6pwdy6oQdwSQo8XOfpfAJJ
  • ▶ Spotify 3: http://open.spotify.com/album/5gRwx5vpeXUA75GmuqwByn
  • ▶ Spotify 4: http://open.spotify.com/album/6aNOScaYORjI8CSliGxUql
  • ▶ Spotify 5: http://open.spotify.com/album/4692WtF1efHoEc9tOfIjVj
  • ▶ Spotify 6: http://open.spotify.com/album/2YBFhPxpd7tFj3kd2I2Fx4

Clips (more may be added)

  • 0:59:48
    Gary Clark Jr Live At Glastonbury
    By Gary Clark Jr.
    88 views
  • 0:10:37
    Gary Clark Jr Live at The Surf Lodge
    By Gary Clark Jr.
    93 views
  • 0:15:20
    Gary Clark Jr.: NPR Music Tiny Desk Concert
    By Gary Clark Jr.
    88 views
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Gary Clark Jr. Curated

  • 1 Austin, Texas
  • 1 Blues
  • 1 Guitar
  • 1 R&B
  • 1 Singer-Songwriter

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  • Gary Clark Jr.
    A category was added to Gary Clark Jr.:
    Austin, Texas
    • May 30, 2022
  • Gary Clark Jr.
    A category was added to Gary Clark Jr.:
    R&B
    • May 30, 2022
  • Gary Clark Jr.
    A category was added to Gary Clark Jr.:
    Blues
    • May 30, 2022
  • Gary Clark Jr.
    A category was added to Gary Clark Jr.:
    Singer-Songwriter
    • May 30, 2022
  • Gary Clark Jr.
    A category was added to Gary Clark Jr.:
    Guitar
    • May 30, 2022
  • Gary Clark Jr.
    A video was posted re Gary Clark Jr.:
    Gary Clark Jr Live At Glastonbury
    • May 30, 2022
  • Gary Clark Jr.
    A video was posted re Gary Clark Jr.:
    Gary Clark Jr Live at The Surf Lodge
    From The Surf Lodge's Summer Concert Series
    • May 30, 2022
  • Gary Clark Jr.
    A video was posted re Gary Clark Jr.:
    Gary Clark Jr.: NPR Music Tiny Desk Concert
    SET LIST "What About Us" "When I'm Gone" "Pearl Cadillac" MUSICIANS Gary Clark Jr.: lead vocals, guitar; Eric Zapata: guitar, vocals; Johnny Bradley: bass, vocals; Johnny Radelat: drums, vocals; Jon Deas: keys, vocals
    • May 30, 2022
  • Gary Clark Jr.
    Gary Clark Jr. is matrixed!
    • May 30, 2022
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  • English (Portuguese →)
  • (← Inglês) Português

English (Portuguese →)

 

PATHWAYS
from Brazil, with love

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

 

 

The Matrix was Born in Brazil, but It Embraces the Entire World

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 (Bahia's Bay of All Saints received more enslaved human beings than any other final port-of-call throughout all of human history).

 

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 — 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.

 

Brazil itself is a matrix. Nowhere else but here.


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

The matrix was created in Salvador's Centro Histórico, where Bule Bule above, among magisterial colleagues for whom this matrix was originally built (it's now open to all in the Global Creative Economy) sings, "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

...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: A means by which those above, those below, and EVERYBODY ELSE in the creative economy can be divulged EVERYWHERE.

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

 

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

"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

 


The matrix is the ultimate evolution of a pathway which began in New York City decades ago per the "rescue" of unpaid royalties, performance & mechanicals, for artists burned by major labels: Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd of Kingston's Studio One (Bob Marley's producer; I made a copy of his original contract with Bob to take to CBS Records to argue; Bob was 17 when he signed and his aunt co-signed)...
...Funk Brother Wah Wah Watson (Melvin Ragin) and others. A long and winding road that led inexorably to the necessity of a truly open arts universe, for there is more in Heaven and Earth...

Tap people, tap categories, tap curations... The matrix is a maze of tunnels within King Solomon's creative mines.

(← Inglês) Português

 

CAMINHOS
do Brasil, com amor

"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
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

 

 

O Matrix Nasceu no Brasil, mas Abraça o Mundo Inteiro

Por que construir o matrix no 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 (a Baía de Todos os Santos recebeu mais seres humanos escravizados do que qualquer outro porto de escala final ao longo de toda a história humana).

 

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.

 

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


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

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule acima, entre colegas magisteriais para quem este matrix foi originalmente construído (está aberto agora a todos na Economia Criativa Global) canta, "Chegou a hora dessa gente bronzeada mostrar seu valor..."

...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: Um meio pelo qual os acima, os abaixo e TODOS OS OUTROS na economia criativa podem ser divulgados em TODOS OS LUGARES.

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

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. Laroyê!

 

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

"Muito obrigado por isso - estou tocado!"

✅—Julian Lloyd Webber
Estamos tocados também Sr. 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


O matrix é a evolução definitiva de um caminho que começou em Nova York há décadas atrás pelo "resgate" dos direitos autorais não pagos para Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd do Studio One de Kingston (o produtor de Bob Marley; Eu fiz uma cópia de seu contrato original com Bob para levar à CBS Records para discutir; Bob tinha 17 anos quando assinou e sua tia co-assinou)...
...Funk Brother Wah Wah Watson (Melvin Ragin) e outros. Um longo e sinuoso caminho que levou inexoravelmente à necessidade de um universo de artes verdadeiramente aberto, pois há mais no Céu e na Terra...

Toque em pessoas, toque em categorias, toque em curadoria... O matrix é um labirinto de túneis dentro das minas criativas do Rei Salomão.

  • Oscar Peñas Barcelona
  • João Parahyba Drums
  • Ryan Keberle Piano
  • Vijay Iyer Jazz
  • Xenia França Singer-Songwriter
  • Chris Boardman Composer
  • Brady Haran Filmmaker
  • Massimo Biolcati Composer
  • Phineas Harper Architecture Critic
  • Gabriel Grossi MPB
  • Marcel Camargo Brazil
  • Jared Sims Composer
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  • Ron Blake Flute
  • Steve Abbott Festival Promoter
  • Fred P Electronic Music
  • Fred Dantas Big Band Leader
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  • Ofer Mizrahi Singer-Songwriter
  • Rob Garland Jazz, Funk
  • Wynton Marsalis New York City
  • Adonis Rose Composer
  • Bill Frisell Brooklyn, NY
  • Eddie Palmieri Composer
  • Rodrigo Caçapa Guitar
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  • Dee Spencer Musical Director
  • Marc Johnson Bossa Nova
  • Tom Bergeron Composer
  • Bruce Molsky Fiddle
  • Gord Sheard Ethnomusicologist
  • BaianaSystem Bahia
  • Trombone Shorty Songwriter
  • Buck Jones Bahia
  • Bisa Butler Pan-African Culture
  • Jorge Alfredo Roteirista, Screenwriter
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  • Hendrik Meurkens Harmonica
  • Nduduzo Makhathini Jazz
  • Arturo Sandoval Cuba
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  • Kris Davis Composer
  • Mohamed Diab Screenwriter
  • João do Boi Chula
  • Paolo Fresu Sardinia
  • Paulo Costa Lima Escritor, Writer
  • Rudy Royston Educator
  • Gilsons Bahia
  • Derrick Hodge Jazz
  • Nooriyah نوريّة North African Music
  • Colson Whitehead Writer
  • Elodie Bouny Lisbon, Portugual
  • Casey Benjamin DJ
  • Adriene Cruz Quilts
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  • Marcel Powell Brazil
  • Mary Halvorson Composer
  • Speech Record Producer
  • Abel Selaocoe Composer
  • Jacám Manricks Jazz
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  • Little Simz Hip-Hop
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  • Isaac Julien England
  • Brian Blade Jazz
  • Sam Eastmond Record Producer
  • Frank Beacham New York City
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  • Vanessa Moreno Singer-Songwriter
  • Dave Douglas Composer
  • Giveton Gelin Trumpet
  • Bob Lanzetti Educator
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  • Rowney Scott Brasil, Brazil
  • Alan Brain Filmmaker
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  • Larissa Fulana de Tal Bahia
  • Donnchadh Gough Ireland
  • Zeca Freitas Maestro, Conductor
  • Afel Bocoum Singer-Songwriter
  • Johnny Vidacovich New Orleans
  • Rissi Palmer Country
  • Marc Maron Writer
  • Brian Stoltz Songwriter
  • Elif Şafak Women's Rights Activist
  • Jeffrey Boakye Educator
  • Antonio Adolfo Compositor, Composer
  • Keshav Batish Tabla
  • Kiko Loureiro Progressive Metal
  • Wilson Simoninha MPB
  • Bongo Joe Records Café
  • Mykia Jovan Singer-Songwriter
  • João Luiz Brazilian Classical Guitar
  • Johnny Lorenz Translator
  • Rotem Sivan Guitar
  • Carwyn Ellis Alternative Indie
  • Liz Dany Choreographer
  • Robertinho Silva Brazilian Jazz
  • Corey Ledet Singer-Songwriter
  • Cristiano Nogueira Travel Marketer
  • Carlos Prazeres Música Classica, Classical Music
  • Brandon Seabrook Composer
  • Liberty Ellman Brooklyn, NY
  • Manolo Badrena Jazz
  • Jorge Ben Brazil
  • Chad Taylor Composer
  • Carlos Paiva Salvador
  • Yoko Miwa Jazz
  • Léo Rodrigues São Paulo
  • Roberto Mendes Brazil
  • Ta-Nehisi Coates Black American Culture & History
  • Adanya Dunn Soprano
  • Léo Rodrigues Frevo
  • Neymar Dias Brazil
  • Jacob Collier Singer
  • Nabil Ayers Writer
  • Kirk Whalum Jazz
  • Vincent Herring Manhattan School of Music Faculty
  • Juca Ferreira Sociologista, Sociologist
  • Daniel Owoseni Ajala Ballet School Owner
  • Jeff Coffin Author
  • Walter Ribeiro, Jr. Bahia
  • Virgínia Rodrigues MPB
  • Chris Speed Jazz
  • Kevin Hays Singer-Songwriter
  • Jamael Dean Piano
  • Thana Alexa Jazz
  • Ayrson Heráclito Visual Artist
  • Joan Chamorro Composer
  • Walmir Lima Salvador
  • Hilton Schilder Cape Town
  • Elif Şafak Turkey
  • Gabriel Geszti Brasil, Brazil
  • Jeremy Danneman New York City
  • Jon Madof Jewish Music/Avant-Garde Jazz
  • Aurino de Jesus Chula
  • Banning Eyre African Music
  • Bob Mintzer Jazz
  • Dexter Story Composer
  • James Andrews Second Line
  • Alex Mesquita Federal University of Bahia Faculty
  • Ana Moura Fado
  • Lucio Yanel Brazil
  • Andrew Gilbert Berkeley, California
  • Armandinho Macêdo Salvador
  • Negrizu Bahia
  • Frank Negrão Funk
  • Marcus Miller Film Scores
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  • Jess Gillam Classical Music
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  • Chris Speed Saxophone
  • Paul McKenna Glasgow
  • Nathan Amaral Brazil
  • Bobby Fouther Educator
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  • Wouter Kellerman Composer
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  • Cashmere Cat Hip-Hop
  • Rob Garland Guitar Instruction
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  • Chris Cheek Saxophone
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  • Gavin Marwick Scotland
  • Flor Jorge Singer-Songwriter
  • Linda May Han Oh Jazz
  • Juliana Ribeiro Samba
  • Taylor Ashton Banjo
  • Tray Chaney Record Producer
  • Harish Raghavan Bass
  • Louis Michot Cajun Music
  • Gerson Silva Music Director
  • Ta-Nehisi Coates Journalist
  • Orquestra Afrosinfônica Música Clássica Contemporânia, Contemporary Classical Music
  • Vik Sohonie Record Producer
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  • Dadá do Trombone Bahia
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  • Mary Norris New York City
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  • Dom Flemons Folk & Traditional
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  • Mark Stryker Author
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  • Júlio Caldas Compositor, Songwriter
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  • Steve Abbott Music Producer
  • Adriano Giffoni Bass
  • Darcy James Argue Piano

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