Browse Titles - 17 results
Bongo, Backra & Coolie: Jamaican Roots, Vol. 1
Jamaican folk music blends African, European and East Indian (in dialect: Bongo, Backra and Coolie) roots into something distinctly Jamaican. Kumina, a magico-religious cult of predominantly rural peasantry, includes invocation of and possession by gods and ancestral spirits aided by songs and drumbeats. Convin...
Jamaican folk music blends African, European and East Indian (in dialect: Bongo, Backra and Coolie) roots into something distinctly Jamaican. Kumina, a magico-religious cult of predominantly rural peasantry, includes invocation of and possession by gods and ancestral spirits aided by songs and drumbeats. Convince, another magico-religious cult that likely originated among the Maroons of the Blue Mountains, differs from kumina on two basic acco...
Jamaican folk music blends African, European and East Indian (in dialect: Bongo, Backra and Coolie) roots into something distinctly Jamaican. Kumina, a magico-religious cult of predominantly rural peasantry, includes invocation of and possession by gods and ancestral spirits aided by songs and drumbeats. Convince, another magico-religious cult that likely originated among the Maroons of the Blue Mountains, differs from kumina on two basic accounts: ghosts called “duppies” rather than gods do the possessing and convince music never uses drums. Yet, kumina and convince share similar lineage from African cultural practices. Also sampled here are examples of “Hindustani” music intended for dancing. These selections use the tabla drum, the “Indian fiddle” (a bowed three-stringed instrument) and a nasal vocal tone. Volume Two (FW04232) continues with Zion Revival, quadrille bands and fife and drum music.
Show more Show lessCarnaval 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.
Show more Show lessCreole 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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Dabuyabarugu: Inside the Temple - Sacred Music of the Garifuna of Belize
The Garifuna are descendants of escaped slaves who intermarried with native Carib and Arawak Indians. This album is a collection of music recorded during a dugu, a two week ceremonial feast that attempts to placate the gods. Requiring a year of preparation, and an ample supply of rum, the music heard on this al...
The Garifuna are descendants of escaped slaves who intermarried with native Carib and Arawak Indians. This album is a collection of music recorded during a dugu, a two week ceremonial feast that attempts to placate the gods. Requiring a year of preparation, and an ample supply of rum, the music heard on this album is meant to send one into a transient state.
John Crow Say..: Jamaican Music of Faith, Work and Play
Rounds or cannons or quadrilles, European church harmony or familiar hymn melodiesthese are testaments to the British contribution to Jamaican culture. African call-and-response patterns, a particular and signifying humor, and Anansi (trickster) stories speak to the African input. But listening will tell you t...
Rounds or cannons or quadrilles, European church harmony or familiar hymn melodiesthese are testaments to the British contribution to Jamaican culture. African call-and-response patterns, a particular and signifying humor, and Anansi (trickster) stories speak to the African input. But listening will tell you that the cultural voice is truly unique to Jamaica.
Joseph Spence: The Complete Folkways Recordings, 1958
Music from Saramaka: A Dynamic Afro-American Tradition
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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