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  • Leyla McCalla

    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: Leyla McCalla
  • City/Place: New Orleans
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: The Capitalist Blues is Leyla McCalla’s way of processing the current political environment, where many of the issues are financial, but they’re rarely simply financial. “It feels like everyone’s in a pressure cooker in this country,” she says.

    The album is McCalla’s third, after Vari-Colored Songs: A Tribute to Langston Hughes (2013) and A Day for the Hunter, A Day for the Prey (2016). Those albums and her time as a member of the African-American string band The Carolina Chocolate Drops presented her vision in songs that revealed the realities that people lived, often expressed in metaphors. She explored Haitian Creole identity issues in songs with arrangements that focused on the song. She often sang and accompanied herself on cello, banjo, or guitar.

    The New York-born McCalla has lived in New Orleans since 2010, and A Day for the Hunter, A Day for the Prey broadened not only her examination of Creole identities but her sound as she brought in a number of musicians to add fiddle, clarinet, piano, electric guitar, and additional voices.

    Her growing relationship to the city’s musical community led her to consider her relationship to New Orleans on The Capitalist Blues, and for the first time, it led her to record with a band. It wasn’t by design. Producer Jimmy Horn asked her sing on a session with his acclaimed New Orleans R&B band, King James and the Special Men, at a time when she had new songs but was unsure what forms they should take. While singing with the Special Men, she realized that working with Horn and his band in New Orleans might be the right way into the new material. The collaboration marks the first time someone other than McCalla has produced her work. The Capitalist Blues shows a more physical, danceable side to McCalla’s music. The title track is a swinging blues, and it’s easy to hear the classic New Orleans R&B in “Me and My Baby,”and the calypso in “Money is King.”

    The album also puts McCalla’s voice in a number of new contexts as the size and composition of the band behind her varies from track to track. “There’s more arrangement,” she says, so her voice stands out in the way fans of her previous albums might expect on the spare “Pennha,” but she’s clearly part of a rowdy group on “Me and My Baby.”The pressures people deal are subtext on some songs, but they’re tangible and personal in others. “Heavy as Lead” addresses the threat caused by lead in the soil—a problem that became very real for McCalla when her daughter tested positive for elevated lead levels. The Capitalist Blues is superficially different from McCalla’s previous albums, but she hears the connections between them all.

    She still sings a number of songs in Haitian Creole, which she thinks of a “language of resistance,” and she further explores the connection between New Orleans and Haiti. Her interest in social justice issues remains, and many of the themes are extensions of ones she examined on A Day for the Hunter, a Day for the Prey. The lineups are very different, but the songs come from the same place.

    “To me, it’s all folk music,” McCalla says. The album is striking as McCalla employs a broader musical palate than on her previous albums, one that often involves a full band and percussion. One instrument noticeable in its absence is the cello, which has been McCalla’s signature instrument throughout her solo career and her time with the Carolina Chocolate Drops. “I’ve come to a place where I feel like making art is not tied to being a cellist,” she says.

Contact Information

  • Management/Booking: Management:
    Aaron Johnson at Knitting Factory Management
    [email protected]
    (510) 610-6997

    Booking (North America):
    Mel Puljic – The Awesome Company
    [email protected]

    Booking (Europe):
    Jean-Herve Michel at Nueva Onda
    [email protected]

Media | Markets

  • ▶ Twitter: leylamccalla
  • ▶ Instagram: leylacello
  • ▶ Website: http://leylamccalla.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCLU2ydZ3FX_UXICRPMDatDA
  • ▶ YouTube Music: http://music.youtube.com/channel/UCyeBZWWIMgnvNvJyCxC73qg
  • ▶ Spotify: http://open.spotify.com/album/7fvhdxZ2ZaRpHgfOOGYtwZ
  • ▶ Spotify 2: http://open.spotify.com/album/4J4u8xcpz1WTAJRcgenpBa

Clips (more may be added)

  • The Capitalist Blues
    By Leyla McCalla
    427 views
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Leyla McCalla Curated
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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.

 

  • Askia Davis Sr. Educational Consultant
  • Tiganá Santana Bahia
  • Lina Lapelytė Multi-Instrumentalist
  • Luê Soares Cantora-Compositora, Singer-Songwriter
  • Roy Ayers New York City
  • Toninho Nascimento Brazil
  • Sátyra Carvalho Guitarra, Violão, Guitar
  • Gabriel Geszti Jazz Brasileiro, Brazilian Jazz
  • Michael W. Twitty Culinary Historian
  • Casey Benjamin Jazz
  • Kíla Ireland
  • Armandinho Macêdo Choro
  • Irma Thomas Blues
  • Leci Brandão Surdo
  • Mark Lettieri Instructor
  • Ricardo Bacelar Advogado, Lawyer
  • Brandee Younger Pop Music
  • Nate Smith Jazz
  • Chucho Valdés Havana
  • Daymé Arocena Composer
  • Andra Day Jazz
  • Bernardo Aguiar Pandeiro Instruction
  • Béco Dranoff DJ
  • Yasushi Nakamura Bass
  • Jacám Manricks Saxophone
  • Mavis Staples Gospel
  • Alita Moses Jazz
  • Jared Jackson New York City
  • Evgeny Kissin Writer
  • McCoy Mrubata Composer
  • Flavio Sala Guitar Instruction, Master Classes
  • Rumaan Alam Short Stories
  • John Medeski Experimental Music
  • J. Pierre New Orleans
  • Joel Guzmán Accordion
  • Meshell Ndegeocello Multi-Instrumentalist
  • Turtle Island Quartet Multi-Cultural
  • Alex Cuadros Journalist
  • Barbara Paris Painter
  • John McEuen Singer-Songwriter
  • Laura Beaubrun Interior Architect
  • Shannon Sims Rio de Janeiro
  • OVANA Homemade Instruments
  • Nettrice R. Gaskins Afro-Futurist
  • Alegre Corrêa Jazz
  • Dom Flemons Folk & Traditional
  • Nara Couto Afropop
  • Isaias Rabelo Salvador
  • Jeff 'Tain' Watts Drums
  • Lynn Nottage Pulitzer Prize
  • Maurício Massunaga Multi-Instrumentista, Multi-Instrumentalist
  • Yacouba Sissoko New York City
  • Roberta Sá Singer
  • Beth Bahia Cohen Rababa
  • Jim Lauderdale Nashville, Tennessee
  • Mauro Diniz Brazil
  • Tyler Gordon Painter
  • Kris Davis Piano
  • Laura Beaubrun Lausanne, Switzerland
  • Jaques Morelenbaum Arranger
  • Paulinha Cavalcanti Contadora de Histórias, Storyteller
  • Greg Osby Jazz
  • Clint Smith Writer
  • Seu Regi de Itapuã Forró
  • Chris Speed Clarinet
  • Chris Boardman Producer
  • Nelson Ayres Composer
  • Amaro Freitas Piano
  • Stan Douglas Installation Artist
  • Ali Jackson Composer
  • Jau Samba Reggae
  • Benoit Fader Keita Singer-Songwriter
  • Peter Erskine Author
  • Jazzmeia Horn Singer-Songwriter
  • Brian Jackson Keyboards
  • Brandon Coleman Singer-Songwriter
  • Paulo César Pinheiro Samba
  • Carlos Malta Composer
  • Eric Galm Ethnomusicologist
  • Plínio Fernandes Brazil
  • Moacyr Luz Songwriter
  • Chief Xian aTunde Adjuah New Orleans
  • Mahsa Vahdat Composer
  • Anna Webber Avant-Garde Jazz
  • Curly Strings Estonia
  • Les Thompson Leesburg, Virginia
  • Ballaké Sissoko Mali
  • Terry Hunter House Music
  • Simone Sou Record Producer
  • Ana Tijoux Rapper
  • Stefano Bollani Brazilian Music
  • Delbert Anderson Jazz
  • Thiago Espírito Santo Baixo, Bass
  • Lynn Nottage Screenwriter
  • Paulo Martelli São Paulo
  • Kazemde George Biologist
  • Justin Brown Jazz
  • BIGYUKI Keyboards
  • Robb Royer Songwriter
  • Michael Sarian Jazz
  • Zulu Araújo Salvador
  • Shemekia Copeland R&B
  • Brian Cross aka B+ Photographer
  • Luíz Paixão Brazil
  • Jelly Green Painter
  • Marcel Camargo Los Angeles
  • Reggie Ugwu Writer
  • Virgínia Rodrigues Bahia
  • Nahre Sol Classical Music
  • Christopher Silver Music Curator
  • Duncan Chisholm Fiddle
  • Gêge Nagô Bahia
  • Ari Rosenschein Indie Pop
  • Pedro Aznar Bass
  • Serginho Meriti Composer
  • Dermot Hussey Musicologist
  • Ned Sublette Cuba
  • Janine Jansen Netherlands
  • Brian Cox Actor
  • Tito Jackson Blues
  • Dave Smith Percussion
  • Guinga Brasil, Brazil
  • Virgínia Rodrigues Singer
  • Lynn Nottage Columbia University Faculty
  • Raymundo Sodré Forró
  • David Bragger Fiddle
  • Bill Hinchberger Writer
  • Kim André Arnesen Norway
  • Goran Krivokapić Contemporary Classical Music
  • Glenn Patscha Canada
  • Tal Wilkenfeld Singer-Songwriter
  • Arismar do Espírito Santo Samba
  • Simon Singh Physics
  • Nikki Yeoh London
  • Saileog Ní Cheannabháin Fiddle
  • Mark Turner Saxophone
  • Ricky (Dirty Red) Gordon Louisiana
  • Eric R. Danton Writer
  • Oswaldo Amorim Brazil
  • Thundercat Composer
  • John Doyle Ireland
  • Trombone Shorty Trombone
  • Spok Frevo Orquestra Frevo
  • Babau Santana Salvador
  • Kirk Whalum Songwriter
  • Tank and the Bangas Hip-Hop
  • Benny Benack III Trumpet
  • Vanessa Moreno Guitar
  • Natan Drubi Choro
  • Nubya Garcia England
  • Omar Sosa Afro-Cuban Jazz
  • Kim Hill Songwriter
  • Nicholas Payton Writer
  • Clint Mansell Singer-Songwriter
  • Negrizu Coreógrafo, Choreographer
  • Tarus Mateen R&B
  • Echezonachukwu Nduka Poet
  • Lalá Evangelista Samba
  • Allen Morrison Writer
  • Alex Clark Digital Media Producer
  • Jason Marsalis Vibraphone
  • Nação Zumbi Rap
  • Congahead Photographer
  • James Carter Blue Note Records
  • Alphonso Johnson CalArts Music Faculty
  • James Carter Clarinet
  • François Zalacain Record Producer
  • Bill Frisell Americana
  • James Brady Arranger
  • Bruce Molsky Old-Time Music
  • Marcus Miller Composer
  • Jakub Knera Music & Culture Journalist
  • Cacá Diegues Rio de Janeiro
  • Monk Boudreaux Louisiana
  • Marcus Miller Multi-Instrumentalist
  • Alana Gabriela Educadora, Educator
  • Matias Traut Argentina
  • Garvia Bailey Arts Journalist
  • Beeple VJ Loops
  • Talita Avelino Brasil, Brazil
  • Tony Kofi Saxophone
  • Bianca Gismonti Brazil
  • Los Muñequitos de Matanzas Matanzas
  • Ben Wendel Composer
  • Eric Galm Brazil
  • Moreno Veloso Guitar
  • Ben Wolfe Composer
  • Leon Bridges Record Producer
  • Wynton Marsalis New Orleans
  • Arany Santana Ativista do Movimento Negro, Black Power Movement Activist
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