Rincón Campesino

Música Campesina
Musique Populaire
Folk Music 


01. Zapatéo (1:52)
02. Décima (3:36)
03. Punto cubano (4:23)
04. Tonada menor (1:52)
05. Tenada camagüeyana (1:53)
06. Son montuno (2:48)
07. La guantanamera / J. Martí ; J. Fernandez (4:23)
08. Madrigal (3;58)
09. Guajira amorosa (2:14)
10. El verdor de la campiña (4:41)
11. Guajira moruna (3:48)
12. Son del Angelito (4:30)
13. Son de la loma / M. Matamoros (5:35)
14. A belgica (4:34)
15. Décima (2:21)
16. Yo no te pido / P. Milanès (3:16)
17. Solo de percussions (8:57)
18. El cataclismo (3:01)
19. Flores de pueblo nuevo (5:13).

Recorded 1985-1988 in Cuba by Herman C. Vuylsteke



Review by John Storm Roberts:

All the attention given to Afro-Cuban music certainly is merited. But the equally important and splendid campesina (country) tradition is grossly neglected. This is a gorgeous collection of tonadas, puntos, décimas and other forms from the Euro-Hispanic half of the continuum (though much affected by Afro-Cuban input), mostly backed by tres, guitar and percussion.

Short History of Cuban Music
The Caribbean island of Cuba has been influential in the development of multiple musical styles in the 19th and 20th centuries. The roots of most Cuban musical forms lie in the cabildos, a form of social club among African slaves brought to the island. Cabildos preserved African cultural traditions, even after the Emancipation in 1886 forced them to unite with the Roman Catholic church. At the same time, a religion called Santería was developing and had soon spread throughout Cuba, Haiti and other nearby islands. Santería influenced Cuba's music, as percussion is an inherent part of the religion. Each orisha, or deity, is associated with colors, emotions, Roman Catholic saints and drum patterns called toques. By the 20th century, elements of Santería music had appeared in popular and folk forms.

Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Most important among these are France, the United States, and Jamaica. Reciprocally, Cuban music has been immensely influential in other countries, contributing not only to the development of jazz and salsa, but also to Argentinian tango, Ghanaian high-life, West African Afrobeat, and Spanish "nuevo flamenco".

Folk Music

The natives of Cuba were the Taíno, Arawak and Ciboney people, known for a style of music called areito. Large numbers of African slaves and European immigrants brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, zampado, retambico and canción. Later, northern European forms like waltz, minuet, gavotte and mazurka appeared among urban whites.

Fernando Ortíz, a Cuban folklorist, described Cuba's musical innovations as arising from the interplay between African slaves settled on large sugar plantations and Spanish or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants reconstructed large numbers of percussive instruments and corresponding rhythms, the most important instruments being the clave, the congas and batá drums. Chinese immigrants have contributed the cornetín chino ("Chinese cornet"), a Chinese wind instrument still played in the comparsas, or carnival groups, of Santiago de Cuba.


The original guajira was earthy, strident rural acoustic music, possibly related to Puerto Rican jibaro. It appeared in the early 20th century, and is led by a 12-string guitar called a tres, known for a distinctive tuning.

Música Campesina

Música campesina is a rural form of improvised music derived from a local form of décima and verso called punto. It has been popularized by artists like Celina González, and has become an important influence on modern son. While remaining mainly unchanged in its forms (thus provoking a steady decline in interest among the Cuban youth), some artists have tried to renew música campesina with new styles, lyrics, themes and arrangements... 


No comments: