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  • Michael Doucet

    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: Michael Doucet
  • City/Place: Lafayette, Louisiana
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Michael Doucet made it his mission to learn and see flourish again the traditional cajun music of Louisiana.

    He's open to the music's evolution and is a founder of BeauSoleil, drawing on cajun and creole and other genres.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: beausoleil_band
  • ▶ Website: http://beausoleilmusic.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UC1alvU3GjCaNwyzaiTzOGiA
  • ▶ Spotify: http://open.spotify.com/album/0spYL9jVSREEHe8CV5Hpj3

Clips (more may be added)

  • Atlanta Arts Today
    By Michael Doucet
    566 views
Previous
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Michael Doucet Curated
pathways in

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  • 0 Cajun Fiddle
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  • 0 Louisiana
  • 0 Mandolin
  • 0 Zydeco

What's Been Happening?

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  • Michael Doucet
    Darol Anger → Record Producer has been recommended via Michael Doucet.
    • June 30, 2019
  • Michael Doucet
    Darol Anger → Folk & Traditional has been recommended via Michael Doucet.
    • June 30, 2019
  • Michael Doucet
    Darol Anger → Fiddle has been recommended via Michael Doucet.
    • June 30, 2019
  • Michael Doucet
    Darol Anger → Composer has been recommended via Michael Doucet.
    • June 30, 2019
  • Michael Doucet
    Darol Anger → Bluegrass has been recommended via Michael Doucet.
    • June 30, 2019
  • Michael Doucet
    Darol Anger → Americana has been recommended via Michael Doucet.
    • June 30, 2019
  • Michael Doucet
    A video was posted re Michael Doucet:
    Atlanta Arts Today
    Grammy award winner Michael Doucet and Beausoleil discuss Cajun music and its influence on the American music scene.
    • June 30, 2019
  • Michael Doucet
    A category was added to Michael Doucet:
    Zydeco
    • June 30, 2019
  • Michael Doucet
    A category was added to Michael Doucet:
    Mandolin
    • June 30, 2019
  • Michael Doucet
    A category was added to Michael Doucet:
    Accordion
    • June 30, 2019
  • Michael Doucet
    A category was added to Michael Doucet:
    Louisiana
    • June 30, 2019
  • Michael Doucet
    A category was added to Michael Doucet:
    Cajun Music
    • June 30, 2019
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    A category was added to Michael Doucet:
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    • June 30, 2019
  • Michael Doucet
    A category was added to Michael Doucet:
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    • June 30, 2019
  • Michael Doucet
    Michael Doucet is matrixed!
    • June 30, 2019
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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.

 

  • Raelis Vasquez Painter
  • Sunn m'Cheaux Writer
  • Clint Smith Black American Culture & History
  • Léo Rugero Accordion
  • Anthony Coleman Piano
  • Ibram X. Kendi Writer
  • Alex Conde Spain
  • Nelson Ayres Composer
  • Nelson Latif Choro
  • Sérgio Mendes Brazil
  • Joe Fiedler Jazz
  • Reza Filsoofi Daf
  • Elio Villafranca Piano
  • Don Byron New York City
  • Nelson Ayres MPB
  • Martyn Drum and Bass
  • Ray Angry Gospel
  • Alex Cuadros Author
  • Michael Pipoquinha Bass
  • Huey Morgan BBC
  • Bisa Butler Pan-African Culture
  • Bruce Williams Saxophone
  • Bill Callahan Singer-Songwriter
  • Reza Filsoofi Setar
  • Glenn Patscha Keyboards
  • Nego Álvaro Singer-Songwriter
  • Kenny Barron Piano
  • Adam Shatz Cultural Critic
  • Molly Jong-Fast Editor
  • Margaret Renkl Nashville, Tennessee
  • Hopkinson Smith Lute
  • Gilmar Gomes Salvador
  • Tom Green Composer
  • Bill Summers Congas
  • Fred P Deep House
  • Bertram Drum Set Performance
  • Eder Muniz Grafiteiro, Graffiti Artist
  • Errollyn Wallen Composer
  • César Orozco Violin
  • Chano Domínguez Brooklyn, NY
  • Luques Curtis Latin Jazz
  • Conrad Herwig Composer
  • Carlos Prazeres Brasil, Brazil
  • Geraldo Azevedo Guitar
  • Cécile McLorin Salvant Jazz
  • Scott Yanow Jazz Journalist
  • Mauro Refosco Percussão, Percussion
  • Nailor Proveta Arranjador, Arranger
  • Oswaldo Amorim Brasília
  • Muireann Nic Amhlaoibh Television Presenter
  • Brigit Katz Writer
  • Hua Hsu Vassar College Faculty
  • Lalá Evangelista Bahia
  • Yo La Tengo Film Scores
  • Itamar Vieira Júnior Bahia
  • Otto Percussion
  • Julian Lage Guitar
  • Adriana L. Dutra Rio de Janeiro
  • Anthony Hamilton Singer-Songwriter
  • Ronaldo Bastos Composer
  • Eivør Pálsdóttir Faroe Islands
  • John Edwin Mason African History
  • Wilson Café Brasil, Brazil
  • Carlos Malta Flute
  • PATRICKTOR4 Pernambuco
  • Gilsons Bahia
  • Doca 1 Salvador
  • Fatoumata Diawara Wassoulou
  • Rosângela Silvestre Bahia
  • Gustavo Caribé Compositor, Composer
  • Georgia Anne Muldrow Record Producer
  • Babau Santana Salvador
  • Joel Best Sculptor
  • Capitão Corisco Pífano
  • Mary Halvorson Guitar
  • Bobby Vega R&B
  • Chick Corea Contemporary Classical Music
  • David Sánchez Puerto Rico
  • Abhijith P. S. Nair Indian Classical Music
  • Bodek Janke Tabla
  • Robb Royer Multi-Instrumentalist
  • Oriente Lopez Cuba
  • Mickalene Thomas Video Artist
  • Myles Weinstein Jazz
  • Yosvany Terry Cuba
  • Sunn m'Cheaux Actor
  • Ramita Navai Writer
  • Michael Peha Record Producer
  • Michael Olatuja Composer
  • Michael Garnice New York City
  • Damon Krukowski Writer
  • Vijay Iyer Piano
  • Bill Hinchberger Communications Consultant
  • Choronas Choro
  • Damon Krukowski Drums
  • Michel Camilo Latin Music
  • Choronas Brasil, Brazil
  • Philip Ó Ceallaigh Romania
  • Beats Antique World Fusion
  • Mark Bingham Singer-Songwriter
  • Edsel Gomez Composer
  • Nooriyah نوريّة Voiceover Artist
  • Alegre Corrêa Jazz
  • Moreno Veloso Brazil
  • Harish Raghavan Educator
  • Thiago Espírito Santo Educador, Educator
  • Arto Lindsay Record Producer
  • Aubrey Johnson Singer
  • Alex Clark Journalist
  • Bodek Janke Jazz
  • Samba de Nicinha Samba de Roda
  • Marc Ribot Punk
  • James Gadson Drums
  • Márcio Valverde Santo Amaro
  • Leandro Afonso Film Editor
  • Carl Joe Williams Painter
  • Eric Roberson Berklee Faculty
  • Anderson Lacerda Brasil, Brazil
  • Alexandre Vieira Baixo, Bass
  • Laércio de Freitas MPB
  • Casa PretaHub Cachoeira Estúdio de Gravação, Recording Studio
  • Bule Bule Chula
  • Robert Everest Minneapolis, Minnesota
  • Robert Randolph Funk
  • Leon Bridges Fort Worth, Texas
  • Ellie Kurttz Photographer
  • Nardis Jazz Club Istanbul
  • Cassie Kinoshi Bandleader
  • Paulo Costa Lima Academía Brasileira de Música, Brazilian Academy of Music
  • Nath Rodrigues Multi-Instrumentalist
  • Greg Ruby Gypsy Jazz
  • Nana Nkweti Fiction
  • Lavinia Meijer Harp
  • David Sacks Jazz
  • Bob Mintzer Saxophone
  • Jam no MAM Brasil, Brazil
  • Luciano Salvador Bahia Piano
  • J. Pierre Illustrator
  • Gustavo Caribé Brasil, Brazil
  • Hisham Mayet DJ
  • Hugo Linns Brazil
  • Christian McBride Jazz
  • Avishai Cohen אבישי כה Israel
  • Gel Barbosa Salvador
  • Gerson Silva Salvador
  • Moreno Veloso MPB
  • Nabih Bulos Journalist
  • Jorge Alfredo Bahia
  • Matias Traut Trombone
  • Nabihah Iqbal Music Producer
  • Brandee Younger Pop Music
  • Alicia Keys Actor
  • Asa Branca Samba
  • Sameer Gupta Tabla
  • Monk Boudreaux R&B
  • Fidelis Melo Assessor de Comunicação, Public Relations
  • Munir Hossn Multi-Instrumentalist
  • Nathan Amaral Rio de Janeiro
  • Andrew Dickson Essayist
  • Damon Krukowski Poet
  • Sônia Guajajara Terra Indígena Arariboia
  • Asa Branca Bahia
  • Nahre Sol Composer
  • Makaya McCraven Jazz
  • Piti Canella Produtora Cultural, Cultural Producer
  • Chris Speed Composer
  • Billy Strings Songwriter
  • Greg Spero App Developer
  • Kiko Loureiro Guitar Instruction
  • Jorge Pita Salvador
  • Jon Batiste Jazz
  • Robert Everest Multi-Instrumentalist
  • Michael Formanek Bass
  • José Antonio Escobar Spain
  • Christone 'Kingfish' Ingram Singer
  • Seth Swingle Old-Time Music
  • Wilson Simoninha Singer-Songwriter
  • Menelaw Sete Pelourinho
  • Jorge Alfredo Brasil, Brazil
  • Darcy James Argue Manhattan School of Music Faculty
  • Negra Jhô Salvador
  • Ricardo Bacelar Jazz Brasileiro, Brazilian Jazz
  • Andrés Beeuwsaert Jazz
  • Jaleel Shaw Jazz
  • Simon McKerrell Scotland
  • Lolis Eric Elie New Orleans
  • Dave Holland Composer
  • OVANA Singers-Songwriters
  • Fidelis Melo Brasil, Brazil
  • Yasmin Williams Harp-Guitar
  • Eric R. Danton Music Critic
  • Iuri Passos AFROBIZ Salvador
  • Tomo Fujita Funk
  • Léo Rugero Ethnomusicologist
  • Spok Frevo Orquestra Recife
  • Elif Şafak Women's Rights Activist
  • Antonio Adolfo Jazz Brasileiro, Brazilian Jazz
  • Itamar Borochov Multi-Cultural
  • Jimmy Cliff Rocksteady
  • Dan Trueman Software Designer
  • Gretchen Parlato MPB
  • Alita Moses Jazz
  • Matthew Guerrieri Composer
  • Ricardo Markis Bahia
  • Ivan Huol Percussion
  • Oscar Bolão Brazil
  • Talita Avelino Bahia
  • Benjamin Grosvenor United Kingdom
  • Peter Serkin Classical Music
  • Melanie Charles Beatmaker
  • Christopher Wilkinson Movie Director
  • Peter Dasent Composer
  • J. Period Remixer
  • Noam Pikelny Banjo Instruction
  • Ayrson Heráclito Federal University of the Recôncavo of Bahia Faculty
  • Kirk Whalum Songwriter
  • John McLaughlin Composer
  • Edil Pacheco Record Producer
  • Celso Fonseca Singer
  • Betsayda Machado Tambor
  • Renato Braz Singer
  • Lauren Martin Television Presenter
  • Dave Smith Jazz
  • Hamilton de Holanda Brasil, Brazil
  • Nelson Sargento Brazil
  • Sérgio Mendes Singer-Songwriter
  • Joan Chamorro Composer
  • Zebrinha Salvador
  • Jan Ramsey Louisiana
  • Shez Raja Indo-Jazz Funk
  • Michael League Bandleader
  • Joshua Abrams Guimbri
  • Jon Batiste Classical Music
  • Stefon Harris Vibraphone
  • Adriano Souza Choro
  • Luizinho Assis Jazz
  • Seckou Keita Africa
  • Ron Wyman Documentary Filmmaker
  • Jonathan Richter Classical Guitar
  • Allen Morrison Songwriter
  • Aditya Prakash Ropeadope
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  • Curly Strings Estonia
  • Melanie Charles Soul
  • Tony Austin Drums
  • John Morrison Music Journalist

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