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  • Jacám Manricks

    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: Jacám Manricks
  • City/Place: At large in California
  • Country: United States
  • Hometown: Brisbane, Australia

Life & Work

  • Bio: Sri Lankan/Portuguese Australian-born saxophonist/composer Jacam Manricks was raised in a musical family. His parents were resident classical musicians in the state symphony in his hometown of Brisbane and his grandfather was a famous Portuguese jazz clarinetist and saxophonist in Sri Lanka. As a child Jacam frequently attended his parents’ symphony concerts and was introduced to jazz at home through his fathers’ jazz record collection. Due to these surroundings, Jacam was able to build a diverse musical foundation from a young age that combined jazz and classical music, two genres that continue to influence his music today. Jacam began studying piano at age 5 and the alto saxophone at 9. His formal musical training continued in New York in 2001, culminating with a Doctor of Musical Arts degree in JazzArts from the Manhattan School of Music in 2007.

    As a saxophonist and woodwind player, Jacam has performed and/or recorded with some of the most prestigious international artists of our time. He has performed at venues such as the Jazz Standard, the Jazz Gallery, Cornelia Street Café, Smalls, and Jazz at Lincoln Center.

    As a composer, soloist and ensemble leader, Jacam has recorded six albums to date (Sky’s the Limit, Labyrinth, Trigonometry, Could Nine, Chamber Jazz, and GilManricks). His music has been highly commended in major jazz magazines, websites and newspapers in the United States, Canada, France, Italy, Ireland, Germany, Australia, New Zealand and elsewhere. In 2009 Jacam released his second album Labyrinth, which received rave reviews in JazzTimes, Downbeat, All About Jazz-NY, Sydney Morning Herald and the Irish Times among others. Labyrinth consists of Jacam’s compositions for jazz quintet and chamber orchestra and features some of New York’s finest jazz soloists (Ben Monder – guitars, Thomas Morgan – bass, Tyshawn Sorey – drums, Jacob Sacks – piano and himself on saxophones/woodwinds).

    His third album Trigonometry, which was recorded in New York in May 2010 (Posi-tone Records), features Jacam’s compositions for jazz quartet and septet, performed by leading New York jazz artists (Gary Versace – piano, Joe Martin – bass, Obed Calvaire – drums, Scott Wendholt – trumpet, Alan Ferber – trombone and himself – saxophones). Trigonometry has been highly praised by writers for international jazz market media magazines, newspapers and websites. These include Jazz Times, The New York Times, All About Jazz, Time Out-New York, The Australian, The Sydney Morning Herald, Ottowa Citizen, All Music Guide, EJazzNews and more. In October 2011, Jacam recorded Could Nine (Posi-tone Records), released in 2012. The album features Jacam’s original compositions and arrangements for jazz quartet performed by internationally respected jazz artists (Adam Rogers– guitar, Matt Wilson – drums, Sam Yahel-Organ, and himself – alto saxophone).

    Jacam has received a number of prestigious awards and scholarships for artistic excellence and touring, such as the International Pathways Touring Grant in 2011, the Contemporary Music Touring Program awards in 2010, 2009 and 2008, the Australian National Jazz Award- 2009, the Marten Bequest Arts Fellowship in 2005 and the Queensland Lord Mayors Performing Arts Fellowship in 2000. He has toured extensively throughout Europe, Australia, Canada and the US as a soloist and/or bandleader.

    Jacam has composed works for a number of different ensembles worldwide. These include a Suite for Symphony Orchestra and Big Band, which was premiered as a part of the Manhattan School of Music’s 90th Anniversary Celebration Concert in New York in October 2007. The concert featured Jacam as composer/orchestrator and alto saxophone soloist. He has written and/or conducted other works for the William Patterson University Big Band (New Jersey, USA), the Manhattan School of Music Jazz Orchestra (New York, USA), The Mothership Jazz Orchestra (Sydney, Australia), numerous ensembles at the Helsinki Polytechnics Pop and Jazz Conservatory (Finland), the Norwegian Academy of Music in Oslo (Norway Fall-2010), and the Queensland Conservatorium of Music (Brisbane, Australia).

    In addition to performing and composing, Jacam is a very experienced musical educator. He has done lectures, courses, master classes and clinics at internationally renowned institutions such as the Manhattan School of Music (New York, NY), the William Paterson University (Patterson, NJ), the New School of Jazz and Contemporary Music (New York, NY), University of California Davis (Davis, CA), University of Toronto (Canada), Sydney Conservatorium of Music (Sydney, Australia), Victorian College of the Arts (Melbourne, Australia), Queensland Conservatorium of Music (Brisbane, Australia).

    Jacam received his Bachelor degree in Music Performance from the Queensland Conservatorium, Brisbane, Australia in 2000, his Masters degree in jazz composition and arranging at the William Paterson University in New Jersey in 2003, and his Doctor of Musical Arts (DMA) degree from the Manhattan School of Music, New York, in 2007 as one of the first doctorate-level graduates in the field of jazz composition/performance/pedagogy.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.jacammanricks.com/cds
  • ▶ Charts/Scores: http://www.jacammanricks.com/copy-of-cds
  • ▶ Twitter: jacammanricks
  • ▶ Website: http://www.jacammanricks.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCKUC943qaEeXEzaDj27V9ww
  • ▶ Spotify: http://open.spotify.com/album/0Be25kgejJc34N3tC5yiEc
  • ▶ Spotify 2: http://open.spotify.com/album/1TFVkPEY5l2KZkSZq1nwQ5
  • ▶ Spotify 3: http://open.spotify.com/album/42LNgT295F5KllC9vnkGvZ

More

  • Quotes, Notes & Etc. "Superb saxophone work, intellectually stimulating writing and ingenious dovetailed rhythmic lines"
    - ALL ABOUT JAZZ

    "First class talent... a potent swinging chemistry... he gives the genre meaning that people can relate to and apply to their own lives"
    - JAZZ TIMES MAGAZINE

    "Mellifluous... meditative... beautifully contoured... impressive collection of pieces"
    - DOWNBEAT MAGAZINE

Clips (more may be added)

  • 3:06
    Chamber Jazz EPK
    By Jacám Manricks
    258 views
  • 1:20:29
    Jazz Combos of UC Davis (Mar. 12, 2019)
    By Jacám Manricks
    316 views
Previous
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Jacám Manricks Curated
pathways in

  • 2 Composer
  • 2 Jazz
  • 2 Saxophone
  • 2 UC Davis Faculty

What's Been Happening?

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  • Jacám Manricks
    A video was posted re Jacám Manricks:
    Chamber Jazz EPK
    Short video interview about 'Chamber Jazz' a release by saxophonist, woodwind player and composer Jacam Manricks. Features: Kevin Hays-piano and Fender rhodes Gianluca Renzi-bass Ari Hoenig-drums Jacam Manricks-woodwinds
    • September 6, 2020
  • Jacám Manricks
    A video was posted re Jacám Manricks:
    Jazz Combos of UC Davis (Mar. 12, 2019)
    UC Davis Jazz Combos
    • September 6, 2020
  • Jacám Manricks
    Aaron Goldberg → Piano has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Aaron Goldberg → New York City has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Aaron Goldberg → Jazz has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Aaron Goldberg → Composer has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Conrad Herwig → Trombone has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Conrad Herwig → Rutgers University Faculty has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Conrad Herwig → New York City has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Conrad Herwig → Jazz has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Conrad Herwig → Composer has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Conrad Herwig → Afro-Caribbean Jazz has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Bob Mintzer → USC Thornton School of Music Faculty has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Bob Mintzer → Saxophone has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Bob Mintzer → Multi-Instrumentalist has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Bob Mintzer → Jazz has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Bob Mintzer → Composer has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    Bob Mintzer → Big Band Leader has been recommended via Jacám Manricks.
    • September 6, 2020
  • Jacám Manricks
    A category was added to Jacám Manricks:
    UC Davis Faculty
    • September 6, 2020
  • Jacám Manricks
    A category was added to Jacám Manricks:
    Jazz
    • September 6, 2020
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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.

 

 

  • Kengo Kuma Tokyo
  • Paulo Aragão MPB
  • Kim Hill DJ
  • Logan Richardson Flute
  • Jonathan Finlayson Jazz
  • Sara Gazarek USC Thornton School of Music Faculty
  • Itiberê Zwarg Multi-Instrumentalist
  • Monk Boudreaux Percussion
  • Yosvany Terry Afro-Cuban Jazz
  • Ariel Reich Actor
  • Luciana Souza Brazilian Jazz
  • Joel Ross Composer
  • Daedelus Hip-Hop
  • James Elkington Guitar
  • Gord Sheard Accordion
  • Maria Drell Bahia
  • THE ROOM Shibuya Jazz
  • Orlando Costa Brazil
  • David Castillo Moorpark College Faculty
  • Madhuri Vijay Novelist
  • Joe Lovano Berklee College of Music Faculty
  • Arthur Verocai Piano
  • Sam Reider Accordion
  • Lynne Arriale Piano
  • Luis Paez-Pumar Editor
  • Brandon Seabrook Composer
  • Andrew Huang Songwriter
  • Nicholas Payton Record Label Owner
  • Alphonso Johnson Funk
  • Dermot Hussey Reggae
  • Keshav Batish Santa Cruz, California
  • Matias Traut Salvador
  • Richard Bona Multi-Cultural
  • Niwel Tsumbu Ireland
  • Jau Samba Reggae
  • Greg Spero App Developer
  • International Anthem Progressive Media
  • Daymé Arocena Havana
  • Mikki Kunttu Lighting Designer
  • Michael Janisch London
  • Bukassa Kabengele Singer-Songwriter
  • Martin Shore Film Director
  • Edmar Colón Jazz
  • Otmaro Ruiz Venezuela
  • Eduardo Kobra Arte da Rua, Street Art
  • Cimafunk Cuba
  • Kenny Garrett Composer
  • Lula Moreira Documentary Filmmaker
  • Carlos Malta Clarinet
  • Carlos Paiva Salvador
  • Jim Beard Record Producer
  • Sarah Jarosz Guitar
  • Eric Alexander New York City
  • Sam Harris New York City
  • Mohamed Diab Screenwriter
  • Ronell Johnson Trombone
  • Armen Donelian New School Faculty
  • Benoit Fader Keita Electro Music
  • Mou Brasil Bahia
  • Tom Wilcox Record Producer
  • MonoNeon R&B
  • Yazhi Guo 郭雅志 Boston, Massachusetts
  • Roberto Fonseca Piano
  • 小野リサ Lisa Ono Japan
  • Brian Stoltz Guitar
  • Rob Garland Jazz, Funk
  • Tomoko Omura Multi-Cultural
  • Béco Dranoff Cultural Producer
  • Biréli Lagrène Manouche
  • Giovanni Russonello Electoral Politics
  • Eric Alper Toronto
  • Mehdi Rajabian Record Producer
  • Heriberto Araujo Brazil
  • Carlos Lyra Brazil
  • Munir Hossn Bahia
  • Liz Pelly Brooklyn, NY
  • Larisa Wiegant Illustrator
  • Tarus Mateen Bass
  • Bisa Butler Textile Artist
  • Nic Adler Live Music Venue Owner
  • Courtney Pine Jazz
  • Margareth Menezes Samba-Reggae
  • Matt Parker Comedian
  • Keita Ogawa Percussion Samples
  • Moses Boyd Record Producer
  • Jeff Ballard Percussion
  • Dezron Douglas Bass
  • Miroslav Tadić Jazz
  • Léo Rugero Ethnomusicologist
  • Ramita Navai Journalist
  • Sabine Hossenfelder Physicist
  • Olga Mieleszczuk Accordion
  • Cinho Damatta Brasil, Brazil
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