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  • Hisham Mayet

    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: Hisham Mayet
  • City/Place: Portland, Oregon
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Hisham Mayet is from North Africa's Barbary Coast.

Contact Information

  • Contact by Webpage: http://www.sublimefrequencies.com/contact

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://sublimefrequencies.bandcamp.com
  • ▶ Twitter: SublimeFreq
  • ▶ Instagram: sublime_frequencies
  • ▶ Website: http://www.sublimefrequencies.com

Clips (more may be added)

  • 0:09:17
    On the way of Lolongo's Musicians - Reportage - Sublime Frequencies
    By Hisham Mayet
    274 views
  • 1:35
    Vodoun Gods On The Slave Coast Hisham Mayet Sublime Frequencies Benin Voodoo Sakpata
    By Hisham Mayet
    244 views
  • 2:09
    The Divine River Trailer Sublime Frequencies Film Hisham Mayet Sahel Niger Mali
    By Hisham Mayet
    249 views
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Hisham Mayet Curated
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  • Hisham Mayet
    A video was posted re Hisham Mayet:
    On the way of Lolongo's Musicians - Reportage - Sublime Frequencies
    Hisham Mayet of the Sublime Frequencies music label on musical road trip around Burkina Faso. Following the footsteps of Lolongo's players ( mouth bow ). Hisham Mayet du label Sublime Frequencies, en road trip musical au Burkina Faso, sur les traces des j...
    • July 6, 2020
  • Hisham Mayet
    A video was posted re Hisham Mayet:
    Vodoun Gods On The Slave Coast Hisham Mayet Sublime Frequencies Benin Voodoo Sakpata
    Hisham Mayet's exploration of West African possession ceremonies continues in Benin. Benin is the cradle and birthplace of Voodoo. Formally known as the Slave Coast as, most of the slave industry was exported from its shores. Voodoo worship is integra...
    • July 6, 2020
  • Hisham Mayet
    A video was posted re Hisham Mayet:
    The Divine River Trailer Sublime Frequencies Film Hisham Mayet Sahel Niger Mali
    The Divine River: Ceremonial Pageantry In The Sahel A Film By Hisham Mayet 47 minutes DVD available Sublime Frequencies announces a new film by Hisham Mayet: The Divine River: Ceremonial Pageantry in the Sahel. Condensed from 40 hours of footage, The ...
    • July 6, 2020
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    Hisham Mayet is matrixed!
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


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.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

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

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


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

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

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

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

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

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

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

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

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

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

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

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


RESPLENDENT BAHIA...

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

Samba Chula / Samba de Roda

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

There’s a lot of spectacle in Bahia…

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

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

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

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

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

 

 

PORTUGUÊS (to English →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


POR QUE BRASIL?

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

 

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

 

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

 

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

 

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

 

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

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

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

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


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

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

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

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

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

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

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

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

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

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

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

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


RESPLANDECENTE BAHIA...

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

Samba Chula / Samba de Roda

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

Há muito espetáculo na Bahia...

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

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

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

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

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

 

 

  • Guilherme Varella Advogado, Lawyer
  • Deborah Colker Brazil
  • María Grand R&B
  • Neymar Dias Viola Caipira
  • Miles Mosley Television Scores
  • Cimafunk Cuba
  • Shaun Martin Ropeadope
  • Donald Harrison Composer
  • Mauro Diniz Violão de Sete
  • Dave Eggers Writer
  • Edgar Meyer Classical Music
  • Kiko Loureiro Author
  • Timothy Jones Classical Music
  • Kimmo Pohjonen Finland
  • Joey Alexander Composer
  • Ivan Huol Bahia
  • Andrew Gilbert Jazz
  • David Sedaris Essayist
  • Arany Santana Salvador
  • Fábio Peron Multi-Cultural
  • Toninho Ferragutti Accordion
  • Nate Chinen Radio Director
  • Esperanza Spalding Jazz
  • Thiago Espírito Santo Guitarra, Guitar
  • Jorge Glem Venezuela
  • Di Freitas Composer
  • Siba Veloso Recife
  • Kurt Andersen New York City
  • Adrian Younge Concert Promoter
  • Jeremy Danneman New York City
  • Jeremy Danneman Singer-Songwriter
  • Philip Sherburne Essayist
  • James Elkington Singer-Songwriter
  • Gavin Marwick Multi-Cultural
  • Stefano Bollani Composer
  • Conrad Herwig New York City
  • Ronaldo do Bandolim Composer
  • Igor Levit Piano
  • Warren Wolf Percussion
  • Roy Nathanson Jazz
  • Nara Couto Cantora, Singer
  • Sean Jones Johns Hopkins Peabody Institute Faculty
  • Kiko Souza Saxophone
  • Cory Henry Funk
  • Jessie Montgomery Chamber Musician
  • Júlio Lemos Samba
  • Sarah Jarosz Banjo
  • Kiko Loureiro Finland
  • David Virelles Jazz
  • Paul Mahern Audio Preservation
  • Nonesuch Records New York City
  • Joshua Abrams Guimbri
  • Myron Walden New York City
  • Jeremy Danneman Film Scores
  • Onisajé Educadora, Educator
  • Arturo O'Farrill New York City
  • NIcholas Casey Writer
  • Keola Beamer Hawaiian Music
  • Francisco Mela Composer
  • Courtney Pine Podcaster
  • Marcus Teixeira EMESP Tom Jobim Faculty
  • Michael Sarian Electronic Avant-Garde
  • Itamar Borochov Multi-Cultural
  • Hot Dougie's Brasil
  • Michael Pipoquinha Brazilian Jazz
  • John Boutté Jazz
  • Masao Fukuda Brazil
  • Stuart Duncan Bluegrass
  • Brian Jackson Soul
  • Rob Garland Jazz, Rock
  • Lauren Martin Radio Presenter
  • Henry Cole Puerto Rico
  • Rez Abbasi Indian Classical Music
  • Andrés Prado Guitar
  • Yosvany Terry New York City
  • Camille Thurman Singer
  • Roy Germano Author
  • Márcio Bahia Percussion
  • Rosa Cedrón Galicia
  • Rebeca Omordia London
  • João Luiz Guitar
  • Jeremy Pelt Trumpet Instruction
  • Michelle Mercer Music Critic
  • Isaias Rabelo Composer
  • Henry Cole Jazz
  • Luiz Santos Rio de Janeiro
  • Antonio Adolfo Samba
  • James Martin Jazz
  • Bill Hinchberger Educator
  • Alex Hargreaves Bluegrass
  • Helado Negro Singer-Songwriter
  • Dan Weiss Tabla
  • Lenine Recife
  • Jonathan Finlayson New York City
  • Grégoire Maret Jazz
  • Django Bates Theater Composer
  • Djamila Ribeiro Filósofa, Philosopher
  • Lakecia Benjamin Saxophone
  • Peter Slevin Writer
  • Cut Worms Singer-Songwriter
  • Giba Gonçalves Paris
  • Jared Sims West Virginia University Faculty
  • Andrés Beeuwsaert Argentina
  • Orrin Evans Philadelphia, Pennsylvania
  • Henry Cole New York City
  • Gregory Porter Singer
  • Kirk Whalum R&B
  • Rahim AlHaj Baghdad
  • Henrique Araújo Escola de Choro de São Paulo Faculty
  • Chris Boardman Television Scores
  • Juca Ferreira Bahia
  • Philip Glass Composer
  • Jon Batiste Funk
  • Dhafer Youssef ظافر يوسف Multi-Cultural
  • Darcy James Argue New School Faculty
  • Priscila Castro Cantora-Compositora, Singer-Songwriter
  • Alex Cuadros Author
  • Jonathan Finlayson Trumpet
  • Calypso Rose Calypso
  • Luciana Souza Singer
  • Joshua Abrams Composer
  • Frank Beacham Film, Television Producer
  • David Fiuczynski Microtonal
  • Mike Compton Mandolin
  • Keita Ogawa Drums
  • Dafnis Prieto Drums
  • Jorge Pita Bahia
  • Ilya Kaminsky Literary Critic
  • Siba Veloso Maracatu
  • Jane Ira Bloom Multi-Cultural
  • Dónal Lunny Songwriter
  • John Medeski Composer
  • Brenda Navarrete Percussion
  • Reza Filsoofi Tonbak
  • Eivør Pálsdóttir Singer-Songwriter
  • Cássio Nobre Brazil
  • Sabine Hossenfelder Frankfurt Institute for Advanced Studies
  • Margaret Renkl Writer
  • Marta Sánchez New York City
  • John Harle Saxophone
  • Sergio Krakowski Experimental Music
  • Tony Kofi London
  • John Donohue Writer
  • Bebel Gilberto Samba
  • Nara Couto Bahia
  • Julian Lage Blues
  • Fernando Brandão Pífano
  • Ana Luisa Barral Brazil
  • Vânia Oliveira Dança Afro
  • J. Cunha Artista Plástico, Artist
  • Mauro Senise Saxophone
  • Cécile Fromont Yale Faculty
  • King Britt University of San Diego Faculty
  • Benoit Fader Keita Singer-Songwriter
  • Kiko Souza Jazz Brasileiro, Brazilian Jazz
  • Sameer Gupta Percussion
  • Omer Avital North African Music
  • David Byrne Painter
  • Casa da Mãe MPB
  • Larissa Fulana de Tal Brasil, Brazil
  • Domingos Preto Samba de Roda
  • Paulo César Pinheiro Rio de Janeiro
  • Eddie Kadi Voiceover Artist
  • Serginho Meriti Rio de Janeiro
  • Anna Mieke Irish Folk Music
  • Marco Lobo Bahia
  • Fábio Luna Samba
  • Loli Molina Piano
  • Caroline Keane Concertina
  • Tom Zé Singer-Songwriter
  • Keb' Mo' Americana
  • Lenny Kravitz Multi-Instrumentalist
  • Kendrick Scott New York City
  • Ofer Mizrahi Multi-Cultural
  • David Virelles Composer
  • Angelique Kidjo Benin
  • Simone Sou Record Producer
  • Toninho Horta Singer
  • Miroslav Tadić Contemporary Classical Music
  • Las Cafeteras East Los Angeles
  • Alexia Arthurs Jamaica
  • Celsinho Silva Rio de Janeiro
  • Sharay Reed Jazz
  • Nana Nkweti Writer
  • Dave Douglas Trumpet
  • Paulo César Pinheiro Samba
  • Barry Harris New York City
  • J. Cunha Brasil, Brazil
  • Amy K. Bormet Singer
  • Sahba Aminikia Contemporary Classical Music
  • Meshell Ndegeocello Bass
  • Luciano Matos Apresentador de Rádio, Radio Presenter
  • Alain Mabanckou Africa
  • Jeremy Danneman Ropeadope
  • Ênio Bernardes Pandeiro
  • Abel Selaocoe Cello
  • Corey Henry Trombone
  • Aaron Goldberg Jazz
  • Henrique Cazes Tenor Guitar
  • Henry Cole Multi-Cultural
  • Márcio Bahia MPB
  • Brady Haran Video Journalist
  • Swami Jr. Forró
  • Gord Sheard Accordion
  • Trilok Gurtu Indian Classical Music
  • Paolo Fresu Flugelhorn
  • Brian Jackson Record Producer
  • McClenney Multi-Instrumentalist
  • Carl Joe Williams Painter
  • Jeff Tweedy Singer-Songwriter
  • Lorna Simpson Painter
  • Sônia Guajajara Maranhão
  • Avishai Cohen אבישי כה Tel Aviv
  • Ann Hallenberg Sweden
  • Tony Trischka Banjo
  • Will Holshouser Musette
  • Choronas Baião
  • Robb Royer Country
  • Nicholas Daniel Oboe Master Classes
  • Beth Bahia Cohen Rababa
  • Billy Strings Bluegrass
  • Molly Jong-Fast New York City
  • John Schaefer Writer
  • Danilo Caymmi Film Scores
  • Bodek Janke Tabla
  • Bruce Molsky Banjo
  • Patrice Quinn Los Angeles
  • Ricardo Bacelar Jazz Brasileiro, Brazilian Jazz
  • Carlos Henriquez Composer
  • James Martin Singer-Songwriter
  • Helder Barbosa Bahia
  • David Chesky New York City
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