Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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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...

 

This 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. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

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.

 

  • Pasquale Grasso
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Pasquale Grasso
  • City/Place: New York City
  • Country: United States
  • Hometown: Ariano Irpino

Life & Work

  • Bio: It was the kind of endorsement most rising guitarists can only dream of, and then some. In his interview for Vintage Guitar magazine’s February 2016 cover story, Pat Metheny was asked to name some younger musicians who’d impressed him. “The best guitar player I’ve heard in maybe my entire life is floating around now, Pasquale Grasso,” said the jazz-guitar icon and NEA Jazz Master. “This guy is doing something so amazingly musical and so difficult.

    “Mostly what I hear now are guitar players who sound a little bit like me mixed with a little bit of [John Scofield] and a little bit of [Bill Frisell],” he continued. “What’s interesting about Pasquale is that he doesn’t sound anything like that at all. In a way, it is a little bit of a throwback, because his model—which is an incredible model to have—is Bud Powell. He has somehow captured the essence of that language from piano onto guitar in a way that almost nobody has ever addressed. He’s the most significant new guy I’ve heard in many, many years.”

    As he’s done with many rising jazz stars, Metheny later invited Grasso over to his New York pad to jam and share some wisdom. He’s since become a generous presence in Grasso’s life, and his assessment of Grasso’s playing is—no surprise—spot-on. Born in Italy and now based in New York City, the 30-year- old guitarist has developed an astounding technique and concept informed not by jazz guitarists so much as by bebop pioneers like Powell, Charlie Parker and Dizzy Gillespie and the classical-guitar tradition. His new digital-only EP series, available beginning in June from Sony Masterworks, showcases Grasso in the solo-guitar format, where his intensive studies of both midcentury jazz and classical meld into a signature mastery that is, remarkably, at once unprecedented and evocative.

    But whom does it evoke? After a surface listen, Joe Pass and his essential Virtuoso LPs might come to mind. Now listen again. The sparkling, immaculately balanced tone; the tasteful tinges of stride and boogie-woogie rhythm; the stunning single-note lines that connect his equally striking use of chordal harmony—for Grasso, great solo arranging equals Art Tatum.

    Many serious guitar heads have been hip to Grasso for a while now and are aware of his jaw-dropping online performance videos, his beautiful custom instrument -- built in France by Trenier Guitars -- and his early career triumphs. In 2015, he won the Wes Montgomery International Jazz Guitar Competition in New York City, taking home a $5,000 prize and performing with guitar legend Pat Martino’s organ trio. Last year at D.C.’s Kennedy Center, as part of the NEA Jazz Masters Tribute Concert, Grasso participated in a special performance to honor Pat Metheny, alongside his guitar-wunderkind peers Dan Wilson, Camila Meza, Gilad Hekselman and Nir Felder.

    These days, Grasso teaches and maintains a packed gig schedule around New York, including frequent solo performances at the popular Greenwich Village haunt Mezzrow, where a regular Monday-night gig allowed him to develop his solo-arranging skillset. Not that Grasso thinks his work is done. “All [of the musicians I love are] inspiration for me to get new ideas and form my style, because it’s still growing,” Pasquale says. “And it’s gonna be growing until the day I die.”

    How Grasso came to be such a tremendous talent is also, in many ways, the story of his older brother, Luigi Grasso, a gifted alto saxophonist who tours globally as a bandleader and collaborator. The brothers were born and raised in Ariano Irpino, a bucolic hillside town in Italy’s Campania region. Their parents, while not being musicians themselves, were nonetheless passionate music lovers who filled the family home with jazz and classical sounds and took their sons along to events like Umbria Jazz. “Instead of watching TV at night,” Grasso recalls, “my dad would put on a Chet Baker record and we’d listen.”

    Both boys started in music young. Luigi, suffering from asthma, began playing sax on the advice of a doctor who believed it would help the 6-year-old with his breathing. Pasquale decided not much later that he needed to play an instrument too, and when he browsed a local shop, the guitar caught his interest immediately. Dad happily bought the instrument, but not before striking a deal with his son: “If I buy this for you, you have to promise me that you’ll practice.” In the ensuing years Pasquale kept up his end of the bargain, as did his brother, hour after hour, every day. Grasso’s mother later bought a book on how to read music, teaching her sons the skill as she absorbed it herself.

    Grasso found his first important mentor in Agostino Di Giorgio, a New York-raised guitarist who’d moved to Italy as an adult, to take care of his aging grandparents. Di Giorgio, a spirited, hilarious character and a brilliant musician, was a star pupil to Chuck Wayne, the deeply influential guitarist and educator recognized for his work with Woody Herman, George Shearing and Tony Bennett, among many others. Di Giorgio helped Wayne to codify his distinctive concepts of chords and scales in two highly sought-after books and passed Wayne’s methods along to Grasso. In the summer of 1998, the brothers attended a jazz workshop with bebop-piano royal Barry Harris in Switzerland. Harris showed both boys great kindness, and a relationship was quickly formed. Eventually, the Grasso brothers went from students at Harris’ global lineup of workshops to being two of his right-hand instructors and assistants. To this day, if Pasquale doesn’t have a gig on Tuesday night, he’ll drop in on Harris’ marathon teaching sessions in Manhattan to learn something new.

    Harris’ guidance helped to firm up Grasso’s tastes and perspective in jazz, as did a couple of invaluable recordings his father introduced to him: One Night in Birdland, a live Charlie Parker Quintet compilation featuring Bud Powell and Fats Navarro; and Art Tatum’s Solo Masterpieces box set. Regarding the latter, Grasso remembers, “I couldn’t believe it. I would just play that all day, and I couldn’t understand anything he was doing. It seemed like there were two pianos.” Grass felt a near-identical revelation later, after taking in a concert by the renowned classical guitarist David Russell. “I was shocked by his technique,” he says, “because it sounded like two jazz guitars together. I told my dad, ‘Maybe I should study classical, because I think that would help the way I want to play jazz.’” Grasso began in 2008 to fuse his hard- earned jazz technique with classical revisions and refinements at the Conservatory of Bologna, under the tutelage of guitarist Walter Zanetti.

    In 2012, the same year that Pasquale toured extensively as a Jazz Ambassador on behalf of the U.S. Embassy, the guitarist relocated to New York. He hit the scene running, soon enough becoming part of working bands led by Ari Roland and Chris Byars, and settling into a regular gig with the late, great saxophonist Charles Davis. Grasso has also performed with Freddie Redd, Frank Wess, Leroy Williams, Ray Drummond, Steve Grossman, Tardo Hammer, Jimmy Wormworth, John Mosca, Sacha Perry, Bucky Pizzarelli, China Moses, Harry Allen, Grant Stewart and Joe Cohn.

    On his initial Sony Masterworks recordings, Pasquale explores standards, ballads, and the repertoire of Thelonious Monk, Bud Powell and Charlie Parker, showcasing his sweeping abilities in the most intimate possible setting. Here you can experience his lifetime of listening and of challenging himself to transcend a bar set by Art Tatum so many decades ago. Coming later in 2021 will be Pasquale Plays Duke, including recordings with his trio and featuring vocalists Samara Joy and Sheila Jordan.

Contact Information

  • Email: [email protected]
  • Management/Booking: Management:
    Matt Pierson
    [email protected]

    Booking:
    Chris Mees
    B Natural, Inc.
    [email protected]

    Publicity:
    DL Media
    Candelaria Arvarado
    [email protected]

    Label:
    Sony Music Masterworks
    www.sonymusicmasterworks.com

Media | Markets

  • ▶ Twitter: pasqgrasso
  • ▶ Instagram: pasqualegrassomusic
  • ▶ Website: http://www.pasqualegrasso.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCSRa8zcwyNXHT82PUpju0lQ
  • ▶ YouTube Music: http://music.youtube.com/channel/UCZ8DiSzuQ-e1RRRUV4-LfNA
  • ▶ Spotify: http://open.spotify.com/album/4VbijvuO4EyZqIfK4uDYG3
  • ▶ Spotify 2: http://open.spotify.com/album/0j2QXHLqjUgaKjMkBXqI6j
  • ▶ Spotify 3: http://open.spotify.com/album/16H3cHVPyccGDW6gF9h5Kg
  • ▶ Spotify 4: http://open.spotify.com/album/7AaHFaxLNgNI3ZKKj8jZO0
  • ▶ Spotify 5: http://open.spotify.com/album/78boc4wHBRXquLfwoSeSJ5
  • ▶ Spotify 6: http://open.spotify.com/album/66pHBWODhEGfTgHeF7KoMH

My Instruction

  • Lessons/Workshops: Private Lessons & Master Classes
  • Instruction: http://www.mymusicmasterclass.com/artist/artists/pasquale-grasso/

Clips (more may be added)

  • 3:43
    Pasquale Grasso - Smoke Gets in Your Eyes (Official Video)
    By Pasquale Grasso
    125 views
  • 4:30
    Pasquale Grasso - Darn That Dream (Official Audio)
    By Pasquale Grasso
    123 views
  • 4:00
    Ruby, My Dear
    By Pasquale Grasso
    135 views
  • 2:45
    Pasquale Grasso - Tea for Two (Official Video)
    By Pasquale Grasso
    132 views
  • 3:06
    Pasquale Grasso - 'Round Midnight (Official Video)
    By Pasquale Grasso
    132 views
  • 3:03
    Parisian Thoroughfare
    By Pasquale Grasso
    111 views
  • 2:43
    Pasquale Grasso - Over the Rainbow (Official Video)
    By Pasquale Grasso
    108 views
  • 3:51
    Sophisticated Lady
    By Pasquale Grasso
    106 views
  • 4:24
    These Foolish Things
    By Pasquale Grasso
    110 views
  • 2:50
    Yardbird Suite
    By Pasquale Grasso
    110 views
  • 3:56
    Embraceable You
    By Pasquale Grasso
    116 views
  • 2:29
    When I Fall in Love
    By Pasquale Grasso
    121 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 Pasquale Grasso:

  • 1 Guitar
  • 1 Guitar Instruction, Master Classes
  • 1 Italy
  • 1 Jazz
  • 1 New York City

Nodes below are randomly generated. Reload for a different stack.

  • Rick Beato Multi-Instrumentalist
  • Paquito D'Rivera Saxophone
  • Luedji Luna Brazil
  • Elizabeth LaPrelle Banjo
  • Carwyn Ellis Singer-Songwriter
  • Alessandro Penezzi São Paulo
  • Mono/Poly Los Angeles
  • Nate Smith Jazz
  • João Teoria Cantor, Singer
  • 小野リサ Lisa Ono Multi-Cultural
  • William Skeen Early Music
  • Arthur Verocai MPB
  • Vincent Herring Saxophone
  • Victor Gama Luanda
  • Aneesa Strings Bass
  • Celino dos Santos Viola Machete
  • André Vasconcellos Produtor Musical, Music Producer
  • Howard Levy Jazz
  • Terell Stafford New York City
  • Neo Muyanga Singer
  • Saileog Ní Cheannabháin Classical Music
  • Amy K. Bormet Composer
  • Mark Stryker Arts Critic
  • Roots Manuva Hip-Hop
  • Wolfgang Muthspiel Contemporary Classical Music
  • Cara Stacey Mbabane
  • Reena Esmail Hindustani Classical Music
  • Manolo Badrena Afro-Latin Music
  • Burhan Öçal Percussion
  • Carl Allen New York City
  • Luizinho Assis Salvador
  • Rita Batista Salvador
  • Tshepiso Ledwaba Steinway Piano Technician
  • John Boutté Jazz
  • Jupiter Bokondji Singer-Songwriter
  • Orlando Costa Rio de Janeiro
  • Alyn Shipton Jazz Historian
  • Mike Compton Mandolin
  • Obed Calvaire New York City
  • Horácio Reis Violão Clássico Brasileiro, Brazilian Classical Guitar
  • Mariana Zwarg Rio de Janeiro
  • Norah Jones Piano
  • Mateus Aleluia Filho Cachoeira
  • James Martins Poeta, Poet
  • Joatan Nascimento Trumpet
  • Seth Rogovoy Journalist
  • Paulão 7 Cordas Samba
  • Lô Borges MPB
  • Erika Goldring Photographer
  • Taylor Ashton Singer-Songwriter
  • Chris Dave Houston
  • Bisa Butler Textile Artist
  • Rogério Caetano Brazil
  • Madhuri Vijay Writer
  • Alicia Svigals Violin
  • Philip Ó Ceallaigh Romania
  • Roots Manuva Rapper
  • Vijay Gupta Violin
  • Moacyr Luz Songwriter
  • Leonardo Mendes Violão, Guitar
  • Brenda Navarrete Percussion
  • Ronell Johnson Tuba
  • Ben Cox Film Director
  • Vanessa Moreno Brazil
  • Kenny Garrett Flute
  • David Binney Saxophone Lessons
  • Sam Dagher Author
  • Sam Yahel Organ Instruction
  • Guinha Ramires Composer
  • Bob Bernotas Liner Notes
  • Clint Smith Black American Culture & History
  • James Poyser Film Scores
  • Orrin Evans Piano
  • Joachim Cooder Singer-Songwriter
  • Keita Ogawa Pandeiro
  • Donald Harrison Composer
  • Daru Jones Drums
  • Derrick Adams Multidisciplinary Artist
  • Brad Mehldau Contemporary Classical Music
  • Derrick Hodge Bass
  • The Bayou Mosquitos Amsterdam
  • Saileog Ní Cheannabháin Raelach Records
  • Nelson Cerqueira Faculdade da UFBA, Federal University of Bahia Faculty
  • Fred P Record Producer
  • Chris Cheek Jazz
  • Ênio Bernardes Bahia
  • Keyon Harrold Record Producer
  • Maladitso Band Malawi
  • Marco Pereira Samba
  • Alphonso Johnson Jazz
  • Yvette Holzwarth Composer
  • Dan Tyminski Nashville, Tennessee
  • Saul Williams Rapper
  • Ken Coleman Reporter
  • David Sánchez Ropeadope
  • David Simon Journalist
  • John Medeski Composer
  • Marisa Monte Singer-Songwriter
  • Steve Cropper Songwriter
  • Nels Cline Jazz, Rock, Country, Experimental
  • Tom Oren Israel
  • Caroline Shaw Record Producer
  • Arismar do Espírito Santo Bass
  • Eamonn Flynn Singer-Songwriter
  • William Parker New York City
  • Dadi Carvalho Multi-Instrumentalist
  • Tommaso Zillio Guitar Instruction
  • Joatan Nascimento Bahia
  • Jurandir Santana Barcelona
  • Ben Monder Guitar
  • Yasmin Williams Singer-Songwriter
  • Bertram Writer
  • Lynn Nottage Brooklyn, NY
  • PATRICKTOR4 Pernambuco
  • Joel Best 3D Artist
  • Alexandre Leão Cantor-Compositor, Singer-Songwriter
  • Rez Abbasi New York City
  • Irma Thomas Soul
  • Ben Hazleton Tabla
  • Jay Blakesberg Photographer
  • Julie Fowlis Scotland
  • Katuka Africanidades Livraria, Bookshop
  • Michael Peha Talent Management
  • Jimmy Greene Jazz
  • Utar Artun Percussion
  • Ivan Sacerdote Brazil
  • Tab Benoit Record Label Owner
  • Paul Mahern Bloomington, Indiana
  • Jared Sims Funk
  • Eliane Elias Bossa Nova
  • Yacouba Sissoko New York City
  • Musa Okwonga Novelist
  • Glória Bomfim Bahia
  • Celso de Almeida Brazil
  • Alex Clark Documentary Filmmaker
  • Gonzalo Rubalcaba Piano
  • Mestre Nelito Bahia
  • Immanuel Wilkins Composer
  • Marília Sodré Salvador
  • Wayne Krantz Guitar Instruction
  • Anat Cohen Brazilian Music
  • Gabriel Geszti Rio de Janeiro
  • Gian Correa Brazil
  • Rick Beato Recording Engineer
  • Atlantic Brass Quintet Baroque
  • James Martins Jornalista, Journalist
  • Marcel Powell Choro
  • David Simon Writer
  • Nubya Garcia England
  • Bejun Mehta Countertenor
  • Olivia Trummer Jazz
  • Shirazee Singer-Songwriter
  • Walter Smith III Saxophone
  • Yunior Terry Bass
  • Romero Lubambo Jazz
  • Stacy Dillard R&B
  • Stan Douglas Installation Artist
  • Georgia Anne Muldrow Neo-Soul
  • Lula Galvão Arranger
  • Antonio Sánchez Drums
  • Louis Michot Singer-Songwriter
  • Ryan Keberle Jazz
  • Jazzmeia Horn Singer-Songwriter
  • Ryuichi Sakamoto Singer-Songwriter
  • Les Filles de Illighadad Tende
  • Courtney Pine Bass Clarinet
  • Jimmy Cliff Reggae
  • Conrad Herwig Jazz
  • Georgia Anne Muldrow Hip-Hop
  • Leela James Los Angeles
  • David Bragger Fiddle Instruction
  • Andrew Huang Video Producer
  • Ronaldo do Bandolim Choro
  • Warren Wolf Jazz
  • Shannon Sims New Orleans
  • Wynton Marsalis New Orleans
  • Aditya Prakash Los Angeles
  • Amy K. Bormet Singer
  • Oscar Peñas Barcelona
  • Michael Peha Guitar
  • Yosvany Terry Saxophone
  • Maria Rita Singer
  • Pedro Abib Brazil
  • Mário Pam Bloco Afro
  • Sombrinha Banjo
  • Elizabeth LaPrelle Banjo
  • Jovino Santos Neto Seattle
  • Edsel Gomez Composer
  • Walmir Lima Bahia
  • Peter Mulvey Folk & Traditional
  • Daniel Jobim Singer-Songwriter
  • Scott Kettner Drums
  • Jon Faddis Composer
  • Dave Smith England
  • MonoNeon Gospel
  • Garth Cartwright Music Promoter
  • Vanessa Moreno Guitar
  • Charlie Bolden Trumpet
  • Armandinho Macêdo Bahia
  • Alicia Svigals New York City
  • Raymundo Sodré Salvador
  • Kareem Abdul-Jabbar Basketball
  • Alan Brain Film, Television Director
  • Márcio Bahia Drums
  • Duane Benjamin Composer
  • Courtney Pine Flute
  • Maciel Salú Maracatu
  • Gel Barbosa Cantor-Compositor, Singer-Songwriter
  • Rodrigo Amarante Brazil
  • Arthur Verocai Guitar
  • Otmaro Ruiz Piano
  • Lilli Lewis Singer-Songwriter
  • Ferenc Nemeth Hungary
  • Jamel Brinkley Novelist
  • Margareth Menezes Singer-Songwriter
  • George Cables Composer
  • James Gadson Funk
  • Dermot Hussey Reggae
  • Ryan Keberle MPB
  • Arthur Jafa Sculptor
  • Ron Wyman Documentary Filmmaker
  • Mario Ulloa Brazil
  • Rodrigo Caçapa Pernambuco
  • Avishai Cohen אבישי כה Tel Aviv
  • Reuben Rogers Bass Instruction
  • Arismar do Espírito Santo Samba
  • Omer Avital Middle Eastern Music
  • Kiko Loureiro Heavy Metal
  • Nego Álvaro Samba
  • Jonathon Grasse Writer
  • Camille Thurman Piccolo
  • Simon Singh Mathematics
  • Lula Galvão Brazil
  • Tommaso Zillio YouTuber
  • André Vasconcellos Jazz
  • Richie Barshay Afro-Latin Percussion
  • Zigaboo Modeliste Drums
  • Gino Banks Mumbai
  • Igor Levit Classical Music
  • Ajurinã Zwarg Saxophone
  • Chico César Paraíba
  • Itamar Vieira Júnior Salvador
  • Martin Koenig Folk & Traditional
  • Brenda Navarrete Composer
  • Tommy Orange Writer
  • Matt Garrison Record Producer
  • Paddy Groenland Dublin
  • Cássio Nobre Viola Brasileira
  • Airto Moreira Brazil
  • Derrick Hodge Film Scores
  • Siba Veloso Viola Nordestina
  • Wayne Krantz New York City
  • Arturo O'Farrill Composer
  • Ben Monder Composer
  • Norah Jones Jazz
  • Alex Mesquita Salvador
  • Nduduzo Makhathini Record Producer
  • Michael Olatuja Jazz
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