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  • Matias Traut

    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: Matias Traut
  • City/Place: Salvador, Bahia
  • Country: Brazil
  • Hometown: San Carlos de Bariloche, Argentina

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Matias Traut is from San Carlos de Bariloche, Argentina and first picked up a trombone at 13 years of age.

    At 20 he moved to Argentina to study jazz, playing with Dancing Mood , Holy Piby, Satélite Kingston, Smocking Flamingo, La Zimbabwe, Las Pastillas del Abuelo , Los Pericos, Bahiano, Dj Nelson, Verde Reggae, Inmigrantes Big Band, Boris Big Band, Humanidub, Anabella, Sonora Marta Reina, Artistry Big Band, Riddim, El Natty Combo and Orquesta de Tango Vitória, among others.

    In 2013 he moved to Salvador where he plays and has played with Carlinhos Brown, Lazzo Matumbi, Dão, Skanibais, IFA Afrobeat, Bailinho de Quinta, Baiana System, Retrofoguetes, Coletivo Tambor, Quinteto Cinq, and his own jazz quartet.

Media | Markets

  • ▶ Instagram: el_tombon
  • ▶ YouTube Channel: http://www.youtube.com/c/MatiasTraut
  • ▶ Spotify: http://open.spotify.com/artist/6GYG0UVLBdM4qZvi9fvOLQ

Clips (more may be added)

  • 0:09:14
    Geleia Solar toca A Rã (remixada) – JAM no MAM
    By Matias Traut
    85 views
  • 0:13:36
    Geleia Solar toca Watermelon Man (remixada) – JAM no MAM
    By Matias Traut
    201 views
Previous
Next

Matias Traut Curated
pathways in

  • 3 Argentina
  • 3 Bahia
  • 3 Brasil, Brazil
  • 3 Jazz
  • 3 Jazz Brasileiro, Brazilian Jazz
  • 3 MPB
  • 3 Salvador
  • 3 Tango
  • 3 Trombone

What's Been Happening?

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  • Matias Traut
    Jamberê Cerqueira → Tuba has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Salvador has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Música Clássica, Classical Music has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Música Brasileira de Concerto, Brazilian Concert Music has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Instrução de Tuba, Tuba Instruction has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Compositor, Composer has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Brasil, Brazil has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Bahia has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    Jamberê Cerqueira → Arranjador, Arranger has been recommended via Matias Traut.
    • August 1, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Brasil, Brazil
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Bahia
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Salvador
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Argentina
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Tango
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    MPB
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Jazz
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Jazz Brasileiro, Brazilian Jazz
    • July 12, 2022
  • Matias Traut
    A category was added to Matias Traut:
    Trombone
    • July 12, 2022
  • Matias Traut
    A video was posted re Matias Traut:
    Geleia Solar toca A Rã (remixada) – JAM no MAM
    O clássico de João Donato já ganhou algumas interpretações da banda Geleia Solar na JAM no MAM, algumas delas registradas aqui no canal. Mas essa versão de “A Rã” feita em 09/10/2021, com direito a sotaque nordestino dado pelos convidados Daniel Neto (aco...
    • July 12, 2022
  • Matias Traut
    A video was posted re Matias Traut:
    Geleia Solar toca Watermelon Man (remixada) – JAM no MAM
    "Watermelon Man", de Herbie Hancock, integrou o repertório da JAM no MAM de 27 de novembro de 2021, em Salvador. Solos e duetos inspirados marcaram a performance da Geleia Solar, banda base da JAM, que nesta noite contou com a participação especialíssima ...
    • July 12, 2022
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


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.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & 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


RESPLENDENT 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.

 

 

PORTUGUÊS (to English →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


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.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) 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


RESPLANDECENTE 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.

 

 

  • Damon Krukowski Cambridge, Massachusetts
  • Jean-Paul Bourelly Multi-Cultural
  • Pururu Mão no Couro Salvador
  • Olodum Brasil, Brazil
  • Miguel Atwood-Ferguson Music Producer
  • Giba Conceição Bahia
  • Papa Mali New Orleans
  • Nelson Latif Viola Caipira
  • Ed O'Brien Brazil
  • China Moses R&B
  • François Zalacain New York City
  • Shahzad Ismaily Pakistan
  • Casuarina Samba
  • Bob Reynolds Saxophone
  • Ethan Iverson Music Critic
  • Wynton Marsalis New York City
  • Rick Beato Songwriter
  • Jaques Morelenbaum Brazil
  • Dorian Concept Composer
  • Tab Benoit Blues
  • Mike Marshall Guitar
  • Philip Glass Composer
  • Chris Boardman Film Scores
  • Keshav Batish North Indian Classical Music
  • Terrace Martin Jazz
  • Ruven Afanador Colombia
  • Piti Canella Gestor Público, Public Servant
  • Thana Alexa Jazz
  • Zeca Baleiro Maranhão
  • Victor Wooten Author
  • Gearóid Ó hAllmhuráin Ireland
  • Jorge Alfredo Brasil, Brazil
  • Hugo Linns Recife
  • Keyon Harrold Singer
  • Mike Moreno Composer
  • Carlos Lyra Guitar
  • Reza Filsoofi Daf
  • Mestre Barachinha Pernambuco
  • Itamar Vieira Júnior Brazil
  • Marko Djordjevic Composer
  • João Callado Brazilian Jazz
  • Joel Guzmán Conjunto
  • Brandon Coleman Jazz, Funk, R&B, Soul
  • Chris McQueen Record Producer
  • Greg Osby Composer
  • Bodek Janke Tabla
  • Jill Scott Poet
  • Victor Wooten Multi-Instrumentalist
  • Gunter Axt Brasil, Brazil
  • Carlinhos 7 Cordas Brazil
  • MonoNeon Bass
  • Celino dos Santos Bahia
  • Saileog Ní Cheannabháin Classical Music
  • Mariene de Castro Brazil
  • Moreno Veloso Rio de Janeiro
  • Amanda Tropicana Fotógrafa, Photographer
  • Elio Villafranca Manhattan School of Music Faculty
  • Bill Pearis Music Critic
  • Tim Hittle Writer
  • Daniel Gonzaga MPB
  • Kiko Loureiro Helsinki
  • Alegre Corrêa Percussion
  • Márcio Bahia Samba
  • Juca Ferreira Servidor Público, Public Servant
  • Joshue Ashby Panama
  • Victoria Sur Colombia
  • Taylor Ashton Vancouver
  • Caetano Veloso Brasil, Brazil
  • Luiz Inácio Lula da Silva Brasil, Brazil
  • Thomas Àdes London
  • João Teoria Jazz Afro-Baiano, Afro-Bahian Jazz
  • Michel Camilo Jazz
  • Angel Bat Dawid Clarinet
  • Liz Dany Colombia
  • Colm Tóibín Playwright
  • Dafnis Prieto Afro-Cuban Jazz
  • Judith Hill R&B
  • Vijith Assar Software Engineer
  • Jon Madof Record Producer
  • Nabih Bulos Journalist
  • Paulinho Fagundes Porto Alegre
  • Roy Nathanson Classical Music
  • Yilian Cañizares Lausanne, Switzerland
  • Léo Brasileiro Brasil, Brazil
  • Scott Kettner New School Faculty
  • Ricardo Herz Jazz
  • Cainã Cavalcante Composer
  • Bill Charlap Concert Producer
  • Paulo César Figueiredo Rio de Janeiro
  • Marília Sodré Cantora, Singer
  • Paulo Costa Lima Salvador
  • Chad Taylor Drums
  • Olodum Bloco Afro
  • Benny Benack III Pittsburgh
  • Carlos Blanco Bahia
  • David Sánchez Pan-Africana
  • Etienne Charles Trumpet
  • Forrest Hylton Ethnohistorian: Latin America & the Caribbean
  • Eamonn Flynn Funk
  • Ajurinã Zwarg Saxophone
  • Johnathan Blake New York City
  • John Luther Adams Composer
  • Vadinho França Presidente de Bloco de Carnaval, Carnival Bloco President
  • Gevorg Dabaghyan Armenian Folk Music
  • Evgeny Kissin Writer
  • Duncan Chisholm Scotland
  • Anthony Coleman Klezmer
  • Chris Acquavella Mainz
  • Rebeca Omordia Nigeria
  • Herbie Hancock Jazz
  • David Byrne Multi-Instrumentalist
  • Hopkinson Smith Switzerland
  • David Sánchez Puerto Rico
  • Bob Reynolds Saxophone Instruction
  • Dee Spencer Piano
  • Chico César Poet
  • Alicia Hall Moran Opera
  • Dom Flemons Neotraditionalist Country
  • Fábio Peron Bandolim, Mandolin
  • Greg Kot Chicago
  • Kirk Whalum Gospel
  • Vivien Schweitzer Culture Journalist
  • David Castillo Moorpark College Faculty
  • Delbert Anderson Composer
  • Moreno Veloso Pandeiro
  • Fernando Brandão Pífano
  • Donny McCaslin Brooklyn, NY
  • Gary Lutz Writer
  • Adriene Cruz Portland, Oregon
  • Dermot Hussey Musicologist
  • Delfeayo Marsalis Composer
  • Max ZT Dulcimer Instruction
  • Gerald Clayton Jazz
  • Chick Corea Jazz
  • MonoNeon R&B
  • Larnell Lewis Toronto
  • Kareem Abdul-Jabbar Essayist
  • Mick Goodrick Berklee College of Music Faculty
  • Mary Halvorson Avant-Garde Jazz
  • Nelson Cerqueira Escritor, Writer
  • John McWhorter Author
  • John Morrison Philadelphia, Pennsylvania
  • Goran Krivokapić Classical Guitar
  • Adriana L. Dutra Film Festival Director
  • Intisar Abioto Writer
  • Helder Barbosa Dono de Site de Cultura, Cultural Website Owner
  • Nabaté Isles Jazz
  • Capitão Corisco Flute
  • Avishai Cohen אבישי כה Israel
  • Alicia Keys Art Collector
  • Dexter Story Los Angeles
  • Ambrose Akinmusire New York City
  • Matt Glaser Violin
  • Little Simz Photographer
  • Dwayne Dopsie Louisiana
  • Casa PretaHub Cachoeira Cachoeira
  • Mônica Salmaso MPB
  • Justin Brown Composer
  • Jurandir Santana Barcelona
  • Alexandre Gismonti Composer
  • Garvia Bailey Writer
  • Marcus Printup Arranger
  • Otmaro Ruiz Composer
  • Ricardo Markis Diretor Musical, Music Director
  • Mario Caldato Jr. Keyboards
  • Gabriel Grossi Choro
  • Glenn Patscha Record Producer
  • Kronos Quartet String Quartet
  • Márcio Bahia Rio de Janeiro
  • Miroslav Tadić Balkan Music
  • Lalá Evangelista Choro
  • Marcel Powell Choro
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