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  • Nicholas Barber

    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: Nicholas Barber
  • City/Place: London
  • Country: United Kingdom

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Freelance arts journalist & film critic for BBC Culture, The Economist, The Guardian, Metro, The New York Times, The Wrap...

Media | Markets

  • ▶ Twitter: nicholaslbarber
  • ▶ Articles: http://www.theguardian.com/profile/nicholas-barber
  • ▶ Articles 2: http://www.independent.co.uk/author/nicholas-barber

Nicholas Barber Curated
pathways in

  • 1 Arts Journalist
  • 1 Film Critic
  • 1 London

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  • Nicholas Barber
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    • June 6, 2020
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    • June 6, 2020
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    Nicholas Barber is matrixed!
    • June 6, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find.
So for him, for incandescent Brazil, for the entire creative world, new ways...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington



Bahia is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

 

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

 

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

 

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar.
Aí para ele, para o Brasil incandescente, pro mundo criativo inteiro, novos caminhos...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


A Bahia é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

Por que Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 

  • Guinha Ramires Guitar
  • Cedric Watson Cajun Music
  • Caoimhín Ó Raghallaigh Composer
  • Shez Raja Multi-Cultural
  • Caroline Shaw Record Producer
  • Orquestra Afrosinfônica Música Afro-Brasileira, Afro-Brazilian Music
  • Damon Krukowski Dream Pop
  • Ivan Sacerdote Bahia
  • Rosa Passos Brazil
  • Ben Allison Concert Producer
  • Arthur Jafa Filmmaker
  • Luedji Luna Bahia
  • Zé Luíz Nascimento Paris
  • Simon McKerrell Bagpipes
  • Imani Winds Chamber Music
  • Marcelinho Oliveira Record Producer
  • Myles Weinstein Drums
  • Isaak Bransah Salvador
  • Booker T. Jones Record Producer
  • Janine Jansen Violin
  • Arany Santana Gestor Público, Public Servant
  • Dwayne Dopsie Louisiana
  • Ben Harper Multi-Instrumentalist
  • Nailor Proveta Jazz
  • Munir Hossn Composer
  • Gabriel Geszti Brasil, Brazil
  • Gord Sheard Toronto
  • Nic Adler Festival Promoter
  • Alicia Svigals New York City
  • MonoNeon Composer
  • Frank Negrão Bass
  • Jonny Geller Public Speaker
  • Jamberê Cerqueira Brasil, Brazil
  • Jared Sims Flute
  • Rosa Passos Guitar
  • Tia Surica Singer
  • Ayrson Heráclito Cachoeira
  • Chris Thile Mandolin
  • Samba de Nicinha Samba
  • Wilson Café Bahia
  • Lavinia Meijer Harp
  • Louis Marks Record Label Owner
  • Andrew Dickson Radio Presenter
  • Jurandir Santana Barcelona
  • Glória Bomfim Afoxé
  • Jonathan Scales Multi-Cultural
  • Djamila Ribeiro Brasil, Brazil
  • Shoshana Zuboff Social Psychology
  • Caroline Keane Educator
  • Armandinho Macêdo Bahia
  • Sandra de Sá Brasil, Brazil
  • Yasushi Nakamura Jazz
  • Antônio Pereira Manaus
  • Larry McCray Blues
  • Cacá Diegues Rio de Janeiro
  • Cut Worms Brooklyn, NY
  • Kiko Loureiro Brazil
  • Sheryl Bailey Guitar
  • Seckou Keita Senegal
  • Rogério Caetano Rio de Janeiro
  • J. Velloso Singer
  • Gonzalo Rubalcaba University of Miami Frost School of Music Faculty
  • G. Thomas Allen Gospel
  • Benoit Fader Keita Bedik
  • João Bosco Guitar
  • Lucas Santtana São Paulo
  • Keyon Harrold Composer
  • Adriano Souza Brazilian Jazz
  • Egberto Gismonti Piano
  • Yuja Wang New York City
  • Dan Moretti Saxophone
  • Mestre Nelito Samba de Roda
  • Paulo Martelli Brazilian Classical Guitar
  • The Umoza Music Project Senga Bay
  • James Carter New York City
  • Mário Pam Bahia
  • Bongo Joe Records Record Label
  • Eamonn Flynn Irish Traditional Music
  • Terence Blanchard New Orleans
  • Jen Shyu Dancer
  • Yelaine Rodriguez African Diaspora Culture
  • Turíbio Santos Brazil
  • Cécile Fromont Yale Faculty
  • Philipp Meyer Writer
  • Joyce Moreno Bossa Nova
  • Filhos de Nagô Samba de Roda
  • Fred Hersch Composer
  • David Ngwerume Zimbabwe
  • Brian Cox Actor
  • Melissa Aldana Composer
  • Mokhtar Samba Paris
  • Emily Elbert Los Angeles, California
  • Jaques Morelenbaum Brazilian Jazz
  • Turtle Island Quartet String Quartet
  • Fantastic Negrito Guitar
  • Perumal Murugan Novelist
  • Allen Morrison Press Releases
  • Paulinho do Reco Percussion
  • Stan Douglas Filmmaker
  • Gilberto Gil Bahia
  • Daphne A. Brooks Journalist
  • Christopher James New York City
  • John Archibald Journalist
  • Gilad Hekselman Photographer
  • Nabih Bulos Violin
  • Marc Maron Podcaster
  • Heriberto Araujo China
  • Pedro Aznar Buenos Aires
  • Gamelan Sekar Jaya Gamelan
  • Cinho Damatta Salvador
  • Adonis Rose Drum Instruction
  • Dave Douglas Multi-Cultural
  • Jimmy Dludlu Composer
  • Ron McCurdy Writer
  • João Camarero Guitar
  • Yamandu Costa Brazil
  • Geraldine Inoa Writer
  • Aaron Parks Ropeadope
  • Vanessa Moreno Samba
  • Irma Thomas Blues
  • Danilo Caymmi Film Scores
  • Onisajé Diretora Teatral, Theater Director
  • Ilya Kaminsky Ukraine
  • Colson Whitehead Literary Critic
  • James Martin R&B
  • Şener Özmen Kurdish Culture
  • Mary Norris Writer
  • John Edward Hasse Ragtime
  • Marco Pereira Classical Guitar
  • Liberty Ellman Brooklyn, NY
  • Peter Serkin Classical Music
  • Bonerama Jazz
  • Gretchen Parlato Singer
  • Taylor McFerrin Singer-Songwriter
  • Gearóid Ó hAllmhuráin Ireland
  • Makaya McCraven Record Producer
  • Thalma de Freitas Rio de Janeiro
  • Eric Galm Samba
  • Kiya Tabassian كيا طبسيان Composer
  • Alex Hargreaves Violin
  • Mike Moreno Aaron Copeland School of Music Faculty
  • Marvin Dunn Educator
  • Elodie Bouny Composer
  • Mike Moreno Manhattan School of Music Faculty
  • Mike Marshall Author
  • Peter Evans Composer
  • Michelle Burford Collaborative Writer
  • Derrick Adams Sculptor
  • Chris Speed Jazz
  • Carlos Lyra Brazil
  • Chico César Poet
  • Luke Daniels Singer-Songwriter
  • Oswaldo Amorim Brasília
  • Lula Galvão Brazil
  • Roy Nathanson Brooklyn, NY
  • Avishai Cohen אבישי כה Jazz
  • Miroslav Tadić Classical, Baroque Music
  • Jack Talty County Clare
  • Piti Canella Produtora Cultural, Cultural Producer
  • Victor Wooten Bass
  • Ben Monder Guitar
  • Cale Glendening Cinematographer
  • Shemekia Copeland Singer
  • Rayendra Sunito Jakarta
  • Ronald Angelo Jackson Haiti
  • Louis Michot Western Swingbilly Cajun Punk
  • Saileog Ní Cheannabháin Theater Composer
  • Augustin Hadelich Classical Music
  • Nelson Cerqueira Bahia
  • André Muato Brazil
  • Natalia Contesse Author
  • Scott Kettner Maracatu
  • Dafnis Prieto Author
  • Jeremy Danneman Composer
  • Lula Gazineu Compositor, Composer
  • Gilad Hekselman Guitar
  • Matt Ulery Multi-Cultural
  • Arany Santana Candomblé
  • Raynald Colom Spain
  • Gabriel Geszti Jazz Brasileiro, Brazilian Jazz
  • Natan Drubi Violão de Sete, Seven-string Guitar
  • Casey Driessen Composer
  • Ben Wolfe Bass
  • Jakub Knera Musical Event Producer
  • Grégoire Maret Jazz
  • Nguyên Lê Paris
  • Leela James Soul
  • Saileog Ní Cheannabháin Fiddle
  • Yo La Tengo Film Scores
  • Christopher Silver McGill University Faculty
  • Berkun Oya Turkey
  • Paulo César Pinheiro Rio de Janeiro
  • David Bragger UCLA Herb Alpert School of Music Faculty
  • Sam Wasson Cultural Historian
  • Scott Yanow Music Critic
  • Anouar Brahem Multi-Cultural
  • Mestre Nelito Chula
  • Jamel Brinkley Iowa Writers' Workshop Faculty
  • Bule Bule Salvador
  • Peter Dasent Composer
  • Igor Osypov Jazz Fusion
  • Marilda Santanna Salvador
  • Deborah Colker Choreographer
  • Paolo Fresu Sardinia
  • Duane Benjamin Composer
  • Corey Harris Folk & Traditional
  • Cory Wong Guitar
  • Antonio Adolfo Samba
  • Matt Glaser Berklee College of Music Faculty
  • Huey Morgan BBC
  • José Antonio Escobar Spain
  • Hisham Mayet DJ
  • Michael Sarian Big Band
  • Jazzmeia Horn New York City
  • Jessie Montgomery Violin
  • Merima Ključo Composer
  • Aditya Prakash Multi-Cultural
  • Stephen Kurczy The King's College Faculty
  • Lenine Record Producer
  • Abderrahmane Sissako Screenwriter
  • Sharay Reed Bass
  • Cory Wong Minneapolis, Minnesota
  • Michael League Multi-Instrumentalist
  • Mauro Refosco Compositor de Filmes, Film Scores
  • Endea Owens Bass
  • Jamberê Cerqueira Arranjador, Arranger
  • Luê Soares MPB
  • Michael Janisch Double Bass
  • Esperanza Spalding Bass
  • Milton Primo Brazil
  • Hisham Mayet Record Label Owner
  • Beth Bahia Cohen Rababa
  • Eric Roberson R&B
  • Kevin Hays Singer-Songwriter
  • Burkard Polster YouTuber
  • 9Bach Multi-Cultural
  • Alex Rawls New Orleans
  • Musa Okwonga Poet
  • David Mattingly New York City
  • Alicia Keys New York City
  • Pedrito Martinez Percussion
  • Larry Grenadier Bass
  • Michael Janisch Bass
  • Gabi Guedes Salvador
  • Chick Corea Composer
  • Huey Morgan Singer
  • Moses Sumney Singer-Songwriter
  • Arto Tunçboyacıyan Armenian Folk Music
  • Seckou Keita Africa
  • Yasmin Williams Singer-Songwriter
  • Jorge Aragão Percussion
  • Herlin Riley Drums
  • Asanda Mqiki Port Elizabeth
  • Bill Frisell Composer
  • Byron Thomas Piano
  • Christone 'Kingfish' Ingram Singer
  • Restaurante Axego AFROBIZ Salvador
  • Burhan Öçal Kudüm
  • Tia Surica Brazil
  • Stanton Moore Second Line
  • Seth Rogovoy Journalist
  • Rebeca Omordia Nigeria
  • Zulu Araújo Salvador
  • Marilda Santanna Bahia
  • Kyle Poole Drums
  • Anthony Hervey New York City
  • Luis Perdomo Jazz
  • Nublu Record Label
  • Patty Kiss Salvador
  • Carl Allen New York City
  • Geovanna Costa Brasil, Brazil
  • Jau Bahia
  • Fernando César Composer
  • Phineas Harper Printmaker
  • Sebastião Salgado Brasil, Brazil
  • Greg Ruby Jazz
  • Marcelinho Oliveira Brazil
  • Avishai Cohen אבישי כה Tel Aviv
  • Pedro Aznar Poet
  • James Brady Multi-Cultural
  • Anat Cohen Israel
  • Jason Reynolds Young People's Literature
  • Sam Reider Accordion
  • Diego Figueiredo Compositor, Composer
  • Msaki Record Label Owner
  • Mike Moreno New York City
  • Shane Parish Composer
  • Georgia Anne Muldrow Singer-Songwriter
  • Arany Santana Atriz, Actor
  • Mavis Staples Gospel
  • Jane Cornwell Liner Notes
  • Serwah Attafuah Singer
  • Forrest Hylton Writer
  • Emmet Cohen Piano
  • Diosmar Filho Rio de Janeiro
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