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  • Joel Best

    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: Joel Best
  • City/Place: London
  • Country: United Kingdom

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: I'm a VES and AACTA nominated Character Artist working in London in the UK.

    Born in Australia with 5 years of production experience in both Australia and the UK.

    Bachelor of Design in Animation (1st Class Hons) from the University of Technology, Sydney.

    Currently working in Framestores' Integrated Advertising Department.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Instagram: joelbestart
  • ▶ Website: http://www.joelbest.com.au
  • ▶ Website 2: http://www.artstation.com/joelbest

More

  • Quotes, Notes & Etc. SOFTWARE
    Houdini
    Maya
    Nuke
    ZBrush
    Arnold

Clips (more may be added)

  • CGI 3D Animated Short "The Albatross" - by Joel Best, Alex Jeremy, and Alex Karonis | TheCGBros
    By Joel Best
    374 views
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Joel Best Curated
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  • 0 Sculptor

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  • Joel Best
    A category was added to Joel Best:
    Sculptor
    • April 2, 2020
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    3D Artist
    • April 2, 2020
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    A video was posted re Joel Best:
    CGI 3D Animated Short "The Albatross" - by Joel Best, Alex Jeremy, and Alex Karonis | TheCGBros
    Enjoy this amazing CGI 3D Animated Short film...In the center of a freezing, misty lake, a struggling writer's solitary fishing trip is disrupted by a strang...
    • April 2, 2020
  • Joel Best
    A category was added to Joel Best:
    London
    • April 2, 2020
  • Joel Best
    A category was added to Joel Best:
    Character Artist
    • April 2, 2020
  • Joel Best
    Joel Best is matrixed!
    • April 2, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

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, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"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: Soa assim: O que a música que você ama diz sobre você

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.

 

  • James Carter Saxophone
  • Felipe Guedes Brazil
  • Elza Soares Samba
  • Tyler Gordon San Jose, California
  • Huey Morgan Author
  • Juliana Ribeiro MPB
  • Marcelinho Oliveira Salvador
  • Marc Cary Jazz
  • Paulinha Cavalcanti Rio de Janeiro
  • Iuri Passos Bahia
  • Donnchadh Gough Ireland
  • Stephen Kurczy Writer
  • Yazz Ahmed London
  • Gregory Tardy University of Tennessee Knoxville School of Music Faculty
  • Yasmin Williams Multi-Cultural
  • Chris Thile New York City
  • Márcio Valverde Singer-Songwriter
  • Luíz Paixão Brazil
  • Beats Antique Oakland, California
  • Burhan Öçal Kudüm
  • John Patitucci Bass Instruction
  • Miles Mosley Television Scores
  • Stephen Guerra Brazil
  • Arany Santana Candomblé
  • Daniil Trifonov Composer
  • Chris Potter Jazz
  • Lalah Hathaway Record Producer
  • Fabiana Cozza Poet
  • Conrad Herwig Afro-Caribbean Jazz
  • Armen Donelian Author
  • Manassés de Souza Composer
  • Marquis Hill R&B
  • Celsinho Silva Samba
  • David Kirby Novelist
  • Brad Ogbonna Photographer
  • Dan Trueman New Instrument Creator
  • Chief Xian aTunde Adjuah Multi-Cultural
  • Ivan Sacerdote Brasil, Brazil
  • Adriano Souza Choro
  • Tom Green Composer
  • Pedro Aznar Singer-Songwriter
  • Ana Luisa Barral MPB
  • Adriano Giffoni Rio de Janeiro
  • Richie Pena Drums
  • Lalá Evangelista Salvador
  • Madhuri Vijay Novelist
  • Iara Rennó Produtora Musical, Music Producer
  • Kyle Poole Composer
  • Jean-Paul Bourelly Composer
  • Yilian Cañizares Violin
  • Philip Ó Ceallaigh Romania
  • Jan Ramsey Cajun Music
  • Sam Harris Jazz
  • Donald Vega Composer
  • Corey Henry Tremé
  • Woz Kaly Africa
  • Casey Benjamin Funk
  • Yunior Terry Afro-Cuban Jazz
  • Jon Lindsay Music Director
  • Grant Rindner New York City
  • Elisa Goritzki Salvador
  • Walter Mariano Universidade Federal do Recôncavo da Bahia Faculdade, Federal University of the Recôncavo of Bahia Faculty
  • Luciana Souza Singer
  • Keyon Harrold Singer
  • Eli Teplin Guitar
  • James Carter Blue Note Records
  • Flora Purim Brazil
  • Itamar Borochov Israel
  • Adenor Gondim Salvador
  • Carlinhos Pandeiro de Ouro Rio de Janeiro
  • Mark Stryker Author
  • Bruno Monteiro Gestor Público, Public Servant
  • Danilo Brito Bandolim
  • Joel Ross Composer
  • Jonathan Scales Jazz Fusion
  • Mickalene Thomas Painter
  • Brooklyn Rider Contemporary Classical Music
  • Andrew Gilbert Jazz
  • Pedro Aznar Poet
  • Léo Rodrigues Percussion
  • Ronald Angelo Jackson Haiti
  • Jimmy Greene Composer
  • Carlos Aguirre Singer
  • Fabian Almazan Piano
  • Maria Marighella Gestor Público, Public Servant
  • John Medeski Funk
  • Banning Eyre Writer
  • Jonathan Scales Composer
  • Eric R. Danton Music Critic
  • Greg Osby Jazz
  • Bob Mintzer Saxophone
  • Oded Lev-Ari Music Producer
  • Diedrich Diederichsen Cultural Critic
  • Maladitso Band African Music
  • Norah Jones Jazz
  • Jocelyn Ramirez Plant-Based Mexican Cooking
  • Chick Corea Contemporary Classical Music
  • Trombone Shorty Funk
  • Urânia Munzanzu Poeta, Poet
  • Kirk Whalum Saxophone
  • Tom Wilcox London
  • Giveton Gelin Bahamas
  • Eric Coleman Documentary Filmmaker
  • Chris Speed Avant-Garde Jazz
  • Nicole Mitchell University of Pittsburgh Faculty
  • Eli Teplin Singer-Songwriter
  • João Luiz Hunter College Faculty
  • Nicholas Payton Composer
  • Gunter Axt Porto Alegre
  • Eric Galm Ethnomusicologist
  • Joey Baron New York City
  • Ricardo Markis Guitarra Baiana
  • Ilya Kaminsky Poet
  • Parker Ighile Rapper
  • Paul McKenna Scotland
  • Magary Lord Salvador
  • Bobby Sanabria Percussion
  • Iroko Trio São Paulo
  • Molly Tuttle Bluegrass
  • Ron Miles Trumpet
  • Ana Tijoux Santiago
  • Marisa Monte Record Producer
  • John Boutté R&B
  • Michel Camilo Classical Music
  • Román Díaz Percussion
  • Jakub Józef Orliński Opera
  • Yo La Tengo Experimental Rock
  • Delbert Anderson Trumpet
  • Irmandade da Boa Morte Brasil, Brazil
  • Zara McFarlane Guitar
  • Brandee Younger New School Faculty
  • Caroline Shaw Composer
  • Shaun Martin Hip-Hop
  • André Becker Bahia
  • Cassie Kinoshi Composer
  • Guga Stroeter Brazil
  • Itiberê Zwarg Rio de Janeiro
  • Roy Nathanson Jazz
  • Leon Bridges Singer-Songwriter
  • Karsh Kale कर्ष काळे Record Producer
  • Manu Chao Singer-Songwriter
  • Vik Sohonie Writer
  • Carlos Malta Flute
  • Nicholas Gill Food Writer
  • Michael Formanek Composer
  • Nilze Carvalho Mandolin
  • Eric Alexander Saxophone Instruction
  • David Hepworth Writer
  • Marcus J. Moore Writer
  • Fábio Luna Cantor-Compositor, Singer-Songwriter
  • Joe Newberry Old-Time Music
  • Dezron Douglas Jazz
  • Mohini Dey Mumbai
  • Ana Tijoux Rapper
  • Ana Luisa Barral Mandolin
  • Luizinho Assis Produtor Musical, Music Producer
  • Lynne Arriale Piano
  • Robert Glasper Piano
  • Iroko Trio Brazil
  • Rogério Caetano Samba
  • Casa da Mãe Chula
  • Ry Cooder Multi-Instrumentalist
  • Paulo Aragão Violão
  • Patty Kiss Salvador
  • Ivan Sacerdote Clarinet
  • Siba Veloso Composer
  • Ben Williams Composer
  • Bill Hinchberger Writer
  • Wilson Simoninha MPB
  • Jakub Knera Music & Culture Journalist
  • Gabrielzinho do Irajá Rio de Janeiro
  • Emicida Singer-Songwriter
  • Márcio Valverde Samba de Roda
  • Lakecia Benjamin R&B
  • Airto Moreira Compositor, Composer
  • David Binney Saxophone
  • Nabil Ayers Writer
  • Marco Pereira Classical Guitar
  • Dave Douglas New School Faculty
  • Edward P. Jones Novelist
  • Jubu Smith Blues
  • James Strauss Brazil
  • Bule Bule Repente
  • Rowney Scott Salvador
  • Eder Muniz Arte Urbana, Urban Art
  • Ilê Aiyê Bahia
  • Jonathan Richter Classical Guitar
  • Ore Ogunbiyi UK
  • Ana Tijoux Chile
  • Lizz Wright Chicago, Illinois
  • Pretinho da Serrinha Songwriter
  • Ajeum da Diáspora Salvador
  • César Orozco Violin
  • 小野リサ Lisa Ono Multi-Cultural
  • Lionel Loueke Singer
  • Margareth Menezes Afropop
  • Dave Holland Bass
  • William Parker Composer
  • Oswaldo Amorim Brasília
  • Esteban Sinisterra Paz Cali
  • Lynn Nottage Columbia University Faculty
  • Bodek Janke Germany
  • Jamberê Cerqueira Bahia
  • Kurt Rosenwinkel Guitar
  • George Porter Jr. New Orleans
  • Bob Reynolds Saxophone
  • David Greely University of Louisiana at Lafayette Faculty
  • Biréli Lagrène France
  • Anthony Hamilton Los Angeles
  • Nei Lopes Writer
  • Weedie Braimah Folk & Traditional
  • Matthew F Fisher Brooklyn, NY
  • Kotringo Piano
  • Stefon Harris Marimba
  • Caridad De La Luz Puerto Rico
  • Bob Bernotas Liner Notes
  • Quatuor Ebène Classical Music
  • Airto Moreira Jazz
  • Robby Krieger Painter
  • Eric R. Danton Writer
  • Linda Sikhakhane Ropeadope
  • Chano Domínguez Composer
  • Elio Villafranca Jazz
  • Rayendra Sunito Record Producer
  • Gian Correa Brazil
  • James Poyser Film Scores
  • Hilton Schilder Cape Jazz
  • Justin Brown Drums
  • Michael League Brooklyn, NY
  • Luciano Calazans Salvador
  • Jay Mazza Writer
  • Dom Flemons Old-Time Music
  • Colson Whitehead Writer
  • Azadeh Moussavi Film Director
  • Sharita Towne Printmaker
  • Babau Santana Chula
  • Lauranne Bourrachot Television Producer
  • Swami Jr. Forró
  • Ivan Sacerdote Bahia
  • Carlos Lyra Bossa Nova
  • Norah Jones Singer-Songwriter
  • Musa Okwonga Podcaster
  • Ricardo Bacelar MPB
  • Frank Negrão Brazil
  • Gerônimo Santana Brazil
  • Marcelinho Oliveira Keyboards
  • Zara McFarlane Jazz
  • Martin Hayes Ireland
  • Courtney Pine Radio Presenter
  • Helado Negro Multi-Instrumentalist
  • Catherine Bent Jazz
  • Deesha Philyaw Literary Critic
  • Avner Dorman Gettysburg College Faculty
  • Casa PretaHub Cachoeira Estúdio de Fotografía, Photography Studio
  • Roosevelt Collier Songwriter
  • Ilê Aiyê Brazil
  • Michael Olatuja Lagos
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