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  • Steve Lehman

    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: Steve Lehman
  • City/Place: Los Angeles
  • Country: United States
  • Hometown: New York City

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Described as “a state-of-the-art musical thinker” and a "dazzling saxophonist,” by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman’s pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, the American Composers Orchestra, the JACK Quartet, the PRISM Saxophone Quartet, and the Talea Ensemble. His recent recording, Mise en Abîme (Pi, 2014) was called the #1 Jazz Album of the year by NPR Music and The Los Angeles Times. And his previous recording, Travail, Transformation & Flow (Pi, 2009), was chosen as the #1 Jazz Album of the year by The New York Times.

    The recipient of a 2015 Guggenheim Fellowship and a 2014 Doris Duke Artist Award, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Bennie Maupin, Jason Moran, Georgia-Anne Muldrow, George Lewis, Meshell Ndegeocello, and HPrizm of Antipop Consortium, among many others. His recent electro-acoustic music has focused on the development of computer-driven models for improvisation, based in the Max/MSP programming environment. Lehman’s work has been favorably reviewed in Artforum, Downbeat Magazine, The New York Times, Newsweek, and The Wire, and on National Public Radio, the BBC, and SWR.

    As a Fulbright scholar in France during the 2002-2003 academic year, Lehman began researching the reception of African-American experimental composers working in France during the 1970s. His article in the journal Critical Studies in Improvisation, “I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980,” is based on his Fulbright research. More recently, Lehman has published writings and presented lectures on a wide range of topics, including jazz pedagogy, rhythm cognition, and European notions of American experimentalism. His current scholarship, including a forthcoming contribution to the Oxford Handbook of Spectral Music, examines the overlapping histories of spectral composition and jazz improvisation.

    Lehman received his B.A. (2000) and M.A. in Composition (2002) from Wesleyan University where he studied under Anthony Braxton, Jay Hoggard, and Alvin Lucier, while concurrently working with Jackie McLean at the Hartt School of Music. He received his doctorate with distinction in Music Composition from Columbia University (2012), where his principal teachers included Tristan Murail and George Lewis.

    Lehman has taught undergraduate courses at Wesleyan University, the Conservatoire National Supérieur de Musique de Paris, New School University, and Columbia University, and has presented lectures at Amherst College, UC Berkeley, The Berklee School of Music, The Banff Centre, The Royal Academy of Music in London, and IRCAM in Paris, where he was a 2011 research fellow.

    He is currently a professor of Music at The California Institute of the Arts, and lives in Los Angeles.

Contact Information

  • Management/Booking: U.S. Inquiries
    Chris Mees
    B Natural Management
    www.bnatural.nyc
    [email protected]
    Tel: +1-346-897-8705

    European Inquiries

    Pascal Pilorget
    GiantSteps
    www.g-steps.com
    [email protected]
    Tel: +33 (0)1 8048-8320

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://stevelehman.bandcamp.com
  • ▶ Twitter: thestevelehman
  • ▶ Instagram: thestevelehman
  • ▶ Website: http://www.stevelehman.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UC_ti4-shPQkaqoJL96LPUpw
  • ▶ YouTube Music: http://music.youtube.com/channel/UCFvd4V5xQEM-yC9zF0hcT7g
  • ▶ Vimeo Channel: http://vimeo.com/channels/582160
  • ▶ Spotify: http://open.spotify.com/album/0FhvMgiAfQwT127ZEXnDQq
  • ▶ Spotify 2: http://open.spotify.com/album/3NSSnppqeWo1TU0o50NdZD
  • ▶ Spotify 3: http://open.spotify.com/album/3rBhxZgJ03D8grEqzV170w
  • ▶ Spotify 4: http://open.spotify.com/album/21qB7JBTgNEE5mExwOxgBo
  • ▶ Spotify 5: http://open.spotify.com/album/17npHWvBcaRUwA0TJ5vb3d

More

  • Quotes, Notes & Etc. “The most exciting music in jazz today.”
    - Wall Street Journal

    “One of the transforming figures of early 21st-century jazz.”
    - The Guardian

    “2014's most robust and eventful music.”
    - NPR Music

    “A quietly dazzling saxophonist”
    - New York Times

    “Music of genuinely visionary importance, a way forward for the art. ”
    - Penguin Guide to Jazz

    “The most advanced compositional thinking in jazz today.”
    - Philadelphia Weekly

My Instruction

  • Lessons/Workshops: Send a message via http://www.stevelehman.com/contact re: private lessons.

Clips (more may be added)

  • The People I Love (EPK) -- Steve Lehman Trio + Craig Taborn
    By Steve Lehman
    364 views
  • Fieldwork (Vijay Iyer, Steve Lehman, Tyshawn Sorey) - at The Stone, NYC - Aug 1 2014
    By Steve Lehman
    379 views
Previous
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Steve Lehman Curated
pathways in

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  • 0 Composer
  • 0 Experimental Music
  • 0 Jazz
  • 0 Saxophone
  • 0 Saxophone Instructor

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  • Steve Lehman
    A category was added to Steve Lehman:
    Saxophone Instructor
    • April 8, 2020
  • Steve Lehman
    Chris Dingman → Vibraphone Instruction has been recommended via Steve Lehman.
    • April 8, 2020
  • Steve Lehman
    Chris Dingman → Vibraphone has been recommended via Steve Lehman.
    • April 8, 2020
  • Steve Lehman
    Chris Dingman → New York City has been recommended via Steve Lehman.
    • April 8, 2020
  • Steve Lehman
    Chris Dingman → Multi-Cultural has been recommended via Steve Lehman.
    • April 8, 2020
  • Steve Lehman
    Chris Dingman → Jazz has been recommended via Steve Lehman.
    • April 8, 2020
  • Steve Lehman
    Chris Dingman → Composer has been recommended via Steve Lehman.
    • April 8, 2020
  • Steve Lehman
    A video was posted re Steve Lehman:
    The People I Love (EPK) -- Steve Lehman Trio + Craig Taborn
    EPK for "The People I Love"
    • December 7, 2019
  • Steve Lehman
    A video was posted re Steve Lehman:
    Fieldwork (Vijay Iyer, Steve Lehman, Tyshawn Sorey) - at The Stone, NYC - Aug 1 2014
    Vijay Iyer - piano Steve Lehman - alto & sopranino saxophones Tyshawn Sorey - drums, percussion
    • December 7, 2019
  • Steve Lehman
    A category was added to Steve Lehman:
    CalArts Music Faculty
    • December 7, 2019
  • Steve Lehman
    A category was added to Steve Lehman:
    Experimental Music
    • December 7, 2019
  • Steve Lehman
    A category was added to Steve Lehman:
    Composer
    • December 7, 2019
  • Steve Lehman
    A category was added to Steve Lehman:
    Jazz
    • December 7, 2019
  • Steve Lehman
    A category was added to Steve Lehman:
    Saxophone
    • December 7, 2019
  • Steve Lehman
    Steve Lehman is matrixed!
    • December 7, 2019
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

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, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"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: Soa assim: O que a música que você ama diz sobre você

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.

 

  • Jonathon Grasse Writer
  • Archie Shepp Jazz
  • Philip Cashian Royal Academy of Music Staff
  • Wilson Simoninha MPB
  • Yazz Ahmed Arabic Jazz
  • Margareth Menezes Bahia
  • Dan Trueman Software Designer
  • Danilo Caymmi Flute
  • Jau Salvador
  • Mauro Senise MPB
  • John Doyle Dublin
  • Arturo Sandoval Composer
  • Dan Tyminski Nashville, Tennessee
  • Choronas Samba
  • Goran Krivokapić Montenegro
  • Oswaldo Amorim Bass
  • Nikole Hannah -Jones Howard University Faculty
  • Nate Smith Television Scores
  • Alexandre Gismonti Belo Horizonte
  • Mick Goodrick Author
  • Angelique Kidjo Multi-Cultural
  • Carol Soares Singer
  • Michael Sarian Brooklyn, NY
  • A-KILL Building Art
  • Lenna Bahule Singer-Songwriter
  • Casey Benjamin Saxophone
  • D.D. Jackson Composer
  • Myron Walden Jazz
  • Emmet Cohen Composer
  • Gerônimo Santana Brazil
  • Paulão 7 Cordas Music Director
  • Jane Cornwell Liner Notes
  • Keshav Batish Composer
  • Michelle Burford Collaborative Writer
  • Oscar Bolão Author
  • Leon Bridges Fort Worth, Texas
  • Thomas Àdes Opera
  • Gevorg Dabaghyan Armenian Folk Music
  • Ben Azar Guitar Instruction
  • Michael W. Twitty Food Writer
  • Gilberto Gil Bahia
  • Michael Formanek Double Bass
  • Chris Cheek Saxophone
  • David Binney Composer
  • Muireann Nic Amhlaoibh Radio Presenter
  • Molly Tuttle Banjo
  • Rose Aféfé Bahia
  • Egberto Gismonti Guitar
  • Luíz Paixão Forró
  • 小野リサ Lisa Ono MPB
  • Doca 1 Brasil, Brazil
  • Pedro Martins Brazil
  • Negra Jhô Bahia
  • Dorian Concept Synthesizer
  • Dave Eggers Novelist
  • Damon Krukowski Dream Pop
  • Daniil Trifonov New York City
  • Otis Brown III Composer
  • Kiko Loureiro Helsinki
  • Yosvany Terry Percussion
  • Biréli Lagrène Composer
  • Stefan Grossman Folk & Traditional
  • Joe Newberry Old-Time Music
  • Aubrey Johnson Composer
  • Glória Bomfim Brazil
  • Samba de Lata Samba
  • Eric Bogle Scotland
  • Liron Meyuhas Composer
  • Gino Sorcinelli Writer
  • DJ Sankofa Gana, Ghana
  • Mark Turner Jazz
  • J. Pierre Painter
  • Ambrose Akinmusire New York City
  • Donald Harrison Mardi Gras Indian
  • Ivan Neville Singer-Songwriter
  • Júlio Lemos Samba
  • Awadagin Pratt Classical Music
  • Custódio Castelo Compositor, Composer
  • The Bayou Mosquitos Tex-Mex
  • Olivia Trummer Classical Guitar
  • Ben Harper Soul
  • Jakub Knera Musical Event Producer
  • Jan Ramsey Cajun Music
  • Andrés Beeuwsaert Piano
  • Reena Esmail Los Angeles
  • Myles Weinstein Agent
  • Luis Paez-Pumar Journalist
  • Jorge Glem Venezuela
  • Eric Bogle Singer-Songwriter
  • Daniel Bennett Saxophone
  • Tiganá Santana Poeta, Poet
  • Jon Madof Multi-Cultural
  • Thana Alexa Jazz
  • Christone 'Kingfish' Ingram Guitar
  • Alfredo Rodriguez New York City
  • Luciano Salvador Bahia Guitar
  • Dan Tepfer Composer
  • Sara Gazarek Singer
  • Robb Royer Screenwriter
  • Guinga Composer
  • Lina Lapelytė Composer
  • Jill Scott Poet
  • Yosvany Terry Jazz
  • Chad Taylor Drums
  • Ethan Iverson Writer
  • Tony Austin Film Scores
  • Ramita Navai Journalist
  • Tonynho dos Santos Teclado, Keyboards
  • Armen Donelian Multi-Cultural
  • Marc Cary Composer
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