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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.

 

  • John Harle
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: John Harle
  • City/Place: London
  • Country: United Kingdom
  • Hometown: Newcastle upon Tyne

Life & Work

  • Bio: John Harle is an Ivor Novello award-winning composer, record producer, and saxophonist whose work spans across musical genres from classical to contemporary pop.

    John is the composer of operas, musical theatre shows, around fifty concert works and over 100 film and TV scores including the theme to BBC1's Silent Witness and the epic score to Simon Schama’s A History of Britain. He is the recipient of an Ivor Novello award and two Royal Television Society awards for Best Music.

    Starting at the National Theatre in the late 1970's, John was an actor/musician, composer, musical director and instrumentalist for many years, including acting parts in plays by Edward Bond and Isaak Babel, musical directorships for Harrison Birtwistle and playing in the celebrated Guys and Dolls band for director Richard Eyre. John's own shows, A Quick Deco and To Those Born Later were featured at the National Theatre Platforms, The King's Head Islington, Hampstead New End Theatre and The Arts Theatre with actors Caroline Quentin, Jim Carter and John Golder. John's show Berlin Nights ran at The London Symphony Orchestra Pops series at The Barbican, featuring actors Ute Lemper and Albert Finney.

    He was artistic advisor and producer to Sir Paul McCartney for six years, and other major collaborations have included albums and tours with Elvis Costello and Marc Almond.

    A prominent media figure, he is a regular contributor to Radio 4 Front Row, and was a castaway on Desert Island Discs. He also contributes written articles to major publications.

    John’s tribute album to Duke Ellington, The Shadow of the Duke was followed with collaborations with jazz artists such as Herbie Hancock and Andy Sheppard.

    John was solo and lead saxophonist with the Michael Nyman Band for fifteen years, and was Musical Director of the band on tours in the US, UK and Japan.

    He has been musical director and producer for Moondog, Herbie Hancock, Sir Harrison Birtwistle, Elmer Bernstein, Imelda Staunton, Ute Lemper, Lesley Garrett, Albert Finney, Kathryn Tickell, Michael Nyman, Sir John Dankworth, Dame Cleo Laine and Marc Almond. He is the founder and producer of Sospiro Records.

    As a saxophonist, his early work gained public acclaim with his Saxophone Concertos album on EMI Classics which is widely seen as the definitive recording of the major classical works, and his playing has been the catalyst for an outpouring of new concertos by composers including Sir Harrison Birtwistle, Sir Richard Rodney Bennett, Marc Anthony Turnage, Sir John Tavener, Sally Beamish, Michael Nyman and Gavin Bryars.
    John’s performance of Birtwistle's saxophone concerto Panic at the Last Night of the BBC Proms in 1995 was cited by many critics as the most controversial premiere of a new musical work since Stravinsky's The Rite of Spring in 1913.
    He has performed with countless orchestras and conductors worldwide and has sold over half a million CDs in the classical field alone.

    John was appointed the youngest ever Professor at the Guildhall School of Music and Drama, starting the saxophone department at the age of 26, and his teaching has produced many of the leading players of today. He is now Professor of Saxophone and Composition at The Guildhall School, where he leads his own Master of Music course, as well as teaching academic modules in Musical and Cultural History.

    He is the author of The Saxophone (Faber Music), the definitive reference work on saxophone playing and performance.

    John is currently songwriting with Marc Almond (Soft Cell) for an album of pop torch songs for Sony/BMG, and writing a musical theatre piece, Mr Punch, with writer/director Patrick Marber. He is also arranger/producer for the new saxophone star Jess Gillam in a five album collaboration with Decca Classics.

    He is the father of writer and curator Dr. Matthew Harle and Columbia Records composer/producer Danny L Harle.

Contact Information

  • Contact by Webpage: http://www.johnharle.com/contact.htm
  • Telephone: Jane Ward Office: (+44) 151 513 2716 Cell: (+44) 7710 495999

Media | Markets

  • ▶ Charts/Scores: http://www.fabermusic.com/we-represent/harle-john
  • ▶ Website: http://www.johnharle.com
  • ▶ YouTube Channel: http://www.youtube.com/user/johnharle
  • ▶ YouTube Music: http://music.youtube.com/channel/UC8pYRJ__nGg9PPqRnCdR28Q
  • ▶ Spotify: http://open.spotify.com/album/3zgRzjZ520PZPhVAVCnpA9
  • ▶ Spotify 2: http://open.spotify.com/album/2GJN0DItN4sQUkYPlpGNrb
  • ▶ Spotify 3: http://open.spotify.com/album/2tzW6n8niui7ObKEX9zOW2
  • ▶ Spotify 4: http://open.spotify.com/album/0dirT2bncWgzSksQijF1ls
  • ▶ Spotify 5: http://open.spotify.com/album/2PR8A7XQ7ASnj6nUlKtQLJ
  • ▶ Spotify 6: http://open.spotify.com/album/4AbTrHRfmcQoKJ7n8dJar4

More

  • Quotes, Notes & Etc. “Harle gallops across his musical terrain with the attitude of Axl Rose. Terrifyingly extreme and magnificently audacious, Harle is a powerful force in British Jazz and Pop, and has the integrity, passion and vision to challenge listeners”
    ESQUIRE USA

    “John Harle's music is complex, darkly humorous and full of ear-catching quirkiness. You're bowled over by the variety, energy and sheer size of his music. It merits every ounce of the effort put into it”
    THE WASHINGTON SUNDAY TIMES

    “The music of John Harle is very fast moving, urgently collaborative, often witty, sinewy, ironic and urban”
    THE GUARDIAN

    “Three gorgeous songs by John Harle sung by a totally credible Elvis Costello are only the most conspicuous highlights of saxophonist Harle's genre scramble 'Terror and Magnificence'. Harle’s own commanding musicianship and audacious composing act as this record's solid cement”
    ENTERTAINMENT WEEKLY USA

    “He's an omnivorous enthusiast, a truly unfashionable state of mind in a self-conscious age of irony, but something which links him with the late American master, Leonard Bernstein”
    THE INDEPENDENT

    “Terror and Magnificence is very probably one of the finest suites to have come from the pen of a British composer in recent years. Harle is a virtuosic saxophonist but his writing talent is clearly as significant. A triumph all round”
    THE HERALD

    “It was like sitting down for dinner in a reliable restaurant and being presented with an hors d'oeuvre of cold sick. Among others I would have been happy to have chained Harle and Birtwistle, whose work has been called 'sonic sewage', naked to the railings outside as punishment”
    NIGEL DEMPSTER - DAILY MAIL

    “We all know that Marc Almond can sing but it still comes as a shock to hear his thrillingly drawn-out climax to Harle's "The Arrival of Spring", emoting words adapted from William Blake with operatic oomph”
    THE INDEPENDENT (on 'Art Music') ****

    “Harle is a renaissance man that defies categorization; there are moments of unearthly beauty - eerie, magical and oddly timeless”
    JAZZWISE - USA

    “Harle's style has an integrity all of its own”
    THE GUARDIAN

    "The composer John Harle and his librettist David Pountney have made an opera of the proper sort, and one which almost breaks the rules of the genre by appearing to work as drama as well as music. Spells are cast, angels are summoned, and the characters exchange views on the music of the spheres and other recondite matters, but as singers and actors in a theatrical space they succeed in holding your attention. Angel Magick proved to be a resounding success."
    THE INDEPENDENT

    “Harle's compositions are testament to the extraordinary versatility of this brilliant saxophonist”
    THE INDEPENDENT

    “This masterful album - wonderfully scary stuff”
    THE SUN***** (on 'The Tyburn Tree')

    “Beautiful and dramatic music”
    INDEPENDENT ON SUNDAY (on 'The Tyburn Tree')

    “A treat for the ears - epic, sweeping”
    MUSIC OMH (on 'The Tyburn Tree')

    “Lushly harmonised and ecstatically passionate”
    THE TIMES

    “Harle's rich, extravagant settings could have been written for the late 1960's Scott Walker”
    THE ARTS DESK **** (on 'Art Music')

    “John Harle's lurid The Little Death Machine, premiered in the late-night Prom, was full of spark as the saxophonist composer's solo soared, blasted and panted over ghoulish riffs, swooping samples and a manic orchestral dance groove. This now formidable creative figure often functions best in mixing genres”
    THE INDEPENDENT

    “This is a fascinating and beguiling album. Harle shows no sign soon of losing his magical powers of communication”
    JAZZ VIEWS (on 'Art Music')

    “Marvelously vigorous, ironic and atmospheric”
    THE TIMES **** (on 'The Tyburn Tree')

    “A stunning contemporary production”
    PROG MAGAZINE **** (on 'The Tyburn Tree')

    “Equally at home in all genres as composer and player, he is one of the most accomplished of that new generation of musicians that has successfully breached music's artificial and still too strictly observed boundaries”
    THE DAILY TELEGRAPH

    "This summer's Proms presents its first operatic commission in the shape of an innovative piece by saxophonist and composer John Harle. To a libretto by David Pountney, and using a flamboyant cast of singers, an actor, dancer and 22-piece orchestra incorporating the viol consort Fretwork, Harle's Angel Magick, subtitled A Scientific Ritual in Seven Parts, explores the strange world of Elizabethan astrologer and alchemist John Dee.
    Already premiered in a preview to considerable acclaim at the Salisbury Festival, Angel Magick seems to be just the right sort of forward-thinking new piece the Proms needs."
    THE INDEPENDENT

    “Harle is a saxophone legend”
    BILD-ZEITUNG

    “He must be the most sought-after saxophonist in the world now.”
    THE AUSTRALIAN

    "I could listen to John Harle play almost anything for hours"
    THE FINANCIAL TIMES

    “You MUST see the virtuosity and charisma of Harle as a musician - exciting, edgy performances from the hottest saxophonist around today. Seeing is believing”
    Q MAGAZINE

    “Hearing Harle, you can understand why composers are surprised and delighted by his artistry. His keenly imaginative playing directly echoes the inflections of the human voice, and his fine control of tone eliminates the sloppy wailing of some saxophonists that is such a pain”
    THE GUARDIAN

    “This is the most beautiful alto-playing since Johnny Hodges; and the most beautiful soprano-playing ever”
    THE GRAMOPHONE

    “British-born Harle is one of the most outstanding saxophonists today - a leading classical exponent of the saxophone in Europe and a formidable jazz composer and soloist - he gives the sax new credibility”
    THE AUSTRALIAN

    “It hit the audience between the eyes - it reached the soul of the saxophone”
    THE DAILY TELEGRAPH

    “Mr Harle has become an eminent modern musician. He's a dazzling player, with an immense range of tones, and a magnetic musician”
    THE NEW YORKER

    "No-one else creates a sound quite like this: apparently floating weightlessly, yet robust”
    THE OBSERVER

    “A dazzling workout. Technical and emotional mastery - all of which were as child's play for John Harle”
    THE NEW YORK TIMES (at Carnegie Hall)

    “Thanks to Harle, the saxophone has grown in status in the twentieth century. It may yet emerge as the paragon of wind instruments - their finest singer”
    THE OBSERVER

    “John Harle adapts to any musical style that comes his way. He plays with originality, intelligence and fire”
    THE NEW YORK TIMES

My Instruction

  • Lessons/Workshops: John’s private tuition and mentoring programme has assisted many of the leading saxophonists of today to achieve their aims, and is for classical, jazz and multi-genre players. The programme exists to further the instrumental, musical and creative development of saxophonists.
  • Instruction: http://www.johnharle.com/private-tuition-and-mentoring.htm

Clips (more may be added)

  • 1:06:11
    THE BALLAD OF JAMIE ALLAN - A Ballad Opera. Music by John Harle. Words by Tom Pickard
    By John Harle
    138 views
  • 4:40
    BACK TO BIRDLAND - Played by Guildhall Saxophones. July 2020.
    By John Harle
    150 views
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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 John Harle:

  • 0 Author
  • 0 Composer
  • 0 Film Scores
  • 0 Guildhall School of Music & Drama Faculty
  • 0 Record Producer
  • 0 Saxophone
  • 0 Television Scores
  • Hendrik Meurkens Vibraphone
  • MonoNeon Funk
  • Igor Osypov Jazz
  • Shannon Ali Cultural Critic
  • Marcel Powell Choro
  • Hugo Rivas Tango
  • Philip Watson Cork
  • Marcus Strickland Brooklyn, NY
  • Donnchadh Gough Ireland
  • Dermot Hussey Author
  • Kengo Kuma Tokyo
  • Gêge Nagô Samba de Roda
  • Nduduzo Makhathini South Africa
  • Ajurinã Zwarg Saxophone
  • Courtney Pine Podcaster
  • Stacy Dillard New York City
  • Edmar Colón Berklee College of Music Faculty
  • David Simon Television Producer
  • Myron Walden New York City
  • Moreno Veloso Pandeiro
  • Flora Purim Percussion
  • Mauro Refosco Compositor de Televisão, Television Scores
  • Phakama Mbonambi South Africa
  • Yo La Tengo Indie Rock
  • Max ZT Brooklyn, NY
  • Juliana Ribeiro MPB
  • Dee Spencer Composer
  • Berta Rojas Paraguay
  • Paulinho da Viola Brazil
  • Chris Speed Avant-Garde Jazz
  • Terri Lyne Carrington Drums
  • Marilda Santanna Faculdade da UFBA, Federal University of Bahia Faculty
  • Brooklyn Rider Contemporary Classical Music
  • Lívia Mattos Salvador
  • Darren Barrett Reggae
  • Itamar Vieira Júnior Bahia
  • Jane Ira Bloom Jazz
  • Cainã Cavalcante Brazil
  • Anoushka Shankar Journalist
  • Anthony Coleman Composer
  • Casa da Mãe Música ao Vivo, Live Music
  • Tray Chaney Actor
  • Ryan Keberle MPB
  • Nardis Jazz Club Turkey
  • Bright Red Dog Improvising Collective
  • Julien Libeer Classical Music
  • Robert Glasper Hip-Hop
  • Thiago Espírito Santo MPB
  • Anouar Brahem Tunisia
  • Aloísio Menezes Salvador
  • Luques Curtis Record Label Owner
  • Alma Deutscher Piano
  • Beth Bahia Cohen Violin
  • Tom Bergeron Choro
  • Onisajé Candomblé
  • Gel Barbosa Paraiba
  • Quincy Jones Record Producer
  • Dezron Douglas NYU Steinhardt Faculty
  • Omar Sosa Piano
  • Brandon J. Acker Theorbo
  • Marcus Miller Record Producer
  • Otto Manguebeat
  • Gui Duvignau Jazz
  • Carlos Malta Rio de Janeiro
  • Merima Ključo Balkan Music
  • Little Simz Hip-Hop
  • Nels Cline New York City
  • Vincent Herring Jazz
  • Serwah Attafuah Graphic Designer
  • Daniel Jobim Bossa Nova
  • Emmet Cohen Piano
  • Jura Margulis Musik und Kunst Privatuniversität der Stadt Wien Faculty
  • Lalah Hathaway Singer-Songwriter
  • Susana Baca Afro-Peruvian Music
  • Mark Turner Saxophone
  • Clint Mansell Multi-Instrumentalist
  • 小野リサ Lisa Ono Japan
  • McClenney Multi-Instrumentalist
  • Cainã Cavalcante Guitar
  • Tab Benoit Record Label Owner
  • Bob Lanzetti Educator
  • Angel Bat Dawid Chicago
  • Ballaké Sissoko Kora
  • Dee Spencer Jazz
  • Ronaldo Bastos Rio de Janeiro
  • Hot Dougie's Brasil
  • John Zorn New York City
  • Henrique Araújo Mandolin
  • Martyn DJ
  • Rissi Palmer Singer-Songwriter
  • Tonynho dos Santos Trompete, Trumpet
  • Leela James Jazz
  • Little Dragon Sweden
  • H.L. Thompson New York City
  • Quatuor Ebène String Quartet
  • Anna Mieke Ireland
  • Marcel Camargo Record Producer
  • Gregory Porter Songwriter
  • Tony Trischka Country
  • Frank London Jewish Music
  • John McLaughlin Guitar
  • Caroline Shaw Contemporary Classical Music
  • Tiganá Santana Salvador
  • Capitão Corisco Pífano
  • Beeple NFTs
  • Wayne Krantz Composer
  • Francisco Mela New York City
  • Scott Yanow Music Critic
  • Tony Austin Recording Engineer
  • Derrick Hodge R&B
  • Tom Oren Composer
  • Howard Levy Composer
  • Harvey G. Cohen Cultural Historian
  • Roy Ayers Film Scores
  • Marcus J. Moore Brooklyn, NY
  • Owen Williams Marketer
  • Marcel Camargo Choro
  • Thana Alexa Singer-Songwriter
  • Horacio Hernández Afro-Cuban Jazz
  • Jen Shyu Multi-Instrumentalist
  • Stephan Crump Bass
  • Horace Bray Los Angeles
  • Ron Wyman Photographer
  • Bombino Singer-Songwriter
  • Siobhán Peoples County Clare
  • Lula Galvão Classical Guitar
  • Pierre Onassis Samba Reggae
  • Intisar Abioto Portland, Oregon
  • Mário Santana Percussion
  • Asa Branca Salvador
  • Maciel Salú Singer
  • Zoran Orlić Photographer
  • Sam Yahel Organ
  • Mauro Senise Composer
  • Angelique Kidjo Singer-Songwriter
  • Nath Rodrigues Singer-Songwriter
  • Mona Lisa Saloy Writer
  • Dudu Reis Bahia
  • Béla Fleck Songwriter
  • Andrés Prado Guitar
  • Jeff 'Tain' Watts Composer
  • Aubrey Johnson Berklee Faculty
  • Jupiter Bokondji Kinshasa
  • James Martins Poeta, Poet
  • Stanton Moore Funk
  • Grégoire Maret Jazz
  • James Gadson Funk
  • Steve Earle Radio Presenter
  • Diosmar Filho Cineasta Documentarista, Documentary Filmmaker
  • Oscar Peñas Guitar
  • The Brain Cloud Western Swing
  • Jeffrey Boakye Writer
  • Guinga Brazil
  • James Elkington Folk Rock
  • Antonio García Virginia Commonwealth University Faculty
  • Brian Jackson Piano
  • Guto Wirtti Guitar
  • Cécile Fromont Yale Faculty
  • Carlos Blanco Bahia
  • Warren Wolf Drums
  • Sam Harris New York City
  • João Camarero Composer
  • Raphael Saadiq Multi-Instrumentalist
  • Steve Bailey Multi-Instrumentalist
  • Gord Sheard MPB
  • Mike Marshall Violin
  • Hamilton de Holanda Rio de Janeiro
  • Elio Villafranca Juilliard Faculty
  • Sebastian Notini Salvador
  • Sarah Jarosz Folk & Traditional
  • André Vasconcellos Jazz
  • Dee Spencer Musical Director
  • Andrew Gilbert Journalist
  • Simon Brook Writer
  • Cara Stacey Composer
  • Natan Drubi São Paulo
  • Bejun Mehta New York City
  • Alê Siqueira Classical Guitar
  • Bodek Janke Berlin
  • Thiago Espírito Santo Educador, Educator
  • Bob Telson Film Scores
  • Varijashree Venugopal Flute
  • Celsinho Silva Choro
  • Musa Okwonga Writer
  • Jason Moran Composer
  • André Muato Singer-Songwriter
  • David Binney Composer
  • Johnny Vidacovich Second Line
  • Gringo Cardia Video Director
  • Tia Surica Singer
  • Jan Ramsey Zydeco
  • The Assad Brothers San Francisco
  • Lizz Wright Jazz
  • Osvaldo Golijov Contemporary Classical Music
  • Ajurinã Zwarg Brazilian Jazz
  • Spider Stacy New Orleans
  • Jean-Paul Bourelly Avant-Blues-Rock
  • Cláudio Jorge Brazil
  • Mou Brasil Bahia
  • Meshell Ndegeocello Singer-Songwriter
  • Cláudio Jorge Singer-Songwriter
  • Hisham Mayet Filmmaker
  • Trombone Shorty New Orleans
  • Don Byron Clarinet
  • Wayne Escoffery Composer
  • Irmandade da Boa Morte Irmandade
  • Carlos Henriquez Composer
  • Di Freitas Cello
  • Arthur L.A. Buckner Drums
  • Evgeny Kissin Piano
  • Linda May Han Oh Jazz
  • Tomo Fujita Blues
  • Bruce Molsky Banjo Instruction
  • Liron Meyuhas Tel Aviv
  • Michael Garnice New York City
  • Yilian Cañizares Jazz
  • Nguyên Lê Paris
  • Magda Giannikou Film Scores
  • Harish Raghavan Educator
  • Guilherme Kastrup Percussion
  • Dave Holland Bass
  • Maia Sharp Nashville, Tennessee
  • John Santos California Jazz Conservatory Faculty
  • Rowney Scott Saxophone
  • John Santos Composer
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