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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • James Carter
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: James Carter
  • City/Place: New York City
  • Country: United States

Life & Work

  • Bio: “You have to be totally comfortable wherever,” Carter says. “I feel that music equals life, that’s the way my teacher always taught me. You just can’t go through life and experience it fully with a set of blinders on. I think there’s tremendous beauty in cross-pollinations of music and influences.”

    In many ways, weaving together divergent impulses is at the heart of Carter’s music. Like the late tenor sax titan Ben Webster, he’s given to furious, high-velocity solos, but is just as likely to wax sentimental, using his big, bruising tone to tenderly caress a comely melody. In 2000, he released two albums simultaneously that amounted to an anti-manifesto, a proclamation that everything is fair game.

    On Chasin’ the Gypsy, a voluptuous, lyrical session partly inspired by the timeless collaboration between Django Reinhardt and Stephane Grappelli, he assembled a thrilling group with violinist Regina Carter and Brazilian guitarist Romero Lubambo, for a project born out of some sound check jamming with Lubambo and Brazilian percussionist Cyro Baptista during a tour with Kathleen Battle. The groove-laden Layin’ in the Cut, featuring James Blood Ulmer’s former rhythm section with electric bassist Jamaaladeen Tacuma and drummer Grant Calvin Weston, combines harmolodic freedom with a deep reservoir of funk, and developed out of a project inspired by another legendary guitarist, Jimi Hendrix.

    He reinvented the organ combo (with 2005’s Out of Nowhere and again in 2009 with John Medeski on Heaven and Earth), explored the music of alt-rock band Pavement (on 2005’s Gold Sounds), and paid loving tribute to Billie Holiday (on 2003’s Gardenias for Lady Day). Taken in context, Carter’s creative rendezvous with composer, Roberto Sierra, with the Concerto for Saxophones and Orchestra made perfect sense.

    Now Carter presents us with James Carter’s Elektrik Outlet, a new configuration within which he has found a new groove to explore. Shifting his sax into a keen array of electronics and pedals just might be the perfect “outlet” for Carter to tap into that “frustrated guitarist” that he often describes himself to be. An excellent selection of tunes from Eddie Harris, Gene Ammons, Al Jarreau, Stevie Wonder, Minnie Ripperton and others provides impetus for Carter’s Elektrik Outlet to sizzle, slide, and pop. Adding energy to the group are fellow Detroit artists, Gerard Gibbs on electronic keyboards, Ralphe Armstrong on electric bass and Alex White on drums.

Contact Information

  • Management/Booking: Management
    American International Artists, Inc.
    Cynthia B. Herbst, President
    (518) 686-0972

Media | Markets

  • ▶ Twitter: jamescarterlive
  • ▶ Website: http://jamescarterlive.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCxBnszhz5npntx1YScPe1UQ
  • ▶ Spotify: http://open.spotify.com/album/0BdIKXeki9xXABNsaaObIP
  • ▶ Spotify 2: http://open.spotify.com/album/1r1PprjJwnPDwqXU1F8djw
  • ▶ Spotify 3: http://open.spotify.com/album/3KoCiZYQASvMijRKEoHZo8
  • ▶ Spotify 4: http://open.spotify.com/album/1qCJMhU71FQ7Z47TySkLDg

More

  • Quotes, Notes & Etc. Carter’s ease with swing, bop and avant-garde styles also gave notice that a staggeringly inclusive figure—the apotheosis of the postmodern jazzman—was now among us.
    - Steve Futterman, THE WASHINGTON POST

    There were passages in the program, especially during pieces such as Joe Henderson’s “Recorda Me,” in which Carter played with a surprisingly soft and tender sound, his improvisations filled with subtle melodic paraphrases. At other times, he added an appealing, burry edge to his tone—the result calling up images, on soprano saxophone, of Sidney Bechet.
    - Don Heckman, LOS ANGELES TIMES

Clips (more may be added)

  • 0:45:58
    The Pace Report: "To Pursue Life and Love Through Music" The James Carter Interview
    By James Carter
    173 views
  • 1:33:25
    James Carter Organ Trio @Sons D'Hiver
    By James Carter
    190 views
Previous
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YOU RECOMMEND

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending James Carter:

  • 2 Blue Note Records
  • 2 Clarinet
  • 2 Composer
  • 2 Contemporary Classical Music
  • 2 Flute
  • 2 Jazz
  • 2 New York City
  • 2 Saxophone
  • Yamandu Costa Composer
  • Kimmo Pohjonen Finland
  • Yelaine Rodriguez Bronx, NY
  • Dan Tepfer Brooklyn, NY
  • Aaron Goldberg Piano
  • Yazz Ahmed Flugelhorn
  • Aindrias de Staic Ireland
  • Morten Lauridsen USC Thornton School of Music Faculty
  • Miguel Atwood-Ferguson Los Angeles
  • Ariane Astrid Atodji Director
  • Jupiter Bokondji Congo
  • Mestre Nenel Bahia
  • THE ROOM Shibuya Tokyo
  • Inaicyra Falcão Cantora, Singer
  • Congahead World Music
  • Tomo Fujita Jazz
  • Casa Preta Local de Música ao Vivo, Live Music Venue
  • David Sacks Bossa Nova
  • Ken Avis World Jazz
  • Carwyn Ellis Samba
  • Sam Eastmond London
  • Tommy Peoples Fiddle
  • Brandon Seabrook New York City
  • Egberto Gismonti Composer
  • Tobias Meinhart Brooklyn, NY
  • Guillermo Klein Argentina
  • Joana Choumali Photographer
  • Andrew Finn Magill Jazz
  • Ben Monder New York City
  • Taylor Ashton Brooklyn, NY
  • Sean Jones Johns Hopkins Peabody Institute Faculty
  • Carl Allen Record Producer
  • Helado Negro Singer-Songwriter
  • David Bruce Multi-Cultural
  • Jonathan Scales Multi-Cultural
  • Saileog Ní Cheannabháin Viola
  • Tony Austin Recording Engineer
  • Dona Dalva Bahia
  • Plinio Oyò Chula
  • Márcia Short Salvador
  • Jennifer Koh Contemporary Classical Music
  • Stephen Guerra Brazilian Classical Guitar
  • Andra Day Pop
  • Mingo Araújo Rio de Janeiro
  • Intisar Abioto Storyteller
  • David Fiuczynski Multi-Cultural
  • Adriano Souza MPB
  • Aruán Ortiz Composer
  • Las Cafeteras Son Jarocho
  • Philipp Meyer Novelist
  • Makaya McCraven Record Producer
  • Brian Lynch Composer
  • Chris Dingman Jazz
  • Alexandre Vieira Brasil, Brazil
  • Tony Trischka Old-Time Music
  • Anthony Hervey Actor
  • Lula Galvão MPB
  • Azi Schwartz החזן עזי שוורץ Cantor
  • Cristovão Bastos Composer
  • Serwah Attafuah Punk
  • Jean-Paul Bourelly Guitar
  • Jubu Smith Bass
  • Júlio Lemos Samba
  • Larry Grenadier Bass
  • Corey Ledet Singer-Songwriter
  • Mary Halvorson Avant-Garde Jazz
  • Philip Sherburne Music Producer
  • Craig Ross Recording Engineer
  • Lula Moreira Percussion
  • Gian Correa São Paulo
  • Andy Kershaw DJ
  • Dezron Douglas Bass
  • Jean Rondeau Piano
  • Merima Ključo Klezmer
  • Priscila Castro Brasil, Brazil
  • Peter Dasent Television Scores
  • Ron McCurdy USC Thornton School of Music Faculty
  • Jake Webster Painter
  • Hélio Delmiro Jazz
  • Andrew Huang YouTuber
  • Shemekia Copeland Singer
  • Inon Barnatan New York City
  • Alessandro Penezzi Composer
  • Courtney Pine Bass Clarinet
  • Nilze Carvalho Bandolim
  • Alyn Shipton Music Critic
  • Fred Dantas Salvador
  • Leyla McCalla Singer-Songwriter
  • Raymundo Sodré Samba
  • Roberta Sá Singer
  • Ruven Afanador New York City
  • Daniel Jobim MPB
  • Emmet Cohen Piano
  • Milford Graves Vocals
  • Kiko Souza Samba
  • Carlinhos Brown Percussion
  • Celsinho Silva Pandeiro Instruction
  • Jamel Brinkley Short Stories
  • Musa Okwonga Novelist
  • Scott Kettner Jazz
  • Restaurante Axego Restaurant
  • Cristovão Bastos Brazil
  • Mestre Barachinha Maracatu
  • Roy Germano Filmmaker
  • Garvia Bailey Toronto
  • Amit Chatterjee Sitar
  • Luíz Paixão Composer
  • Renee Rosnes New York City
  • Paquito D'Rivera Afro-Cuban Jazz
  • Philip Cashian Royal Academy of Music Staff
  • Raul Midón Singer
  • Bruce Molsky Appalachian Music
  • Benoit Fader Keita Afrohouse
  • Africania Brazil
  • Terence Blanchard Trumpet
  • MonoNeon Experimental Music
  • Berta Rojas Classical Guitar
  • Carl Allen Music Director
  • David Sacks Trombone
  • Fernando César Choro
  • Michael Kiwanuka London
  • Seckou Keita Africa
  • Paulo César Pinheiro MPB
  • Mingus Big Band Big Band
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  • Utar Artun Composer
  • Rodrigo Amarante Multi-Instrumentalist
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  • Dave Holland Jazz
  • Keyon Harrold Singer
  • Rodrigo Caçapa Percussion
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  • David Sacks Jazz
  • Bobby Vega Bass Instruction
  • Ibrahim Maalouf Jazz
  • Avishai Cohen Composer
  • Dónal Lunny Bouzouki
  • Arismar do Espírito Santo Brazilian Jazz
  • Dona Dalva Cachoeira
  • Darrell Green Jazz
  • Olga Mieleszczuk Jewish Music
  • Nathan Amaral Violin
  • Rosa Cedrón Galego Folk Music
  • Yacouba Sissoko Mali
  • Conrad Herwig Trombone
  • Keshav Batish Composer
  • Rodrigo Caçapa Composer
  • Reena Esmail Piano
  • Tom Bergeron Jazz
  • Anthony Hervey Trumpet Instruction
  • Stefon Harris Jazz
  • Peter Slevin Northwestern University Faculty
  • Mark Lettieri Instructor
  • Jocelyn Ramirez Online Cooking Classes
  • The Rheingans Sisters Folk & Traditional
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  • Edgar Meyer Bluegrass
  • Eliane Elias Piano
  • Philip Ó Ceallaigh Writer
  • McCoy Mrubata Saxophone
  • Gabrielzinho do Irajá Cavaquinho
  • Jon Faddis Jazz
  • Gêge Nagô Cachoeira
  • Andrés Beeuwsaert Argentina
  • Isaiah J. Thompson Jazz
  • Jau Brazil
  • Karim Ziad Paris, France
  • Michel Camilo Piano
  • Eric Coleman Documentary Filmmaker
  • Yazz Ahmed Trumpet
  • Bukassa Kabengele Singer-Songwriter
  • Julian Lage Composer
  • Rowney Scott Faculdade da UFBA, Federal University of Bahia Faculty
  • Tony Austin Recording Engineer
  • Richard Galliano Paris, France
  • Burhan Öçal Turkey
  • J. Cunha Figurinista, Costume Designer
  • Kurt Andersen Playwright
  • Alana Gabriela Educadora, Educator
  • Reena Esmail Hindustani Classical Music
  • Samuca do Acordeon Chamamé
  • Maciel Salú Pernambuco
  • Alexa Tarantino Woodwinds
  • Paulo Paulelli Bass
  • Parker Ighile Multi-Cultural
  • Aderbal Duarte Bossa Nova
  • Fabian Almazan Film Scores
  • Giba Gonçalves Candomblé
  • Monarco Brazil
  • Kyle Poole New York City
  • Inaicyra Falcão Cantora, Singer
  • Gabriel Policarpo Brazil
  • Robin Eubanks Composer
  • Alex Conde Piano
  • Joey Alexander Jazz
  • J. Cunha Cenógrafo, Scenographer
  • Simon Singh Journalist
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  • Robert Randolph Soul
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  • Nana Nkweti University of Alabama Faculty
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  • Tessa Hadley Short Stories
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  • Michael League Multi-Instrumentalist
  • Linda May Han Oh New York City
  • Richie Stearns Appalachian Music
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  • Edgar Meyer Composer
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  • Aneesa Strings Jazz
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  • Vijay Iyer Composer
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  • Hermeto Pascoal Multi-Instrumentalist
  • David Ritz Liner Notes
  • Carlos Malta Brazil
  • Gearóid Ó hAllmhuráin Author
  • Mary Stallings Singer
  • Anthony Coleman Piano
  • David Sacks Bossa Nova
  • Ana Tijoux Hip-Hop
  • Adriano Souza Samba
  • Terreon Gully Drums
  • Elie Afif Dubai
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  • Gabriel Geszti Acordeon, Accordion
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  • Jas Kayser Jazz
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  • David Virelles Cuba
  • Ryan Keberle Trombone
  • Pallett Iran
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  • Larry McCray Keeping the Blues Alive Records
  • Lazzo Matumbi Salvador
  • Alessandro Penezzi Samba
  • Ana Luisa Barral MPB
  • Jean-Paul Bourelly Multi-Cultural
  • Avishai Cohen אבישי כה Razdaz Recordz
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  • Joe Lovano Jazz
  • Jerry Douglas Music Director
  • Noam Pikelny Nashville, Tennessee
  • Aloísio Menezes Bahia
  • Eli Teplin Piano
  • Victor Gama Luanda
  • Ramita Navai Writer
  • Kyle Poole Jazz
  • Daru Jones Hip-Hop
  • Simon Shaheen Composer
  • Gregory Porter Jazz
  • Mokhtar Samba Morocco
  • Eduardo Kobra Artista da Rua, Street Artist
  • Lenine Record Producer
  • Zebrinha Salvador
  • Damon Albarn Theater Composer
  • Germán Garmendia Los Angeles
  • Alê Siqueira Brazil
  • João Teoria Compositor, Composer
  • Conrad Herwig New York City
  • Ashley Pezzotti Jazz
  • Liron Meyuhas Multi-Cultural
  • Jonathan Scales Jazz Fusion
  • Marcus Strickland Brooklyn, NY
  • Soweto Kinch Rapper
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  • Billy Strings Singer
  • Tiganá Santana Brasil, Brazil
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  • Donny McCaslin Composer
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  • Terell Stafford Composer
  • Olivia Trummer Classical Guitar
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  • Chico César Poet
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  • Gevorg Dabaghyan Yerevan State Conservatory Faculty
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  • PATRICKTOR4 Global Bass
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  • Zachary Richard Poet
  • Gabriel Geszti MPB
  • Léo Rodrigues Forró
  • John Doyle Dublin
  • Adriana L. Dutra Rio de Janeiro
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  • Spider Stacy Tin Whistle
  • Tarus Mateen Jazz
  • Fábio Zanon São Paulo
  • Run the Jewels Rap
  • Hot Dougie's Brasil
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  • Hugo Rivas Guitar
  • Betsayda Machado Singer
  • Nublu Jazz
  • Egberto Gismonti Composer
  • Maia Sharp Country
  • Mono/Poly Glitch
  • João Luiz Brooklyn, NY
  • Mario Ulloa Salvador
  • Horácio Reis Faculdade da Ucsal, Catholic University of Salvador Faculty
  • Bill Frisell Composer
  • Ben Harper Gospel
  • Peter Mulvey Milwaukee, Wisconsin
  • Andrew Finn Magill Choro
  • Chucho Valdés Piano

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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