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  • Mônica Salmaso

    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: Mônica Salmaso
  • City/Place: São Paulo
  • Country: Brazil

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Born in São Paulo in 1971, Mônica Salmaso surfaced as one of the best young voices among the new talents of Brasil.

    She started her musical career singing in a "comedy" directed by the award winning Gabriel Villela.

    Since her music studies in São Paulo, Mônica has recorded and performed with important Brazilian artists like Edu Lobo, Eduardo Gudin, José Miguel Wisnik, Marlui Miranda, Guinga, Nelson Ayres and the Jazz Symphonic Orchestra of São Paulo.

    She was one of the soloists on the album CANÇÕES DE NINAR by Paulo Tatit and Sandra Peres. The CD won Brasil's "Prêmio Sharp - 95" as Best Recording for Children.

    In 1995 she recorded AFRO SAMBAS, a voice and guitar album, arranged and produced by Brazilian guitarist Paulo Bellinati. The CD premiered the complete Afro-Sambas by Baden Powell and Vinícius de Moraes, including the famous Berimbau and Consolação; released in US and Europe by GSP (Guitar Solo Publication) Records.

    In the same year, recorded with Paulo Bellinati the song "A Felicidade" by Tom Jobim and Vinicius de Moraes for one Brazilian Jobim's song book by Lumiar Records.

    In 1997, she was nominated for Prêmio Sharp - 97 as Best New Singer on Brazilian Popular Music with the Cd AFRO SAMBAS.

    In 1998 she recorded her first solo Cd TRAMPOLIM - Pau Brasil Music (in Brazil) and Bluejackel Records (in USA) produced by Rodolfo Stroeter. The cd features some of the most creative musicians in Brazilian contemporary music such as Nana Vasconcelos, Teco Cardoso, Paulo Bellinati, among others.

    In May of 1999, Monica Salmaso won the Visa-Mastercard-Eldorado Prize for best singer in Brazil among 1.200 contestants, all over the country. The prize has earned attention over Monica's talent and career, and during august/september 99 she recorded for Eldorado records, her third album.

    VOADEIRA is also produced by Rodolfo Stroeter. The album was described in the press as one of the best releases of 99 in Brazilian Popular Music. "Voadeira" features Marcos Suzano, Benjamim Taubkin, Naylor "Proveta", Toninho Ferragutti and Paulo Bellinati, among others.

    Also in 1999 Mônica was awarded “best singer” from Brazil. The prize was conceded by APCA – (Associação Paulista dos Críticos de Arte), and it is particularly important as it is given by a poll of the most important Brazilian press community .

    Since 1998, Monica has sung with the Orquestra Popular de Câmara - a 12 piece band - that blends the Brazilian musical heritage along with the personal contribution of each one of the renowned soloist of the group.

    In 2004, she released her fourth cd IAIÁ by the label Biscoito Fino (in Brazil), released in USA and Europe by Harmonia Mundi.

    Took an important part as a singer in the movie “Vinicius” about the life and work of Vinicius de Morais, directed by Miguel Faria Jr

    Took part in the most recent cd recorded by Chico Buarque, "Carioca", singing the song “Imagina” composed by Chico Buarque and Tom Jobim.

    Released in 2007 her 5th cd "Noites de gala, samba na rua" with songs composed by Chico Buarque and the quintet Pau Brasil as special guest.

    Took part in the soundtrack of the coreography SEM MIM composed by José Miguel Wisnick and Carlos Nuñes for the dance Grupo Corpo in 2011.

    Released in 2008 her 1st DVD "Noites de gala, samba na rua" with the live concert with the quintet Pau Brasil.

    In 2011, released the cd "Alma Lírica Brasileira" (Brazilian Lyric Soul) playing with Teco Cardoso (sax and flutess) and Nelson Ayres (piano) for the label Biscoito Fino.

    In 2012, was awarded “best singer” at the 23º Prêmio da Musica Brasileira with the cd Alma Lírica Brasileira.

    In 2012 recorded and released her 2nd DVD Alma Lírica Brasileira, directed by Walter Carvalho, and winner of the 24º Prêmio da Musica Brasileira in 2013 as the best music DVD.

    In 2014 released the cd "Corpo de Baile", with songs composed by Guinga and Paulo César Pinheiro, for the label Biscoito Fino.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: monicasalmaso
  • ▶ Instagram: monicasalmasooficial
  • ▶ Website: http://www.monicasalmaso.mus.br
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCD14oCIUImNiDT-SPaZTIUg
  • ▶ YouTube Music: http://music.youtube.com/channel/UCGRLAIf4EXNCItjAw48xCbQ
  • ▶ Spotify: http://open.spotify.com/album/6oQKOpnCFceVpOnGvbXauN
  • ▶ Spotify 2: http://open.spotify.com/album/6Rb3IJPFpn3SdHPfxDRmyM
  • ▶ Spotify 3: http://open.spotify.com/album/72bsJy5qVT1iaj6ZNO15nj
  • ▶ Spotify 4: http://open.spotify.com/album/0AsxslSEmzuqJhZPT1DVGA
  • ▶ Spotify 5: http://open.spotify.com/album/6hPcmLFyJunaHSqt4VBQZ4
  • ▶ Spotify 6: http://open.spotify.com/album/7nOAvR01AU3cbIMGTlMI5v

More

  • Quotes, Notes & Etc. "...she has the best voice I have heard in recent years."
    - Edu Lobo

    "When I listened to Mônica Salmaso for the first time, I was immediately fascinated with her precise and powerful voice, which ranges from low to high with beautiful colors, uniquely her own. Her intonation is naturally perfect, always complimenting her musical interpretations."
    - José Miguel Wisnik

    "...warm and profound voice, secure in all ranges. She is one of the outstanding vocalists of the nineties. Watch out for this wonderful voice."
    - Mauro Dias - journalist, "O Estado de São Paulo" - Brazil

    "Salmaso comes from a theatrical background and her various recording projects seem to indicate that she's more of a neo-traditionalist singer than anything else. Her voice is a fluent and beautifully colored instrument."
    - Philip Van Vleck

    "Salmaso does have an exquisite instrument, a stimulating, acutely precise natural voice with a wide range and huge timbric palette that emits effortlessly. Her vocal style has been admired for its purity of tone, perfect intonation, instrumental concept, and highly refined sense of harmonic climax by some of the most important names in Brazilian music."
    - Bruce Gilman - journalist from "Brazzil September 1999 Music " - USA

    "Mônica Salmaso is pensive pop as only Brazilians can make it. Her breathy, melting voice is set against just a handful of instruments at a time, making the melodies seem even more cherished."
    - Jon Pareles, The New York Times

    “Monica Salmaso has a gorgeous, quintessentially Brazilian voice: quietly lustrous and sustained, suffusing each liquid note with languid secrets.”
    - Jon Pareles, The New York Times

    “Salmaso's voice is one of the most attractive to arrive from Brazil in recent memory. But beyond her wide vocal range and warm, velvety timbre, she also worked within musical settings that were filled with subtle creative aspects. (...) She is an artist to be watched, one with extraordinary potential.”
    - Don Heckman, The LA Times

    "She is the most pure singer in Brazil today.(...) Listen to the tonal pattern of her vocal, and you'll realize she is the most intriguing instrumental soloist on this tune."
    - PVV, Billboard Magazine

    "A longtime champion of Brazil’s rich musical culture, Salmaso has garnered rave reviews from those lucky enough to catch one of her infrequent U.S. gigs. Her latest solo CD captures the passion, elegance, and feel of her best live shows. "
    - Ellen Collison, hemispherical.blogspot.com

Clips (more may be added)

  • 62- Ô DE CASAS - Mônica Salmaso e Paulão Sete Cordas
    By Mônica Salmaso
    587 views
  • 30- Ô DE CASAS - Mônica Salmaso, Dori Caymmi e Teco Cardoso
    By Mônica Salmaso
    591 views
  • 22- Ô DE CASAS - Mônica Salmaso e Luciana Rabello
    By Mônica Salmaso
    401 views
  • 58- Ô DE CASAS - Mônica Salmaso e Yamandú Costa
    By Mônica Salmaso
    438 views
Previous
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Mônica Salmaso Curated
pathways in

  • 1 Brazil
  • 1 MPB
  • 1 São Paulo
  • 1 Singer

What's Been Happening?

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  • Mônica Salmaso
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    Alfredo Del-Penho → Brazil has been recommended via Mônica Salmaso.
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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.

 

 

  • Samuca do Acordeon Samba
  • Tero Saarinen Dancer
  • Melvin Gibbs Record Producer
  • Piti Canella Bahia
  • Trilok Gurtu Indian Classical Music
  • Béla Fleck Americana
  • Joe Lovano Flute
  • J. Velloso Record Producer
  • Ricardo Bacelar Piano
  • Jonga Lima Brasil, Brazil
  • João Jorge Rodrigues Gestor Público, Public Servant
  • Edward P. Jones Writer
  • Dezron Douglas NYU Steinhardt Faculty
  • Melissa Aldana Composer
  • Jon Madof Multi-Cultural
  • Caroline Shaw Record Producer
  • Kiko Loureiro Guitar
  • George Cables Piano
  • Sameer Gupta Composer
  • Roque Ferreira Samba
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  • Lula Galvão Brazil
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  • Diego Figueiredo Violão, Guitar
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  • Mark Markham Piano Master Classes
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  • Luiz Antônio Simas Compositor, Composer
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  • Christopher James Composer
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  • Bill Callahan Austin, Texas
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  • Anthony Coleman New York City
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  • Chris Potter Composer
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  • João Luiz Guitar
  • Zigaboo Modeliste New Orleans
  • Ricardo Bacelar Jazz Brasileiro, Brazilian Jazz
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  • Sandi Bachom New York City
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  • Nancy Ruth Composer
  • Ashley Page Record Label Owner
  • Hercules Gomes Choro
  • Diego Figueiredo Arranjador, Arranger
  • Ivan Neville Multi-Instrumentalist
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  • Jared Sims Flute
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  • Cristiano Nogueira Chicago
  • Cassie Osei Historian of Latin America & African Diaspora
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  • Melvin Gibbs Brooklyn, NY
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  • Jean Rondeau Paris
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  • Munir Hossn Composer
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  • Vanessa Moreno São Paulo
  • Mino Cinélu Composer
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  • David Binney Composer
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  • Azi Schwartz החזן עזי שוורץ Cantor
  • Arismar do Espírito Santo Samba
  • Marcus Gilmore Composer
  • Yotam Silberstein New York City

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