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  • Tyshawn Sorey

    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: Tyshawn Sorey
  • City/Place: New York City
  • Country: United States
  • Hometown: Newark, NewJersey

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Newark-born multi-instrumentalist and composer Tyshawn Sorey (b. 1980) is celebrated for his incomparable virtuosity, effortless mastery and memorization of highly complex scores, and an extraordinary ability to blend composition and improvisation in his work. He has performed nationally and internationally with his own ensembles, as well as artists such as John Zorn, Vijay Iyer, Roscoe Mitchell, Muhal Richard Abrams, Wadada Leo Smith, Marilyn Crispell, George Lewis, Claire Chase, Steve Coleman, Steve Lehman, Robyn Schulkowsky, Evan Parker, Anthony Braxton, and Myra Melford, among many others.

    The New York Times has praised Sorey for his instrumental facility and aplomb, “he plays not only with gale-force physicality, but also a sense of scale and equipoise”; The Wall Street Journal notes Sorey is, “a composer of radical and seemingly boundless ideas.” The New Yorker recently noted that Sorey is “among the most formidable denizens of the in-between zone…An extraordinary talent who can see across the entire musical landscape.”

    Sorey has received support for his creative projects from The Jerome Foundation, The Shifting Foundation, Van Lier Fellowship, and was recently named a 2017 MacArthur fellow. The Spektral Quartet, Ojai Music Festival, and International Contemporary Ensemble (ICE) have commissioned his works, which exemplify a penchant for a thorough exploration of the intersection between improvisation and composition. Sorey also collaborates regularly with ICE as a percussionist and resident composer. Future commissions include a residency at the Berlin Jazz Festival and Carnegie Hall’s 125 Commissions Project in partnership with Opera Philadelphia supporting a new work for tenor Lawrence Brownlee addressing themes associated with Black Lives Matter.​

    As a leader, Sorey has released seven critically acclaimed recordings that feature his work as a composer, multi-instrumentalist, and conceptualist. His latest, Pillars (Firehouse 12 Records, 2018), has been praised by Rolling Stone as “an immersive soundworld… sprawling, mysterious… thrilling” and has been named as one of BBC Radio 3’s Late Junction 2018 albums of the year.

    In 2012, he was selected as one of nine composers for the Other Minds Festival, where he exchanged ideas with such like-minded peers as Ikue Mori, Ken Ueno, and Harold Budd. In 2013, Jazz Danmark invited him to serve as the Danish International Visiting Artist. He was a 2015 recipient of the Doris Duke Impact Award. Sorey has taught and lectured on composition and improvisation at Columbia University, The New School, The Banff Centre, Wesleyan University, International Realtime Music Symposium, Hochschule für Musik Köln, Berklee College of Music, Massachusetts Museum of Contemporary Art, and The Danish Rhythmic Conservatory. His work has been premiered at Lincoln Center’s Mostly Mozart Festival, Ojai Music Festival, The Kitchen, Walt Disney Hall, Roulette, Issue Project Room, and the Stone, among many other established venues and festivals.

    As of Fall 2017 he has held the role of Assistant Professor of Composition and Creative Music at Wesleyan University, where he received his Masters degree in Composition in 2011.

Contact Information

  • Management/Booking: MANAGEMENT
    First Chair Promotion
    – James Egelhofer
    [email protected]

    PRESS
    Pi Recording

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://tyshawn-sorey.bandcamp.com/
  • ▶ Twitter: tyshawnsorey
  • ▶ Instagram: tyshawnsorey
  • ▶ Website: http://tyshawnsorey.com
  • ▶ Spotify: http://open.spotify.com/album/2t1NzSOm5VFKQblTJdcQqr
  • ▶ Articles: http://tyshawnsorey.com/press/

Clips (more may be added)

  • Live In Studio: Tyshawn Sorey
    By Tyshawn Sorey
    363 views
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Tyshawn Sorey Curated
pathways in

  • 4 Avant-Garde Jazz
  • 4 Composer
  • 4 Multi-Instrumentalist
  • 4 New York City
  • 4 Wesleyan University Faculty

What's Been Happening?

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  • Tyshawn Sorey
    King Britt → University of San Diego Faculty has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → Record Producer has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → Record Label Owner has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → Live Producer has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → Electronic Music has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → DJ has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → Computer Music has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    King Britt → Composer has been recommended via Tyshawn Sorey.
    • September 2, 2021
  • Tyshawn Sorey
    Jacám Manricks → UC Davis Faculty has been recommended via Tyshawn Sorey.
    • September 6, 2020
  • Tyshawn Sorey
    Jacám Manricks → Saxophone has been recommended via Tyshawn Sorey.
    • September 6, 2020
  • Tyshawn Sorey
    Jacám Manricks → Jazz has been recommended via Tyshawn Sorey.
    • September 6, 2020
  • Tyshawn Sorey
    Jacám Manricks → Composer has been recommended via Tyshawn Sorey.
    • September 6, 2020
  • Tyshawn Sorey
    Armen Donelian → Record Producer has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Armen Donelian → Piano has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Armen Donelian → New School Faculty has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Armen Donelian → Multi-Cultural has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Armen Donelian → Jazz has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Armen Donelian → Composer has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Armen Donelian → Author has been recommended via Tyshawn Sorey.
    • June 25, 2020
  • Tyshawn Sorey
    Steve Coleman → Saxophone has been recommended via Tyshawn Sorey.
    • November 28, 2019
View More
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


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.

 


✅—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 →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


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.

 

 

  • Tomoko Omura Multi-Cultural
  • Luciano Calazans Bahia
  • Tony Allen Nigeria
  • Sombrinha Samba
  • Tom Moon Writer
  • Cláudio Badega Pandeiro
  • Hercules Gomes Samba
  • Diedrich Diederichsen Music Journalist
  • Aruán Ortiz Film Scores
  • Sara Gazarek Vocal Instruction
  • Horacio Hernández Drums
  • James Andrews Second Line
  • Gian Correa Choro
  • Echezonachukwu Nduka Singer
  • Márcio Valverde Samba de Roda
  • Saul Williams Poet
  • Brandee Younger Pop Music
  • Zoran Orlić Chicago
  • David Braid Film Scores
  • Toninho Ferragutti Accordion
  • Jas Kayser Panama
  • McIntosh County Shouters Ring Shouts
  • Marta Sánchez Piano
  • Joey Alexander New York City
  • David Greely Author
  • Alexandre Leão Bahia
  • Michael League Multi-Cultural
  • Cory Wong Guitar
  • Damon Krukowski Drums
  • Kendrick Scott Composer
  • Hilary Hahn Violin
  • Zara McFarlane Singer-Songwriter
  • Marcel Powell MPB
  • Wynton Marsalis Bandleader
  • Darcy James Argue New School Faculty
  • Edivaldo Bolagi Salvador
  • Del McCoury Old-Time Music
  • A-KILL Graffiti Artist
  • Garth Cartwright Music Promoter
  • Chad Taylor Jazz
  • Lazzo Matumbi Samba
  • Cláudio Jorge Samba
  • James Brady Multi-Instrumentalist
  • Patricia Janečková Soprano
  • Paulo César Figueiredo Produtor Cultural, Cultural Producer
  • Mario Caldato Jr. Record Producer
  • David Ngwerume Harare
  • Dónal Lunny Bodhrán
  • Michael Pipoquinha Brazilian Jazz
  • Luciano Salvador Bahia Guitar
  • Welson Tremura Composer
  • Anoushka Shankar Film Scores
  • Márcio Bahia Brazilian Jazz
  • Paul Cebar Milwaukee
  • Júlio Caldas Compositor, Songwriter
  • Jay Mazza Journalist
  • Jake Webster Painter
  • Mateus Asato Songwriter
  • Michael Doucet Accordion
  • Horacio Hernández Afro-Cuban Jazz
  • Darol Anger Fiddle
  • James Strauss Classical Music
  • Shannon Ali New York City
  • Flavio Sala Classical Guitar
  • Benoit Fader Keita Bedik
  • Toninho Ferragutti Composer
  • Daphne A. Brooks Yale Faculty
  • Gabriel Geszti Jazz Brasileiro, Brazilian Jazz
  • Toby Gough Director
  • William Parker Multi-Instrumentalist
  • Guillermo Klein Composer
  • Nação Zumbi Rap
  • Chris McQueen Record Producer
  • Omari Jazz Visual Artist
  • Damon Albarn Record Producer
  • As Ganhadeiras de Itapuã Brazil
  • David Chesky Composer
  • Robi Botos Film Scores
  • Lakecia Benjamin Composer
  • Mino Cinélu Percussion
  • Shannon Sims Brazil
  • Márcia Short Brazil
  • Paolo Fresu Sardinia
  • Mateus Asato Neo Fusion
  • Ricardo Bacelar Jazz Brasileiro, Brazilian Jazz
  • Albin Zak Musicologist
  • Adrian Younge Recording Studio Owner
  • Michael Olatuja Bass
  • Taylor Eigsti Piano
  • Pururu Mão no Couro Compositor, Songwriter
  • Júlio Lemos Choro
  • Myles Weinstein Jazz
  • Miles Mosley Multi-Instrumentalist
  • Milton Primo Singer-Songwriter
  • Jovino Santos Neto Cornish College of the Arts Faculty
  • Timothy Duffy Photographer
  • Frank Beacham Playwright
  • Jamie Dupuis Singer
  • Rumaan Alam Short Stories
  • Kevin Hays Jazz
  • Alegre Corrêa Violin
  • Anouar Brahem Composer
  • Peter Mulvey Folk & Traditional
  • Mário Santana Candomblé
  • Irma Thomas Blues
  • Ravi Coltrane Record Producer
  • Sérgio Pererê Percussion
  • Hercules Gomes Brazil
  • Mestre Nelito Brazil
  • Corey Harris Folk & Traditional
  • Shanequa Gay Multimedia Artist
  • Giba Conceição Brazil
  • Kevin Hays Singer-Songwriter
  • Yacoce Simões Arranjador, Arranger
  • Bisa Butler Pan-African Culture
  • Phineas Harper Journalist
  • Asa Branca Bahia
  • Elza Soares Samba
  • J. Pierre Illustrator
  • Kareem Abdul-Jabbar Television Producer
  • Anthony Hamilton Record Producer
  • Anthony Coleman New York City
  • Dieu-Nalio Chery Haiti
  • Marcos Suzano Composer
  • Keita Ogawa Percussion Samples
  • Jorge Alfredo Brasil, Brazil
  • Inon Barnatan Piano
  • Eric Galm Caribbean Studies
  • Tommy Orange Writer
  • Caroline Shaw New York City
  • Marco Lobo Brasil, Brazil
  • Berta Rojas Berklee College of Music Faculty
  • Yazhi Guo 郭雅志 Jazz
  • Tom Piazza Novelist
  • Brandon Seabrook Avant-Garde Jazz
  • Avner Dorman Contemporary Classical Music
  • Ben Wolfe Juilliard Faculty
  • Betsayda Machado Parranda
  • Brian Q. Torff Fairfield University Faculty
  • Ken Dossar Bahia
  • Herbie Hancock Piano
  • Turtle Island Quartet Jazz
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