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  • Noam Pikelny

    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: Noam Pikelny
  • City/Place: Nashville, Tennessee
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: NOAM PIKELNY has emerged as the preeminent banjoist of his generation. He is a founding member of Punch Brothers, a 3-time Grammy Nominee and was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass in 2010.

    Universal Favorite is the fourth record Noam Pikelny has released under his own name, but it’s truly his solo debut. His previous solo efforts—including 2014’s landmark Noam Pikelny Plays Kenny Baker Plays Bill Monroe—were full-band affairs that revealed his abilities as a dynamic bandleader while reinforcing his reputation as an inventive accompanist. The new release features only the man himself, playing lovely originals and covers that showcase his unique approach to the instrument and compositional flair. He recorded them live in the studio without accompaniment, coaxing a wide array of sounds and colors out of his instruments, embracing the challenges and exploring the new possibilities of the solo setting. And, for the first time in his career, Pikelny even sings. It turns out he has a striking deadpan baritone that conveys humor and melancholy in equal measure.

    This album, he says, “is the most personal statement I’ve put forward. The setting couldn’t be more stark and I think it lays bare my musical core. Most importantly, it’s an incredibly honest solo album, in that there are honestly no other people on this record other than me.“

Contact Information

  • Management/Booking: Management - Red Light Management
    [email protected]
    Booking - Paradigm Agency
    [email protected]
    Publicity - Rounder Records
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://noampikelny.kungfustore.com
  • ▶ Buy My Merch: http://noampikelny.kungfustore.com
  • ▶ Twitter: noampikelny
  • ▶ Instagram: noampikelny
  • ▶ Website: http://www.noampikelny.com
  • ▶ YouTube Channel: http://www.youtube.com/user/noampikelny
  • ▶ YouTube Music: http://music.youtube.com/channel/UCIYBNa25VarLPTdcw_NdOgA
  • ▶ Spotify: http://open.spotify.com/album/72BjHzwfZXDbxm1HuiXcAo
  • ▶ Spotify 2: http://open.spotify.com/album/0KjAr1ZXTIKoxcto5e51jP
  • ▶ Spotify 3: http://open.spotify.com/album/3AdiKjgy86xmuyv7YC12kV
  • ▶ Spotify 4: http://open.spotify.com/album/7CN6fp0L9i45BLUtfjDxqF

My Instruction

  • Instruction: http://go.artistworks.com/free-banjo-lessons-noam-pikelny

Clips (more may be added)

  • "Redbud" | Fretboard Journal
    By Noam Pikelny
    674 views
Previous
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Noam Pikelny Curated
pathways in

  • 2 Banjo
  • 2 Banjo Instruction
  • 2 Bluegrass
  • 2 Nashville, Tennessee

What's Been Happening?

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  • Noam Pikelny
    Rez Abbasi → Pakistani Music has been recommended via Noam Pikelny.
    • April 9, 2021
  • Noam Pikelny
    Rez Abbasi → Multi-Cultural has been recommended via Noam Pikelny.
    • April 9, 2021
  • Noam Pikelny
    Rez Abbasi → Microtonal has been recommended via Noam Pikelny.
    • April 9, 2021
  • Noam Pikelny
    A category was added to Noam Pikelny:
    Banjo Instruction
    • June 21, 2020
  • Noam Pikelny
    Richie Barshay → Percussion has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Richie Barshay → New York City has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Richie Barshay → Klezmer has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Richie Barshay → Jazz has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Richie Barshay → Drums has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Richie Barshay → Afro-Latin Percussion has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Awadagin Pratt → University of Cincinnati College-Conservatory of Music Faculty has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Awadagin Pratt → Piano has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Awadagin Pratt → Classical Music has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Rez Abbasi → New York City has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Rez Abbasi → Jazz has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Rez Abbasi → Indian Classical Music has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Rez Abbasi → Guitar has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    Rez Abbasi → Composer has been recommended via Noam Pikelny.
    • November 26, 2019
  • Noam Pikelny
    A video was posted re Noam Pikelny:
    "Redbud" | Fretboard Journal
    Noam Pikelny (Punch Brothers) performs "Redbud" from his 2017 solo album "Universal Favorite" at the Fretboard Journal.
    • April 1, 2019
  • Noam Pikelny
    A category was added to Noam Pikelny:
    Bluegrass
    • April 1, 2019
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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.

 

 

  • Mark Markham New York City
  • Estação Primeira de Mangueira Escola de Samba, Samba School
  • Casey Driessen Fiddle
  • Maria Calú Samba de Roda
  • Jess Gillam Classical Music
  • Júlio Caldas Guitarra Baiana
  • Owen Williams Writer
  • Victor Gama Composer
  • Delbert Anderson New Mexico
  • Flavio Sala Guitar Instruction, Master Classes
  • Lynn Nottage Film Producer
  • Flor Jorge MPB
  • Fábio Zanon Author
  • Moreno Veloso Pandeiro
  • Loli Molina Piano
  • Dave Holland Bass
  • Cristovão Bastos Choro
  • Alegre Corrêa Jazz
  • Onisajé Educadora, Educator
  • Restaurante Axego AFROBIZ Salvador
  • Rudy Royston Classical Music
  • Lenny Kravitz Actor
  • Custódio Castelo Portugal
  • David Ritz Liner Notes
  • Anna Webber Flute
  • Pretinho da Serrinha Singer
  • Lenna Bahule MPB
  • Antibalas New York City
  • Bianca Gismonti Rio de Janeiro
  • João Camarero Brazil
  • Mykia Jovan Blues
  • Sahba Aminikia Composer
  • Antônio Queiroz Brazil
  • Dave Jordan Roots Rock
  • Carlos Paiva Salvador
  • Mikki Kunttu Finland
  • Fernando Brandão Author
  • Duncan Chisholm Scotland
  • Savoy Family Cajun Band Cajun Music
  • Oscar Peñas New York City
  • Dorian Concept Composer
  • Jon Otis Singer-Songwriter
  • Paulinho do Reco Songwriter
  • Nei Lopes Samba
  • Philip Glass Composer
  • Daymé Arocena Singer
  • Leo Nocentelli New Orleans
  • Tom Wilcox Singer-Songwriter
  • Larnell Lewis Toronto
  • Jura Margulis Piano
  • Daniel Bennett Composer
  • Billy Strings Guitar
  • Matias Traut MPB
  • Jean Rondeau Composer
  • Derrick Hodge Bass
  • Matt Parker London
  • Gui Duvignau Bass
  • Luiz Antônio Simas Rio de Janeiro
  • Mark Turner Jazz
  • Luciano Salvador Bahia Piano
  • Susan Rogers Berklee Faculty
  • Jas Kayser Drums
  • Andra Day R&B
  • Carlos Blanco Bahia
  • David Simon Writer
  • Zigaboo Modeliste Songwriter
  • Stefano Bollani Classical Music
  • David Castillo Singer
  • Helado Negro Latin Experimental Music
  • Isaac Julien London
  • Jason Marsalis Drums
  • Harvey G. Cohen Songwriter
  • Jimmy Cliff Jamaica
  • Roosevelt Collier Pedal Steel Guitar
  • Echezonachukwu Nduka Writer
  • Darol Anger Americana
  • Rodrigo Amarante Rio de Janeiro
  • The Bayou Mosquitos Tex-Mex
  • Lauren Martin Television Presenter
  • Raynald Colom Composer
  • Marcelinho Oliveira Music Producer
  • Fatoumata Diawara African Music
  • Orquestra Afrosinfônica Brasil, Brazil
  • Djuena Tikuna Brazil
  • Nettrice R. Gaskins Writer
  • Henrique Araújo Mandolin
  • Ivo Perelman Jazz
  • Ênio Bernardes Samba
  • Robert Everest Choro
  • Henrique Cazes Samba
  • Nublu New York City
  • James Carter Contemporary Classical Music
  • Zeca Pagodinho Samba
  • Ray Angry Piano
  • John Waters Songwriter
  • Bill Summers Congas
  • Deesha Philyaw Columnist
  • Jonga Lima Samba
  • Speech Singer-Songwriter
  • Kirk Whalum Contemporary R&B
  • Moacyr Luz Singer
  • MicroTrio de Ivan Huol Salvador
  • Ken Coleman Reporter
  • Eddie Palmieri Latin Funk
  • Psoy Korolenko Псой Короленко Moscow
  • Gilson Peranzzetta Brazil
  • John Harle Saxophone
  • Isaac Butler Cultural Critic
  • Maria Struduth Cantora-Compositora, Singer-Songwriter
  • Kengo Kuma Architect
  • Ben Hazleton Indian Classical Music
  • Irma Thomas Soul
  • Arifan Junior Brasil, Brazil
  • Kirk Whalum Songwriter
  • Brentano String Quartet Yale School of Music
  • Léo Rodrigues Forró
  • Jason Reynolds Lesley University Faculty
  • Arthur L.A. Buckner Gospel
  • Rhiannon Giddens Folk & Traditional
  • Léo Brasileiro Guitarra, Guitar
  • Peter Dasent Songwriter
  • Deesha Philyaw Literary Critic
  • Aloísio Menezes Bahia
  • Chief Xian aTunde Adjuah Jazz
  • Nabih Bulos Classical Music
  • Cláudia Leitão Faculdade da UECE, State University of Ceará Faculty
  • Willie Jones III Drums
  • Luques Curtis Record Label Owner
  • Cayenna Ponchione-Bailey Writer
  • Sam Wasson Author
  • Joanna Majoko Zimbabwe
  • Fernando César Brasília
  • Nabihah Iqbal London
  • Fernando Brandão Composer
  • Ann Hallenberg Opera Singer
  • Ilya Kaminsky Ukraine
  • Kiko Horta Piano
  • Andy Kershaw England
  • Zeca Baleiro Maranhão
  • Randy Lewis Music Critic
  • Hélio Delmiro Guitar
  • Morgan Page House
  • Inaicyra Falcão Cantora, Singer
  • Nels Cline Guitar
  • Soweto Kinch MC
  • Clint Mansell Multi-Instrumentalist
  • Moreno Veloso Rio de Janeiro
  • Hamid El Kasri Singer
  • John Edwin Mason University of Virgina Faculty
  • Alisa Weilerstein Berlin
  • Dhafer Youssef ظافر يوسف Oud
  • Nelson Faria Composer
  • Capinam Poeta, Poet
  • Morten Lauridsen Composer
  • Miguel Atwood-Ferguson DJ
  • Bob Bernotas Jazz Historian
  • Stephan Crump Bass Instruction
  • Rosa Passos Salvador
  • Pat Metheny Composer
  • Jane Ira Bloom Saxophone
  • Cláudia Leitão Consultora em Economia Criativa, Creative Economy Consultant
  • Sahba Aminikia San Francisco
  • Thana Alexa Music Producer
  • Lalá Evangelista Bahia
  • Glória Bomfim Chula
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