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  • Hugo Linns

    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: Hugo Linns
  • City/Place: Recife, Pernambuco
  • Country: Brazil

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Hugo Linns is a violeiro nordestino, moving between the world of tradition and more modern invention.

    Hugo is a graduate of the Conservatório Pernambucano de Música.

Media | Markets

  • ▶ Instagram: hugo_linns

Clips (more may be added)

  • 3:51
    Hugo Linns - Pipoca Moderna - Viola ressonadora Luciano Queiroz
    By Hugo Linns
    334 views
  • 0:07:17
    Hugo Linns n.07
    By Hugo Linns
    264 views
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Hugo Linns Curated
pathways in

  • 1 Brazil
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  • 1 Pernambuco
  • 1 Recife
  • 1 Viola Caipira

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  • Hugo Linns
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    • September 28, 2020
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    Hugo Linns - Pipoca Moderna - Viola ressonadora Luciano Queiroz
    Há sete anos atrás essa viola foi enviada para Recife/ PE. Depois dela rodar o mundo nas mão do músico violeiro Hugo Linns, ontem ela voltou pra casa pra uma rápida visita!
    • September 28, 2020
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    A category was added to Hugo Linns:
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    • September 28, 2020
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    Hugo Linns n.07
    Hugo Linns vem de uma família apreciadora da música, nasceu e cresceu em Recife/ PE ouvindo sons e referências de todo bom nordestino.
    • September 28, 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.

 

  • Paolo Fresu Theater Scores
  • Ana Luisa Barral Composer
  • Kiko Horta Composer
  • Rita Batista Apresentadora de Rádio, Radio Presenter
  • Ivan Lins Piano
  • Heriberto Araujo Public Speaker
  • Jamael Dean Piano
  • Shankar Mahadevan India
  • Rosângela Silvestre Candomblé
  • Dudu Reis Choro
  • Benny Benack III Piano
  • Terrace Martin Rapper
  • Stephanie Jones Classical Guitar
  • Leandro Afonso Federal University of Bahia
  • Weedie Braimah Djembefola
  • Mandisi Dyantyis South African Jazz
  • Nabihah Iqbal London
  • Scott Yanow Jazz Journalist
  • Luciano Matos Salvador
  • Gilad Hekselman Jazz
  • Alex Hargreaves Violin
  • OVANA Cunene
  • Urânia Munzanzu Cineasta, Filmmaker
  • Carwyn Ellis Brazil
  • Billy O'Shea Ireland
  • The Umoza Music Project Senga Bay
  • Caetano Veloso Brasil, Brazil
  • Darcy James Argue Piano
  • Oswaldo Amorim Brazil
  • King Britt DJ
  • Rumaan Alam Writer
  • Alessandro Penezzi São Paulo
  • Robin Eubanks Composer
  • Dale Farmer Old-Time Music
  • Maria Calú Bahia
  • Alexandre Vieira Jazz
  • Igor Levit Classical Music
  • Alan Williams Metal Artist
  • César Camargo Mariano Record Producer
  • Quincy Jones Record Producer
  • Márcio Bahia Percussion
  • Roy Ayers Singer
  • Aaron Diehl Composer
  • Chris Dingman Jazz
  • Nora Fischer Classical Music
  • Alexandre Vieira Contrabaixo, Double Bass
  • Alex Mesquita Composer
  • Ed O'Brien London
  • Alexandre Gismonti Guitar
  • Oriente Lopez Director de Musica, Music Director
  • Rudresh Mahanthappa Jazz
  • Sarz Hip-Hop
  • Samba de Lata Brazil
  • Grant Rindner Journalist
  • Fatoumata Diawara Paris
  • Seth Swingle Folk & Traditional
  • Caroline Keane Irish Traditional Music
  • Natan Drubi Bahia
  • Goran Krivokapić Classical Guitar
  • Ênio Bernardes Brasil, Brazil
  • Adonis Rose Drums
  • Antonio Sánchez Composer
  • Natan Drubi Choro
  • Yilian Cañizares Lausanne, Switzerland
  • International Anthem Chicago, Illinois
  • Jill Scott R&B
  • Clint Smith Writer
  • Di Freitas Rabeca
  • Jay Mazza New Orleans
  • Ahmad Sarmast Afghan Music
  • Joel Ross Composer
  • Susana Baca Afro-Peruvian Music
  • Milad Yousufi Piano
  • Nabil Ayers Writer
  • Jeff 'Tain' Watts Actor
  • Wayne Escoffery Composer
  • Natalia Contesse Guitar
  • Neo Muyanga African Music
  • Mario Ulloa Guitar
  • Iara Rennó Brasil, Brazil
  • Brian Jackson Jazz
  • Corey Harris Blues
  • Paddy Groenland Dublin
  • Sérgio Machado São Paulo
  • George Cables Composer
  • Jimmy Dludlu AfroJazz
  • Hot Dougie's Brasil
  • Rudresh Mahanthappa Composer
  • Jurandir Santana Barcelona
  • Siba Veloso Singer
  • Maciel Salú Singer
  • Romulo Fróes Samba
  • Dexter Story Record Producer
  • Paul McKenna Scotland
  • Sam Yahel Organ Instruction
  • Benoit Fader Keita Mënik
  • Ryuichi Sakamoto Record Producer
  • Christopher James Record Producer
  • Janine Jansen Utrecht
  • John McEuen Documentary Filmmaker
  • Bejun Mehta New York City
  • Stormzy London
  • Jas Kayser Panama
  • Judith Hill R&B
  • Sônia Guajajara Enfermeira, Nurse
  • Filhos de Nagô Samba
  • Adanya Dunn Canada
  • Liron Meyuhas Percussion
  • Roy Nathanson Arranger
  • James Carter Clarinet
  • Aruán Ortiz Composer
  • Thiago Espírito Santo Baixo, Bass
  • Tatiana Campêlo Dancer
  • Ben Allison Composer
  • Bobby Sanabria Drums
  • Milton Nascimento Singer-Songwriter
  • Marcus Rediker Activist
  • Paulinho Fagundes Composer
  • Jocelyn Ramirez Los Angeles
  • THE ROOM Shibuya Dance Club
  • Wouter Kellerman Bansuri
  • Manolo Badrena Percussion
  • Marília Sodré Chula
  • Alexia Arthurs New York City
  • Lula Moreira Samba de Coco
  • Iara Rennó Diretora, Director
  • VJ Gabiru Videógrafo, Videographer
  • Urânia Munzanzu Escritora, Writer
  • Paulo César Figueiredo Rio de Janeiro
  • Sharay Reed Bass
  • David Chesky Record Producer
  • Kiko Loureiro Finland
  • Lula Gazineu Samba
  • Vincent Valdez Mexican-American Art
  • Deborah Colker Rio de Janeiro
  • Hugues Mbenda France
  • Adriana L. Dutra Director
  • Darryl Hall Bass
  • Alana Gabriela Percussão, Percussion
  • Trilok Gurtu Drums
  • Egberto Gismonti Brasil, Brazil
  • Roberto Fonseca Piano
  • Gevorg Dabaghyan Yerevan State Conservatory Faculty
  • Bill Summers Congas
  • Carlos Paiva Especialista em Políticas Públicas e Gestão Governamental, Specialist in Public Policy and Government Management
  • Eder Muniz Muralista, Muralist
  • Dezron Douglas Bass
  • Jon Batiste New Orleans
  • Merima Ključo Klezmer
  • Capitão Corisco Salvador
  • Colm Tóibín Journalist
  • John McLaughlin Multi-Cultural
  • Marc Ribot Experimental Music
  • Afrocidade Bahia
  • Roberta Sá Samba
  • Bill Summers Afro-Cuban Music
  • Nara Couto Coreógrafa, Choreographer
  • Danilo Brito Brazil
  • Joatan Nascimento Salvador
  • Bill Pearis Editor
  • Zé Katimba GRES Imperatriz Leopoldinense
  • Rolando Herts Delta State University Faculty
  • Jau Samba Reggae
  • Renee Rosnes Composer
  • Maria Calú Igatu
  • The Bayou Mosquitos Zydeco
  • Nancy Ruth Vocal Instruction
  • Betão Aguiar Bass
  • Jorge Pita Salvador
  • Sebastian Notini Bahia
  • Martin Shore Guitar
  • Eder Muniz Grafiteiro, Graffiti Artist
  • Speech Record Producer
  • Bukassa Kabengele Congo
  • Bebê Kramer Rio de Janeiro
  • Gerson Silva Guitar
  • Tank and the Bangas New Orleans
  • Donald Harrison Saxophone
  • Tony Trischka Old-Time Music
  • Chris McQueen Austin, Texas
  • Bule Bule Chula
  • Del McCoury Banjo
  • Ta-Nehisi Coates Journalist
  • Marco Pereira Samba
  • Eduardo Kobra Grafiteiro, Graffiti Artist
  • Babau Santana Partido Alto
  • Michael League Composer
  • Tito Jackson Blues
  • Thomas Àdes Piano
  • Ivan Bastos Brasil, Brazil
  • Carlos Prazeres Oboé, Oboe
  • Isaiah Sharkey Guitar
  • Alex Clark Digital Media Producer
  • Omari Jazz Visual Artist
  • Monarco Singer-Songwriter
  • Gilmar Gomes Brazil
  • Jorge Pita Brazil
  • Hercules Gomes Piano
  • Laura Cole Singer-Songwriter
  • Edil Pacheco Brazil
  • NIcholas Casey Spain
  • Samuca do Acordeon Tango
  • Anna Mieke Singer-Songwriter
  • Jakub Józef Orliński Poland
  • Demond Melancon Big Chief
  • Aditya Prakash Singer
  • Aindrias de Staic Ireland
  • Mart'nália Rio de Janeiro
  • Eder Muniz Arte Urbana, Urban Art
  • Quincy Jones Trumpet
  • John McWhorter Columbia University Faculty
  • Questlove Drums
  • Robi Botos Ropeadope
  • Roy Germano Filmmaker
  • Yelaine Rodriguez Wearable Art
  • Karsh Kale कर्ष काळे Electronic Music
  • Dan Tyminski Guitar
  • Cuong Vu Trumpet
  • Linda May Han Oh New York City
  • Plinio Oyò Bahia
  • Ahmad Sarmast Music School Director
  • Questlove Clive Davis Institute of Recorded Music Faculty
  • Ajurinã Zwarg Drums
  • Elodie Bouny Classical Guitar
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  • Peter Dasent Author
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  • Margaret Renkl Journalist
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  • Michael W. Twitty Washington, D.C.
  • Gonzalo Rubalcaba Afro-Cuban Jazz
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  • Michael Olatuja New York City
  • Walter Mariano Universidade Federal do Recôncavo da Bahia Faculdade, Federal University of the Recôncavo of Bahia Faculty
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  • Fábio Peron Compositor, Composer
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