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  • Yazhi Guo 郭雅志

    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: Yazhi Guo 郭雅志
  • City/Place: Boston, Massachussetts
  • Country: United States
  • Hometown: Yuci, China

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: Yazhi Guo is a Chinese woodwinds player specializing in an instrument (among others he plays*) called the "suona", which he has modified in order to be able to adapt the sound of traditional Chinese music to Western musical idioms.

    *guanzi, sheng, piccolo, flute, ocarina, cucurbit flute, erguxian, didgeridoo

Media | Markets

  • ▶ YouTube Channel: http://www.youtube.com/user/yazhiguo
  • ▶ YouTube Music: http://music.youtube.com/channel/UCqgcBmcxDWZ3gn0YRWxcSOw
  • ▶ Spotify: http://open.spotify.com/album/6MY1kD5G5yMyrURLKxkZ5A
  • ▶ Spotify 2: http://open.spotify.com/album/7E60HHfp57PU4CfQy65Xkf

Clips (more may be added)

  • 2:47
    卷珠簾 郭雅志
    By Yazhi Guo 郭雅志
    681 views
  • 5:56
    Beijing Blues 北京蓝调 Yazhi Guo & Utar Artun
    By Yazhi Guo 郭雅志
    349 views
  • 4:07
    郭雅志葫芦丝新发明 A new Hulusi invention by Yazhi Guo
    By Yazhi Guo 郭雅志
    277 views
  • 3:29
    Pottery Dance 陶之舞
    By Yazhi Guo 郭雅志
    391 views
  • 5:15
    家乡情 郭雅志与香港中乐团
    By Yazhi Guo 郭雅志
    333 views
  • 2:17
    郭雅志吹《九儿》
    By Yazhi Guo 郭雅志
    335 views
  • 0:08:22
    Planet MicroJam Institute ft Yazhi Guo - Fung Wah Express (Berklee Studio Recording)
    By Yazhi Guo 郭雅志
    274 views
Previous
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Yazhi Guo 郭雅志 Curated
pathways in

  • 0 Boston, Massachusetts
  • 0 Chinese Traditional Music
  • 0 Jazz
  • 0 Microtonal
  • 0 Multi-Instrumentalist
  • 0 Saxophone
  • 0 Suona

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  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    卷珠簾 郭雅志
    傳統葫蘆絲無法演奏這首歌曲,是因為音域不夠,高音上不去低音下不來。 有了多音葫蘆絲,這些問題解決了。 這首內地流行的歌曲“卷珠簾”很說明問題,葫蘆絲藝術表現可以有更多的發揮空間了。葫蘆絲愛好者可以在淘寶店舖查看,
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    Beijing Blues 北京蓝调 Yazhi Guo & Utar Artun
    This video is about Beijing Blues.
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    郭雅志葫芦丝新发明 A new Hulusi invention by Yazhi Guo
    多⾳葫芦丝是⼀种⾰命性的乐器,它的指法是建⽴在传统 7孔葫芦丝的基础上,经过全新设计,采⽤双吹⼝多管演奏的⽅法,拓 宽葫芦丝的⾳域,实现⾳乐⽆限的可能性。与常规的葫芦丝相⽐,它的 ⾳域宽⼴,可以演奏和声及复调,⽽且结实耐⽤,容易保养。多⾳葫芦 丝配有单吹⼝软胶帽,适合初学者使⽤。 多⾳葫芦丝的设计时尚轻便,葫芦呈椭圆形,节省空间,并配以特 制的乐器布袋及可放置多套吹管的硬盒装备。现推出的两种型号S-1和 T-1,其葫芦和吹管的直径为统⼀的尺⼨,就是说两个不同的调,可以 共享⼀个葫芦,⽅便携带,让您在任何...
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    Pottery Dance 陶之舞
    This video is about Yazhi and family
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    家乡情 郭雅志与香港中乐团
    香港中乐团庆祝40周年音乐会
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    郭雅志吹《九儿》
    This video is about Yazhi playing suona.
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A video was posted re Yazhi Guo 郭雅志:
    Planet MicroJam Institute ft Yazhi Guo - Fung Wah Express (Berklee Studio Recording)
    The Berklee Planet MicroJam Institute performing "Fung Wah Express" featuring Yazhi Guo in the Shames Family Scoring Stage. https://www.berklee.edu/focused/planet-microjam-institute "Fung Wah Express" (David Fiuczynski, Mike Rivard) Fretted and Fret...
    • June 26, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Microtonal
    • June 23, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Multi-Instrumentalist
    • June 23, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Boston, Massachusetts
    • June 23, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Chinese Traditional Music
    • June 23, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Jazz
    • June 23, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Saxophone
    • June 23, 2020
  • Yazhi Guo 郭雅志
    A category was added to Yazhi Guo 郭雅志:
    Suona
    • June 23, 2020
  • Yazhi Guo 郭雅志
    Yazhi Guo 郭雅志 is matrixed!
    • June 23, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João had something priceless to offer the world.
But he was impossible for the world to find.
✅—João do Boi

✅—Pardal/Sparrow
Royalty work in NYC for
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
I've been screamed at by Aretha Franklin,
and harangued by Allen Klein over
royalties for the estate of Sam Cooke.
I built this matrix beginning with João do Boi.
Please link to, tell others about, join us!
[email protected]
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington



Bahia is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

 

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

 

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

 

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 

PORTUGUÊS (to English →)

 


João tinha algo inestimável a oferecer ao mundo.
Mas ele era impossível pro mundo encontrar.
✅—João do Boi

✅—Pardal/Sparrow
Trabalho de royalties para
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
Fui gritado por Aretha Franklin,
e arengado por Allen Klein sobre
royalties para o patrimônio de Sam Cooke.
Eu construi este matrix a partir de João do Boi.
Por favor, faça um link para, conte aos outros, junte-se a nós!
[email protected]
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Fico muitíssimo feliz em receber seu e-mail! Obrigada por me incluir neste matrix maravilhoso."
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


A Bahia é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

Por que Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 

  • Muri Assunção Rio de Janeiro
  • Mou Brasil Jazz Brasileiro, Brazilian Jazz
  • Nick Douglas Writer
  • Rodrigo Caçapa Composer
  • Nabihah Iqbal Electronic, Experimental, Alternative Music
  • Tomo Fujita Songwriter
  • Dermot Hussey Pan-Africana
  • Jeff Tweedy Multi-Instrumentalist
  • Stefano Bollani Piano
  • Luizinho Assis Compositor, Composer
  • Arto Tunçboyacıyan Singer-Songwriter
  • Chris Boardman Film Scores
  • Mona Lisa Saloy Storyteller
  • Tom Bergeron Choro
  • Jon Lindsay Singer-Songwriter
  • Alita Moses Neo Soul
  • Moses Boyd Record Label Owner
  • Peter Erskine Drums
  • Yilian Cañizares Violin
  • Gretchen Parlato MPB
  • Nardis Jazz Club Jazz Club
  • OVANA Angola
  • Kiko Souza R&B
  • David Sánchez Georgia State University School of Music Faculty
  • Shannon Sims Brazil
  • Gabriel Policarpo Percussion
  • Virgínia Rodrigues Salvador
  • Rose Aféfé Bahia
  • Marcus Teixeira MPB
  • Mark Stryker Arts Critic
  • Nahre Sol Piano
  • Alicia Hall Moran Theater
  • Leonard Pitts, Jr Public Speaker
  • Aloísio Menezes Candomblé
  • Gerald Clayton Composer
  • Cláudio Jorge Rio de Janeiro
  • Paulinho Fagundes Violão Gaúcho
  • Nancy Viégas Indie Experimental
  • Asanda Mqiki Singer-Songwriter
  • John Francis Flynn Dublin
  • Jason Reynolds Lesley University Faculty
  • Armandinho Macêdo Bandolim
  • Eli Teplin Singer-Songwriter
  • Orrin Evans Philadelphia, Pennsylvania
  • The Umoza Music Project Senga Bay
  • Asa Branca Bahia
  • THE ROOM Shibuya Shibuya
  • Nic Adler Los Angeles, California
  • Marcelinho Oliveira Record Producer
  • Bebel Gilberto Rio de Janeiro
  • Bill Callahan Austin, Texas
  • Vincent Herring William Paterson University Faculty
  • Melvin Gibbs Jazz Fusion
  • Chad Taylor Composer
  • Jazzmeia Horn Singer-Songwriter
  • Nikole Hannah -Jones Brooklyn, NY
  • Larnell Lewis Jazz, Funk, R&B, Soul
  • Colm Tóibín Novelist
  • Tom Green Contemporary Classical Music
  • Jorge Alfredo Cineasta, Filmmaker
  • Gabriel Geszti Compositor, Composer
  • Julian Lage San Francisco Conservatory of Music Faculty
  • Oswaldinho do Acordeon Brazil
  • Marcel Powell Rio de Janeiro
  • Herbie Hancock Piano
  • Andrew Gilbert Journalist
  • Aneesa Strings Bass
  • Renee Rosnes New York City
  • Luiz Santos New York City
  • Guga Stroeter São Paulo
  • BaianaSystem Música Alternativa, Alternative Music
  • Stefan Grossman Folk & Traditional
  • Wolfgang Muthspiel Contemporary Classical Music
  • Manolo Badrena Jazz
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