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  • Román Díaz

    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: Román Díaz
  • City/Place: Havana
  • Country: Cuba

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Master percussionist from Havana, Cuba.

Media | Markets

  • ▶ Spotify: http://open.spotify.com/album/6s62lDy6q62YPSMwrMB2fW
  • ▶ Spotify 2: http://open.spotify.com/album/0GAKlp2nssdLxHXwS2KHho

Clips (more may be added)

  • Congahead 360: Roman Diaz Afro Cuban Ensemble
    By Román Díaz
    499 views
  • Roman Diaz presents Encuentro
    By Román Díaz
    501 views
Previous
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Román Díaz Curated
pathways in

  • 3 Cuba
  • 3 Havana
  • 3 Percussion
  • 3 Santeria

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  • Román Díaz
    A video was posted re Román Díaz:
    Congahead 360: Roman Diaz Afro Cuban Ensemble
    Here's our first of four virtual reality 360° videos featuring Roman Diaz Afro Cuban Ensemble. Congas/ Bandleader: Roman Diaz Quinto: Clemente Medina Conga: ...
    • December 9, 2019
  • Román Díaz
    A video was posted re Román Díaz:
    Roman Diaz presents Encuentro
    Percussionist, Roman Diaz brought his Encuentro group to perform a couple of traditional afro-cuban songs featuring yoruba andabo's Juan Campos Cardenas “Cha...
    • December 9, 2019
  • Román Díaz
    A category was added to Román Díaz:
    Cuba
    • December 9, 2019
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    A category was added to Román Díaz:
    Havana
    • December 9, 2019
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    A category was added to Román Díaz:
    Santeria
    • December 9, 2019
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    A category was added to Román Díaz:
    Percussion
    • December 9, 2019
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    • December 9, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João had something priceless to offer the world.
But he was impossible for the world to find.
✅—João do Boi

✅—Pardal/Sparrow
Royalty work in NYC for
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
I've been screamed at by Aretha Franklin,
and harangued by Allen Klein over
royalties for the estate of Sam Cooke.
I built this matrix beginning with João do Boi.
Please link to, tell others about, join us!
[email protected]
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 tinha algo inestimável a oferecer ao mundo.
Mas ele era impossível pro mundo encontrar.
✅—João do Boi

✅—Pardal/Sparrow
Trabalho de royalties para
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
Fui gritado por Aretha Franklin,
e arengado por Allen Klein sobre
royalties para o patrimônio de Sam Cooke.
Eu construi este matrix a partir de João do Boi.
Por favor, faça um link para, conte aos outros, junte-se a nós!
[email protected]
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.

"Fico muitíssimo feliz em receber seu e-mail! 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.

 

  • Edil Pacheco Bahia
  • Stephen Guerra New York City
  • David Braid London
  • Conrad Herwig New York City
  • Tom Oren Tel Aviv
  • Forrest Hylton Poet
  • Shemekia Copeland Blues
  • John McEuen Fiddle
  • Benoit Fader Keita Singer-Songwriter
  • Frank Negrão Salvador
  • Moses Boyd Composer
  • Arthur L.A. Buckner Gospel
  • Shuya Okino Kyoto
  • César Camargo Mariano Brazil
  • Amit Chatterjee Multi-Cultural
  • Camille Thurman Flute
  • Carlos Malta Brazil
  • Nooriyah نوريّة Voiceover Artist
  • ANNA DJ
  • Hisham Mayet DJ
  • Alegre Corrêa Guitar
  • Nelson Cerqueira Ensaísta, Essayist
  • Camille Thurman Bass Clarinet
  • David Byrne New York City
  • Matt Ulery Chicago
  • Clint Smith Poet
  • Jon Otis Drums
  • Maria Marighella Bahia
  • Eric Alexander Saxophone
  • Léo Brasileiro Produtor Musical, Music Producer
  • Kim André Arnesen Oslo
  • Guilherme Kastrup Drums
  • Muri Assunção Latinx
  • Musa Okwonga Uganda
  • Frank London Multi-Cultural
  • China Moses Actor
  • Derrick Adams Sculptor
  • Mike Compton Country Blues
  • Zigaboo Modeliste Second Line
  • Renato Braz Percussion
  • Daniel Jobim Singer-Songwriter
  • Dan Tyminski Mandolin
  • Harish Raghavan Brooklyn, NY
  • Adam Rogers Classical Guitar
  • Sergio Krakowski Jazz
  • Ray Angry Gospel
  • Robb Royer Record Producer
  • Armandinho Macêdo Bahia
  • Joe Lovano Flute
  • Eddie Kadi Actor
  • Alicia Svigals New York City
  • Camille Thurman Piccolo
  • Jamel Brinkley Novelist
  • Cleber Augusto Guitar
  • Maurício Massunaga Samba
  • Glenn Patscha Film Scores
  • Eliane Elias São Paulo
  • Shakespeare and Company Café
  • Mykia Jovan Funk
  • John Edward Hasse Ragtime
  • Maciel Salú Rabeca
  • Zeca Baleiro Música para Teatro Infantil, Music for Children's Theater
  • Toninho Horta Composer
  • Ryuichi Sakamoto New York City
  • Mazz Swift Singer
  • Glória Bomfim Bahia
  • Berkun Oya Playwright
  • Brian Cross aka B+ Brazilian Music
  • Gilles Prémel Percussion
  • Jeremy Danneman Saxophone
  • Calypso Rose Singer-Songwriter
  • Kiko Freitas Brazilian Jazz
  • Cédric Villani Paris
  • Leandro Afonso Brazil
  • Tshepiso Ledwaba Steinway Piano Technician
  • Carlos Malta Pífano
  • Kyle Poole Drums
  • Guillermo Klein New York City
  • Shana Redmond Columbia University Faculty
  • Zeca Freitas Produtor Musical, Music Producer
  • Ivan Lins Brazil
  • Mika Mutti Bahia
  • Chris Boardman Producer
  • Mestre Nenel Capoeira
  • Cinho Damatta Guitarra, Guitar
  • Jean Rondeau Paris
  • Ray Angry Keyboards
  • Bruce Williams Composer
  • Jennifer Koh Contemporary Classical Music
  • Chico Buarque Singer-Songwriter
  • Ricardo Markis Cantor, Singer
  • Trombone Shorty Funk
  • Caetano Veloso MPB
  • Daru Jones Jazz
  • Mário Pam Percussion
  • Ajeum da Diáspora Restaurant
  • Alicia Keys Piano
  • Henrique Araújo Mandolin
  • Bobby Sanabria Manhattan School of Music Faculty
  • Eric Alper Toronto
  • Brad Ogbonna Brooklyn, NY
  • Aubrey Johnson Berklee Faculty
  • Marcus Miller Jazz
  • Bonerama Funk
  • Logan Richardson Composer
  • Heriberto Araujo Amazon
  • Steve Abbott London
  • Nailor Proveta Brasil, Brazil
  • Michael Doucet Accordion
  • João Jorge Rodrigues Gestor Público, Public Servant
  • Sérgio Mendes MPB
  • Tomo Fujita Berklee College of Music Faculty
  • THE ROOM Shibuya Dance Club
  • Jared Sims West Virginia University Faculty
  • Wayne Shorter Composer
  • Chano Domínguez Cádiz
  • Roosevelt Collier Pedal Steel Guitar
  • Baiba Skride Violin
  • Zeca Freitas Saxophone
  • Jared Sims Funk
  • João do Boi Samba de Roda
  • John Santos Percussion
  • Zara McFarlane Soul
  • Jerry Douglas Lap Steel Guitar
  • Pedro Aznar Singer-Songwriter
  • Tero Saarinen Choreographer
  • Nguyên Lê Record Producer
  • Liberty Ellman Record Producer
  • Guto Wirtti Choro
  • Bianca Gismonti Piano
  • Tommy Peoples Donegal Fiddle
  • Alphonso Johnson USC Thornton School of Music Faculty
  • François Zalacain Record Label Owner
  • Jean-Paul Bourelly Educator
  • Arthur L.A. Buckner Jazz
  • Olodum Bahia
  • Tom Piazza Music Writer
  • Adam Shatz Music Critic
  • John Medeski Experimental Music
  • Adam Rogers Guitar
  • Jakub Józef Orliński Warsaw
  • Capinam Salvador
  • Amy K. Bormet Jazz
  • Sam Reider Brooklyn, NY
  • Joshua Abrams Multi-Instrumentalist
  • Nação Zumbi Rap
  • Alan Bishop Egypt
  • Anna Webber Brooklyn, NY
  • Shirazee Benin
  • Sandro Albert New York City
  • David Bragger UCLA Herb Alpert School of Music Faculty
  • Jim Hoke Composer
  • 9th Wonder Rapper
  • Tank and the Bangas Soul
  • Frank Beacham Playwright
  • Danilo Pérez Piano
  • Roberto Fonseca Piano
  • Patrice Quinn Jazz
  • Kurt Andersen Television Writer
  • Corey Harris Guitar
  • Ariel Reich Singer
  • Emily Elbert Guitar
  • Geraldine Inoa Writer
  • Gerald Albright Flute
  • Paulão 7 Cordas Rio de Janeiro
  • Maia Sharp Record Producer
  • Imanuel Marcus Germany
  • Corey Ledet Zydeco
  • Mickalene Thomas Video Artist
  • Garth Cartwright Poet
  • Matt Garrison Composer
  • Tomoko Omura Composer
  • Gregory Porter Songwriter
  • Leigh Alexander Writer
  • Fábio Zanon Royal Academy of Music Visiting Professor
  • Michael W. Twitty Culinary Historian
  • Patty Kiss Guitarra Baiana
  • Plínio Fernandes Brazil
  • Kiko Horta Forró
  • Nicholas Daniel Music Director
  • Art Rosenbaum Illustrator
  • Arismar do Espírito Santo Bass
  • Paulo Paulelli Brazil
  • Hopkinson Smith Schola Cantorum Basiliensis Faculty
  • Rebeca Tárique Brasil, Brazil
  • Luiz Santos Composer
  • International Anthem Progressive Media
  • Camilla A. Hawthorne Critical Human Geographer
  • Peter Slevin Northwestern University Faculty
  • Matias Traut Jazz
  • Michael League Multi-Instrumentalist
  • Scott Kettner Maracatu
  • Nicholas Payton Trumpet
  • Mateus Asato Guitar
  • MicroTrio de Ivan Huol MicroTrio
  • Gab Ferruz MPB
  • Rosângela Silvestre Bahia
  • Issac Delgado Cuba
  • Eliane Elias New York City
  • The Umoza Music Project Multi-Cultural
  • Ammar Kalia Writer
  • Jeremy Danneman New York City
  • Nubya Garcia Composer
  • Tambay Obenson Cultural Critic
  • Courtney Pine Composer
  • Tiganá Santana Diretor Artístico, Artistic Director
  • Dee Spencer Piano
  • Derrick Hodge Hip-Hop
  • Lenny Kravitz Actor
  • Carlos Blanco Salvador
  • Bill Pearis Journalist
  • Luciano Matos Brasil, Brazil
  • Moreno Veloso Rio de Janeiro
  • Guto Wirtti Samba
  • Danilo Brito Bandolim
  • Scott Kettner Second Line
  • Ênio Bernardes Samba
  • Tony Kofi Flute
  • Magda Giannikou Accordion
  • Jared Sims Classical Music
  • Walter Ribeiro, Jr. Samba
  • Inon Barnatan New York City
  • Johnny Vidacovich Jazz
  • Celino dos Santos Bahia
  • Africania Brazil
  • Jocelyn Ramirez Los Angeles
  • Cara Stacey Piano
  • Keyon Harrold Record Producer
  • Alessandro Penezzi São Paulo
  • Alex Cuadros Author
  • Marcos Portinari Rio de Janeiro
  • Alexia Arthurs Writer
  • Cinho Damatta Bahia
  • David Binney Record Producer
  • Lolis Eric Elie Filmmaker
  • Rhiannon Giddens Banjo
  • Little Simz Hip-Hop
  • Lazzo Matumbi Salvador
  • Congahead African Music
  • Jim Lauderdale Bluegrass
  • James Martins Crítico Cultural, Cultural Critic
  • Reza Filsoofi Nashville, Tennessee
  • Ben Allison New School Faculty
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