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  • Mike Compton

    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: Mike Compton
  • City/Place: Nashville, Tennessee
  • Country: United States
  • Hometown: Meridian, Mississippi

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: Befriended and mentored by Bill Monroe, the acknowledged Father of Bluegrass Music, Mike Compton is one of today’s foremost interpreters of Monroe’s genre-creating mandolin style. Mandolin students from around the world make the pilgrimage to his annual Monroe Mandolin Camp in Nashville, TN, where Compton and a select handful of other experts teach everything from the basics of bluegrass mandolin to the most intimate details of Monroe’s endlessly inspiring mandolin style.

    Mike Compton’s decades of touring and recording with musical luminaries ranging from rockstars Sting, Gregg Allman and Elvis Costello, to straight-from-the-still acoustic legends like John Hartford, Doc Watson, Peter Rowan, Ralph Stanley, and David Grisman, have established Compton as a true master of the modern American mandolin and a premier interpreter of roots and Americana musical styles.
    Compton’s mastery of mandolin is at once effortless and exceptional. A compelling entertainer either alone or with a group, his skills as a singer, arranger, instrumentalist, composer and accompanist also make him in-demand as a band member and ensemble player at festivals, clubs and concert halls, recording sessions, music workshops and as a private instructor. With more than 140 albums in his discography, including work with Willie Nelson, Dolly Parton, and Patty Loveless, Compton has helped keep mandolin a cool, relevant sound as the modern musical styles ebb and evolve to reach an ever broadening audience.

    A native of Mississippi, Compton picked up the mandolin in his teens and absorbed the area’s native blues, old-time country and bluegrass sounds. He soon gravitated to Nashville, where he helped found one of the 20th Century’s most admired and influential bluegrass groups, the iconic Nashville Bluegrass Band. He’s also been a part of the John Hartford Stringband, Helen Highwater Stringband, 1942, Compton & Newberry, and other seminal groups.

    When A-list Americana producer T-Bone Burnett needed experts in authentic rural musical styles to anchor the landmark O Brother, Where Art Thou? movie project and subsequent tour, he called upon Compton’s unique knowledge and signature mandolin style to authenticate the Soggy Bottom Boys’ rootsy sound. That Grammy Award Album of the Year -winning album went on to sell seven million copies and sparked a global revival in old-time and bluegrass musical styles.

    Connoisseur of hand-painted vintage silk ties, popularizer of the denim overall urban fashion statement, lover of iconic men’s hats and curator of oddball official days (ask him about National Lost Sock Memorial Day or National Root Canal Appreciation Day), Mike Compton thrives at the intersection of traditional funk and modern authenticity.
    Equally skilled in bluegrass, old-time string band music, country blues, rootsy Americana styles, and much more, Compton soars beyond easy categorization as an acoustic mandolin player and singer.

    Gifted at tastefully incorporating rural, roots-based lead and rhythm mandolin styles into modern Americana music, Compton’s unique musical skillset allows him to entertain audiences ranging from rockers and urban hipsters to die-hard country, folk and bluegrass fans.

    Mike proudly plays Gilchrist, Duff, and Randy Wood instruments and is endorsed by BlueChip picks and D’Addario strings.

Contact Information

  • Contact by Webpage: http://www.mikecompton.net/contact

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.mikecompton.net/store
  • ▶ Buy My Merch: http://www.mikecompton.net/store
  • ▶ Charts/Scores: http://www.mikecompton.net/store?category=Tablature+%26+Notation+Book
  • ▶ Twitter: taterbugmusic
  • ▶ Instagram: mistertaterbug
  • ▶ Website: http://www.mikecompton.net
  • ▶ YouTube Channel: http://www.youtube.com/user/TheMikeCompton
  • ▶ YouTube Music: http://music.youtube.com/channel/UCM5cKTVNYhbED5FA9DvuTIA
  • ▶ Spotify: http://open.spotify.com/album/2GlQ1VRMEeqPBXjwF9MllA
  • ▶ Spotify 2: http://open.spotify.com/album/2AdTI1Urp5U7LKvd6wOCAG
  • ▶ Spotify 3: http://open.spotify.com/album/6P1S2xa7c6CMbhQYdlpq3H
  • ▶ Spotify 4: http://open.spotify.com/album/5Sl65iMUotaY0rmVmxBx7m
  • ▶ Spotify 5: http://open.spotify.com/album/4azjcnI4Km32caEMp27REw
  • ▶ Spotify 6: http://open.spotify.com/album/1jifrKqcA2svvFRphUkBah

My Instruction

  • Lessons/Workshops: I specialize in Monroe style bluegrass, old-time fiddle tunes and country blues. If you are looking for a lesson on how to play “Ode to a Butterfly” you made a wrong turn at Albuquerque.

    Lessons are $50 per 30 minute slot, $100 per hour. Invoices are sent the first of each month via PayPal.

    I use Skype mostly but have used Google Chat, Zoom and Messages to initiate video chat, so you need to have a high speed connection. I used to have a student who got in her van and rode around town until she found a strong wifi signal she could jump on, but it seems most everybody has adequate internet these days so you probably won’t have to be that industrious. Satellite is not advisable and dial-up is out of the question. Lessons in person can be arranged if you are in the Nashville region, or if I have time when on tour.

    Your schedule is your own call. Some take every week, some every other, some once a month. I have a number of people on the list and everybody seems to learn differently. I make an effort to accommodate each person’s learning style. To do this I use audio, video, tablature, standard notation and whatever else is necessary to get the info across.

    I do not have an agenda that I try to force on people. I prefer that you have some idea where you want to go with your playing and I will help guide you. I see my job as more of a coach. I'm here to help you get ahead faster, not to tell you what to play. If you’re interested in one of the genres I’m familiar with all the better.

    Usually, I try and keep Friday, Saturday and Sunday open because of road work. When I have to be on the road I send out a notice saying as much. You will get an opportunity to reschedule in the event that I have to be gone. If you miss a scheduled lesson due to your own schedule you will be given one opportunity to reschedule.

    Please show up on time. I will wait 10 minutes beginning at our scheduled time. After that you will be charged regardless of if you show up or not.

    So if this all suits you I'll be happy to send along my calendar link and you can find a slot that works for you. Then we can decide how often you'd like to get together and we'll go from there. I am happy to help you as much as I can.

    Life is good. MC
  • Instruction: http://www.mikecompton.net/lessons

Clips (more may be added)

  • 2:46
    Mike Compton "Orange Blossom Breakdown" Single Video Premiere
    By Mike Compton
    84 views
  • 4:08
    Mike Compton and Chris Eldridge - "Squirrel Hunters" (Wintergrass 2016 Fretboard Journal workshop)
    By Mike Compton
    67 views
Previous
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Mike Compton Curated
pathways in

  • 0 Bluegrass
  • 0 Country Blues
  • 0 Folk & Traditional
  • 0 Mandolin
  • 0 Mandolin Instruction
  • 0 Nashville, Tennessee
  • 0 Old-Time Music
  • 0 Songwriter

What's Been Happening?

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  • Mike Compton
    A category was added to Mike Compton:
    Mandolin Instruction
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Country Blues
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Songwriter
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Nashville, Tennessee
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Folk & Traditional
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Old-Time Music
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Bluegrass
    • May 25, 2022
  • Mike Compton
    A category was added to Mike Compton:
    Mandolin
    • May 25, 2022
  • Mike Compton
    A video was posted re Mike Compton:
    Mike Compton "Orange Blossom Breakdown" Single Video Premiere
    From the album, "RARE AND FINE-UNCOMMON TUNES OF BILL MONROE" Mike Compton, likely the most dedicated student of Bill Monroe's music over the past 50 years, was uniquely qualified to animate a set of rarely heard and unreleased instrumentals by the Fathe...
    • May 25, 2022
  • Mike Compton
    A video was posted re Mike Compton:
    Mike Compton and Chris Eldridge - "Squirrel Hunters" (Wintergrass 2016 Fretboard Journal workshop)
    Mike Compton and Chris Eldridge perform "Squirrel Hunters" during the Fretboard Journal's vintage instrument workshop. Compton is on a reverse scroll Regal mandolin with rosewood back and sides from the '30s (yes, it needed some fine tuning midway through...
    • May 25, 2022
  • Mike Compton
    Mike Compton is matrixed!
    • May 25, 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.

 

 

  • Sarah Jarosz Folk & Traditional
  • Thiago Trad Brasil, Brazil
  • Antônio Queiroz Forró
  • John Harle Record Producer
  • Dave Weckl Multi-Cultural
  • Atlantic Brass Quintet Brass Ensemble
  • Moreno Veloso Brazil
  • Bill Callahan Americana
  • Angel Deradoorian Singer-Songwriter
  • Jamie Dupuis Composer
  • Oded Lev-Ari Arranger
  • Mauro Diniz Brazil
  • Ali Jackson Percussion
  • Varijashree Venugopal Singer
  • Tom Schnabel Music Salon
  • Richie Pena Programmer
  • Colson Whitehead Literary Critic
  • Jimmy Dludlu Composer
  • Roque Ferreira Samba de Roda
  • Paulinho da Viola Rio de Janeiro
  • Yamandu Costa Samba
  • Anthony Hervey Trumpet
  • Angel Deradoorian Music Producer
  • John Medeski Keyboards
  • Caroline Keane Irish Traditional Music
  • James Strauss Brazil
  • Luciano Matos Salvador
  • Chris Dave Gospel
  • Zisl Slepovitch Multi-Instrumentalist
  • Hopkinson Smith Baroque Guitar
  • Cristovão Bastos Brazil
  • Mauro Senise Brazil
  • Ivan Bastos Compositor, Composer
  • Tiganá Santana Produtor Musical, Music Producer
  • Luíz Paixão Composer
  • Chief Xian aTunde Adjuah Multi-Cultural
  • Bongo Joe Records Café
  • Joyce Moreno MPB
  • Tele Novella Psych Pop
  • Carlos Malta Saxophone
  • Donny McCaslin Saxophone
  • Gilad Hekselman Guitar
  • McCoy Mrubata Jazz
  • Omer Avital Bass
  • Jonathan Griffin Radio Presenter
  • Shez Raja Bass
  • Tom Wilcox Accountant
  • Antonio Adolfo Compositor, Composer
  • Ray Angry Keyboards
  • Paulo César Pinheiro Poet
  • Helen Shaw Writer
  • Jane Ira Bloom Jazz
  • Betão Aguiar Documentary Filmmaker
  • Marcelinho Oliveira Keyboards
  • Branford Marsalis Classical Music
  • Nublu Multi-Cultural
  • Art Rosenbaum Multi-Instrumentalist
  • Amit Chatterjee Vocalist
  • Marcus Miller Los Angeles
  • Ammar Kalia Writer
  • THE ROOM Shibuya DJs
  • Eric Roberson Berklee Faculty
  • Jean-Paul Bourelly Multi-Cultural
  • Brian Lynch University of Miami Frost School of Music Faculty
  • Cristiano Nogueira Travel Writer
  • James Martins Brasil, Brazil
  • Paulinha Cavalcanti Cantora, Singer
  • Edil Pacheco Songwriter
  • Herbie Hancock Jazz
  • Vadinho França Brasil, Brazil
  • Mazz Swift Brooklyn, NY
  • Greg Kot Journalist
  • Nonesuch Records Record Label
  • Bruce Molsky Berklee College of Music Faculty
  • Angel Bat Dawid Composer
  • Ivan Lins Brazil
  • Gabi Guedes Percussion
  • Kaia Kater Banjo
  • Susana Baca Folklorist
  • Jessie Montgomery Educator
  • Mauro Refosco Experimental, Eletrônica, Electronic
  • Milad Yousufi Poet
  • Reuben Rogers Bass Instruction
  • Leela James R&B
  • Chris Dave Houston
  • Olodum Brasil, Brazil
  • Marc Cary Keyboards
  • Cimafunk Cuba
  • Cacá Diegues Rio de Janeiro
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