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

From Brazil with love →

@ Ground Zero

 

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

 

 

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

 

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

 

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

 

El Aleph

 

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

 

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

 

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

 

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

 

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

 

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

 

All is more connected than we know.

 

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

 

If You Can't Stand the Heat

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Welcome to the kitchen!

 

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

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

  • Tony Trischka
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Tony Trischka
  • City/Place: Fair Lawn, New Jersey
  • Country: United States
  • Hometown: Syracuse, New York

Life & Work

  • Bio: Early in 2019, the banjo virtuoso, songwriter and educator Tony Trischka celebrated his 70th birthday with a surprise party at the Public Theater, in Lower Manhattan, a reasonable jaunt from his home in New Jersey. Naturally for an artist NPR has referred to as “the great banjo liberationist,” the well-wishers included musicians like Béla Fleck, the premier banjoist to emerge in the past four decades, and the comic genius Steve Martin, the banjo’s unofficial celebrity ambassador, whom Trischka calls “a wonderful player.”

    At center of the fete—including, all told, “about 80 people I love,” says Trischka—was an unassumingly brilliant, kindhearted fellow who just so happens to stand among the most influential figures in American roots music. Or, as the New York Times wrote in 2006, “[I]n fiddle- and fret-conscious circles from Nashville to Groton, Mass. … [Trischka] is known as the father of modern bluegrass.”

    He was born in Syracuse, N.Y., in 1949, and raised in a home filled with music. There were Broadway scores and a sweeping range of classical music, from Stravinsky to Beethoven. (The first thing Trischka learned to play on the banjo, in fact, was the Ninth Symphony.) The wide- open American vistas of Aaron Copland had an especially potent spiritual and visceral impact on him, as did the folk music his left-leaning father held dear. The Almanac Singers, the solo work of its founding members Woody Guthrie and Pete Seeger, and Lead Belly’s children’s LP were in constant rotation.

    Trischka fell in love with the banjo by way of the Kingston Trio’s 1963 recording of “M.T.A.,” and was able to experience the New York-centered folk revival by trekking to the Newport Folk Festival in the early to mid-’60s. He moved to the city in the early ’70s and hit the ground running, settling in among a peer group of extraordinary musicians who saw American roots music as a thriving, living language that could be expanded and combined with other influences and sensibilities. Alongside other young masters like mandolinist Andy Statman and fiddler Kenny Kosek, in such units as Country Cooking and Breakfast Special, Trischka found his purpose. Jaw-dropping musicianship was certainly encouraged, as was comic and literary irreverence, earnest songwriting and a record shop’s worth of touchstones beyond bluegrass, from the avant-garde to fusion and R&B.

    That’s essentially the m.o. that defines Trischka’s landmark solo debut, Bluegrass Light, released on the Rounder label in 1974. “For the first album,” Trischka recalls, “I was just doing what I loved, music I was hearing.” That’s a characteristically understated way to describe his synthesis of a vast swath of the 20th century’s most interesting sounds: bluegrass staples, Van Dyke Parks’ orchestral psychedelic pop, Coltrane, Eric Dolphy, the heyday jazz-rock fusion of Mahavishnu Orchestra, Chick Corea, Weather Report and Zappa, and more. Many other milestone albums followed, among them 1983’s A Robot Plane Flies Over Arkansas, which refined the eclecticism of Bluegrass Light and featured such West Coast newgrass royalty as violinist Darol Anger, guitarist Tony Rice and mandolinist David Grisman.

    For his 1993 release, World Turning, Trischka crafted a wildly ambitious love letter to the banjo and its mighty journey throughout America’s cultural firmament. Trischka’s reputation and goodwill allowed him to retain the services of champion company, here including Grisman, Parks, the Violent Femmes, Alison Krauss, R.E.M.’s Peter Buck and Bill Berry, and even beat icon William Burroughs. That project became an essential source of inspiration for Marc Fields’ comprehensive 2011 documentary, Give Me the Banjo, which Steve Martin narrated and for which Trischka acted as musical director and co-producer. (Musical direction is yet another of Trischka’s gifts, and he’s helmed ensembles for Broadway and off-Broadway productions as well as for New York City’s “Shakespeare in the Park.”) With frequent airings on PBS stations across the country, Give Me the Banjo was one more opportunity for Trischka to advocate on behalf of his chosen instrument.

    He’s raised the banjo’s profile in many other ways as well. Through his theme song for Books on the Air and performances on A Prairie Home Companion, Mountain Stage, From Our Front Porch and other programs, he’s been a frequent presence on NPR. His work with his pal Steve Martin too has helped the banjo gain a wider audience and deeper understanding. Trischka’s Grammy-nominated album Double Banjo Bluegrass Spectacular, released in 2007, and Great Big World, from 2014, feature Martin within a mix of veterans and up-and-coming luminaries. He produced Martin’s Grammy-nominated Rounder album from 2011, Rare Bird Alert, which touts performances by the Steep Canyon Rangers, Paul McCartney and the Dixie Chicks. His forthcoming album, This Favored Land, is a visionary exploration of Civil War history featuring an all-star cast—from Michael Daves and Maura O’Connell to the Femmes, Catherine Russell, Guy Davis, the actor John Lithgow and many others.

    In many ways, Trischka’s collaborators join him to pay homage to an architect of progressive bluegrass—an invaluable pioneer who absorbed the slings and arrows of roots traditionalists and proved that acoustic music could accommodate imagination and individualism. (Trischka, in his self-effacing way, insists he was simply falling into a longer-running tradition: “Bill Monroe, when he invented bluegrass, took all these other elements and fused them together,” he explains.)

    One such apt pupil has been Béla Fleck, who began studying with Trischka as a teenaged bluegrass wunderkind struck by his teacher’s wily, genre-bending original compositions. “He showed up and I knew, almost immediately, that this guy had it,” Trischka recalls. “Very quickly, after a few months, I said, ‘You don’t need lessons anymore. We’ll just kind of play and hang out.’ It’s been that way ever since, and we just have a great relationship.” Musically their connection has been fruitful, to say the least, and on collaborative albums like 1981’s Fiddle Tunes for Banjo, with Bill Keith, and 1992’s Solo Banjo Works their rapport is at once fiery and reflective, competitive and full of compassion.

    But Fleck is just one of countless students that Trischka has imparted his hard-earned wisdom to, through his private instruction, his books and DVDs and his groundbreaking work with the ArtistWorks online teaching platform. In addition to his Grammy nominations, he’s earned a number of honors over the years, including the International Bluegrass Music Award for Banjo Player of the Year in 2007, and he was named a United States Artists Friends Fellow in 2012. This momentous coming year, between This Favored Land and other projects and concerts, will no doubt garner Trischka more well-deserved acclaim. “I’m 70 but I’m strong,” he says, chuckling. “I’m not ready to retire yet.”

Contact Information

  • Email: [email protected]
  • Management/Booking: Management
    HERCO Management
    Ben Hershman
    [email protected]
    201.404.7763

    Booking
    Ketch Agency
    Page Stallings
    [email protected]
    704.405.1227

    PRESS
    Carla Parisi
    [email protected]
    973.563.8204

Media | Markets

  • ▶ Twitter: tonytrischka
  • ▶ Instagram: tonytrischka
  • ▶ Website: http://www.tonytrischka.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCtXDilnLz_gLj0gqHcAYAUA
  • ▶ Spotify: http://open.spotify.com/album/1o6y420OHrfxEpDQU7k0RV
  • ▶ Spotify 2: http://open.spotify.com/album/7HWHb0onNB3GdRHnTk0Omq
  • ▶ Spotify 3: http://open.spotify.com/album/7k0HYqC1egbh5aHeEo67nI
  • ▶ Spotify 4: http://open.spotify.com/album/229HrQPZSD2hlAToBcLj1Y
  • ▶ Spotify 5: http://open.spotify.com/album/3StE3S6GD9gjvazVrhQt1V
  • ▶ Spotify 6: http://open.spotify.com/album/2Iu0LXhvWFUTHSuPrdYoKv

More

  • Quotes, Notes & Etc. “… the great banjo liberationist ...”
    - Tom Ashbrook, NPR - “On Point”

My Instruction

  • Lessons/Workshops: Tony Trischka has crafted a definitive banjo lesson library with hundreds of online video lessons. Students have unlimited access to in-depth banjo instruction, tablature, backing tracks, interviews and performances with dozens of bluegrass legends. Learn essential skills from one of the world's top banjo players.
  • Instruction: http://artistworks.com/banjo-lessons-tony-trischka

Clips (more may be added)

  • 0:32:20
    Michael Daves, Bruce Molsky, and Tony Trischka at Paste Studio NYC live from The Manhattan Center
    By Tony Trischka
    239 views
  • 0:18:03
    20 Minutes with Tony Trischka
    By Tony Trischka
    191 views
  • 4:49
    Tony Trischka on Why You Should Play Banjo
    By Tony Trischka
    178 views
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YOU RECOMMEND

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Tony Trischka:

  • 1 Americana
  • 1 Author
  • 1 Banjo
  • 1 Banjo Instruction
  • 1 Bluegrass
  • 1 Composer
  • 1 Country
  • 1 Old-Time Music
  • James Grime University of Cambridge Faculty
  • Armandinho Macêdo Bahia
  • Art Rosenbaum Illustrator
  • Colm Tóibín Novelist
  • Cara Stacey Musicologist
  • James Brandon Lewis Saxophone
  • Etienne Charles Jazz
  • Paulo Martelli Brazilian Classical Guitar
  • Utar Artun Composer
  • Shabaka Hutchings Composer
  • Alex Clark Digital Media Producer
  • Utar Artun Turkey
  • Adriano Giffoni Bass Instruction, Master Classes
  • Nelson Faria Guitar Instruction, Master Classes
  • João Teoria Brasil, Brazil
  • Linda Sikhakhane Jazz
  • Samuca do Acordeon Composer
  • Eduardo Kobra Grafiteiro, Graffiti Artist
  • Adriano Souza Bossa Nova
  • Gabriel Geszti Choro
  • Parker Ighile London
  • Gabriel Grossi Brazilian Jazz
  • Timothy Duffy New Orleans
  • João Luiz Choro
  • Tony Austin Film Scores
  • Abel Selaocoe Contemporary African Classical Music
  • Gabrielzinho do Irajá Samba
  • Lorna Simpson Brooklyn, NY
  • Tomoko Omura Japan
  • Júlio Lemos Samba
  • Matt Parker YouTuber
  • Pedrito Martinez Congas
  • Kris Davis Piano
  • Rema Namakula Singer
  • Victoria Sur Singer-Songwriter
  • André Mehmari São Paulo
  • Walmir Lima Salvador
  • Plínio Fernandes Classical Guitar
  • Guinha Ramires Brazil
  • Michael Kiwanuka London
  • Adam Cruz Composer
  • Horácio Reis Choro
  • Pedrito Martinez Santeria
  • Glória Bomfim Brazil
  • Jaimie Branch Free Jazz
  • Isaac Julien Filmmaker
  • Alex de Mora Photographer
  • Marcus Miller R&B
  • Marco Pereira Choro
  • Richard Bona Multi-Cultural
  • Larissa Luz Bahia
  • Gary Clark Jr. Austin, Texas
  • Howard Levy Harmonica Instruction
  • Colson Whitehead Novelist
  • Cory Henry R&B
  • Larissa Luz MPB
  • Olivia Trummer Jazz
  • Dave Weckl Drums
  • Marquis Hill R&B
  • Muireann Nic Amhlaoibh Ireland
  • Laércio de Freitas MPB
  • Daru Jones Record Producer
  • Casey Driessen Bluegrass
  • Kiko Freitas Drum Instruction
  • Cashmere Cat Norway
  • Melanie Charles Jazz
  • Jessie Reyez Hip-Hop
  • Savoy Family Cajun Band Louisiana
  • Brandee Younger Jazz
  • Walter Blanding Jazz
  • Christopher Nupen Classical Music
  • Deesha Philyaw University of Pittsburgh Faculty
  • Cinho Damatta MPB
  • Kim André Arnesen Oslo
  • Miroslav Tadić Classical, Baroque Music
  • Bianca Gismonti Rio de Janeiro
  • Renato Braz Brazil
  • João Parahyba Brazil
  • Ron Blake Jazz
  • TaRon Lockett Drums
  • Hélio Delmiro Brazil
  • Nana Nkweti Africa
  • Antonio García Jazz
  • Andrew Finn Magill Composer
  • Jerry Douglas Nashville, Tennessee
  • Djuena Tikuna São Luís, Maranhão
  • Mariana Zwarg Saxophone
  • Nabih Bulos Journalist
  • Sam Eastmond Record Producer
  • Toninho Nascimento Samba
  • Henry Cole New York City
  • James Carter Blue Note Records
  • Marta Sánchez Piano
  • David Castillo Actor
  • Milton Nascimento Minas Gerais
  • Ivan Sacerdote Brazil
  • Mark Bingham Guitar
  • Elie Afif Beirut
  • H.L. Thompson Apparel & Fashion
  • Jam no MAM Bahia
  • Keita Ogawa Multi-Cultural
  • Ben Wendel Brooklyn, NY
  • Tony Allen Composer
  • Abel Selaocoe Multi-Cultural
  • Brandon J. Acker Theorbo
  • Edivaldo Bolagi Bahia
  • Omer Avital Composer
  • Tomo Fujita Jazz
  • Flavio Sala Classical Guitar
  • Dave Eggers Painter
  • Lucinda Williams Country
  • Nei Lopes Rio de Janeiro
  • Aditya Prakash Singer
  • Oscar Peñas New York City
  • Corey Harris Blues
  • Itiberê Zwarg Brazil
  • Nath Rodrigues Minas Gerais
  • César Orozco Piano
  • Cássio Nobre Ethnomusicologist
  • Burhan Öçal Bendir
  • Magda Giannikou Film Scores
  • Lazzo Matumbi Salvador
  • Ronell Johnson New Orleans
  • Moacyr Luz Singer
  • Edmar Colón Jazz
  • Oleg Fateev Moldavia
  • Victoria Sur Singer-Songwriter
  • Chris Speed Avant-Garde Jazz
  • Ben Wolfe Jazz
  • Tigran Hamasyan Armenian Folk Music
  • Damon Albarn Theater Composer
  • Celso Fonseca Bossa Nova
  • Dónal Lunny Multi-Instrumentalist
  • Gilmar Gomes Bahia
  • Manolo Badrena Afro-Latin Music
  • Bebel Gilberto MPB
  • Eric Bogle Scotland
  • Scotty Apex Hip-Hop
  • Omer Avital Middle Eastern Music
  • Paulo Dáfilin Arranger
  • Catherine Bent Cello
  • Alê Siqueira Composer
  • Thundercat Record Producer
  • Benoit Fader Keita Techno
  • Chris Acquavella Mainz
  • William Parker Poet
  • Andra Day Los Angeles
  • Eli Degibri אלי דג'יברי Composer
  • Neo Muyanga African Music
  • Aaron Goldberg Composer
  • Paul Anthony Smith Brooklyn, NY
  • Vincent Herring Flute
  • Tarus Mateen R&B
  • Nathan Amaral Brazil
  • Célestin Monga Economist
  • Dave Smith Multi-Cultural
  • Matt Glaser Author
  • David Binney Saxophone
  • Herlin Riley Drums
  • Ênio Bernardes Choro
  • David Bragger Guitar
  • César Orozco Composer
  • Béco Dranoff Cultural Producer
  • Nublu Jazz
  • Chucho Valdés Havana
  • Rissi Palmer Durham, North Carolina
  • Yotam Silberstein Guitar Instruction
  • Marcus Printup New York City
  • Corey Harris Reggae
  • Jubu Smith Singer-Songwriter
  • Sandro Albert Brazilian Jazz
  • Marcela Valdes Writer
  • Otis Brown III Composer
  • Lô Borges Belo Horizonte
  • Howard Levy Blues & Folk
  • Darryl Hall Bass
  • David Hepworth Podcaster
  • George Porter Jr. New Orleans
  • Kimmo Pohjonen Film Scores
  • Sharita Towne Printmaker
  • Paul Mahern Record Producer
  • Walmir Lima Bahia
  • Chris Speed Jazz
  • Igor Osypov Jazz Fusion
  • François Zalacain Record Producer
  • Ivo Perelman Saxophone
  • Lula Galvão Classical Guitar
  • William Parker New York City
  • Monk Boudreaux New Orleans
  • JD Allen New York City
  • Michel Camilo Classical Music
  • Magda Giannikou Composer
  • Bruce Molsky Appalachian Music
  • Bertram Writer
  • Woody Mann Guitar
  • Nate Smith Television Scores
  • Marc Ribot Writer
  • Hisham Mayet Record Label Owner
  • Gretchen Parlato New York City
  • Márcia Short Brazil
  • Raelis Vasquez Afro-Latinx Art
  • Deesha Philyaw Fiction
  • João Parahyba Drums
  • Tero Saarinen Choreographer
  • 小野リサ Lisa Ono Bossa Nova
  • Archie Shepp Jazz
  • Dwandalyn Reece Museum Professional
  • Eric Alexander New York City
  • Carlos Blanco Flamenco
  • Rez Abbasi Indian Classical Music
  • THE ROOM Shibuya Hip-Hop
  • Luciano Calazans Bass
  • Denzel Curry Singer-Songwriter
  • Nettrice R. Gaskins Digital Artist
  • Omari Jazz Brainfeeder
  • Caetano Veloso MPB
  • Michael Cuscuna Jazz
  • Chick Corea Piano
  • Roberto Fonseca Composer
  • Papa Mali Record Producer
  • Adriene Cruz Tapestry Crochet
  • Peter Dasent Piano
  • Cimafunk Cuba
  • Pallett Persian Music
  • Isaias Rabelo Composer
  • Greg Kot Chicago
  • Helen Shaw Writer
  • Chris Boardman Film Scores
  • Rodrigo Caçapa Percussion
  • Don Byron Avant-Garde Jazz
  • Tonynho dos Santos Flugelhorn
  • David Fiuczynski Berklee College of Music Faculty
  • Ubiratan Marques Música Afro-Brasileira, Afro-Brazilian Music
  • Keith Jarrett Classical Music
  • John Edward Hasse Author
  • Célestin Monga Author
  • Jeff Preiss Filmmaker
  • Jamz Supernova DJ
  • Joe Newberry North Carolina
  • Errollyn Wallen Contemporary Classical Music
  • Cory Wong Jazz
  • Darren Barrett Jazz
  • Dafnis Prieto Percussion
  • Yazz Ahmed Ropeadope
  • Kim Hill Songwriter
  • Esperanza Spalding Composer
  • Diosmar Filho Cineasta Documentarista, Documentary Filmmaker
  • Brian Jackson Jazz
  • Matt Glaser Bluegrass
  • Chris Speed New York City
  • Carlos Lyra Rio de Janeiro
  • Bill Frisell Brooklyn, NY
  • Martyn House
  • Christian Sands Piano
  • Orlando 'Maraca' Valle Composer
  • Brian Lynch Composer
  • Restaurante Axego Bahia
  • Vânia Oliveira Bahia
  • Robin Eubanks Composer
  • PATRICKTOR4 Bahia
  • Derrick Adams Brooklyn, NY
  • Marcos Suzano Brazil
  • Celino dos Santos Terra Nova
  • Gavin Marwick Scottish Traditional Music
  • Hugues Mbenda Chef
  • Barney McAll New York City
  • Quatuor Ebène Contemporary Classical Music
  • Marília Sodré Violão, Guitar
  • Germán Garmendia Los Angeles
  • Dan Tyminski Singer-Songwriter
  • Nduduzo Makhathini Piano
  • Chris Potter Jazz
  • Alyn Shipton Double Bass
  • Stan Douglas Installation Artist
  • Joshue Ashby Violin
  • Shannon Alvis Chicago
  • Martin Fondse Amsterdam
  • Chris McQueen Austin, Texas
  • Menelaw Sete Bahia
  • Brandon J. Acker Baroque Guitar
  • Yamandu Costa Composer
  • Yosvany Terry Harvard University Faculty
  • Roy Nathanson Saxophone
  • Melissa Aldana Saxophone
  • Mika Mutti Composer
  • Jonga Cunha Bahia
  • Vijay Iyer Jazz
  • Brandon Coleman Jazz, Funk, R&B, Soul
  • Lianne La Havas London
  • Marcus Strickland Composer
  • Nilze Carvalho Brazil
  • Jimmy Dludlu Guitar
  • Nahre Sol Composer
  • Marc Johnson Record Producer
  • Barlavento Brazil
  • Inaicyra Falcão Dançarina, Dancer
  • Max ZT Brooklyn, NY
  • Logan Richardson Saxophone
  • Celsinho Silva Pandeiro Instruction
  • Tom Bergeron Bossa Nova
  • Walter Blanding Clarinet
  • Varijashree Venugopal Carnatic Music
  • Chris Dave Drums
  • Lina Lapelytė Vilnius
  • Wayne Krantz Jazz
  • David Bruce Opera
  • Gêge Nagô Brazil
  • Cláudio Badega Salvador
  • Julia Alvarez Latin American Literature
  • Ibrahim Maalouf Jazz
  • Burkard Polster Mathematics
  • Liron Meyuhas Composer
  • Johnny Lorenz Montclair State University Faculty
  • Missy Mazolli Piano
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  • Biréli Lagrène Guitar

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