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  • Nduduzo Makhathini

    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: Nduduzo Makhathini
  • City/Place: Johannesburg
  • Country: South Africa
  • Hometown: Umgungundlovu, Pietermaritzburg, South Africa

CURATION

  • from this node by: Matrix+

Current News

  • What's Up? "a truly singular pianist, an astonishingly gifted composer, and a deeply nuanced thinker on the music...one of [South Africa's] most remarkable talents."
    - Seton Hawkins for All About Jazz

    The visionary South African pianist and composer Nduduzo Makhathini released his Blue Note Records debut Modes of Communication: Letters from the Underworlds in 2020. Makhathini has released the album’s lead track.

    The song represents a search for the light of the ancestral realms and an acknowledgement of a parallel existence between a world we see and those unseen.

    “Yehlisan’uMoya” features impassioned vocals by Nduduzo’s wife Omagugu Makhathini and a band that includes alto saxophonist Logan Richardson, tenor saxophonist Linda Sikhakhane, trumpeter Ndabo Zulu, bassist Zwelakhe-Duma Bell Le Pere, drummer Ayanda Sikade, and percussionist Gontse Makhene.

Life & Work

  • Bio: Nduduzo Makhathini grew up in the lush and rugged hillscapes of umGungundlovu in South Africa, a peri-urban landscape in which music and ritual practices were symbiotically linked. The area is significant historically as the site of the Zulu king Dingane kingdom between 1828 and 1840. It’s important to note that the Zulu, in fact the African warrior code, is deeply reliant on music for motivation and healing. This deeply embedded symbiosis is key to understanding Makhathini’s vision.

    The church also played a role in Makhathini’s musical understanding, as he hopped from church to church in his younger days in search of only the music. The legends of South African jazz are deep influences as well, in particular Bheki Mseleku, Moses Molelekwa, and Abdullah Ibrahim. “The earlier musicians put a lot of emotions in the music they played,” he says. “I think it may also be linked to the political climate of those days. I also feel there is a uniqueness about South African jazz that created an interest all around the world and we are slowly losing that too in our music today. I personally feel that our generation has to be very conscious about retaining these nuances in the music we play today.”

    Through his mentor Mseleku, Makhathini was also introduced to the music of John Coltrane’s classic quartet with McCoy Tyner. “I came to understand my voice as a pianist through John Coltrane’s A Love Supreme,” he says. “As someone who started playing jazz very late, I had always been looking for a kind of playing that could mirror or evoke the way my people danced, sung, and spoke. Tyner provided that and still does in meaningful ways.” Makhathini also cites American jazz pianists including Andrew Hill, Randy Weston, and Don Pullen as significant influences.

    Active as an educator and researcher, Makhathini is the head of the music department at Fort Hare University in the Eastern Cape. He has performed at renowned festivals including the Cape Town International Jazz Festival and the Essence Festival (in both New Orleans and South Africa), and in 2019 made his debut appearances the Blue Note Jazz Club in New York City, as well as Jazz at Lincoln Center where he was a featured guest with Wynton Marsalis and the Jazz at Lincoln Center Orchestra on their 3-night musical celebration The South African Songbook in Rose Theater. He is a member of Shabaka Hutchings’ band Shabaka and the Ancestors appearing on their 2016 album Wisdom of Elders, and has also collaborated with artists including Logan Richardson, Nasheet Waits, Tarus Mateen, Stefon Harris, Billy Harper, Azar Lawrence, and Ernest Dawkins.

    In addition to producing albums for his peers (such as Thandiswa Mazwai’s Belede and Tumi Mogorosi’s Project Elo), Makhathini has released eight albums of his own since 2014 when he founded the label Gundu Entertainment in partnership with his wife and vocalist Omagugu Makhathini. Those albums earned him multiple awards and include Sketches of Tomorrow (2014), Mother Tongue (2014), Listening to the Ground (2015), Matunda Ya Kwanza (2015); Icilongo: The African Peace Suite (2016), Inner Dimensions (2016), and Reflections (2016). His 2017 album Ikhambi was the first to be released on Universal Music South Africa and won Best Jazz Album at the South African Music Awards (SAMA) in 2018. His Blue Note debut Modes of Communication: Letters from the Underworlds will be released in 2020.

    - Biography from Blue Note Records

Media | Markets

  • ▶ Twitter: nduduzo_m
  • ▶ Instagram: NduduzoMakhathini
  • ▶ Website: http://revelationsandthoughtsofnduduzomakhathini.com
  • ▶ YouTube Channel: http://www.youtube.com/user/nduduzo1
  • ▶ YouTube Music: http://music.youtube.com/channel/UCXYElO_c-zDyTAOtTuBzCtw
  • ▶ Vimeo Channel: http://music.youtube.com/channel/UCXYElO_c-zDyTAOtTuBzCtw
  • ▶ Spotify: http://open.spotify.com/album/09PKM1xg3fhdAduUr6TxZz
  • ▶ Spotify 2: http://open.spotify.com/album/0NZzrW5DxyGk1cYFZYdg0E
  • ▶ Spotify 3: http://open.spotify.com/album/2f8SaBfyadkOCijhJn9IXL
  • ▶ Spotify 4: http://open.spotify.com/album/4npT1fllB8BhSdiQWmg35M
  • ▶ Spotify 5: http://open.spotify.com/album/5UfbdpxVVIOEZWx453zQuP
  • ▶ Spotify 6: http://open.spotify.com/album/5bXLVzmoqP1ljGJtu8xuEj
  • ▶ Article: http://www.jazziz.com/10-things-to-know-about-nduduzo-makhathini-blue-notes-new-piano-star/
  • ▶ Article 2: http://jazztimes.com/features/profiles/nduduzo-makhathini-divining-signs/
  • ▶ Article 3: http://downbeat.com/news/detail/nduduzo-makhathini-bridges-dna

Clips (more may be added)

  • A New Look Towards Ubungoma Practices and Articulations | Nduduzo Makhathini | TEDxGaborone
    By Nduduzo Makhathini
    384 views
  • Nduduzo Makhathini - Amathambo
    By Nduduzo Makhathini
    677 views
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Nduduzo Makhathini Curated
pathways in

  • 5 Composer
  • 5 Fort Hare University Faculty
  • 5 Jazz
  • 5 Johannesburg
  • 5 Piano
  • 5 Record Producer
  • 5 South Africa

What's Been Happening?

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  • Nduduzo Makhathini
    John Edwin Mason → Writer has been recommended via Nduduzo Makhathini.
    • December 15, 2022
  • Nduduzo Makhathini
    John Edwin Mason → University of Virgina Faculty has been recommended via Nduduzo Makhathini.
    • December 15, 2022
  • Nduduzo Makhathini
    John Edwin Mason → Photographer has been recommended via Nduduzo Makhathini.
    • December 15, 2022
  • Nduduzo Makhathini
    John Edwin Mason → Historian has been recommended via Nduduzo Makhathini.
    • December 15, 2022
  • Nduduzo Makhathini
    John Edwin Mason → French Horn has been recommended via Nduduzo Makhathini.
    • December 15, 2022
  • Nduduzo Makhathini
    John Edwin Mason → African History has been recommended via Nduduzo Makhathini.
    • December 15, 2022
  • Nduduzo Makhathini
    Linda Sikhakhane → South Africa has been recommended via Nduduzo Makhathini.
    • June 24, 2022
  • Nduduzo Makhathini
    Linda Sikhakhane → Saxophone has been recommended via Nduduzo Makhathini.
    • June 24, 2022
  • Nduduzo Makhathini
    Linda Sikhakhane → Ropeadope has been recommended via Nduduzo Makhathini.
    • June 24, 2022
  • Nduduzo Makhathini
    Linda Sikhakhane → Johannesburg has been recommended via Nduduzo Makhathini.
    • June 24, 2022
  • Nduduzo Makhathini
    Linda Sikhakhane → Jazz has been recommended via Nduduzo Makhathini.
    • June 24, 2022
  • Nduduzo Makhathini
    Linda Sikhakhane → Composer has been recommended via Nduduzo Makhathini.
    • June 24, 2022
  • Nduduzo Makhathini
    Hilton Schilder → South Africa has been recommended via Nduduzo Makhathini.
    • June 18, 2022
  • Nduduzo Makhathini
    Hilton Schilder → Piano has been recommended via Nduduzo Makhathini.
    • June 18, 2022
  • Nduduzo Makhathini
    Hilton Schilder → Multi-Instrumentalist has been recommended via Nduduzo Makhathini.
    • June 18, 2022
  • Nduduzo Makhathini
    Hilton Schilder → Composer has been recommended via Nduduzo Makhathini.
    • June 18, 2022
  • Nduduzo Makhathini
    Hilton Schilder → Cape Town has been recommended via Nduduzo Makhathini.
    • June 18, 2022
  • Nduduzo Makhathini
    Hilton Schilder → Cape Jazz has been recommended via Nduduzo Makhathini.
    • June 18, 2022
  • Nduduzo Makhathini
    Shuya Okino → Writer has been recommended via Nduduzo Makhathini.
    • April 19, 2022
  • Nduduzo Makhathini
    Shuya Okino → Tokyo has been recommended via Nduduzo Makhathini.
    • April 19, 2022
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


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 below — 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 →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


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.

 

 

  • Paul Cebar Multi-Cultural
  • David Bruce Multi-Cultural
  • Marc-André Hamelin Boston
  • Pedrito Martinez Santeria
  • Jean-Paul Bourelly Guitar
  • Júlio Lemos Brazil
  • Nego Álvaro Singer-Songwriter
  • Harvey G. Cohen King's College London Faculty
  • Orlando Costa Rio de Janeiro
  • Nêgah Santos Pandeiro
  • Robb Royer R&B
  • Jim Lauderdale Bluegrass
  • Sebastião Salgado Paris, França
  • Negra Jhô Turbantes, Turbans
  • Manuel Alejandro Rangel Classical Guitar
  • Stan Douglas Vancouver
  • Asa Branca Guitar
  • Eli Teplin Los Angeles
  • Carl Joe Williams New Orleans
  • Merima Ključo Klezmer
  • Mariana Zwarg Flute
  • Restaurante Axego Salvador
  • Jonga Lima Bahia
  • Tommaso Zillio Author
  • Simon Shaheen Violin
  • Mariene de Castro Samba de Roda
  • Cayenna Ponchione-Bailey Percussion
  • J. Velloso Record Producer
  • Maria Struduth Ilustradora, Illustrator
  • Chano Domínguez Jazz
  • Fabrício Mota Baixo, Bass
  • Zeca Pagodinho Singer-Songwriter
  • Forrest Hylton Bahia
  • MARO Singer-Songwriter
  • Matt Parker Comedian
  • Huey Morgan Author
  • Jason Treuting Composer
  • Lilli Lewis Folk Rock
  • André Brock Georgia Tech Faculty
  • Philip Cashian Contemporary Classical Music
  • Simon Brook Director
  • Azadeh Moussavi Film Director
  • Bob Lanzetti Composer
  • Di Freitas Cello
  • Ivan Huol Salvador
  • Chick Corea Composer
  • Alyn Shipton Jazz Historian
  • Flora Gil Salvador
  • Mona Lisa Saloy Dillard University Faculty
  • Tom Oren Tel Aviv
  • Matt Dievendorf Guitar
  • Walmir Lima Brazil
  • Paulo Paulelli Bass
  • Nabaté Isles Trumpet
  • Samba de Nicinha Santo Amaro
  • George Porter Jr. New Orleans
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