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  • Lazzo Matumbi

    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: Lazzo Matumbi
  • City/Place: Salvador, Bahia
  • Country: Brazil

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: From singing sambas as a kid to singing with bloco afro Ilê Aiyê to afoxé and reggae and MPB, Lazzo Matumbi is one of the great voices of Bahia!

Contact Information

  • Telephone: +55 (71) 99181-3985

Media | Markets

  • ▶ Twitter: lazzo_matumbi
  • ▶ Instagram: lazzomatumbi
  • ▶ Website: http://www.lazzomatumbi.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCiJmKtgmO4B85eWQCFo8Iyw
  • ▶ YouTube Music: http://music.youtube.com/channel/UCoPt-VOqeFJRP9vZaHB8XVQ
  • ▶ Spotify: http://open.spotify.com/album/1Ei4KAUc08ztgRIi0IWMrm

Matrix Music Player

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      Malê Debalê - Lazzo Matumbi (5 plays)
    Malê Debalê - Lazzo Matumbi
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Clips (more may be added)

  • 4:33
    Ajaguna Gbawa O - Orixá Oxagiayan
    By Lazzo Matumbi
    333 views
  • 0:06:35
    29º Prêmio da Música Brasileira - Ano Luiz Melodia
    By Lazzo Matumbi
    326 views
  • 2:38
    Homenagem Santa Irma Dulce
    By Lazzo Matumbi
    418 views
  • 3:38
    Chico Cesar - Negão | Clipe Oficial
    By Lazzo Matumbi
    239 views
  • 3:45
    Lazzo Matumbi & Jimmy Cliff - Rock in Rio
    By Lazzo Matumbi
    217 views
  • 3:58
    Lazzo Matumbi & Dorival Caymmi SESC 24 de Maio
    By Lazzo Matumbi
    325 views
  • Soul do Brasil
    By Lazzo Matumbi
    737 views
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Lazzo Matumbi Curated
pathways in

  • 5 Bahia
  • 5 Brazil
  • 5 Reggae
  • 5 Salvador
  • 5 Samba
  • 5 Singer-Songwriter

What's Been Happening?

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  • Lazzo Matumbi
    Arifan Junior → Samba has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Rio de Janeiro has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Produtor Cultural, Cultural Producer has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Portela has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Percussão, Percussion has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Diretor Musical, Music Director has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Cavaquinho has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Cantor-Compositor, Singer-Songwriter has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Arifan Junior → Brasil, Brazil has been recommended via Lazzo Matumbi.
    • May 24, 2022
  • Lazzo Matumbi
    Raymundo Sodré → Ropeadope has been recommended via Lazzo Matumbi.
    • January 18, 2022
  • Lazzo Matumbi
    Shirazee → Singer-Songwriter has been recommended via Lazzo Matumbi.
    • April 17, 2021
  • Lazzo Matumbi
    Shirazee → New York City has been recommended via Lazzo Matumbi.
    • April 17, 2021
  • Lazzo Matumbi
    Shirazee → Benin has been recommended via Lazzo Matumbi.
    • April 17, 2021
  • Lazzo Matumbi
    Shirazee → Africa has been recommended via Lazzo Matumbi.
    • April 17, 2021
  • Lazzo Matumbi
    A video was posted re Lazzo Matumbi:
    Ajaguna Gbawa O - Orixá Oxagiayan
    Ajaguna Gbawa O - Orixá Oxagiayan · Grupo Ofá, Lazzo Matumbi. Obatalá - Uma Homenagem a Mãe Carmen
    • October 6, 2020
  • Lazzo Matumbi
    A video was posted re Lazzo Matumbi:
    29º Prêmio da Música Brasileira - Ano Luiz Melodia
    • October 6, 2020
  • Lazzo Matumbi
    A video was posted re Lazzo Matumbi:
    Homenagem Santa Irma Dulce
    Aos 19 anos, Maria Rita se tornou freira, assumindo o nome irmã Dulce em homenagem à mãe, Dulce, que havia perdido aos 7 anos de idade.
    • October 6, 2020
  • Lazzo Matumbi
    A video was posted re Lazzo Matumbi:
    Chico Cesar - Negão | Clipe Oficial
    Faixa do disco Estado de Poesia (2015)
    • October 6, 2020
  • Lazzo Matumbi
    A video was posted re Lazzo Matumbi:
    Lazzo Matumbi & Jimmy Cliff - Rock in Rio
    Participação de Lazzo Matumbi na tourne mundial de Jimmy Cliff nos anos 90. ​​​​​​
    • October 6, 2020
  • Lazzo Matumbi
    A video was posted re Lazzo Matumbi:
    Lazzo Matumbi & Dorival Caymmi SESC 24 de Maio
    • October 6, 2020
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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.

 

  • Parker Ighile Contemporary R&B
  • Giovanni Russonello Music Critic
  • Sam Eastmond Record Producer
  • Danilo Pérez Panama
  • Paulo Costa Lima Escritor, Writer
  • Miroslav Tadić Film, Theater, Dance Scores
  • Teddy Swims Soul
  • Olodum Bahia
  • Keola Beamer Hawaiian Music
  • Asali Solomon Novelist
  • Jorge Pita Percussion
  • Philip Cashian London
  • Dafnis Prieto Afro-Cuban Jazz
  • Eric Roberson R&B
  • Jimmy Dludlu Composer
  • Alisa Weilerstein Contemporary Classical Music
  • Kim Hill Singer
  • Marco Pereira Rio de Janeiro
  • Oswaldinho do Acordeon São Paulo
  • Rose Aféfé Brasil, Brazil
  • David Byrne Singer-Songwriter
  • Walter Pinheiro Flute
  • OVANA Homemade Instruments
  • Onisajé Educadora, Educator
  • Fábio Zanon Author
  • Bebê Kramer Choro
  • Anat Cohen Clarinet
  • Capitão Corisco Pífano
  • Joshua Abrams Theater Scores
  • Brooklyn Rider String Quartet
  • Michael Formanek Peabody Conservatory of Music Faculty
  • John Medeski Funk
  • Orlando 'Maraca' Valle Composer
  • Aloísio Menezes Samba
  • Zeca Baleiro Escritor, Writer
  • Peter Dasent Sydney
  • Dónal Lunny Bodhrán
  • Lô Borges Minas Gerais
  • Gerson Silva Music Director
  • Keshav Batish Drums
  • Glenn Patscha Singer
  • Ivan Lins Singer-Songwriter
  • Tatiana Eva-Marie Gypsy Jazz
  • Seth Rogovoy Jewish Music
  • Jeff 'Tain' Watts Actor
  • Rory Marx Anderson Cinematographer
  • Daniel Bennett Music School Director
  • Glória Bomfim Rio de Janeiro
  • Jovino Santos Neto Seattle
  • BaianaSystem Brasil, Brazil
  • Paul McKenna Scotland
  • Nate Smith Drums
  • Billy Strings Guitar
  • G. Thomas Allen Countertenor
  • Tam-Ky Supermarket
  • Isaac Julien London
  • Tonho Matéria Samba Reggae
  • Christian Sands Composer
  • Christopher Silver Jewish History & Culture
  • Ceumar Coelho MPB
  • Veronica Swift Singer
  • Martin Fondse Multi-Cultural
  • Kiko Horta Forró
  • Conrad Herwig Afro-Caribbean Jazz
  • Eivør Pálsdóttir Faroe Islands
  • António Zambujo Portugal
  • Nego Álvaro Brazil
  • Leonardo Mendes Violão, Guitar
  • Gord Sheard Toronto
  • Cashmere Cat DJ
  • Jill Scott Neo Soul
  • Cássio Nobre Guitarra Baiana
  • Gary Clark Jr. Guitar
  • Astrig Akseralian Ceramic Artist
  • Ben Okri Nigeria
  • Oksana Zabuzhko Essayist
  • Samuel Organ Experimental Rock
  • Sunna Gunnlaugs Composer
  • Nathan Amaral Violin
  • Thiago Espírito Santo Produtor Musical, Music Producer
  • Moreno Veloso Brazil
  • Mahsa Vahdat Singer
  • Nelson Ayres Jazz
  • Alê Siqueira Brazil
  • Marc Cary New York City
  • Flora Purim Singer-Songwriter
  • Toby Gough Producer
  • Colm Tóibín Journalist
  • John Medeski Jazz
  • Jonga Lima Samba
  • Edu Lobo Singer-Songwriter
  • Sara Gazarek USC Thornton School of Music Faculty
  • Simone Sou Record Producer
  • Chico Buarque Samba
  • Nathan Amaral Brazil
  • Carlos Malta Composer
  • Mingo Araújo Brazil
  • Shannon Sims Rio de Janeiro
  • Helder Barbosa Salvador
  • João Camarero Samba
  • LaTasha Lee Singer-Songwriter
  • Mahsa Vahdat Composer
  • Aaron Parks Composer
  • Yazz Ahmed Composer
  • Steve Lehman Saxophone Instructor
  • Julie Fowlis Traditional Scottish Music
  • Negra Jhô Turbantes, Turbans
  • Wynton Marsalis New York City
  • Mauro Refosco Percussão, Percussion
  • Simon McKerrell Composer
  • Lauren Martin Electronic Music
  • Jared Sims Flute
  • Aneesa Strings Bass
  • Greg Spero Recording Studio Owner
  • Guilherme Varella Autor, Author
  • Hélio Delmiro Samba
  • Jas Kayser Panama City
  • Maia Sharp Record Producer
  • Virgínia Rodrigues Salvador
  • Kareem Abdul-Jabbar Television Writer
  • Eric Roberson Singer-Songwriter
  • Luke Daniels Glasgow
  • Iuri Passos Brazil
  • Nilze Carvalho Cavaquinho
  • Stuart Duncan Bluegrass
  • Tom Moon Music Critic
  • Jon Lindsay Brooklyn, NY
  • Keita Ogawa Pandeiro
  • Ryan Keberle Composer
  • Carol Soares Samba de Roda
  • Neymar Dias Composer
  • Alisa Weilerstein Berlin
  • Yvette Holzwarth Film, Television Recording
  • Zeca Freitas Multi-Instrumentista, Multi-Instrumentalist
  • Mauro Senise Brazilian Jazz
  • Antônio Queiroz Repente
  • Stephen Guerra New York City
  • Seth Rogovoy Klezmer
  • McIntosh County Shouters Ring Shouts
  • Martin Hayes Ireland
  • TaRon Lockett Los Angeles
  • Bruno Monteiro Gestor Público, Public Servant
  • Herlin Riley Tambourine
  • Germán Garmendia Chile
  • Oded Lev-Ari Arranger
  • BIGYUKI Japan
  • Philip Ó Ceallaigh Romania
  • Betão Aguiar Rio de Janeiro
  • Oscar Bolão Drums
  • Tim Hittle Director
  • Shaun Martin Songwriter
  • Eric Bogle Australia
  • Scotty Apex Record Producer
  • Angel Deradoorian Singer-Songwriter
  • Jaques Morelenbaum Classical Music
  • Emily Elbert Guitar
  • Roy Ayers New York City
  • Ken Avis Radio Presenter
  • Nomcebo Zikode House Music
  • Marcus Miller Multi-Instrumentalist
  • Joe Newberry North Carolina
  • Toumani Diabaté Multi-Cultural
  • Simon McKerrell Scotland
  • Vadinho França Salvador
  • Virgínia Rodrigues Brazil
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