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

From Brazil with love →

@ Ground Zero

 

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

 

 

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

 

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

 

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

 

El Aleph

 

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

 

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

 

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

 

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

 

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

 

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

 

All is more connected than we know.

 

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

 

If You Can't Stand the Heat

 

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

 

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

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

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

 

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

 

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

 

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

 

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

 

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

 

Welcome to the kitchen!

 

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

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

  • Paul Cebar
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Paul Cebar
  • City/Place: Milwaukee
  • Country: United States

Life & Work

  • Bio: Paul Cebar is vintage Americana. The America with roots sunk so deep into Mississippi mud that they stretch all the way to the Congo.

    Paul Cebar Tomorrow Sound are the latest in Fresh Venerable. Benefitting from years of unassuming and understated hipness, they bring forth a funky, lyrically charged racket that sits comfortably with soulful sounds the world over.

    Intricate but free-swinging, explosive yet intimate, fresh and green as grass.

    Taking cues from the dance bands of western Louisiana (and his native Midwest,), the streets (and 45’s) of New Orleans, touring African and Caribbean combos and the soul, funk & blues of his youth coupled with early , teeth-cutting experience in the verbal hotbeds of the coffeehouse scene, Cebar is a masterful synthesist of rhythmic culture

    Tomorrow Sound are an elite crew of offhand adepts who bring plenty of their own wood to the fire. Drummer Reggie Bordeaux, casts his nets with a mystifying subtlety bringing his own fleet-footed refinement and grease. Multi-instrumentalist Bob Jennings, lends his bandleader the luxury of implying a much larger ensemble with his multi-hued contributions on keys and reeds. Bassist Mike Fredrickson (a distinguished singer-songwriter in his own right) anchors and prods with the best of them.

    Paul Cebar cut his teeth musically in the coffeehouse folk scene of the mid-’70s in Milwaukee. First paying gigs took place in late ’76 with an emphasis on solo recasting of small combo jump-blues and other early R&B. Upon graduation from New College in Sarasota, Florida, with a thesis addressing rhythm & blues varieties featuring a hearty emphasis on Louis Jordan and Buddy Johnson, Cebar dedicated himself to trodding the boards in earnest and spent substantial amounts of time testing the waters out New York way while exploring band dynamics with a soul and New Orleans-minded crew called the R&B Cadets back home. The Cadets ranged about from 1980 to 1986 and featured the grand original tunes of John Sieger alongside the winning assortment of B sides and obscurities that were the fruits of Cebar’s research. Concurrently, he kept alive the spark of his solo work with a small group which came to be known as The Milwaukeeans. Throughout the early 80s, this combo featured Rip Tenor on tenor sax, Alan Anderson on upright bass, Robyn Pluer on vocals and Paul on acoustic guitar and vocals, and drew most of its repertoire from ’30s, ’40s and ’50s jazz and R&B.

    With the demise of the Cadets in mid-1986, Cebar and Pluer, Tenor and Anderson welcomed drummer Randy Baugher and early Cadet saxophonist/vocalist Juli Wood to a new dance-floor fortified version of The Milwaukeeans which reflected Paul’s ongoing and deepening fascination with African, Latin American and Caribbean rhythm & blues analogues. Rambling about the Midwest for the remainder of the ’80s with occasional forays east and south, The Milwaukeeans began to rely more and more upon the original material that began to emerge in the aftermath of years of interpolation and grappling with favorites.

    The first studio album, “That Unhinged Thing,” which was culled from a number of years of recording, finally saw the light of day in 1993. It sparked a wider itinerary in the touring department, with initial forays to the west coast and Canada, as well as returns to the east and south. Following the release of the record and six months of touring, founding member and estimable vocalist Robyn Pluer left the band to attend to le private life.

    Rebuffing the command of the record label, Shanachie, that he add a female vocalist, Cebar and cohorts ventured forth into the storm without a label umbrella for what turned into two years of enthusiastic touring with much attendant hand-wringing. Finally, they landed on the shores of a little label that could (for awhile), Don’t Records, a Milwaukee-based, heart-driven indie. In the summer of ’95, they set about making “Upstroke for the Downfolk,” while upon its release in the fall of that year began to make inroads at adult album alternative radio outlets nationwide. The single “Didn’t Leave Me No Ladder” ushered the fellows to a new level of visibility and the vans rolled on.

    A six-song EP, “I Can’t Dance For You,” followed in the spring of ’96 and was superseded by “The Get-Go,” a full-length recording released in the fall of ’97. Radio support was more sporadic, though the fan corps kept growing. But halfway through ’98, Don’t’s distributor declared bankruptcy and its inventory was impounded. With its merchandise out of reach, Don’t found it increasingly difficult and ultimately impossible to carry on.

    In 2001, 15 1/2 years into the dance band incarnation of The Milwaukeeans, the fellows presented, “Suchamuch”,a long-requested live album recorded at Martyr’s in Chicago and continued to offer their multifarious wares to all and sundry. The present day incarnation of Tomorrow Sound took shape with the arrival (8 years back) of bassist, Mike Fredrickson, joining 22 year veterans Reggie Bordeaux on drums and Bob Jennings on saxophones and keyboards.

    The peripatetic pageant continues unabated with renewed focus on “the song ” in the context of the increasingly forceful rhythmic exploration that is at the heart of Cebar’s quest. Stripping back to 4 pieces has opened up space for the understated command of Bob Jennings’ keyboard and saxophonic thinking. Field Marshall Cebar’s pithy guitar musing comes to the fore building upon the muscular rhythmic lattice laid by Reggie and Mike. With an ever-deepening appreciation for the funk and the polyglot rhythmic conception that is their trademark, Paul Cebar Tomorrow Sound said More! More! More! in 2004. Way to thrive in 2005! Dipped their wicks in 2006, Partied like ’11 in 2007, and have their wild heads on straight in 2008. Fine fine Fine into 2009! funked it again and again and again and again in ’10, made like 2107 in ’11, and have packed up the worry they shelved in ’12, incorporated the added vim they were flirtin’ with in ’13 and are full-on sportin’ A-team in ’18

    Presently spreading the word with their gangling, headlong and insouciant record,”FINE RUDE THING”, Paul Cebar Tomorrow Sound want and need you to come on out and help them get down.

    Many musicians have graced the stage with Paul in the course of the aforementioned wander. He’d like to thank them all again for the loving spirit they brought to bear on the music. A partial list would include: Rip Tenor, Alan Anderson, Robin Pluer, Guy Hoffman, Juli Wood, Randy Baugher, Peter Roller, Tony Jarvis, Greg Tardy, Mac Perkins, Paul Scher, Michael Kashou, Michael Walls, Ethan Bender,Patrick Patterson, Romero Beverly and the present day crew, Bob Jennings, Reggie Bordeaux,and Mike Fredrickson. Viva le Musicianers!!!!!!!

Contact Information

  • Management/Booking: Bookings: Mongrel Music
    tel: 415-485-5100 email:[email protected]

    Publicity: Shore Fire Media
    tel: 718-522-7171

    Management: Self
    email: [email protected]

    Radio Promotion: Dave Sanford-Distiller Promo
    tel: 503-890-4242

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://paulcebar.com/music/
  • ▶ Website: http://www.paulcebar.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCY-WqrJuJJlYQYnWK4AUFwg
  • ▶ Spotify: http://open.spotify.com/album/7bjr1jFPXyD5FRqHfjHVfd
  • ▶ Spotify 2: http://open.spotify.com/album/3c9lDNxPEvl6zqIbfsV0DI
  • ▶ Spotify 3: http://open.spotify.com/album/41iCOPZUGLAVsEDl4MMbiT
  • ▶ Spotify 4: http://open.spotify.com/album/0uexo22ls9E6ij6q9yZcOX
  • ▶ Spotify 5: http://open.spotify.com/album/2Cw9uSfVTOT0Fa04hUF7ys
  • ▶ Spotify 6: http://open.spotify.com/album/1aYSSSOBcKv7O44kC6gth0

More

  • Quotes, Notes & Etc. Bookings: Mongrel Music
    tel: 415-485-5100
    [email protected]

    Publicity: Shore Fire Media
    tel: 718-522-7171

    Management: Self
    [email protected]

    Radio Promotion: Dave Sanford-Distiller Promo
    tel: 503-890-4242

Clips (more may be added)

  • 2019 WAMI Awards Show - Paul Cebar
    By Paul Cebar
    212 views
  • Paul Cebar Tomorrow Sound with Steve Berlin - 'The Gimp Sparrow'
    By Paul Cebar
    268 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 Paul Cebar:

  • 7 Milwaukee
  • 7 Multi-Cultural
  • 7 R&B
  • 7 Singer-Songwriter
  • Luciana Souza Songwriter
  • Mohamed Diab Director
  • Bruce Molsky Fiddle Instruction
  • Hot Dougie's Porto da Barra
  • Horace Bray Funk
  • 小野リサ Lisa Ono Japan
  • Marcus Miller Jazz
  • John Schaefer Radio Presenter
  • Renato Braz São Paulo
  • Mickalene Thomas Painter
  • Lizz Wright Jazz
  • Otmaro Ruiz Jazz
  • Júlio Lemos Violão de Sete
  • Isaac Julien England
  • Kim André Arnesen Composer
  • Brady Haran Video Journalist
  • Ricardo Herz Choro
  • Brian Lynch Jazz
  • Jane Ira Bloom Contemporary Classical Music
  • Charlie Bolden Composer
  • Brian Blade Composer
  • Nara Couto Atriz, Actor
  • Issa Malluf Daf
  • Arismar do Espírito Santo Composer
  • Oteil Burbridge Jazz
  • Louis Marks Podcaster
  • Bianca Gismonti Brazil
  • Iroko Trio Brazil
  • Danilo Pérez Panama
  • Phakama Mbonambi Publisher
  • Dorian Concept Record Producer
  • Lokua Kanza Congo
  • Júlio Lemos San Francisco
  • Rez Abbasi Indian Classical Music
  • Avishai Cohen אבישי כה Folk Jazz
  • Rowney Scott Jazz Brasileiro, Brazilian Jazz
  • Cleber Augusto Guitar
  • Nduduzo Makhathini Fort Hare University Faculty
  • Mateus Alves Composer
  • Alan Brain Washington, D.C.
  • Bobby Fouther Painter
  • TaRon Lockett Los Angeles
  • Roots Manuva Rapper
  • Leyla McCalla Cello
  • Jared Jackson New York City
  • Guilherme Kastrup Drums
  • Mino Cinélu Composer
  • Fred Dantas Samba
  • César Camargo Mariano Brazilian Jazz
  • Lenny Kravitz Singer
  • Michael Peha Keyboards
  • Nancy Ruth Vocal Instruction
  • Itamar Vieira Júnior Brazil
  • Bianca Gismonti Piano
  • Djuena Tikuna São Luís, Maranhão
  • Jorge Glem Cuatro
  • Vadinho França Samba
  • Eduardo Kobra Artista da Rua, Street Artist
  • Courtney Pine Radio Presenter
  • Benoit Fader Keita Mënik
  • Alan Williams Sculptor
  • Bombino Niger
  • Steve Bailey Berklee College of Music Faculty
  • Matt Garrison Record Producer
  • Yacouba Sissoko Griot
  • Tigran Hamasyan Armenia
  • Varijashree Venugopal Flute
  • Romero Lubambo Guitar
  • Angelique Kidjo Africa
  • Ravi Coltrane Saxophone
  • Eric Coleman Los Angeles
  • Fred P Future Jazz
  • Carwyn Ellis Record Producer
  • Kaveh Rastegar Record Producer
  • Baiba Skride Classical Music
  • Fabiana Cozza MPB
  • Dafnis Prieto Jazz
  • Jonathon Grasse Ethnomusicologist
  • James Gavin Writer
  • Scott Devine Bass Instruction
  • João Rabello Rio de Janeiro
  • Otmaro Ruiz Los Angeles
  • Duane Benjamin UCLA Herb Alpert School of Music Faculty
  • Miles Okazaki Jazz
  • Juçara Marçal Singer-Songwriter
  • Masao Fukuda Yokahama
  • Luques Curtis Double Bass
  • Rudresh Mahanthappa Multi-Cultural
  • Aaron Parks Brooklyn, NY
  • Nilze Carvalho Samba
  • Nelson Latif Viola Caipira
  • Tutwiler Quilters Mississippi
  • Seth Swingle Folk & Traditional
  • Nduduzo Makhathini South Africa
  • Liron Meyuhas Multi-Cultural
  • Sombrinha Cavaquinho
  • Shaun Martin Jazz
  • Germán Garmendia Comedian
  • Jam no MAM Jam Sessions
  • Matt Garrison Brooklyn, NY
  • Yoron Israel Jazz
  • Questlove Music Journalist
  • Gustavo Caribé Chula
  • Brian Jackson Keyboards
  • Mona Lisa Saloy Poet
  • Mário Pam Salvador
  • Diosmar Filho Escritor, Writer
  • Fabiana Cozza Phonoaudiologist
  • Musa Okwonga Rapper
  • Raymundo Sodré Salvador
  • Keith Jarrett Composer
  • Cory Wong Guitar
  • Shankar Mahadevan India
  • Sean Jones Trumpet
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  • Karla Vasquez Salvadoran Food
  • Mauro Diniz Singer-Songwriter
  • Mark Lettieri Record Producer
  • Ellie Kurttz Photographer
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  • Tarus Mateen New York City
  • Chico Buarque MPB
  • Hugo Linns Pernambuco
  • Otto Percussion
  • Nana Nkweti Short Stories
  • Johnny Lorenz Literary Critic
  • Pedro Abib Federal University of Bahia Faculty
  • Huey Morgan Guitar
  • Jean-Paul Bourelly Multi-Cultural
  • Joana Choumali Côte d’Ivoire
  • Gêge Nagô Cachoeira
  • Matt Glaser Bluegrass
  • Natalia Contesse Singer-Songwriter
  • Gail Ann Dorsey Bass
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  • Alexandre Gismonti Belo Horizonte
  • Keita Ogawa Pandeiro
  • Bebê Kramer Brazilian Jazz
  • Shez Raja Indo-Jazz Funk
  • David Hepworth Publishing Industry Analyst
  • Gino Banks Drums
  • Tomo Fujita Jazz
  • Nara Couto Brasil, Brazil
  • Plinio Oyò Bahia
  • Joey Alexander New York City
  • Barney McAll Piano
  • Del McCoury Old-Time Music
  • Jonathon Grasse Guitar
  • Courtney Pine Composer
  • Magda Giannikou Accordion
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  • Alexandre Vieira Baixo, Bass
  • Marcus J. Moore Pundit
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  • Roberto Fonseca Piano
  • Oleg Fateev Accordion
  • Betão Aguiar Bass
  • J. Cunha Cenógrafo, Scenographer
  • Marcello Gonçalves Brazil
  • Mateus Alves Pernambuco
  • Flora Purim Brazilian Jazz
  • Ronell Johnson Jazz
  • Tatiana Eva-Marie Brooklyn, NY
  • Lilli Lewis Americana
  • Flavio Sala Classical Guitar
  • Zé Katimba Brazil
  • Bob Lanzetti Record Producer
  • Jonathon Grasse Contemporary Music
  • Brady Haran Podcaster
  • Dale Barlow Saxophone
  • Gilad Hekselman Guitar Instruction
  • Aloísio Menezes Samba
  • McCoy Mrubata Flute
  • Arismar do Espírito Santo Bass
  • Yotam Silberstein New School for Jazz and Contemporary Music Faculty
  • Theon Cross Tuba
  • Guga Stroeter Vibraphone
  • Howard Levy Blues & Folk
  • Bebê Kramer Samba
  • Pasquale Grasso New York City
  • Soweto Kinch Composer
  • Mokhtar Samba Drums
  • Orlando 'Maraca' Valle Composer
  • Shoshana Zuboff Social Psychology
  • Lenny Kravitz Actor
  • Jason Reynolds Lesley University Faculty
  • J. Pierre Illustrator
  • Arismar do Espírito Santo Guitar
  • Sam Eastmond Trumpet
  • Jeremy Danneman Klezmer
  • Nicole Mitchell Flute
  • Lorna Simpson Sculptor
  • Shannon Ali Arts Journalist
  • Guinga Guitar
  • Tshepiso Ledwaba Classical Music
  • Gearóid Ó hAllmhuráin Ireland
  • Ricardo Bacelar Fortaleza
  • Tom Moon Writer
  • Kevin Hays Jazz
  • Damion Reid Hip-Hop
  • Donald Vega Composer
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  • Ricardo Herz Brazil
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  • John Luther Adams Composer
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  • Ryuichi Sakamoto Japan
  • Caroline Shaw New York City
  • Ben Allison Music Writer
  • Jessie Montgomery Educator
  • June Yamagishi New Orleans
  • Oscar Peñas Composer
  • Eric Galm Caribbean Studies
  • Michael League Brooklyn, NY
  • Yoko Miwa Boston
  • Oscar Bolão Drums
  • Dhafer Youssef ظافر يوسف Singer
  • Paul Anthony Smith Brooklyn, NY
  • THE ROOM Shibuya Jazz
  • Bertram Ethnomusicologist
  • Mickalene Thomas Painter
  • Paulo Aragão Rio de Janeiro
  • Otto Brazil
  • Ricardo Herz Rabeca
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  • Magary Lord AFROBIZ Salvador
  • Endea Owens Jazz
  • João Luiz Hunter College Faculty
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  • Carlos Lyra Singer-Songwriter
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  • Roberta Sá MPB
  • Frank Olinsky Parson's School of Design Faculty
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  • David Simon Television Producer
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  • Jessie Montgomery Composer
  • Taylor McFerrin Record Producer
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