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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.

 

  • Vijay Iyer
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Vijay Iyer
  • City/Place: Boston
  • Country: United States

Life & Work

  • Bio: Grammy-nominated composer-pianist VIJAY IYER (pronounced “VID-jay EYE-yer”) was described by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” by the Los Angeles Weekly as “a boundless and deeply important young star,” and by Minnesota Public Radio as “an American treasure.” He has been voted DownBeat Magazine’s Artist of the Year three times – in 2016, 2015 and 2012 – and Artist of the Year in Jazz Times’ Critics’ Poll and Readers’ Poll for 2017. Iyer was named Downbeat’s 2014 Pianist of the Year, a 2013 MacArthur Fellow, and a 2012 Doris Duke Performing Artist. In 2014 he began a permanent appointment as the Franklin D. and Florence Rosenblatt Professor of the Arts in the Department of Music at Harvard University.

    The New York Times observes, “There’s probably no frame wide enough to encompass the creative output of the pianist Vijay Iyer.” Iyer has released twenty-two albums covering remarkably diverse terrain, most recently for the ECM label. The latest of those is Far From Over (2017), the first from the Vijay Iyer Sextet. The record was ranked #1 in US National Public Radio’s annual Jazz Critics’ Poll, surveying 157 critics. It was named among the best jazz albums of the year in the Los Angeles Times, Chicago Tribune, Boston Globe, Slate, and The New York Times, and the only “jazz release” in Rolling Stone’s list of the 50 best records of 2017. Iyer’s Sextet was subsequently voted 2018 Jazz Group of the Year by the Jazz Journalists Association.

    Iyer’s previous ECM releasees include A Cosmic Rhythm With Each Stroke (2016), a collaboration with Iyer’s “hero, friend and teacher,” Wadada Leo Smith, which the Los Angeles Times calls “haunting, meditative and transportive”; Break Stuff (2015), with a coveted five-star rating in DownBeat Magazine, featuring the Vijay Iyer Trio, hailed by PopMatters as “the best band in jazz”; Mutations (2014), featuring Iyer’s music for piano, string quartet and electronics, which “extends and deepens his range… showing a delicate, shimmering, translucent side of his playing” (Chicago Tribune); and Radhe Radhe: Rites of Holi (2014), “his most challenging and impressive work, the scintillating score to a compelling film by Prashant Bhargava” (DownBeat), performed by International Contemporary Ensemble and released on DVD and BluRay.

    Iyer’s trio (Iyer, piano; Marcus Gilmore, drums; Stephan Crump, bass) made its name with three tremendously acclaimed and influential albums: Break Stuff (mentioned above), Accelerando (2012) and Historicity (2009). Accelerando was voted #1 Jazz Album of the Year for 2012 in three separate critics polls surveying hundreds of critics worldwide, hosted by DownBeat, Jazz Times, and Rhapsody, respectively, and also was chosen as jazz album of the year by NPR, the Los Angeles Times, PopMatters, and Amazon.com. The Vijay Iyer Trio was named 2015 Jazz Group of the year in the DownBeat International Critics Poll, with Iyer having earlier received an unprecedented “quintuple crown” in the 2012 Downbeat Poll (winning Jazz Artist of the Year, Pianist of the Year, Jazz Album of the Year, Jazz Group of the Year, and Rising Star Composer categories), as well as a “quadruple crown” in the JazzTimes extended critics poll (winning Artist of the Year, Acoustic/Mainstream Group of the Year, Pianist of the Year, and Album of the Year). Iyer received the 2012 and 2013 Pianist of the Year Awards and the 2010 Musician of the Year Award from the Jazz Journalists Association, and the 2013 ECHO Award (the “German Grammy”) for best international pianist. Historicity was a 2010 Grammy Nominee for Best Instrumental Jazz Album, and was named #1 Jazz Album of 2009 in The New York Times, The Los Angeles Times, the Chicago Tribune, the Detroit Metro Times, National Public Radio, PopMatters.com, the Village Voice Jazz Critics Poll, and the Downbeat International Critics Poll, and the trio won the 2010 ECHO Award for best international ensemble.

    Iyer’s 2013 collaboration with poet Mike Ladd, Holding It Down: The Veterans’ Dreams Project, based on the dreams of veterans of color from America’s wars in Iraq and Afghanistan, was hailed as #1 Jazz Album of the Year by the Los Angeles Times and described in JazzTimes as “impassioned, haunting, [and] affecting.” Along with their previous projects In What Language? (2004) and Still Life with Commentator (2007), Holding It Down rounded out a trilogy of politically searing albums about post-9/11 American life. These projects were hailed as “unfailingly imaginative and significant” (JazzTimes) and praised for their “powerful narrative invention and ravishing trance-jazz… an eloquent tribute to the stubborn, regenerative powers of the human spirit” (Rolling Stone).

    Iyer’s accomplishments extend well beyond his recordings. His recent composer commissions include “Torque” (2018) written for So Percussion; “Asunder” (2017) written for Orpheus Chamber Orchestra and St. Paul Chamber Orchestra; “Trouble” (2017) for Violin and Orchestra, written for Jennifer Koh and premiered at Ojai and Tanglewood Music Festivals; “City of Sand” (2017) for A Far Cry plus members of Silk Road Ensemble; “Run,” a solo cello overture to Bach’s Suite in C Major, written for Matt Haimovitz and recorded on his Overtures to Bach (2015); “Bridgetower Fantasy” (2014) for violin and piano, a companion piece to Beethoven’s “Kreutzer” Sonata, written for Ms. Koh and Shai Wosner; “Playlist for an Extreme Occasion” (2012) written for Silk Road Ensemble (and released on their 2013 album A Playlist without Borders); “Dig The Say,” written for Brooklyn Rider and released on their 2014 album Almanac; “Mozart Effects” (2011) and “Time, Place, Action” (2014) for Brentano String Quartet; “Bruits” (2014) for Imani Winds and pianist Cory Smythe; “Rimpa Transcriptions” (2012) written for Bang on a Can All-Stars; “UnEasy” (2011) commissioned by NYC’s Summerstage in collaboration with choreographer Karole Armitage; “Three Fragments” (2011) for Darcy James Argue’s Secret Society. His orchestral work Interventions was commissioned and premiered by the American Composers Orchestra in 2007 under the baton of Dennis Russell Davies. It was praised by The New York Times as “all spiky and sonorous,” and by the Philadelphia City Paper for its “heft and dramatic vision and a daring sense of soundscape.” Other works include Mutations I-X (2005) commissioned and premiered by the string quartet ETHEL; “Three Episodes for Wind Quintet” (1999) written for Imani Winds; a “ravishing” (Variety) score for the original theater/dance work Betrothed (2007); the award-winning film score for Teza (2008) by legendary filmmaker Haile Gerima; a suite of acoustic jazz cues for the sports channel ESPN (2009); and the prize-winning audiovisual installation Release (2010) in collaboration with filmmaker Bill Morrison. Forthcoming commissions include pieces for Jennifer Koh, Orpheus Chamber Orchestra, and So Percussion. His concert works are published by Schott Music. An active electronic musician and producer, Iyer displays his digital audio artistry on his own recordings Still Life with Commentator, Holding it Down, Mutations, and Radhe Radhe, and in his remixes for British Asian electronica pioneer Talvin Singh, Islamic punk band The Kominas, and composer-performer Meredith Monk.

    Iyer was voted the 2010 Musician of the Year by the Jazz Journalists Association, and named one of 2011’s “50 Most Influential Global Indians” by GQ India. Other honors include the Greenfield Prize, the Alpert Award in the Arts, the New York Foundation for the Arts Fellowship, the India Abroad Publisher’s Special Award for Excellence, and numerous critics’ prizes.

    Iyer’s many collaborators include creative music pioneers Steve Coleman, Wadada Leo Smith, Roscoe Mitchell, Butch Morris, George Lewis, Amina Claudine Myers, William Parker, Graham Haynes, Miya Masaoka, Pamela Z, John Zorn; next-generation artists Rudresh Mahanthappa, Rez Abbasi, Craig Taborn, Ambrose Akinmusire, Liberty Ellman, Steve Lehman, Matana Roberts, Tyshawn Sorey; Dead Prez, DJ Spooky, Himanshu Suri of Das Racist, High Priest of Antipop Consortium, DJ Val Jeanty, Karsh Kale, Suphala, Imani Uzuri, and Talvin Singh; filmmakers Haile Gerima, Prashant Bhargava, and Bill Morrison; choreographer Karole Armitage; and poets Mike Ladd, Amiri Baraka, Charles Simic, and Robert Pinsky.

    A polymath whose career has spanned the sciences, the humanities, and the arts, Iyer received an interdisciplinary Ph.D. in the cognitive science of music from the University of California, Berkeley. He has published in Journal of Consciousness Studies, Wire, Music Perception, JazzTimes, Journal of the Society for American Music, Critical Studies in Improvisation, in the anthologies Arcana IV, Sound Unbound, Uptown Conversation, The Best Writing on Mathematics: 2010, and The Oxford Handbook of Critical Improvisation Studies. Prior to his permanent appointment at Harvard in 2014, Iyer taught at Manhattan School of Music, New York University, and the New School. He is the Director of The Banff Centre’s International Workshop in Jazz and Creative Music, an annual 3-week program in Alberta, Canada. Iyer has served as Director of the International Workshop in Jazz and Creative Music at The Banff Centre since 2013. He has been featured as Artist-in-Residence at the Metropolitan Museum of Art (New York), Wigmore Hall (London), the Molde Jazz Festival (Molde, Norway), SF Jazz, and Jazz Middelheim (Antwerp, Belgium), and served as Music Director for the 2017 Ojai Music Festival in southern California. He is a Steinway artist and uses Ableton Live software.

Contact Information

  • Management/Booking: Management
    Stephen Cohen
    Music and Art Management, Inc
    [email protected]

    Booking Inquiries
    USA and Canada
    Myles Weinstein
    Unlimited Myles, Inc.
    [email protected]

    Booking Inquiries
    Rest of World
    Katherine McVicker
    Music Works International
    [email protected]

Media | Markets

  • ▶ Twitter: vijayiyer
  • ▶ Instagram: vijayiyer
  • ▶ Website: http://vijay-iyer.com
  • ▶ YouTube Channel: http://www.youtube.com/user/sonocentric
  • ▶ YouTube Music: http://music.youtube.com/channel/UCL0RPQYa0YZhFbN_lZq67mg
  • ▶ Spotify: http://open.spotify.com/album/1oxpIr4suH9yYpcDNF63ni
  • ▶ Spotify 2: http://open.spotify.com/album/1dhbqRSCO88PQFIvBv5Rg8
  • ▶ Spotify 3: http://open.spotify.com/album/5PBA6FITIETRwVymaaDquG
  • ▶ Spotify 4: http://open.spotify.com/album/1m3KyOooTz89Dt6U30Ad7c
  • ▶ Spotify 5: http://open.spotify.com/album/3I3uK5mo0uvj4TnSCxS2zk
  • ▶ Spotify 6: http://open.spotify.com/album/3SV9GwM6bs5vQKcPw8PtIi
  • ▶ Article: http://downbeat.com/news/detail/downbeat-announces-winners-of-2018-critics-poll

More

  • Quotes, Notes & Etc. “Trailblazing… one of his generation’s brightest jazz luminaries” – Time Out New York

    “Presto! Here is the great new jazz piano trio.” – The New York Times

    “One of the world’s most inventive new-generation jazz pianists” – Guardian (UK)

    “[one of] today’s most important pianists… extravagantly gifted… brilliantly eclectic”
    – The New Yorker

    “The Vijay Iyer Trio has the potential to alter the scope, ambition and language of jazz piano forever.” – Jazzwise (UK)

    “One of the best in the world at what he does” – Pitchfork

    PROJECTS

    VIJAY IYER TRIO
    VIJAY IYER SEXTET
    FIELDWORK
    RADHE RADHE: RITES OF HOLI
    HOLDING IT DOWN: THE VETERANS’ DREAMS PROJECT
    NEW CLASSICAL & CHAMBER WORKS
    VIJAY & WADADA LEO SMITH
    VIJAY IYER & CRAIG TABORN
    BLIND SPOT WITH TEJU COLE
    VIJAY IYER & RUDRESH MAHANTHAPPA: RAW MATERIALS

Clips (more may be added)

  • 1:29:58
    Vijay Iyer presents Ritual Ensemble
    By Vijay Iyer
    182 views
  • 0:12:15
    Vijay Iyer Interview: His Childhood and How He Met His Influences
    By Vijay Iyer
    172 views
  • 0:06:44
    Vijay Iyer Sextet: "Nope" | In Studio
    By Vijay Iyer
    188 views
  • 0:10:00
    Vijay Iyer Improvises on Coltrane's Giant Steps and Discusses his Approach to Playing
    By Vijay Iyer
    141 views
Previous
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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 Vijay Iyer:

  • 14 Composer
  • 14 Harvard University Faculty
  • 14 Jazz
  • 14 Piano
  • Bodek Janke Tabla
  • Márcio Valverde Santo Amaro
  • Kirk Whalum Contemporary R&B
  • Milton Nascimento Singer-Songwriter
  • João Luiz MPB
  • Urânia Munzanzu Cineasta, Filmmaker
  • Luiz Santos Drums
  • Ali Jackson Jazz
  • Lenny Kravitz Actor
  • Capinam Letrista, Lyricist
  • Michael Janisch Record Producer
  • Leandro Afonso Brazil
  • Onisajé Bahia
  • Brian Blade Jazz
  • Paulinho do Reco Candomblé
  • Tom Schnabel DJ
  • Mohini Dey India
  • Ricardo Herz Rabeca
  • Walter Ribeiro, Jr. MPB
  • Román Díaz Cuba
  • Joe Newberry Guitar
  • Philipp Meyer Novelist
  • Leigh Alexander Public Speaker
  • Tito Jackson Blues
  • Joachim Cooder Keyboards
  • Christopher Wilkinson Screenwriter
  • Chris Dingman Vibraphone Instruction
  • Courtney Pine Radio Presenter
  • Martin Hayes Fiddle
  • Toby Gough Musical Theater
  • Bongo Joe Records Record Label
  • Dwayne Dopsie Louisiana
  • Dhafer Youssef ظافر يوسف Composer
  • Celsinho Silva Rio de Janeiro
  • Harish Raghavan Bass
  • Bebê Kramer Rio de Janeiro
  • Clint Mansell Singer-Songwriter
  • Muireann Nic Amhlaoibh Celtic
  • Donald Harrison Mardi Gras Indian
  • Orlando Costa Bahia
  • Brian Q. Torff Writer
  • Bodek Janke World Music
  • Andra Day Actor
  • Michael Kiwanuka Record Producer
  • Cécile Fromont Yale Faculty
  • Ken Avis World Jazz
  • Papa Mali Guitar
  • The Brain Cloud Americana
  • Igor Osypov Guitar
  • Hugo Linns Multi-Instrumentalist
  • Alisa Weilerstein Berlin
  • Marcos Suzano Rio de Janeiro
  • João Callado Rio de Janeiro
  • Rosa Passos Singer-Songwriter
  • João Parahyba São Paulo
  • Glória Bomfim Samba de Roda
  • Carla Visi Bahia
  • Bodek Janke Berlin
  • João Camarero Guitar
  • Cassandra Osei University of Illinois PhD Candidate
  • JD Allen New York City
  • Alex de Mora London
  • Matthew F Fisher Painter
  • Carl Allen Jazz
  • Immanuel Wilkins New York City
  • Ed Roth Keyboards
  • Nabih Bulos Journalist
  • Liberty Ellman Audio Engineer
  • Mou Brasil Bahia
  • Gilson Peranzzetta Record Producer
  • Massimo Biolcati Brooklyn, NY
  • Merima Ključo Klezmer
  • Nicolas Krassik Jazz
  • Márcio Valverde Brazil
  • Roberto Fonseca Havana
  • Jorge Washington Brazil
  • Sam Reider Singer-Songwriter
  • Mark Stryker Arts Critic
  • Marcel Powell MPB
  • James Gadson Jazz
  • Paddy Groenland World Music
  • Mário Pam Percussion
  • Elio Villafranca Caribbean Music
  • Huey Morgan Guitar
  • Nathan Amaral Violin
  • Andrés Prado Lima
  • Alexandre Vieira Jazz Brasileiro, Brazilian Jazz
  • Onisajé Salvador
  • Cainã Cavalcante Brazil
  • Léo Rugero Brazil
  • John Santos Composer
  • Fatoumata Diawara African Music
  • Léo Rodrigues Côco
  • Beth Bahia Cohen Hardingfele
  • Gêge Nagô Brazil
  • Alê Siqueira Classical Guitar
  • Mick Goodrick Berklee College of Music Faculty
  • Paul Anthony Smith Picotage
  • Eli Saslow Writer
  • Thiago Espírito Santo São Paulo
  • Jared Jackson Harlem
  • Del McCoury Country
  • Jimmy Dludlu Guitar
  • Miguel Atwood-Ferguson Composer
  • Alessandro Penezzi Brazil
  • Jean-Paul Bourelly Avant-Blues-Rock
  • James Elkington Guitar
  • Fábio Luna Samba
  • The Bayou Mosquitos Tex-Mex
  • Jared Sims Flute
  • Dafnis Prieto Afro-Latin Music
  • Mino Cinélu Multi-Instrumentalist
  • Keita Ogawa Brooklyn, NY
  • Chris Boardman University of Miami Frost School of Music Faculty
  • Alexandre Vieira Cantor, Singer
  • Vadinho França Presidente de Bloco de Carnaval, Carnival Bloco President
  • Justin Brown Drums
  • Intisar Abioto Portland, Oregon
  • Cassandra Osei Brazilianist
  • Isaiah Sharkey Composer
  • Arturo Sandoval Trumpet
  • Jon Batiste Piano
  • Ivan Sacerdote Classical Music
  • Hercules Gomes Piano
  • Joe Newberry Singer-Songwriter
  • David Bragger Mandolin
  • Isaak Bransah Singer-Songwriter
  • Laura Beaubrun Interior Architect
  • Sahba Aminikia San Francisco
  • Eric Bogle Singer-Songwriter
  • Errollyn Wallen Composer
  • Avishai Cohen אבישי כה Israel
  • Lavinia Meijer Contemporary Classical Music
  • Larry McCray Keeping the Blues Alive Records
  • Celino dos Santos Chula
  • Diana Fuentes Havana
  • Djuena Tikuna Tikuna
  • Seckou Keita Kora
  • Dave Jordan Singer-Songwriter
  • Jamie Dupuis Canada
  • Kathy Chiavola Bluegrass
  • Sam Harris Jazz
  • Michael Cleveland Fiddle
  • Tom Bergeron Frevo
  • Itamar Vieira Júnior Writer
  • Shaun Martin Gospel
  • Lalah Hathaway Singer-Songwriter
  • China Moses Soul
  • Rumaan Alam New York City
  • Mayra Andrade Lisbon
  • Kyle Poole Jazz
  • Toninho Nascimento Belém do Pará
  • Germán Garmendia Los Angeles
  • Eddie Kadi London
  • Terrace Martin Record Label Owner
  • José James Jazz
  • Spok Frevo Orquestra Recife
  • Jurandir Santana Barcelona
  • Cassandra Osei Historian of Latin America & African Diaspora
  • Fábio Zanon Author
  • Charlie Bolden Composer
  • Damon Albarn Theater Composer
  • Eduardo Kobra Arte Urbana, Urban Art
  • Gilson Peranzzetta Piano
  • Snigdha Poonam India
  • Afrocidade Rap
  • Monk Boudreaux Funk
  • Django Bates Composer
  • Eric Galm Hartford, Connecticut
  • Rogê MPB
  • Jorge Ben Sambalanço
  • Laércio de Freitas MPB
  • Andrés Prado Composer
  • Michael Formanek Bandleader
  • Tommaso Zillio Guitar Instruction
  • David Fiuczynski Microtonal
  • Otto Manguebeat
  • Isaias Rabelo Brazil
  • Marko Djordjevic Balkan Music
  • Ben Wendel Brooklyn, NY
  • Philip Sherburne Essayist
  • Jason Reynolds Young People's Literature
  • André Becker Flauta, Flute
  • Chico Buarque Samba
  • Edward P. Jones Writer
  • Daniel Jobim Samba
  • Nelson Faria Composer
  • Adam Rogers Jazz
  • Irmandade da Boa Morte Cachoeira
  • McClenney Singer-Songwriter
  • Chris Thile Classical Music
  • Darryl Hall Jazz
  • Ry Cooder Multi-Cultural
  • Archie Shepp Jazz
  • Issa Malluf North African Percussion
  • Joatan Nascimento Salvador
  • Shannon Ali Writer
  • Alex Clark Journalist
  • Flying Lotus Songwriter
  • Jill Scott Neo Soul
  • Rhiannon Giddens Banjo
  • Spider Stacy Actor
  • Carlos Malta Flute
  • Case Watkins James Madison University Faculty
  • Pasquale Grasso New York City
  • Helado Negro Singer-Songwriter
  • Miguel Zenón Jazz
  • Fred P Berlin
  • Fernando Brandão Choro
  • Mike Moreno Manhattan School of Music Faculty
  • Welson Tremura Composer
  • Byron Thomas Programmer
  • Tommy Orange Writer
  • Nardis Jazz Club Galata
  • Plínio Fernandes Choro
  • Hugo Linns Recife
  • Frank Olinsky Artist
  • João Teoria Compositor, Composer
  • Stephanie Jones Classical Guitar
  • Philip Ó Ceallaigh Writer
  • Jakub Knera Writer
  • Colson Whitehead Novelist
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