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  • Tessa Hadley

    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: Tessa Hadley
  • City/Place: London
  • Country: United Kingdom

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Tessa Hadley is the author of four highly praised novels: Accidents in the Home, which was long-listed for the Guardian First Book Award; Everything Will Be All Right; The Master Bedroom; and The London Train, which was a New York Times Notable Book.

    She is also the author of two short-story collections, Sunstroke and Married Love, both of which were New York Times Notable Books as well.

    Her stories appear regularly in the New Yorker. She lives in London.

Media | Markets

  • ▶ Book Purchases: http://www.amazon.com/Tessa-Hadley/e/B001ILKDSO
  • ▶ Article: http://www.theguardian.com/books/2019/feb/09/tessa-hadley-interview
  • ▶ Stories: http://www.newyorker.com/contributors/tessa-hadley

Clips (more may be added)

  • Tessa Hadley and Alex Clark: 'Late in the Day'
    By Tessa Hadley
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


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 below — 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.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & 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


RESPLENDENT 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.

 

 

PORTUGUÊS (to English →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


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.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) 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


RESPLANDECENTE 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.

 

 

  • Peter Evans Avant-Garde Jazz
  • Jorge Washington AFROBIZ Salvador
  • Carwyn Ellis Samba
  • Anouar Brahem Arabic Music
  • Deborah Colker Rio de Janeiro
  • Ed O'Brien London
  • Tony Trischka Old-Time Music
  • RAM Haiti
  • Joana Choumali Visual Artist
  • Miroslav Tadić Multi-Cultural
  • Colm Tóibín Journalist
  • Darryl Hall Jazz
  • Stephen Guerra Samba
  • Lydia R. Diamond Playwright
  • Ariel Reich Singer
  • Chano Domínguez Brooklyn, NY
  • Hanif Abdurraqib Essayist
  • Spok Frevo Orquestra Frevo
  • Evgeny Kissin Contemporary Classical Music
  • Kiko Loureiro Brazil
  • Christian Sands Jazz
  • Nancy Viégas Country
  • Randy Lewis Music Critic
  • Joel Guzmán Conjunto
  • Django Bates Jazz
  • Amanda Tropicana Bahia
  • Eric Alexander Composer
  • Cássio Nobre Viola Machete
  • Utar Artun Percussion
  • Rebeca Tárique Produtora Cultural, Cultural Producer
  • Eli Saslow Writer
  • Stefon Harris Manhattan School of Music Faculty
  • Brian Q. Torff Jazz
  • Tom Wilcox London
  • NEOJIBA Salvador
  • Paolo Fresu Television Scores
  • Saul Williams Actor
  • Alan Brain Washington, D.C.
  • Di Freitas Cello
  • Scotty Apex Record Producer
  • Marc Ribot Free Jazz
  • Ariel Reich Actor
  • Vik Sohonie Writer
  • Ana Luisa Barral Bahia
  • Pedro Aznar Jazz
  • Rayendra Sunito Songwriter
  • Ahmad Sarmast Ethnomusicologist
  • Avishai Cohen Trumpet
  • Justin Brown Composer
  • Teresa Cristina Songwriter
  • Jimmy Dludlu Mozambique
  • Jack Talty County Clare
  • Joe Lovano Saxophone
  • Tal Wilkenfeld Guitar
  • Les Thompson Cinema Engineer
  • Thomas Àdes Contemporary Classical Music
  • Michael Janisch Avant-Garde Jazz
  • Bonerama Jazz
  • Alma Deutscher Composer
  • Margareth Menezes Samba-Reggae
  • Jonathan Finlayson Composer
  • Edivaldo Bolagi Salvador
  • Ivo Perelman Multi-Instrumentalist
  • Sean Jones Johns Hopkins Peabody Institute Faculty
  • Paulinha Cavalcanti Atriz, Actor
  • Brady Haran Video Journalist
  • Christopher Silver Maghrib
  • Paulo Paulelli Brazilian Jazz
  • Jon Lindsay Brooklyn, NY
  • Zigaboo Modeliste Songwriter
  • G. Thomas Allen Jazz
  • Lynne Arriale Jazz
  • Celso Fonseca Rio de Janeiro
  • Booker T. Jones Multi-Instrumentalist
  • Raynald Colom Trumpet
  • Michael League Brooklyn, NY
  • Alex Mesquita Brazil
  • Questlove Hip-Hop
  • Bebê Kramer Rio de Janeiro
  • Delbert Anderson Indigenous Culture
  • Linda May Han Oh Composer
  • Leandro Afonso Film Director
  • Steven Isserlis Cello
  • Joe Fiedler Arranger
  • Melvin Gibbs Funk, HIp-Hop, Alternative
  • Martin Fondse Jazz
  • Gringo Cardia Video Director
  • Milton Nascimento MPB
  • Masao Fukuda Yokahama
  • Aderbal Duarte Bahia
  • Anoushka Shankar Composer
  • Chris McQueen Record Producer
  • Toninho Ferragutti Composer
  • George Porter Jr. New Orleans
  • Cedric Watson Louisiana Creole Music
  • Mykia Jovan Soul
  • Jared Sims Ropeadope
  • Elizabeth LaPrelle Educator
  • Anoushka Shankar Journalist
  • Eric Roberson Drum Machine
  • Brandon J. Acker Theorbo
  • Berkun Oya Actor
  • Marcus Miller Multi-Instrumentalist
  • Ron Wyman Documentary Filmmaker
  • Antônio Queiroz Samba Rural
  • Casey Driessen Live Looping
  • Amitava Kumar Poet
  • Little Simz Photographer
  • Walter Ribeiro, Jr. Singer-Songwriter
  • John Donohue Writer
  • Gringo Cardia Set Designer
  • Yazhi Guo 郭雅志 Microtonal
  • Laércio de Freitas Choro
  • Steve Bailey Bass
  • Brian Cox Actor
  • André Becker Música Clássica, Classical Music
  • Caroline Keane County Kerry
  • Cacá Diegues Academia Brasileira de Letras, Brazilian Academy of Letters
  • Joanna Majoko Toronto
  • Eliane Elias Bossa Nova
  • Ben Wolfe New York City
  • Caridad De La Luz Playwright
  • Sombrinha Rio de Janeiro
  • Ben Hazleton Tabla
  • Brandon Seabrook Banjo
  • Stanton Moore Drums
  • Philip Ó Ceallaigh Translator
  • Andrew Huang Video Producer
  • Robert Randolph Steel Guitar
  • Chris Dave R&B
  • Hopkinson Smith Schola Cantorum Basiliensis Faculty
  • Monty's Good Burger Fries, Tots & Shakes
  • Nicolas Krassik Brazil
  • Georgia Anne Muldrow Record Producer
  • Silas Farley Choreographer
  • Oswaldinho do Acordeon Composer
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  • Les Thompson Folk & Traditional
  • Phineas Harper Mobile Maker
  • Eamonn Flynn Singer-Songwriter
  • Shabaka Hutchings Clarinet
  • Bill Pearis Music Critic
  • Ben Harper Funk
  • James Andrews Singer
  • Aindrias de Staic Actor
  • Caterina Lichtenberg Mandolin
  • MicroTrio de Ivan Huol MicroTrio
  • BIGYUKI Brooklyn, NY
  • The Umoza Music Project Senga Bay
  • Horacio Hernández Havana
  • Craig Ross Guitar
  • Patty Kiss Brasil, Brazil
  • Alberto Pitta Bloco Afro
  • Lina Lapelytė Installation Artist
  • Gal Costa Singer
  • Terry Hunter DJ
  • Maria Nunes Trinidad
  • David Braid Guitar
  • Nabaté Isles Jazz
  • Carlinhos 7 Cordas Brazil
  • McIntosh County Shouters Gullah Geechee
  • Maria Calú Atriz, Actor
  • Zulu Araújo Produtor Cultural, Cultural Producer
  • Jean Rondeau Classical Music
  • Luis Paez-Pumar Writer
  • Clint Mansell Television Scores
  • Ivan Bastos Salvador
  • Christopher Nupen Classical Music
  • Ofer Mizrahi Singer-Songwriter
  • Elza Soares Samba
  • Joan Chamorro Spain
  • Stefan Grossman New York City
  • Alan Brain Peru
  • Joel Best Character Artist
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  • Marilda Santanna Bahia
  • Kiko Souza Brasil, Brazil
  • Donna Leon Venice
  • Tomoko Omura Brooklyn, NY
  • Richard Galliano Composer
  • Nath Rodrigues Singer-Songwriter
  • Talita Avelino Salvador
  • Gretchen Parlato Jazz
  • Gabriel Geszti Compositor, Composer
  • Jeremy Danneman Singer-Songwriter
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  • Matt Garrison Composer
  • Mono/Poly Electronic Music
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  • Joel Guzmán Austin, Texas
  • Renee Rosnes Composer
  • Jonathon Grasse Contemporary Music
  • Giovanni Russonello Journalist
  • Cláudio Badega Pandeiro
  • Alicia Keys New York City
  • Roberto Martins Jornalista, Journalist
  • Cleber Augusto Guitar
  • Yunior Terry Cuba
  • Brian Cross aka B+ Hip-Hop
  • Kyle Poole Composer
  • Sunn m'Cheaux Binya
  • Billy O'Shea Novelist
  • Adriano Souza Choro
  • Alexia Arthurs Jamaica
  • Miles Okazaki Jazz
  • Cathal McNaughton Ireland
  • Frank Beacham Playwright
  • Benny Benack III Singer-Songwriter
  • César Orozco Cuba
  • Susheela Raman Indian Classical Music
  • Aditya Prakash Ropeadope
  • Alana Gabriela Brasil, Brazil
  • Richie Barshay Drums
  • Lina Lapelytė Contemporary Classical Music
  • Gustavo Di Dalva Bahia
  • Rolando Herts Mississippi
  • Steve Cropper Songwriter
  • Adriano Souza MPB
  • Albin Zak Singer-Songwriter
  • Esperanza Spalding Composer
  • Greg Spero Jazz
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