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  • Yola

    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: Yola
  • City/Place: Bristol
  • Country: United Kingdom

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Yola released her critically acclaimed debut album Walk Through Fire in February 2019, establishing herself as the queen of country soul from the very first note.
    Nine months later, she received four GRAMMY award nominations including Best New Artist as well as Best Americana Album, Best American Roots Song and Best American Roots Performance for “Faraway Look”.

    The album, produced by Dan Auerbach, is a contemporary twist on a traditional sonic tapestry of orchestral strings, fiddle, steel, and shimmering tremolo guitars. Walk Through Fire is a career-defining and genre-bending release from the most exciting emerging British artists in music today. The album won supporters from The New York Times to Vogue and accolades including Rolling Stone’s Artist You Need To Know and NPR Music’s Artist To Watch in 2019 who said Yola is "an artist sure to stun audiences for years to come."

    Yola is an honorary member of The Highwomen supergroup and featured on their self titled album. She has toured Europe and the US extensively with UK highlights that include performing at Glastonbury Festival, opening for the Killers at Cardiff Castle and sold out London shows including the legendary 100 Club.

    In the US Yola has appeared at The Hollywood Bowl, Newport Folk Festival, SXSW and Farm Aid. She has performed with Kacey Musgraves, Mavis Staples and Dolly Parton and will open for Chris Stapleton across multiple shows including his Outlaw State of Kind Benefit alongside Willy Nelson and Sheryl Crow.

Contact Information

  • Management/Booking: Management
    Charlie Pierce @ Neverno
    [email protected]

    Publicity
    USA
    Doug Hall @ Big Feat PR
    [email protected]

    UK & International
    Matthew Rankin @ Nonesuch
    [email protected]

    Booking
    Jonathan Insogna, CJ Strock & Andrew Colvin
    [email protected]

    UK & Europe
    Andy Nees
    [email protected]

    Australia
    Brett Murrihy & Sam Rogers
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.iamyola.com/store
  • ▶ Buy My Vinyl: http://www.iamyola.com/store
  • ▶ Buy My Merch: http://www.iamyola.com/store
  • ▶ Twitter: iamyola
  • ▶ Instagram: iamyolaofficial
  • ▶ Website: http://www.iamyola.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UCuaEeYImBt1lISgMjlR7kFw

Clips (more may be added)

  • 3:51
    Yola - Goodbye Yellow Brick Road (Live at Farm Aid 2019)
    By Yola
    331 views
  • 3:35
    Yola: "Faraway Look" | 2020 GRAMMYs Performance
    By Yola
    341 views
  • 4:53
    Yola – It Ain't Easier
    By Yola
    249 views
  • 0:14:25
    Yola: NPR Music Tiny Desk Concert
    By Yola
    381 views
Previous
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Yola Curated
pathways in

  • 1 Americana
  • 1 Bristol
  • 1 Country
  • 1 England
  • 1 R&B
  • 1 Singer-Songwriter

What's Been Happening?

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  • Yola
    A video was posted re Yola:
    Yola - Goodbye Yellow Brick Road (Live at Farm Aid 2019)
    Yola performs a cover of Elton John's “Goodbye Yellow Brick Road” at Farm Aid 2019 at Alpine Valley Music Theatre in East Troy, Wisconsin, on September 21.
    • June 30, 2020
  • Yola
    A video was posted re Yola:
    Yola: "Faraway Look" | 2020 GRAMMYs Performance
    Watch Yola perform “Faraway Look” at the 62nd GRAMMY Awards Premiere Ceremony.
    • June 30, 2020
  • Yola
    A video was posted re Yola:
    Yola – It Ain't Easier
    Yola performing It Ain't Easier from her album "Walk Through Fire", out now via Easy Eye Sound.
    • June 30, 2020
  • Yola
    A category was added to Yola:
    Americana
    • June 30, 2020
  • Yola
    A category was added to Yola:
    Country
    • June 30, 2020
  • Yola
    A category was added to Yola:
    R&B
    • June 30, 2020
  • Yola
    A video was posted re Yola:
    Yola: NPR Music Tiny Desk Concert
    Watch Yola play "Faraway Look", "I Don't Wanna Lie" and "It Ain't Easier"at the Tiny Desk.
    • June 30, 2020
  • Yola
    A category was added to Yola:
    England
    • June 30, 2020
  • Yola
    A category was added to Yola:
    Bristol
    • June 30, 2020
  • Yola
    A category was added to Yola:
    Singer-Songwriter
    • June 30, 2020
  • Yola
    Yola is matrixed!
    • June 30, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

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 do Boi, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"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: Soa assim: O que a música que você ama diz sobre você

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.

 

  • Ben Harper Gospel
  • Renee Rosnes Jazz
  • Shakespeare and Company Bookstore
  • Stephan Crump Composer
  • Filhos da Pitangueira Brazil
  • Bill Callahan Austin, Texas
  • Alegre Corrêa MPB
  • Pete Williamson Illustrator
  • Babau Santana Brasil, Brazil
  • John Morrison Writer
  • Rosa Passos Bossa Nova
  • Sunna Gunnlaugs Piano
  • Dhafer Youssef ظافر يوسف Oud
  • Ayrson Heráclito Candomblé
  • Louis Marks Writer
  • Jane Ira Bloom New School Faculty
  • Mário Santana Candomblé
  • Luciano Salvador Bahia Theater Composer
  • Nilze Carvalho Choro
  • Mestre Barachinha Maracatu
  • Nação Zumbi Rap
  • Craig Ross Guitar
  • Tedy Santana Salvador
  • Sônia Guajajara Enfermeira, Nurse
  • Ruven Afanador Colombia
  • Bill Frisell Jazz
  • Nahre Sol YouTuber
  • Atlantic Brass Quintet Baroque
  • Michael Cuscuna Record Producer
  • Booker T. Jones Songwriter
  • Chubby Carrier Singer-Songwriter
  • Mauro Diniz Cavaquinho
  • Ashley Page New Zealand
  • Lô Borges Guitarra, Violão, Guitar
  • Saul Williams Actor
  • Daphne A. Brooks Black American Culture & History
  • Hilton Schilder Composer
  • Bisa Butler Pan-African Culture
  • Charles Munka Hong Kong
  • Nego Álvaro Brazil
  • Oteil Burbridge Funk
  • Ivan Huol Salvador
  • Henrique Cazes Banjo
  • Owen Williams Marketer
  • Virgínia Rodrigues Brazil
  • Alex Mesquita Salvador
  • Gilberto Gil Singer-Songwriter
  • Fabian Almazan New York City
  • Luiz Santos Multi-Instrumentalist
  • Jorge Alfredo Brasil, Brazil
  • Nate Smith Television Scores
  • Allen Morrison Jazz
  • Alex Clark Journalist
  • Guga Stroeter São Paulo
  • Eric Alper Commentator
  • Fantastic Negrito Guitar
  • Eivør Pálsdóttir Singer-Songwriter
  • Gilson Peranzzetta Clarinet
  • Anouar Brahem Tunisia
  • Casey Benjamin Record Producer
  • Leela James R&B
  • Paolo Fresu Television Scores
  • Eli Teplin Piano
  • Alan Williams Metal Artist
  • Azi Schwartz החזן עזי שוורץ Cantor
  • César Camargo Mariano Arranger
  • Tatiana Campêlo Salvador
  • Ivan Sacerdote Brazilian Jazz
  • Robert Everest Multi-Instrumentalist
  • Júlio Caldas Produtor de Discos, Record Producer
  • Siphiwe Mhlambi Johannesburg
  • Ajurinã Zwarg Drums
  • André Becker Flauta, Flute
  • Jimmy Dludlu Highlife
  • Nikki Yeoh Piano
  • Steve Lehman Jazz
  • Gui Duvignau Bass
  • Samba de Lata Samba de Roda
  • Eric Galm Samba
  • Yilian Cañizares Jazz
  • Jeff Spitzer-Resnick WORLD music radio host
  • Zara McFarlane Guitar
  • Dorothy Berry Museum Curator
  • Luciana Souza Bossa Nova
  • Endea Owens New York City
  • Tony Austin Composer
  • Carlos Blanco Guitarra, Violão, Guitar
  • Mark Markham Vocal Coach
  • Juliana Ribeiro Samba
  • Antônio Queiroz Bahia
  • Colm Tóibín Journalist
  • Horácio Reis Choro
  • Joe Lovano Clarinet
  • Jas Kayser Jazz
  • Leyla McCalla Folk & Traditional
  • Tom Green Glasgow
  • Branford Marsalis Classical Music
  • Nailor Proveta Brasil, Brazil
  • João Bosco Brasil, Brazil
  • Gregory Tardy Composer
  • Gilmar Gomes Bahia
  • Shanequa Gay Multimedia Artist
  • Arifan Junior Cantor-Compositor, Singer-Songwriter
  • PATRICKTOR4 Recife
  • Célestin Monga Harvard University Faculty
  • Ron Carter Cello
  • Merima Ključo Sephardic Music
  • Jas Kayser Panama City
  • Leo Genovese Composer
  • Gui Duvignau Multi-Cultural
  • Jim Lauderdale Nashville, Tennessee
  • Owen Williams Developer
  • Billy Strings Songwriter
  • Hélio Delmiro Composer
  • Delbert Anderson Navajo
  • Beth Bahia Cohen Middle Eastern Music
  • Bebel Gilberto Bossa Nova
  • Célestin Monga Africa
  • Tom Bergeron Ethnomusicologist
  • Gerald Albright Bass
  • Fantastic Negrito Oakland, California
  • Ajurinã Zwarg Brazil
  • William Parker Essayist
  • Courtney Pine Podcaster
  • Cédric Villani Mathematics
  • Pharoah Sanders Multi-Cultural
  • Gavin Marwick Scotland
  • Angel Bat Dawid Jazz
  • Anthony Coleman New School Faculty
  • Maria Struduth Cachoeira
  • Susheela Raman Multi-Cultural
  • David Kirby Non-Fiction
  • Doca 1 Salvador
  • Cory Henry Singer-Songwriter
  • Cacá Diegues Cineasta, Filmmaker
  • Marisa Monte MPB
  • Irmandade da Boa Morte Samba de Roda
  • Gustavo Di Dalva Salvador
  • Chubby Carrier Accordion
  • Marcos Suzano Rio de Janeiro
  • David Bragger Guitar Instruction
  • Carwyn Ellis Rio de Janeiro
  • Otmaro Ruiz Composer
  • Manolo Badrena Composer
  • Susheela Raman Indian Classical Music
  • Fred P Techno
  • Jam no MAM Jazz Brasileiro, Brazilian Jazz
  • Helado Negro Ecuador
  • Timothy Jones Witchita State University Faculty
  • Les Filles de Illighadad Tuareg Music
  • Jurandir Santana Viola Caipira
  • Roberto Mendes Santo Amaro
  • Christopher Wilkinson Movie Director
  • Gearóid Ó hAllmhuráin Ethnomusicologist
  • Mario Caldato Jr. Record Producer
  • Gabriel Grossi MPB
  • Ian Hubert Filmmaker
  • Oswaldo Amorim Brazil
  • Laércio de Freitas Brasil, Brazil
  • Andrés Prado Lima
  • Imanuel Marcus Berlin
  • Dave Holland Jazz
  • Sergio Krakowski New York City
  • Meddy Gerville Jazz
  • Berkun Oya Director
  • Michael Janisch London
  • Meena Karimi Classical Music
  • Melissa Aldana New York City
  • Tigran Hamasyan Armenia
  • Derrick Adams Brooklyn, NY
  • Doca 1 Brasil, Brazil
  • David Castillo Voiceovers
  • David Byrne Painter
  • Brett Kern West Virginia
  • Gringo Cardia Set Designer
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