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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is 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. It 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 — 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 an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Nate Chinen
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Nate Chinen
  • City/Place: Beacon, New York
  • Country: United States

Life & Work

  • Bio: NATE CHINEN has been writing about jazz for more than twenty years.

    He spent a dozen of them working as a critic for The New York Times, and helmed a long-running column for JazzTimes. As the director of editorial content at WBGO, he works with the multiplatform program Jazz Night in America and contributes a range of coverage to NPR Music.

    A twelve-time winner of the Helen Dance–Robert Palmer Award for Excellence in Writing, presented by the Jazz Journalists Association, he is also coauthor of Myself Among Others: A Life in Music, the 2003 autobiography of festival impresario and producer George Wein.

    His work appears in Best Music Writing 2011, Pop When the World Falls Apart: Music in the Shadow of Doubt (Duke University Press, 2012), and Miles Davis: The Complete Illustrated History (Voyageur Press, 2012).

    Chinen was born and raised in Honolulu, Hawaii. He started his career as a music critic in 1996, at the Philadelphia City Paper. There he covered one of the great jazz cities at ground level, writing a steady stream of reviews and features, along with a biweekly column, The Gig.

    He moved to New York City in 1998, and began writing for a range of publications, including DownBeat, Blender and Vibe. For several years he was the jazz critic for Weekend America, a syndicated radio program. He covered jazz for the Village Voice from 2003 through 2005, when he became a regular contributor to The New York Times.

    Chinen's closest affiliation with a music periodical has been with JazzTimes, since the turn of the century. In 2004 he revived The Gig as a column for the magazine, where it ran in 125 consecutive installments.

    At the beginning of 2017, Chinen became director of editorial content at WBGO, the global leader in jazz radio, broadcasting from Newark. He manages the full spectrum of jazz coverage at wbgo.org; works closely with Jazz Night in America, a multimedia program hosted by Christian McBride; and writes regularly for NPR Music, about jazz and other genres.

    He lives in Beacon, New York, with his wife and two daughters.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Book Purchases: http://www.penguinrandomhouse.com/books/248047/playing-changes-by-nate-chinen/9781101873496/
  • ▶ Website: http://www.playingchangesbook.com
  • ▶ Website 2: http://bandcamp.com/natechinen

More

  • Quotes, Notes & Etc. “Nate Chinen has written a terrific book about the shape of contemporary jazz, and right now is a terrific time to read it.” —The Washington Post

    “Essential. . . . Fascinating and vital. . . . A perfectly timed, well-tuned chronicle of the past, present, and future of jazz.” —Slate

    “Chinen has excellent taste in unruly new sounds and big, bent ears.” —The New York Times

    “Brilliant. Incisive. Jazz lives on and on and on, folks.” —Sonny Rollins

    “Daring and illuminating. . . . No writer has confronted the of-this-moment character of contemporary jazz with the clarity and authority that Nate Chinen has brought to it. . . . He is a listener of true brilliance.” —David Hajdu, The Nation

    “Graceful and comprehensive.” —Rolling Stone

    “Chinen’s passion for the art form and deep understanding and knowledge of jazz make for a fascinating read. His firm support of the music and belief that the changes taking place within it will continue to serve it well—solidifying jazz as a global mode of communication without bounds—are truly uplifting.”—Herbie Hancock

    “A sturdy, finely crafted and open-ended framework for consideration of where jazz is headed, and why.” —The Wall Street Journal

    “Sharp in style and warm in feeling, Nate Chinen’s virtuoso survey dispenses with the familiar agendas and polemics that have too often boxed in writing on contemporary jazz. He follows the music where it goes and exults in its plurality of voices.”—Alex Ross, author of The Rest Is Noise: Listening to the Twentieth Century

    “A thorough and thoughtful examination. . . . [Chinen] looks at the work of a generation of artists that includes Kamasi Washington, Cécile McLorin Salvant and Jason Moran and finds a level of imagination and expression that has stretched the genre beyond the ‘jazz wars’ of years ago into an ever-expanding sound of endless possibility.” —Los Angeles Times

    “Exciting reading. . . . The book builds impressively. . . . Should delight musicians and readers of all kinds.” —DownBeat

    “Dazzling. . . . A stunning and wondrous journey. . . . Chinen improvises brilliantly across the progressions of jazz so that every page of his book brims with insight.” —No Depression

    “Elegant, evocative writing. . . . Mesmerizing. . . . Essential. . . . Like the best nonfiction, Playing Changes will motivate jazz diehards and neophytes alike to discover what’s out there and what’s on the horizon.” —PopMatters

    “A brilliant and wide-ranging new history of jazz. . . . Chinen’s virtuoso jazz history will drive
    readers to listen to the music anew, or for the first time.” —Publishers Weekly (starred review)

    “Chinen is setting a new standard. . . . [Playing Changes] brings jazz criticism not only to a new period of history but also to a fascinating era of musical exploration and discovery.” —Booklist

Clips (more may be added)

  • "Playing Changes": In Conversation w/ Nate Chinen
    By Nate Chinen
    267 views
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YOU RECOMMEND

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Nate Chinen:

  • 2 Jazz
  • 2 Journalist
  • 2 Music Critic
  • 2 Radio Director
  • 2 Writer
  • Joana Choumali Abidjan
  • Dale Barlow Flute
  • Paulinho do Reco Percussion
  • Jill Scott Poet
  • Chau do Pife Brazil
  • Luedji Luna Bahia
  • Fernando Brandão Pífano
  • Linda Sikhakhane Saxophone
  • Hendrik Meurkens Brazilian Music
  • Doug Adair Country
  • David Hepworth Publishing Industry Analyst
  • Robb Royer Pop
  • Theo Bleckmann Germany
  • Del McCoury Singer
  • Meddy Gerville Jazz
  • Nora Fischer Contemporary Classical Music
  • Walter Pinheiro São Paulo
  • Gearóid Ó hAllmhuráin Ireland
  • Peter Serkin Classical Music
  • Gretchen Parlato MPB
  • Dudu Reis Salvador
  • Urânia Munzanzu Cultura Afro-Baiana, Afro-Bahian Culture
  • Johnny Lorenz Translator
  • Miguel Zenón Composer
  • Jorge Glem Venezuela
  • Oleg Fateev Accordion
  • Roberta Sá Brazil
  • Isaiah J. Thompson Jazz
  • Stormzy Writer
  • Chris Cheek New School for Jazz and Contemporary Music Faculty
  • Azi Schwartz החזן עזי שוורץ Cantor
  • Baiba Skride Violin
  • Endea Owens Jazz
  • Peter Mulvey Folk & Traditional
  • Luizinho do Jêje Salvador
  • Edward P. Jones Writer
  • Michael League Composer
  • Milton Primo Chula
  • João Rabello Rio de Janeiro
  • Delfeayo Marsalis New Orleans
  • Ariel Reich Dance for PD®
  • Anthony Coleman Piano
  • Wouter Kellerman Composer
  • Gal Costa Salvador
  • María Grand R&B
  • Jaques Morelenbaum Cello
  • Imanuel Marcus Journalist
  • Ken Coleman Black American Culture & History
  • Gavin Marwick Edinburgh
  • Reggie Ugwu Writer
  • Philip Ó Ceallaigh Short Stories
  • Walter Pinheiro Composer
  • Imanuel Marcus Germany
  • Urânia Munzanzu Jornalista, Journalist
  • Camille Thurman Bass Clarinet
  • Mulatu Astatke Percussion
  • Edgar Meyer Curtis Institute of Music Faculty
  • Michelle Mercer Writer
  • Leo Nocentelli New Orleans
  • Alexia Arthurs Iowa Writers' Workshop Faculty
  • Ivan Sacerdote Composer
  • Teodor Currentzis Russia
  • Terence Blanchard Film Scores
  • Sabine Hossenfelder Physicist
  • Perumal Murugan Poet
  • Irmandade da Boa Morte Brasil, Brazil
  • Magary Lord AFROBIZ Salvador
  • Menelaw Sete Pintor/Painter
  • Lucio Yanel Argentina
  • John Francis Flynn Dublin
  • Chico Buarque Samba
  • Mark Stryker Arts Critic
  • Niwel Tsumbu Singer
  • Sam Eastmond Jazz, Klezmer, Jewish, World, Downtown
  • Gerald Clayton Composer
  • Muireann Nic Amhlaoibh Radio Presenter
  • RAM Haiti
  • Ari Rosenschein Writer
  • Rahim AlHaj Iraq
  • Egberto Gismonti Piano
  • China Moses Jazz
  • Mauro Senise Choro
  • Mart'nália Singer-Songwriter
  • Zeca Pagodinho Rio de Janeiro
  • Alan Bishop Record Label Owner
  • Hélio Delmiro Composer
  • Şener Özmen Turkey
  • Robin Eubanks Composer
  • Neymar Dias Viola Caipira
  • Giba Gonçalves Brazil
  • Luizinho Assis Jazz
  • Glória Bomfim Afoxé
  • Román Díaz Santeria
  • Itiberê Zwarg Multi-Instrumentalist
  • Dónal Lunny Irish Traditional Music
  • Mickalene Thomas Installation Artist
  • Harish Raghavan Composer
  • Tab Benoit Baton Rouge
  • Ayrson Heráclito Cachoeira
  • Nicolas Krassik Samba
  • Mário Pam Bloco Afro
  • Mariana Zwarg Samba
  • Becca Stevens Multi-Instrumentalist
  • Irmandade da Boa Morte Candomblé
  • Nigel Hall New Orleans
  • Alphonso Johnson Jazz
  • Monk Boudreaux Mardi Gras Indian
  • Ana Tijoux Chile
  • Igor Osypov Ukraine
  • Tony Trischka Author
  • Billy Strings Singer
  • Terence Blanchard New Orleans
  • Stacy Dillard Saxophone
  • Nathan Amaral Brazil
  • Rosa Passos Brazil
  • Munir Hossn Brazil
  • Kaia Kater Singer-Songwriter
  • David Braid Lute
  • Alegre Corrêa Florianópolis
  • Robb Royer R&B
  • Perumal Murugan Writer
  • Kaia Kater Folk & Traditional
  • Luedji Luna Singer-Songwriter
  • Bob Telson New York City
  • Alexa Tarantino Saxophone
  • Matt Ulery Contemporary Classical Music
  • Malin Fezehai Brooklyn, NY
  • Jake Webster Painter
  • Şener Özmen Multimedia Art
  • André Vasconcellos Jazz
  • Thomas Àdes Opera
  • Nelson Sargento Rio de Janeiro
  • Carla Visi Bahia
  • Greg Ruby Jazz
  • Hot Dougie's Bar Restaurante
  • Miles Okazaki Guitar
  • Tatiana Campêlo Choreographer
  • Peter Serkin Classical Music
  • Miroslav Tadić Multi-Cultural
  • Rogê Brazil
  • Urânia Munzanzu Cineasta, Filmmaker
  • Avishai Cohen אבישי כה Tel Aviv
  • Neymar Dias Brazil
  • Tom Oren Israel
  • As Ganhadeiras de Itapuã Samba de Roda
  • Trombone Shorty Second Line
  • Terence Blanchard Trumpet
  • Sombrinha Banjo
  • Utar Artun Turkey
  • Myron Walden Recorder
  • Swami Jr. Brazilian Jazz
  • Masao Fukuda Choro
  • Johnny Lorenz Poet
  • Jonga Cunha Radio Presenter
  • Ariane Astrid Atodji Yaoundé
  • Walter Blanding New York City
  • Mauro Refosco Percussão, Percussion
  • Dadá do Trombone MPB
  • King Britt Composer
  • Pat Metheny Jazz
  • Priscila Castro Santarém
  • Amilton Godoy São Paulo
  • Jean-Paul Bourelly Jazz
  • PATRICKTOR4 Bahia
  • Casa PretaHub Cachoeira Afroempreendedorismo, Afro-Entrepreneurship
  • Yazz Ahmed Audio Manipulation
  • Wouter Kellerman Johannesburg
  • Roberto Mendes Brazil
  • Amitava Kumar Screenwriter
  • Casa Preta Brasil, Brazil
  • Niwel Tsumbu Ireland
  • Fred Dantas Ethnomusicologist
  • Luke Daniels Scottish Traditional Music
  • Anat Cohen Tel Aviv
  • Tia Surica Brazil
  • Muireann Nic Amhlaoibh Flute
  • Yoko Miwa Composer
  • Bianca Gismonti Singer
  • Miguel Zenón New York City
  • Mingus Big Band Jazz
  • Ajurinã Zwarg Samba
  • Jim Hoke Session Musician
  • Elizabeth LaPrelle Appalachian Music
  • Guga Stroeter Candomblé
  • Munir Hossn Guitar
  • Osvaldo Golijov Argentina
  • Swami Jr. Samba
  • Thana Alexa Singer-Songwriter
  • Luíz Paixão Brazil
  • Ana Luisa Barral Choro
  • Jakub Józef Orliński Opera
  • Damon Albarn Multi-Instrumentalist
  • Melvin Gibbs Brooklyn, NY
  • Amaro Freitas Maracatu
  • Ken Coleman Reporter
  • Kenny Garrett Flute
  • Carlinhos 7 Cordas Samba
  • Flor Jorge MPB
  • Lokua Kanza Congo
  • Dona Dalva Cachoeira
  • Mário Pam AFROBIZ Salvador
  • Norah Jones Jazz
  • Damion Reid Hip-Hop
  • Dan Weiss Avant-Garde Jazz
  • Burkard Polster Monash University Faculty
  • Isaiah J. Thompson Jazz
  • Celso de Almeida MPB
  • Eddie Palmieri Latin Funk
  • Curtis Hasselbring Jazz
  • Rick Beato Songwriter
  • Victor Gama Angola
  • Shannon Ali Jazz
  • Judith Hill R&B
  • Stuart Duncan Fiddle
  • Parker Ighile Contemporary R&B
  • Nara Couto Diretora, Director
  • Africania Brazil
  • Norah Jones Singer-Songwriter
  • Danilo Brito São Paulo
  • Alicia Svigals Jewish Music
  • Sam Reider Piano
  • Donna Leon Writer
  • Ayrson Heráclito Multimedia Artist
  • Branford Marsalis Film Scores
  • Yola Bristol
  • Larissa Luz Brazil
  • Stefon Harris Manhattan School of Music Faculty
  • Marcel Powell Samba
  • Rebeca Omordia Classical Music
  • Ana Moura Singer
  • Ajeum da Diáspora AFROBIZ Salvador
  • Toninho Horta Singer
  • Mona Lisa Saloy Storyteller
  • Nancy Viégas Fotógrafa, Photographer
  • Patty Kiss Guitarra Baiana
  • Scotty Apex Composer
  • Avner Dorman Contemporary Classical Music
  • Scott Devine Bass
  • Ivan Bastos Faculdade da UFBA, Federal University of Bahia Faculty
  • Bruce Williams Juilliard Faculty
  • Gêge Nagô Samba de Roda
  • Soweto Kinch Composer
  • Arto Lindsay New York City
  • Nic Hard Audio Engineer
  • Stephen Kurczy The King's College Faculty
  • Nora Fischer Classical Music
  • Romero Lubambo Samba
  • Bhi Bhiman R&B
  • Lilli Lewis Louisiana Red Hot Records
  • Irmandade da Boa Morte Samba de Roda
  • VJ Gabiru Mapeamento de Projeção, Projection Mapping
  • Kiko Loureiro Heavy Metal
  • Stephen Guerra Brazilian Classical Guitar
  • Arturo Sandoval Trumpet
  • Rotem Sivan Guitar
  • Rhiannon Giddens Fiddle
  • Edsel Gomez Composer
  • Marcelo Caldi Brazil
  • Jamz Supernova Record Label Owner
  • James Martin Singer-Songwriter
  • Askia Davis Sr. Educational Consultant
  • Richie Pena New York City
  • Yvette Holzwarth Film Scores
  • Rayendra Sunito Record Producer
  • Nelson Cerqueira Escritor, Writer
  • Juçara Marçal Singer-Songwriter
  • Jon Batiste R&B
  • Ben Wolfe Double Bass
  • Manassés de Souza Ceará
  • THE ROOM Shibuya Dance Club
  • Vijith Assar Tech Writer
  • Dónal Lunny Songwriter
  • Stan Douglas Filmmaker
  • Jam no MAM Jam Sessions
  • Jubu Smith R&B
  • Donald Vega Nicaragua
  • Askia Davis Sr. Writer
  • Chief Xian aTunde Adjuah Multi-Cultural
  • Roberto Mendes Singer-Songwriter
  • Paulinho do Reco Candomblé
  • ANNA DJ
  • Marcel Powell MPB
  • Melanie Charles Flute
  • Gel Barbosa Salvador
  • Dan Trueman Hardanger Fiddle
  • Paulo César Figueiredo Brasil, Brazil
  • João Callado Cavaquinho
  • Nicolas Krassik Forró
  • Shamarr Allen Trumpet
  • Caroline Shaw NYU Faculty
  • Teddy Swims Soul
  • Leela James Singer-Songwriter
  • Celso de Almeida Drums
  • Abel Selaocoe Composer
  • MonoNeon Singer-Songwriter
  • John Santos Record Label Owner
  • John Santos California Jazz Conservatory Faculty
  • Irma Thomas Soul
  • Garth Cartwright Poet
  • Melissa Aldana Jazz
  • Cinho Damatta MPB
  • Beats Antique Oakland, California
  • Renato Braz MPB
  • Margareth Menezes Samba-Reggae
  • Magda Giannikou New York City
  • Elio Villafranca Jazz
  • Corey Harris Reggae
  • Emily Elbert Folk Funk Jazz Blues
  • Janine Jansen Utrecht
  • Hank Roberts Avant-Garde, Folk, Classical
  • Gearóid Ó hAllmhuráin Irish Traditional Music
  • Brandee Younger New York University Faculty
  • Mou Brasil Música Afro-Baiana, Afro-Bahian Music
  • Ronald Bruner Jr. Jazz
  • Paulo Costa Lima Faculdade da UFBA, Federal University of Bahia Faculty
  • Joel Ross Jazz
  • Paquito D'Rivera Saxophone
  • Júlio Lemos Samba
  • Keita Ogawa Japan
  • Leon Parker Percussion
  • Mateus Aleluia Filho Música Pan-Africana, Pan-African Music
  • Rick Beato Educator
  • Adriano Giffoni MPB
  • Zebrinha Diretor Artístico, Artistic Director
  • Muri Assunção Latinx
  • Calypso Rose Trinidad & Tobago
  • Woz Kaly African Music
  • Jam no MAM Salvador
  • George Porter Jr. R&B
  • Alexandre Vieira Jazz
  • Mateus Aleluia Brazil
  • Matt Garrison Jazz Fusion
  • Pururu Mão no Couro Chula
  • Bill T. Jones Theater Director
  • Steve Lehman Composer
  • Arto Tunçboyacıyan New York City
  • Justin Kauflin Jazz
  • Jocelyn Ramirez Online Cooking Classes
  • Pierre Onassis Brazil
  • Şener Özmen Kurdish Culture
  • Cara Stacey North-West University Faculty
  • Isaak Bransah Dancer
  • David Castillo Los Angeles
  • Francisco Mela New York City
  • Natalia Contesse Chilean Folk Music
  • Fred P Composer
  • Michael Formanek Double Bass
  • Barlavento Samba
  • Emicida Singer-Songwriter
  • Jeff Tweedy Americana

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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