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  • Jeff Tang

    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: Jeff Tang
  • City/Place: Brooklyn, NY
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Jeff Tang is a composer and creative producer whose practice is rooted in a deep delight in the cross-pollination of artistic disciplines, a dedication to the redirection of the cultural narrative, and an ambition to re-center historically underrepresented voices and values in the arts.

    As a composer, his music theater work has been seen in New York, London, Minneapolis, and Chicago. Commissions include NYC's Leviathan Lab, the NYU Write/Act Festival, Music Institute of Chicago, Theatre Latte Da in Minneapolis, St. Ann's School in Brooklyn. He’s scored podcasts for Reese Witherspoon’s production company, Hello Sunshine, and Rainn Wilson’s SoulPancake, as well as for People’s Action Network. Jeff has been a Summer Labs Artist in Residence at National Sawdust, a Composition Fellow at the Virginia Center for the Creative Arts, and an alumnus of the New Dramatists Composer-Librettist Studio, Prospect Theater Company's Musical Theater Lab, and the PlayLabs Festival at the Playwrights Center.

    As creative producer, credits include as Executive Creative Producer for Iphigenia, a new opera, currently in development, by jazz icons Wayne Shorter and Esperanza Spalding, with set designs by the architect Frank Gehry; and as lead producer for composer Mason Bates’s genre-bending KC Jukebox series at the Kennedy Center. For virtual audiences, he produced Sound Heals, the official launch event for the Sound Health Network; The Heart of the Song for The Dallas Opera, featuring the music and stories of a trio of star tenors from Mexico; and with Lumahai Productions, he produced the pilot episode for Active Hope, a virtual event and podcast series created with The Apollo Theater, The Kennedy Center, and National Sawdust.

    As the Associate Producer for the NationalSawdust+: performance and conversation series in Brooklyn, he’s worked with poets, scientists, filmmakers, musicians, mixologists, and jugglers, and his previous role at the Metropolitan Opera saw him on the producing team for the award-winning international Live in HD and radio broadcasts, and as a catalyst for public programming, audience engagement, and social impact.

    He serves on the Equity Committee of the newly-formed Creative & Independent Producer Alliance (CIPA), and is a proud member of Peoplmovr, a creative studio specializing in involvement that centers anti-racism and equity in its commitment to collective liberation.

    Predictably, he lives in Brooklyn, NY.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Instagram: soyjeff
  • ▶ Website: http://www.jefftang.com

Clips (more may be added)

  • 2:33
    Trailer | Such Strange Gravity @ National Sawdust
    By Jeff Tang
    242 views
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Jeff Tang Curated
pathways in

  • 1 Brooklyn, NY
  • 1 Composer
  • 1 Creative Producer

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  • Jeff Tang
    Esperanza Spalding → Singer has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    Esperanza Spalding → Jazz has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    Esperanza Spalding → Composer has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    Esperanza Spalding → Bass has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    Wayne Shorter → Saxophone has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    Wayne Shorter → Jazz has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    Wayne Shorter → Composer has been recommended via Jeff Tang.
    • March 28, 2021
  • Jeff Tang
    A video was posted re Jeff Tang:
    Trailer | Such Strange Gravity @ National Sawdust
    Such Strange Gravity: Songs of Gotham is a theatrical song cycle that explores and deconstructs the mythology of home from first European contact with the indigenous Lenape tribe to the near future. Composer Jeff Tang has worked with a variety of lyricist...
    • March 28, 2021
  • Jeff Tang
    A category was added to Jeff Tang:
    Brooklyn, NY
    • March 28, 2021
  • Jeff Tang
    A category was added to Jeff Tang:
    Creative Producer
    • March 28, 2021
  • Jeff Tang
    A category was added to Jeff Tang:
    Composer
    • March 28, 2021
  • Jeff Tang
    Jeff Tang is matrixed!
    • March 28, 2021
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, for incandescent Brazil, for the entire creative world, new ways...
✅—Pardal/Sparrow
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 do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, para o Brasil incandescente, pro mundo criativo inteiro, novos caminhos...
✅—Pardal/Sparrow
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.

"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.

 

  • Beth Bahia Cohen Berklee College of Music Faculty
  • Nego Álvaro Rio de Janeiro
  • Jared Sims Funk
  • Yazz Ahmed Ropeadope
  • Daphne A. Brooks Black American Culture & History
  • Dona Dalva Cachoeira
  • Caroline Keane County Kerry
  • Ajeum da Diáspora Brazil
  • Margaret Renkl Journalist
  • Luedji Luna Bahia
  • Luiz Antônio Simas Compositor, Composer
  • Otis Brown III Jazz
  • Ambrose Akinmusire Composer
  • Brett Kern Ceramic Artist
  • Criolo Brasil, Brazil
  • Bruno Monteiro Gestor Público, Public Servant
  • Richie Pena Programmer
  • Jeffrey Boakye Radio Presenter
  • Matt Parker Mathematics
  • David Sedaris Humor
  • Mike Marshall Guitar
  • Stacy Dillard Composer
  • Joe Chambers Composer
  • Paulão 7 Cordas Brazil
  • Lenna Bahule Brazil
  • Marisa Monte Brazil
  • Aaron Parks Piano
  • Michael Doucet Cajun Fiddle
  • Larissa Fulana de Tal Salvador
  • Ubiratan Marques Brasil, Brazil
  • Leo Nocentelli R&B
  • Thana Alexa Music Producer
  • Bhi Bhiman Singer-Songwriter
  • Pedro Aznar Argentina
  • Joey Alexander Piano
  • Joel Guzmán Austin, Texas
  • Margareth Menezes Bahia
  • Karla Vasquez El Salvador
  • Mark Markham Piano
  • Mike Compton Bluegrass
  • Nana Nkweti Africa
  • Camilla A. Hawthorne Writer
  • Daedelus Los Angeles
  • Jovino Santos Neto Seattle
  • Sérgio Machado Roteirista, Screenwriter
  • Mingo Araújo Percussion
  • Charles Munka Collage
  • Yasmin Williams Harp-Guitar
  • Bai Kamara Jr. Singer-Songwriter
  • Andy Kershaw Journalist
  • Jonga Cunha Salvador
  • Arifan Junior Produtor Cultural, Cultural Producer
  • Kaveh Rastegar Multi-Instrumentalist
  • Sean Jones Composer
  • Aperio Houston
  • Marc Johnson New York City
  • Luciano Salvador Bahia Salvador
  • Questlove Music Journalist
  • Marcus Strickland Saxophone
  • Márcio Valverde Santo Amaro
  • Paulo Martelli Brasil, Brazil
  • Roy Nathanson Saxophone
  • Diego Figueiredo Violão, Guitar
  • Catherine Bent Jazz
  • Tom Moon Music Critic
  • Michael League Multi-Cultural
  • Arturo Sandoval Composer
  • Sam Wasson Author
  • Becca Stevens Singer-Songwriter
  • Vijith Assar Software Engineer
  • Susana Baca Peru
  • Renato Braz Percussion
  • James Martin R&B
  • Sandro Albert New York City
  • Emily Elbert Guitar
  • Michael Cuscuna Record Producer
  • Cristovão Bastos Composer
  • Bukassa Kabengele Singer-Songwriter
  • Ron Carter Educator
  • D.D. Jackson Piano
  • Tia Surica Rio de Janeiro
  • Maria Calú Igatu
  • James Martins Brasil, Brazil
  • Paulinha Cavalcanti Rio de Janeiro
  • Susana Baca Folklorist
  • Ivan Huol Brazil
  • Muhsinah Hip-Hop
  • Ricardo Herz Brazil
  • Isaias Rabelo Jazz
  • Celso de Almeida Brazil
  • Leo Genovese Keyboards
  • Wouter Kellerman Composer
  • Patty Kiss Compositora, Songwriter
  • George Cables Composer
  • Elizabeth LaPrelle Educator
  • João Parahyba São Paulo
  • Renato Braz São Paulo
  • Rob Garland Jazz, Funk
  • Gerald Cleaver Jazz
  • Philip Ó Ceallaigh Romania
  • Yelaine Rodriguez Fashion Design
  • João Luiz Hunter College Faculty
  • Jazzmeia Horn Writer
  • Susana Baca Afro-Peruvian Music
  • Guilherme Kastrup Brazil
  • João Teoria Cantor, Singer
  • Zé Katimba Samba
  • Robert Randolph Funk
  • David Sacks Trombone
  • Kronos Quartet San Francisco
  • Nicholas Barber London
  • Alicia Keys Record Producer
  • Casey Benjamin Vocoder
  • Congahead Latin Jazz
  • Aloísio Menezes Brazil
  • Nelson Latif Brazil
  • Gord Sheard Composer
  • Dermot Hussey Musicologist
  • Michael Formanek Bandleader
  • Mateus Aleluia Filho Música Pan-Africana, Pan-African Music
  • Cédric Villani Mathematics
  • Glória Bomfim Bahia
  • Yoruba Andabo Rumba
  • The Bayou Mosquitos Amsterdam
  • Jared Sims Clarinet
  • Del McCoury Guitar
  • Arturo Sandoval Piano
  • Phineas Harper Mobile Maker
  • Roberta Sá Singer
  • Adam O'Farrill Jazz
  • Perumal Murugan India
  • Rachael Price Singer-Songwriter
  • Amilton Godoy Composer
  • Milad Yousufi Composer
  • Alê Siqueira Salvador
  • Nikole Hannah -Jones Brooklyn, NY
  • Emily Elbert Los Angeles, California
  • António Zambujo Lisbon
  • Sanjay K Roy New Delhi
  • John Harle Record Producer
  • David Hepworth Publishing Industry Analyst
  • Brenda Navarrete Havana
  • Etienne Charles Steel Drums
  • Diego Figueiredo Jazz Brasileiro, Brazilian Jazz
  • Yola Americana
  • Eddie Palmieri Ropeadope
  • Antonio Adolfo Choro
  • David Braid England
  • Mark Bingham New Orleans
  • Gerald Clayton Jazz
  • Seu Regi de Itapuã Forró
  • David Wax Museum Charlottesville, Virgina
  • Papa Mali New Orleans
  • Serginho Meriti Singer
  • Tiganá Santana Brasil, Brazil
  • Ammar Kalia Essayist
  • Inaicyra Falcão Brasil, Brazil
  • Oteil Burbridge Jazz
  • Romulo Fróes São Paulo
  • Amilton Godoy Brazil
  • Júlio Lemos Brazil
  • Riley Baugus Luthier
  • Shabaka Hutchings Jazz
  • Natan Drubi Violão de Sete, Seven-string Guitar
  • Nara Couto Coreógrafa, Choreographer
  • Simon McKerrell Bagpipes
  • Ronald Bruner Jr. Singer
  • Walter Smith III Saxophone
  • Liam Farrell 'Dr L' Ireland
  • Mandisi Dyantyis Composer
  • Nabaté Isles Composer
  • Welson Tremura University of Florida Faculty
  • Vincent Herring Jazz
  • Nic Hard DJ
  • Liron Meyuhas Percussion
  • Eli Degibri אלי דג'יברי Israel
  • Pedro Aznar Bass
  • Maria Calú Chapada Diamantina
  • Iuri Passos Brazil
  • Jim Beard Composer
  • Munyungo Jackson Author
  • Matt Garrison Record Producer
  • Randy Lewis Journalist
  • Bonerama R&B
  • Juliana Ribeiro Salvador
  • Robertinho Silva Composer
  • Yoruba Andabo Havana
  • Nooriyah نوريّة Arabic Music
  • Simone Sou Record Producer
  • Victor Gama Contemporary Musical Instrument Design
  • Kermit Ruffins Singer
  • Susheela Raman Multi-Cultural
  • Rita Batista Apresentadora de Rádio, Radio Presenter
  • Dave Eggers Painter
  • Ivan Sacerdote Choro
  • Ajurinã Zwarg Rio de Janeiro
  • Robertinho Silva Brazil
  • Elio Villafranca Piano
  • Gilberto Gil Salvador
  • Melvin Gibbs Funk, HIp-Hop, Alternative
  • Samuel Organ Electronic Music
  • Abel Selaocoe South Africa
  • Lucía Fumero Spain
  • Pretinho da Serrinha Cavaquinho
  • Otto Singer-Songwriter
  • Ken Avis Radio Presenter
  • Darol Anger Fiddle
  • Ben Wolfe New York City
  • Osvaldo Golijov Argentina
  • Nelson Sargento Rio de Janeiro
  • Dudu Reis Brasil, Brazil
  • Nicholas Gill Food Writer
  • Dani Deahl Record Producer
  • Ronaldo Bastos Composer
  • Cristiano Nogueira Rio de Janeiro
  • Gal Costa Singer
  • Angel Deradoorian Los Angeles
  • Shuya Okino Radio Presenter
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  • Paulo Costa Lima Brasil, Brazil
  • Reggie Ugwu Writer
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  • Tony Kofi Flute
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  • Shalom Adonai Samba Rural

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