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  • Regina Carter

    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: Regina Carter
  • City/Place: Maywood, New Jersey
  • Country: United States
  • Hometown: Detroit, Michigan

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Trying to fit Regina Carter into a neatly defined musical category is pointless. She enjoys performing many styles of music—jazz, R&B, Latin, classical, blues, country, pop, African, and on and on. In each she explores the power of music through the voice of the violin.

    A recipient of the MacArthur “genius” award and a Doris Duke Artist Award, Regina has been widely hailed for her mastery of her instrument and her drive to expand its possibilities. In 2018 she was nominated for a Grammy for Best Improvised Solo for “Some of That Sunshine,” the title track on vocalist Karrin Allyson’s album. Besides performing, Regina is artistic director of the Geri Allen Jazz Camp, a unique summer immersion program sponsored by NJPAC for aspiring women jazz professionals. She is on the faculty of the Manhattan School of Music and is artist in residence at the Oakland University School of Music, Theatre, and Dance. Past positions have included resident artist for San Francisco Performances and resident artistic director for SFJAZZ.

    Born in Detroit, Regina began studying violin at the age of four using the Suzuki method. She attended Cass Technical High School in Detroit, and her training continued at the New England Conservatory of Music and at Oakland University in Michigan for jazz. She taught violin in public schools in Detroit and on a U.S. military base in Germany. She first gained attention with Straight Ahead, an all-female jazz quintet that celebrated its 25-year reunion at the 2018 Detroit Jazz Festival. She also recorded and toured for six years with The String Trio of New York.

    In 1995 Regina released her self-titled solo debut on Atlantic Records. Three more albums followed in rapid succession: Something for Grace (1997), Rhythms of the Heart (1999), and Motor City Moments (2000), all on Verve. Traveling to Genoa, Italy, and making history by being the first nonclassical violinist to play Niccolò Paganini’s Il Cannone (“The Cannon”), the legendary violin built by Giuseppe Guarneri in 1743, inspired her next effort, Paganini: After a Dream (Verve, 2003). I'll Be Seeing You: A Sentimental Journey (Verve, 2006) became a powerful and heartfelt tribute to her late mother. The connection to family, history, and tradition continued in Reverse Thread (E1 Music, 2010) and Southern Comfort (Sony Masterworks, 2014), drawing ties between her own African heritage and her family’s history. Her most recent release, Ella: Accentuate the Positive (OKeh, 2017), celebrates the music and spirit of her inspiration, musical legend Ella Fitzgerald.

    Regina also can be heard on such albums as Arturo O’Farrill’s Fandango at the Wall: A Soundtrack for the United States, Mexico and Beyond; Stefon Harris’s Sonic Creed; John Beasley’s MONK’estra, volume 2; and James Carter’s Caribbean Rhapsody, along with Eddie Palmieri's Listen Here!, which won a 2005 Grammy award for best Latin Jazz album, and the Grammy-nominated Freefall with Kenny Barron.

    She has performed at numerous jazz festivals, including Monterey, Newport, Detroit, New Orleans, Atlanta, Bern, Montreux, Miami, Rochester, Montreal, Mid-Atlantic (Washington, DC), PDX (Portland, Oregon), Vitoria-Gasteiz (Spain), and North Sea (Rotterdam, the Netherlands). Among the orchestras she has appeared with are the Detroit Symphony Orchestra, the Chicago Symphony, the Orquestra Sinfônica do Estado de São Paulo, the Atlanta Symphony, the Knoxville Jazz Orchestra, and the Chicago Sinfonietta. Particularly thrilling was her participation in the 2017 International Jazz Day All-Star Global Concert in Havana, Cuba.

    A winner of multiple readers’ and critics’ poll awards from DownBeat, JazzTimes, and other publications, Regina tours with her own group and has appeared frequently as a guest soloist, including with such performers as Kenny Barron, the late bassist Ray Brown, Akua Dixon, Steve Turre, Stefon Harris, George Wein, Mary J. Blige, the late Aretha Franklin, Joe Jackson, Billy Joel, Dolly Parton, Omara Portuondo, Cassandra Wilson, Sweet Honey In The Rock, Rhiannon Giddens, and Chieli Minucci and Special EFX.

    Regina has twice been a Pulitzer Prize jurist and has served as a Film and Music panelist for the Kresge Artist Fellowships. She received an honorary doctorate of humane letters from Albion College in 2006.

    Along with performing, recording, teaching, and mentoring, Regina is passionate about bringing music into nursing homes and hospice settings. As part of that commitment, she trained to be a hospice volunteer at Hospice of New Jersey, in Bloomfield.

    Regina lives in Maywood, New Jersey, with her husband, drummer Alvester Garnett.

Contact Information

  • Email: [email protected]
  • Management/Booking: Booking:
    Jeanna Disney
    [email protected]
    (978) 283-2883
    imnworld.com

    For Europe, South America & Mexico:
    Amparo Tebar
    Tebar Asociados Music Agency
    [email protected]

    Press Requests:
    Matthew Jurasek, DL Media
    [email protected]
    cc: Gabrielle Howarth [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://reginacarter.com/albums
  • ▶ Twitter: Regina_Carter
  • ▶ Instagram: regina_carter_violin
  • ▶ Website: http://reginacarter.com
  • ▶ YouTube Channel: http://www.youtube.com/user/ReginaCarterVEVO/videos
  • ▶ YouTube Music: http://music.youtube.com/channel/UCK4KfCXYZqgkXhjuHionZ8Q
  • ▶ Spotify: http://open.spotify.com/album/4KpbU96UTx4DB0ukuTE5vu
  • ▶ Spotify 2: http://open.spotify.com/album/7lg4AV7opc3JwoZCFhHBMA
  • ▶ Spotify 3: http://open.spotify.com/album/2TQYk65AXyOAJLrEIcHNQJ
  • ▶ Spotify 4: http://open.spotify.com/album/149V0HZMaxjgSr4mrvwC1n
  • ▶ Spotify 5: http://open.spotify.com/album/516C5gZ3OUA9xordzucDj1
  • ▶ Spotify 6: http://open.spotify.com/album/2k3AggTyABdeLGFLIqqjjh

More

  • Quotes, Notes & Etc. ENDORSEMENTS

    VIOLIN
    R.S. Berkley
    New Jersey, USA
    www.reginacarterviolincollection.com

    CARBON BOW
    Les Nouveaux Materiaux, Marseille, France
    www.carbow.com

Clips (more may be added)

  • AMC trio & Unit with Regina Carter, Lapis Refugii
    By Regina Carter
    513 views
  • NPR Music Tiny Desk Concert
    By Regina Carter
    657 views
Previous
Next

Regina Carter Curated
pathways in

  • 5 Americana
  • 5 Classical Music
  • 5 Jazz
  • 5 Manhattan School of Music Faculty
  • 5 Multi-Cultural
  • 5 Violin

What's Been Happening?

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  • Regina Carter
    Oriente Lopez → Productor Musical, Music Producer has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Piano has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → New York City has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → La Habana, Havana has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Flauta, Flute has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Director de Musica, Music Director has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Cuba has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Compositor, Composer has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Bandas Sonoras de Películas y Televisión, Film & Television Scores has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Oriente Lopez → Arreglista, Arranger has been recommended via Regina Carter.
    • July 28, 2022
  • Regina Carter
    Thana Alexa → Singer-Songwriter has been recommended via Regina Carter.
    • June 14, 2022
  • Regina Carter
    Thana Alexa → New York City has been recommended via Regina Carter.
    • June 14, 2022
  • Regina Carter
    Thana Alexa → Music Producer has been recommended via Regina Carter.
    • June 14, 2022
  • Regina Carter
    Thana Alexa → Jazz has been recommended via Regina Carter.
    • June 14, 2022
  • Regina Carter
    Brian Q. Torff → Writer has been recommended via Regina Carter.
    • April 8, 2022
  • Regina Carter
    Brian Q. Torff → Piano has been recommended via Regina Carter.
    • April 8, 2022
  • Regina Carter
    Brian Q. Torff → Jazz has been recommended via Regina Carter.
    • April 8, 2022
  • Regina Carter
    Brian Q. Torff → Fairfield University Faculty has been recommended via Regina Carter.
    • April 8, 2022
  • Regina Carter
    Brian Q. Torff → Composer has been recommended via Regina Carter.
    • April 8, 2022
  • Regina Carter
    Brian Q. Torff → Bass has been recommended via Regina Carter.
    • April 8, 2022
View More
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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.

 

  • Raphael Saadiq Multi-Instrumentalist
  • Cristiano Nogueira Rio de Janeiro
  • Nelson Cerqueira Academia de Letras da Bahia, Bahian Academy of Letters
  • Ivan Sacerdote Clarinet
  • Bill Laurance Film Scores
  • François Zalacain New York City
  • Jaimie Branch Composer
  • Plínio Fernandes Choro
  • BIGYUKI Keyboards
  • David Kirby New York City
  • Steve McKeever Los Angeles
  • Byron Thomas Piano
  • Rob Garland Guitar Instruction
  • Oleg Fateev Amsterdam
  • Simon Shaheen Arabic Music
  • Robertinho Silva Brazil
  • Frank Negrão Bass
  • Ron Miles Composer
  • Bongo Joe Records Record Label
  • João Bosco Samba
  • Jeff 'Tain' Watts Actor
  • Jakub Knera Gdańsk
  • Nicholas Gill Writer
  • Pierre Onassis Música AFRO
  • Arismar do Espírito Santo Choro
  • Yelaine Rodriguez Fashion Design
  • Rowney Scott Faculdade da UFBA, Federal University of Bahia Faculty
  • Bill Frisell Brooklyn, NY
  • Michael Pipoquinha MPB
  • Bob Lanzetti Educator
  • Siba Veloso Ciranda
  • Olga Mieleszczuk Jewish Music
  • George Porter Jr. Bass
  • Hendrik Meurkens Vibraphone
  • Caoimhín Ó Raghallaigh Dublin
  • Wadada Leo Smith Flugelhorn
  • Tal Wilkenfeld Bass
  • Gustavo Caribé Bahia
  • Paulo César Pinheiro Lyricist
  • Isaac Butler Podcaster
  • Billy Strings Americana
  • Carlos Prazeres Orquestra Sinfônica da Bahia
  • Jon Batiste Jazz
  • Frank London Multi-Cultural
  • Tom Wilcox Record Producer
  • Sarah Jarosz Americana
  • Ricardo Markis Brasil, Brazil
  • Tony Austin Television Scores
  • Spok Frevo Orquestra Frevo
  • Mou Brasil Brasil, Brazil
  • James Poyser Film Scores
  • Marc Johnson Jazz
  • Lina Lapelytė Composer
  • Walter Blanding Composer
  • NEOJIBA Música Clássica, Classical Music
  • Issac Delgado Composer
  • Lucía Fumero Composer
  • Charlie Bolden New Orleans
  • Ryan Keberle R&B
  • Peter Dasent Author
  • Mino Cinélu Percussion
  • Matt Ulery Multi-Instrumentalist
  • Keyon Harrold New York City
  • Eliane Elias Brazilian Jazz
  • Makaya McCraven Chicago, Illinois
  • Etan Thomas Poet
  • Shabaka Hutchings Clarinet
  • Molly Tuttle Guitar
  • Andrés Beeuwsaert Composer
  • Roque Ferreira Samba de Roda
  • Darcy James Argue Brooklyn, NY
  • Giovanni Russonello Jazz
  • Eric Coleman Los Angeles
  • Nguyên Lê Record Producer
  • Jim Hoke Saxophone
  • Greg Kurstin Multi-Instrumentalist
  • Joe Chambers New York City
  • Leonardo Mendes Bahia
  • Alex de Mora Photographer
  • Abhijith P. S. Nair Indian Fusion
  • Doug Adair Singer-Songwriter
  • Sam Dagher Journalist
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