Today we're exploring Centrum, a creative community on the Olympic Peninsula.

Centrum is known for its writing workshops, its music workshops.

Next week, there will be hundreds of ukulele players here.

But today we're exploring Choro.

I could try to explain to you what Choro is, but I think it's better if you hear it from the people who know it best.

Come on.

Choro is basically the mother.

The matrix of most of Brazilian instrumental genres.

And it's a confluence, it’s a meeting of European dances and African rhythms.

Improvization.

The typical instrumentation, and it's a language itself that is accessible to musicians from all backgrounds.

And we come here to Centrum usually in the middle of April, which is the national day of Choro and we make homage to various composers as Chiquinha and Jacob do Bandolim, and we have all references old references, because Choro began in the middle of the 18th century.

But it's been composed until now, so it's a music that is being transformed.

If you ask us to define Choro or to say what it is not, we play.

So that, it's one of the things is that there's a certain repertoire of phrases and accents.

So we can play the same tune that somebody else plays, even the same Choro song maybe they played in Rio different than in play Sao Paulo, different than they play in Brasilia, because there's also a strong influence on what is known as the regional, the regional.

It's a way to connect from one heart to another heart.

And I think that when we are musicians and we get to the, we work in our skills, not so we can play fast.

It’s so we can the technicality out of the way so we can speak directly to the heart of the listener, of the other musicians and create something and make people feel that they are alive.

And it's definitely needed.

Hear that?

That’s passion.

I'm Angela, thanks for exploring.

I'll see ya.