Browse Titles - 12 results
Cambodia: Traditional Music, Vol. 1: Instrumental and Vocal Pieces
Carnaval in Cuba
As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying exper...
As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying experience that this celebration perpetuates, but also the vivacity of the Brazilian music which itself is a mélange of Portuguese, African...
As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying experience that this celebration perpetuates, but also the vivacity of the Brazilian music which itself is a mélange of Portuguese, African and American Indian heritage. Liner notes include information on the History of Carnaval, as well as song and instrument details. Some notation and lyrics.
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Creole Music of Surinam
This collection presents the two main genres of Afro-Dutch Guyanese musicKawina-winti and Kaseko-Opo Poku. Sung in Taki-Taki (a native Creole dialect consisting of English, Dutch, Portuguese, and African languages) this album offers a glimpse into Surinamese life and the music that accompanies it.
This collection presents the two main genres of Afro-Dutch Guyanese musicKawina-winti and Kaseko-Opo Poku. Sung in Taki-Taki (a native Creole dialect consisting of English, Dutch, Portuguese, and African languages) this album offers a glimpse into Surinamese life and the music that accompanies it.
The Cuban Danzón: Its Ancestors and Descendents
John Santos
"Estas grabaciones r...
John Santos
"Estas grabaciones representan una colección de obras maestras que ahora podrán ser preservadas como una parte importante de los archivos que documentan... These recordings represent a collection of masterpieces, which will now be preserved as an important part of the archives documenting the history of Cuban music. We hope that they will be used by this and future generations in the study and appreciation of Latin music..."
John Santos
"Estas grabaciones representan una colección de obras maestras que ahora podrán ser preservadas como una parte importante de los archivos que documentan la historia de la música cubana. Nosotros esperamos que puedan ser usadas por ésta y futuras generaciones para el estudio y la apreciación de la música latina..."
John Santos
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Hassidic Tunes of Dancing and Rejoicing
Music of Cuba
Music of Guatemala, Vol. 2
"The music presented in this album is typical of rural Guatemala. Most of the inhabitants of this area are Indians of Mayan descent, but almost everywhere in the Guatemalan countryside one can also find Ladinos: persons, of whatever descent, who speak Spanish in their...
"The music presented in this album is typical of rural Guatemala. Most of the inhabitants of this area are Indians of Mayan descent, but almost everywhere in the Guatemalan countryside one can also find Ladinos: persons, of whatever descent, who speak Spanish in their homes and have adopted the Ladino way of life, which is mostly Spanish. It is not completely Spanish, however, because both the culture... Produced and recorded by Jacques Jangoux.
"The music presented in this album is typical of rural Guatemala. Most of the inhabitants of this area are Indians of Mayan descent, but almost everywhere in the Guatemalan countryside one can also find Ladinos: persons, of whatever descent, who speak Spanish in their homes and have adopted the Ladino way of life, which is mostly Spanish. It is not completely Spanish, however, because both the cultures of rural Guatemala are the result of the confrontation over several centuries of two very different civilizations, the indigenous Mayan, and the Western, introduced by the Spanish in the 16th century. Both cultures have borrowed traits form the other, and this is nowhere more evident than in their music, which is a mixture of European, Indian, and perhaps also African elements..."
Jacques Jangoux
Producido y grabado por Jacques Jangoux.
"La música que se presenta en este álbum es típica de la Guatemala rural. Muchos de los habitantes de esta área son indios descendientes de los Mayas, pero también se pueden encontrar "ladinos" casi en todo el país rural guatemalteco, es decir, personas de diversos orígenes étnicos que hablan castellano en sus casas y han adoptado las costumbres ladinas, principalmente españolas. No completamente, porque ambas culturas de la Guatemala rural son el resultado de una confrontación de varios siglos entre civilizaciones muy diferentes, la Maya y la occidental, introducida por los españoles en el siglo XVI. Ambas culturas han tomado algunos rasgos de la otra, y esto no puede ser más evidente en ningún otro sitio que es su música, que es una mezcla de elementos europeos, indígenas y quizá también africanos..."
Jacques Jangoux
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Music of the Bahamas, Vol. 3: Instrumental Music from the Bahamas Islands
In 1958, Samuel Charters captured the sounds of celebration during of the anniversary weekend of emancipation known as August Monday. On the island of Andros, Charters recorded traditional ‘rake ‘n’ scrape’ music by the Fresh Creek Dance Band, a harmonica tune by Charles Bastian, a few numbers by two bra...
In 1958, Samuel Charters captured the sounds of celebration during of the anniversary weekend of emancipation known as August Monday. On the island of Andros, Charters recorded traditional ‘rake ‘n’ scrape’ music by the Fresh Creek Dance Band, a harmonica tune by Charles Bastian, a few numbers by two brass bands, guitar playing in the style of the island’s own Joseph Spence, and an extraordinarily rare example of Bahamian fife playing...
In 1958, Samuel Charters captured the sounds of celebration during of the anniversary weekend of emancipation known as August Monday. On the island of Andros, Charters recorded traditional ‘rake ‘n’ scrape’ music by the Fresh Creek Dance Band, a harmonica tune by Charles Bastian, a few numbers by two brass bands, guitar playing in the style of the island’s own Joseph Spence, and an extraordinarily rare example of Bahamian fife playing on “I Drink All the Rum and Never Get Drunk”.
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