29.5.15

Wop Lé Chab, é zafè?

  
Special Folklore
Germain Calixte
dit: Chabin

presente:
Moin Cé La Centrale
Du Folklore A 100.000 Volts
1969

Tracks:

01. Mwen cé la central - 3:10
02. Robertine - 3:13
03. Clocotè la - 3:09
04. La jeunesse en alpha - 2:58
05. Zombi baré mwen - 3:39
06. On nonme a kaz en mwen - 3:48
07. Dolores - 2:32

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Gaston Germain CALIXTE
CHABIN

(1922 – 1987)

 
Chabin was born on February the 1st of 1922 in Port-Louis (Guadeloupe) and died in March 1987.
A pipe stuck on his lips… Chabin was definitely a symbol.

As a singer and song-writer he made his mark with distinctive lyrics, his sense of improvisation fitted in perfectly with the Gwo Ka singers community.

He released a few albums featuring Vélo, Arthème Boisbant (Témo) or Robert Loyson.

Some people saw him as a poet depicting Gualoupean peoples daily life with its good and bad experiences.

His songs were often dedicated to the women who inspired him as much as the Guadeloupean peoples misfortune did.

Despite a sorrowful childhood, life gave him a second chance with his singing while taking him to the ups and downs in the showbusiness.


  

more link

Maison de Gaston Germain Calixte à Port-Louis

 Plaque de la maison


28.5.15

Nou kale a kutumba

  
Robert Loyson
Gwo-Ka Legend: 1928-1989
Nostalgie Caraïbes
1998

Tracks:

CD 1

   
01. Chatte tete rate - 4:52
02. En di manman an kale maye - 3:42
03. En tamarin tini de gade mobile - 2:53
04. Si papa mo - 3:43
05. Quand sirène la sonne - 5:58
06. Ji canne à la richesse - 3:31
07. Ji canne à la richesse, pt. 2 - 4:02
08. Manzelle bebe - 4:39
09. Medo - 3:14
10. Germanie - 3:36

CD 2

01. Typical cete on cerf volant - 5:00
02. Malheu rive - 4:50
03. Trois pêches veuves - 4:13
04. Madame voyage - 3:28
05. Leonne ma fi - 4:16
06. Jean fouille pie fouille - 3:55
07. Nou kale a kutumba - 4:49
08. Garde à vous - 4:35
09. Vive la sonora - 3:30
10. Ban tan moin san doux - 3:48
  
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  
Robert Loyson
 
Drummer, singer of a traditional music of Guadeloupe (French West Indies) called "Gwoka".
Born on 23 July 1928 at Le Moule (Guadeloupe] and died on 28th August 1989.
 

 
  
Biographie de Robert Loyson (1928 -1989)

Robert Loyson est une célébrité du monde de la musique traditionnelle de la Guadeloupe. Il a fait du « bari à salézon », le tambour ka, le véhicule de toute une philosophie de vie d’origine Africaine. Comme Vélo, il donne au gwo-ka ses lettres de noblesses, qui lui ont tant manqué durant des décennies. Quand Robert Loyson vient au monde le 28 juillet 1928 dans la commune du Moule en Guadeloupe, la musique qui le rendra populaire est considérée comme une musique « mawon », musique « vié nèg » et plus tard « misik indépandantis ». Dès l’âge de vingt ans, il se lance dans la chanson.  

Plus tard, il fait émerger la tradition du gwo-ka dans les veillées mortuaires. Robert Loyson devient un artiste sur lequel on peut compter pour animer une veillée funéraire. Il y prend goût et trouve toujours le temps de rendre visite aux familles des défunts. Et pourtant sa profession de charpentier ne lui laisse pas souvent un moment de répit. On l’écoute chanter avec respect et plaisir. Avec lui, la veillée perd son air de tristesse, et se transforme en une belle fête qu’on ne quitte point jusqu’à l’aube. Les veillées mortuaires prennent l’allure de véritable concours de chants.

Dans les années 60, Robert Loyson enregistre son premier dans le studio de Robert Mavounzy. C’est l’auteur de « Kann à la richess », « chat ka tét rat », «  an ba kouch an mwen »

Les pawols de ses chansons sont empreintes d’un humour caustique. Il utilise un parler vrai qui blesse parfois, mais qui incite ceux à qui il s’adresse à réfléchir sur eux-mêmes et à retrouver leur dignité. Son dernier enregistrement remonte à 1982 et tout un peuple se reconnaît dans la fameuse chanson « La Guadeloupe tranglée ».

Robert Loyson, a créé un répertoire  que fredonnent encore les rares chanteurs de veillées. Il meurt le 28 août 1989. Ses amis lui ont rendu un vibrant hommage en chantant à sa veillée, ses propres chansons, jusqu’au premier rayon de sole

Source : Musiques et musiciens de la Guadeloupe
Auteur : Axel et Françoise Uri 






27.5.15

Un Maitre à penser, un Maitre à jouer, un Maitre à danser.

  
Vélo
& Le Cercle Culturel Ansois 

Folklore Hors Série
Rencontre au sommet
Document Folklorique des Disques Celini
1968

Tracks:

01. An di pè é di fis - 2:58
02. Ya ya yo yo bay la vwe - 3:14
03. Ti jan pwan ga a to - 2:53
04. Gaj nouvo rive - 3:31
05. Mannyok an mwen dan bay - 3:19
06. Jénès manten - 3:42
07. Pantalon (1ere figure) - 2:16
08. L'été (2eme figure) - 3:39
09. Poul (3eme figure) - 3:35
10. Pastorel (4eme figure) - 4:46
11. Doudou mi mwen jodi se nwel (Final) - 3:06
12. Jenn gason - 2:18
13. Lekol la - 10:42
  
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  
Vélo

Real Name: Marcel Lollia

A drummer, a singer of a traditional music of Guadeloupe called "Gwoka".
Born on 7th December 1931 and died on 05th June 1984 in Guadeloupe (French West Indies).

He's considered one of the greatest Gwoka Masters...

  
BIOGRAPHIE DE MARCEL LOLIA dit VÉLO

Je nais un 7 décembre 1931, enfanté par Lisette Téatin, et je grandis avec un père, Vénance Lollia, ouvrier à Darboussier. Il joue de temps en temps de l'accordéon à la cour d'Orgement et me charroie dans les Bamboulas (aujourd'hui Léwòz). J'exécute mes premières notes de musique en frappant sur des kannari et je vais de veillées en Léwòz avec papa qui me dit souvent "ou pé ké fè p-on dòt biten ki tanbouyé!" se basant sur mes résultats scolaires.

Je m'imprègne de cette rythmique GWOKA qui m'enivre et je joue, je frappe la peau, chaque jour que Dieu fait, chaque fois que je peux, mais surtout où je veux, je suis libre! Je vais et viens entre les fonds Laugiers, Petit-Canal, Saint-François, et surtout le Gosier avec mes comparses Napoléon (Magloire), Arthem (Boisbant). J'erre le samedi soir entre les cours Zamia, Selbonne, le morne Lacrosse, lieux de repères à cette époque, des amateurs de Gwo Tanbou.

Lorsque Madame Adeline, présidente de l'association Entraide féminine guadeloupéenne, a pour projet de créer son bar LA BRISCANTE, je suis recruté et hébergé pendant un temps dans son lègue, sur la place de la victoire en lieu et place de l'ancien Mc Donald. J'y joue du tamtam, mizik a vyé nèg, car elle a décidé de faire entrer le tambour dans les salons. J'étais le meilleur batteur de pointe à pitre à l'époque. C'est donc ainsi que je me suis rendu à paris, où j'ai joué pour G.Pompidou à l'Elysée, à Porto Rico, en Martinique avec la troupe LA BRISCANTE, je joue également pour les touristes à bord de leurs bateaux de croisière sur le port de la Pointe à Pitre. Après ma virée à Paris, j'ai pris conscience de ma valeur, j'ai été amusé par le fait de signer des autographes, de faire des photos. Mais mes seules rémunérations sont une chambre, le linge propre et le rhum. Ce moment de ma vie n'a pas perduré car j'ai ouï dire que Madame Adeline avait perçu des sommes d'argent et qu'elle ne m'en avait pas fait voir un centime, j'avais perdu toute confiance en elle et, pris d'une rage incommensurable, j'ai voulu détruire son bar.

Cet épisode m'a valu une année d'internement au 2nd plateau à Saint-Claude et je fus déclaré fou! Je dois ma libération au fils de Madame Adeline, Guy. A ma sortie, j'ai cessé de battre mon tambour pendant quelques temps et j'ai gagné ma vie en portant main forte aux dames de la Halle aux poissons de la Darse, notamment Mademoiselle Hatchi pour qui je jobbe du matin au soir. Mais cette fois, en plus du toit et du linge, je touche quelques francs. Il arrivait même que les âmes les plus charitables m'offrent un repas. Le soir, très régulièrement, je partais chez Man Sosso et Guy à Baie-Mahault pour discuter de notre amour du tambour.

Et puis, arrive ce jour où Christian Mathurin, Michel Halley et les autres viennent me chercher pour jouer avec eux dans ce groupe qu'ils avaient nommé Takouta. C'est reparti!

Je suis à mon tour le père d'un petit garçon, Patrick, mais mon tambour et ma vie de bohème sont mes motivations premières. Je retourne à la rue, je suis un être libre!

Jenregistre mon premier 33 tours avec mon cousin Arthem au boula chez Monsieur Mavounzy dans les années 60. Aucune répétition n'est nécessaire, j'improvise et fait ce que je sais faire, je frappe la peau et notre album est un succès " Vélo et son gros-ca". Quelques années plus tard, j'enregistre pour Raymond Célini "Folklore hors série", son premier disque de Gwo Tanbou. Et puis, lors de la réalisation de celui de Guy Conquette, Raymond me demande de terminer la bande pour clore l'album, je joue 13minutes sans m'arrêter, je suis comme envouté, Arthem toujours au boula me donne la cadence. J'ai rencontré Guy Conquette bien après avoir quitté Madame Adeline et alors qu'il enregistrait chez Debs, il m'a demandé de l'accompagner. Ainsi a été mis sur la place publique le disque "An ka mandé la lajan pasé".
S'en suivent les albums de Fabiano Orchestra "Butterfly Island" et "Atika" avec Patrick Jean-Marie pour lesquels je suis soliste.

Il m'a été fait la grâce de jouer en Martinique pour Guy et Robert Loison au hall des sports de Fort de France. Après 2 heures de concert, je n'en avais pas assez et j'ai été poursuivre ma musique seul dans le stade pendant que les autres attendaient le transporteur.

En 1978, avec Mawso et les camarades, nous nous armons de nos tambours chants, de nos basses et contre basses et commençons à débouler dans les rues de Pointe à Pitre, vêtus de vêtements faits à partir de matière de récupération, lenj anba kabann, fèy a bannann... le peuple s'interroge et se demandent "mé a ki yo?" Petit à petit, une transition est opérée entre le Mas a Sen Jan et notre groupe qui devient très populaire. Les férus de musique sans contre basse se tourne vers nous car c'est notre différence, nous ajoutons du tempo au classique Mas a Sen Jan. Le peuple nous inspire notre nom Akiyo.

Ma vie durant, je n'ai cessé de vivre ma liberté, parce c'est ce que mon esprit m'a réclamé, parce que c'est ce que mon tambour m'a chanté.

Au mois de mai 1984, la douleur, la maladie, ces vermines, me clouent au lit et, parce que je ne parviens pas à me faire à cet état dans lequel je suis, je m'enferme dans ma chambre chez Djyliss à GrandCamp. Je ne veux voir personne et je ne veux pas de leur élan de pitié. Je me mure et Michel, venu me rendre visite, force la porte pour me voir. Il me trouve allongé et brulant de fièvre, il interpelle Djyliss et mes zòm me charroient à l'hôpital. Le verdict tombe: je suis atteint d'une cirrhose avancée. Je tente de quitter cet endroit qui ne me ressemble pas, mais je suis rattrapé par l'ambulance la première fois et la police la seconde. Après une quinzaine de jours, le docteur Blanchard informe Michel que je pourrai bientôt sortir à condition de changer d'alimentation. Michèl ay bat la sonn kès asi radyo! La Guadeloupe se mobilise dans un élan naturel de générosité à mon égard... mais le mardi 5 juin, je décide de lâcher prise, de donner à cette foutue maladie son gain, mon enveloppe charnelle. Je ne frapperai plus la peau du tambour. C'est fini.

Oui, je suis ce marginal que l'on vous a conté, oui, j'ai dormi dans la rue, oui, j'ai squatté les voitures et les appartements abandonnées, oui, j'ai bu mon rhum, oui, j'ai fait souffrir des tiers, oui, j'ai été méprisé, oui, j'ai été abusé, mais souvenez vous que si " pour l'esclavage nous avons beaucoup subi, avec le Gwo Ka nous finirons de subir un jour".

J'ai été Ti Vénance Lollia, je suis Marcel, mais je resterai VÉLO !!!

 
   
Vélo. De son vrai nom Marcel Lollia. Percussionniste soliste virtuose et inventif. A l'origine de l'introduction du djembé dans le gwoka et de sa transformation en djembé-ka. S'inscrit davantage dans la tradition du gwoka urbain de Pointe-à-Pitre. Il est mort le 5 juin 1984.

Voila ce qu'en dit Marie-Céline Lafontaine:

Sa très grande liberté vis-à-vis des structures traditionnelles d'exécutiion de la musique de lèwòz a influencé toute une génération de jeunes musiciens et a véritablement ouvert la voie à des styles nouveaux.

(extrait du livre Alors ma chère, moi... Carnot par lui-même, Propos d'un musicien guadeloupéen recueillis et traduits par Marie-Céline Lafontaine - Editions Caribéennes, 1986, p. 156).

source
 
 
 
 

26.5.15

Nostalgie Caraïbes Volume Two

 
Les maîtres du Gwo-Ka, vol. 2
Nostalgie Caraïbes

Versions Originales enregistrées au Studio Celini 
2000

 Tracks:

01. Moin ce la centrale - Germain Calixte - 3:09
02. On n'homme a case en moin - Germain Calixte - 3:48
03. Zombi bare moin - Germain Calixte - 3:38
04. Bateau moin rive - Germain Calixte - 2:53
05. Misique a conquete chaud - Guy Conquete - 3:49
06. Diab'la prend yo - Yvon Anzala - 3:29
07. L'auto la - Yvon Anzala - 4:03
08. Yaya yoyo bail la vre - Valcou Gene - 2:59
09. La lorraine - Laurent Turenne - 3:51
10. Moin barre on lele - Armand - 3:32
11. Anatole - Celeste - 3:37
12. Bourreau la vle mange moin - Taret Turgot - 3:00
13. Canne a la richesse, pt. 2 - Robert Loyson - 4:03

  
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  
 La Série "NOSTALGIE CARAÏBES" est la résultante de longs travaux de recherches et de sélection dans les riches archives des studios Celini.
Ce studio Mythique des années 60-70 a vu defiler les artistes les plus prestigieux de la Caraïbe.
Le Nec Plus Ultra était à l'époque, d'enregistrer "Aux Ondes.
Le transfert sur CD de ces chansons a transité par un laboratoire de sons permettant une optimisation et la plus haute restitution possible de ces trésors musicaux de notre patrimoine Créole.

Jude SAHAÏ




*♥*

25.5.15

Nostalgie Caraïbes Volume One


Les maîtres du Gwo Ka, vol. 1
Nostalgie Caraïbes

Versions Originales enregistrées au Studio Celini
1998

Tracks:

01. Robertine - Germain Calixte - 3:13
02. En tamarin tini de gade mobile - Robert Loyson - 2:53
03. Do re mi fa sol la si do - Taret Turgot - 2:56
04. Evariste - Loulou Boislaville - 2:46
05. Crab ka declare - Yvon Anzala - 6:06
06. Messie mesdames bien bonsoue - Le Cercle Culturel Ansois - 2:54
07. Clocote la - Germain Calixte - 3:08
08. Vieille africain - Gerard Nerplat - 4:43
09. La jeunesse en alpha - Germain Calixte - 2:57
10. Si papa mo - Robert Loyson - 3:42
11. An di pè et di fils - Valcou Gene - 2:21
12. Sinegale mechant a si quai la - Taret Turgot - 2:43
13. La femme et la musique - Yvon Anzala - 3:16
14. Victo et Florelle - Antoine Sopta - 19:09

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  
 Gwo ka (Big drum) is both a family of hand drums and the music created with them, which is a major part of Guadeloupean folk music. There are seven rhythms in gwo ka, which are embellished by the drummers. Different sizes of drums establish the foundation and its flourishes, with the largest, the boula, playing the central rhythm and the smaller, markeur (or maké) drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies. There are also dances that tell folk stories that are accompanied by the gwo ka drums.

Rural Guadeloupans still use gwo ka drums in communal experiences called lewozes; this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations. A modernized and popularized form of gwo ka is well-known on the islands; it is known as gwo ka moderne.

Gwo ka is the French creole term for Big drum.

Origins

The origin of Gwo Ka goes back to the period of enslavement in the 18th century. Musical research show that the instrument can find its roots in the drums and songs of the West African countries (Guinea gulf, Congo...). From the diverse music and dance of their homelands, the slaves elaborated a communication tool, a new form of art, like the creole language: the Gwo Ka. This musical genre is characterised by an African typology: - repetitive form - improvisation - physical movements linked to music - a response between a soloist and choir - a syncopation weak times Gwo-ka, is a quadruple entity: dance, music, instrument, song...
 


Gwoka is found among all ethnic and religious groups of Guadeloupean society. It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. In its traditional form, Gwoka unites these three areas of expression and emphasizes individual qualities of improvisation. The participants and public form a circle in which dancers and soloists enter in turn and perform, facing the drums. The public claps and takes up the chorus from the soloist. Several thousand people regularly practise Gwoka at open-air Gwoka evenings, where the dance circle functions as a place to develop individual talents. Transmission of the practice and Ka drum-making skills is both informal through families and groups of friends, but also increasingly through formal workshops and schools of traditional dance and music. Gwoka is one of the most identifiable elements of Guadeloupean society and its contemporary expressions explore new avenues of music, choreography or singing. It is present at the high points of daily life, as well as at festive, cultural and secular events. It also accompanies movements of social and political protest. It strengthens identity and provides a feeling of communal development and individual pride, conveying values of conviviality, resistance and dignity.


more to listen too:


and to read:


  

*♥*

24.5.15

Le pays des maharajas et du désert...

 
Musiques du Rajasthan
Enregistrement réalisé en Inde par 
Gérard Krémer 
1990

Tracks:

01. Danse Rajpoute, sindhi sarangi (Dholak) - 2:53
02. Solo de flûte double (Satara) - 5:01
03. Chant traditionnel du Marwar (Ravanhata) - 4:12
04. Improvisations sur une guimbarde - 3:36
05. Solo de flûte double II (Satara) - 3:28
06. Musicien du fort de Jodhpur, shanai (Nagara) - 6:09
07. Le Katpuli (Dholak) - 3:03
08. Solo de flûte double III (Satara) - 2:50
09. Danse traditionnelle de Jaisalmer, kamayacha (Dholak) - 3:01
10. Solo de guimbarde - 2:18
11. Chant traditionnel de Khuri, kamayacha (Dholak / Khartal) - 3:17
12. Danse traditionnelle du Rajasthan (Sindhi sarangi) - 2:36
13. Chant traditionnel Manghaniyar, kamayacha (Dholak / Khartal) - 7:02
14. Solo de flûte double IV (Satara) - 3:20
15. Danse de Pushkar (Sindhi sarangi) - 4:14

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Recorded in Rajasthan/India 
by  
Gerard Kremer in 1983.

In the West of India, Rajastan (the land of the Maharajas) counts a great number of musician who live in communities which can be distinguished from each other origin, social status, repertoire and the instruments they play. The recording included on this disc were made live and are the reflection of all this. The main instruments which can be heard are flutes (sarata), fiddles (kamayacha, sindhi sarangi, ravanhata) ans percussion (morchang or jew's harp, dholak or drum, khartal, nagara).

About the LP 
(11 tracks)

Musique du Rajasthan: “Au Pays Des Maharajas” Descriptive liner notes on the back. Original 1984 French pressing. Recorded in the field by Arion's in house ethno-musicologist Gerard Kremer. Located in the East of India, Rajasthan is a semi-desert kind of place and is one of the biggest states within the Indian continent. This amazing collection sheds some light on the right musical tradition that reigned there, ranging from bewitching double flute tracks, to sarangi styled madness over to traditional chants. Definitely a head bending recording.


  
Folk Instruments of Rajasthan

The Rajasthani musical instruments are essential in making the traditional music more melodious. Simple instruments are used with the songs and they are played with such expertise that the songs sound incomplete without them. Some of these instruments are self-sufficient. They are played individually i.e. without any lyrics. While some of them are made by people who play them others use make them for profit. For travelers Rajasthan offers exotic music that can completely stupefy them. The Rajasthani musical instruments can be classified into Percussion Instruments, Wind Instruments, Autophonic instruments and String Instruments. The materials used to make these are also picked up from day to day life. Today these very instruments are used for creating fusion music as well.

Percussion Instruments
  
The most popular percussion instrument in Rajasthan is the dhol or drum. It is made out of wood. The two ends are kept hollow. These two ends have skin parchment on each side. It is stretched with the help of gut strips or strong cotton strips. The drum is played by hand on one hand and the other with a wooden stick to form the basic rhythm of the folk music of Rajasthan.

The smaller version of the dhol is the dholak. It is played on both sides with hands. Besides these there is the nagara. It consists of two drums made of metal iron or copper. Nagara are traditionally beaten with wooden sticks during marriage ceremonies, processions or other community dances. At the ceremonies the nagara is accompanied by tasha and shehnai. The Dhaf is used especially during holi, the festival of colors. This is a large tambourine consisting of a rim of iron or wood and a skin parchment. It is held in one hand and is played in a definite rhythm with the other hand.

Wind Instruments

The common wind instruments are Shehnai and Flute. Algoza is a double flute, which is played simultaneously. From a desert grass (rangore) a four-holed flute is made. Satara is an assembly of two flutes; one containing holes and in the other holes are absent. Another interesting wind instrument is the widely used by the snake charmers. The sound of this music can fascinate anyone. The snake charmers believe that it has a hypnotic effect. It is popularly known as Been or Poongi. Apart from flutes there are several trumpets that include Bankiya and Nagphani.

Autophonic instruments

The Thali, a Metal Platter and Khartaal are the Rajasthani autophonic instruments. The khartaal is mostly used as backdrop for bhajans (devotional songs). In Rajasthan these are commonly used during the religious ceremonies. They also have historic significance as they would remind the Indians about the Bhakti Movement and Rajasthan was famous for Meerabai and other bhakti saints.

String Instruments

The well-known string instrument of Rajasthan is the Sarangi. This is a multi-stringed instrument that is played by using a bow drawn across the strings and running of fingers on the strings. The modern guitars have probably been modeled upon these. Kamaycha is another popular string instrument. Ravanhatta is also a kind of sarangi. Chautara and Bhapang are the other two kinds of string instruments.




 

23.5.15

¡Que viva México!

  
Misas Y Fiestas Mexicanas
Recueillies et enregistress au Mexique par Gérard Krémer 
1972

Tracks:

Misa Panamericana (Messe Des "Mariachis")

01.     Angelus ("Los Perales")     2:11
02.     Kyrie Eleison ("Misa Mexicana")     1:43
03.     Invocation     1:15
04.     Alleluia ("Misa En México")     0:58
05.     Credo ("Misa En México")     5:04
06.     Sanctus ("Misa En México")     2:37
07.     Agnus Dei ("Misa A La Chilena")     2:21
08.     Chemin D'Emmaüs     5:46
09.     Chant De Sortie     4:12

Misa Tepozteca


10.     Appel De Trompe, Teponaztili Et Chant D'Entrée     1:21
11.     Offertoire     0:53
12.     Sanctus     2:16
13.     Amen     1:24

La Charreada

14.     Entrée Des Charros     0:47
15.     La Bikina     2:12
16.     La Negra     2:42
17.     El Huateco     1:47

Otras Fiestas

18.     Sones De Michoacàn     2:55
19.     El Taconaso     2:20
20.     Hymne Au Soleil     1:37
21.     Danza De Los Negritos     1:40
22.     Danza De Los Voladores     1:28
23.     Danza De Los Viejitos     1:35

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

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Initially recorded and released in 1972.

Prize Winner of the Grand Prix International Du Disque Académie Charles Cros.

Enregistrement: Guernavaca (Mexique)

Cuernavaca 

Classical Nahuatl: Cuauhnāhuac /kʷawˈnaːwak/ "near the woods") is the capital and largest city of the state of Morelos in Mexico. It was established by the Olmec, "the mother culture" of Mesoamerica, approximately 3200 years ago and is designated as the archaeological site of Gualupita I . The city is located south of Mexico City, from which it may be reached after a drive of approximately thirty minutes using the D-95 Freeway.

The city was nicknamed the "City of Eternal Spring" by Alexander von Humboldt in the nineteenth century. It has long been a favorite escape for Mexico City and foreign visitors because of this warm, stable climate and abundant vegetation. Aztec emperors had summer residences there, and today many famous people as well as Mexico City residents maintain homes there. Considering its location of just a 30 minutes drive from Mexico City, Cuernavaca traditionally has been a center of Mexican society and glamour, with many of the country's wealthy citizens owning sprawling mansions and haciendas in this cultural haven. Cuernavaca is also host to a large foreign resident population, including large numbers of students who come to study the Spanish language.

The name "Cuernavaca" is derived from the Nahuatl phrase "Cuauhnāhuac" and means "surrounded by or close to trees". The name eventually was Hispanicized to Cuernavaca. The coat-of-arms of the municipality is based on the pre-Columbian pictograph emblem of the city which depicts a tree trunk (cuahuitl) with three branches, with foliage, and four roots colored red. There is a cut in the trunk in the form of a mouth, from which emerges a speech scroll, probably representing the language Nahuatl and by extension the locative suffix "-nāhuac", meaning "near".

***

I would love to dedicate this post to this lovely (right now sleeping) blog


***

Dear Monsieur Gérard Krémer,

thank you for sharing so much fantastic music with us! Please next time you go out recording other peoples music "in the field" don't forget to take your little booklet with you, the one, were you write down the names of the musicans, the instruments and all these things we so easily forget.
And please give the record company a copy of these notes. We would love to see them in the booklet and the artists would love to receive some money from the sale... you know copyright and all that stuff... anyhow it is just fair isn't it.
But again  thank you for your great work. It is a shame I could not find any info about you, your travels and work on the internet...
Hopefully you'll find these notebooks one day... and let us know :-)

Yours sincerely

Miguel 



22.5.15

Nadah Benagolze

  
Wood That Sings
Indian Fiddle Music of the Americas
1997

Tracks:

01. Violín - José Enrique Benítez - 2:54
02. La Guaneña - Danubio Azul Group, The - 2:34
03. Danza a Santiago - Townspeople of Llacuari Pueblo - 3:02
04. Kariso - Antonio Lorenzano - 1:20
05. Araku - Gervasio Martínez - 2:10
06. Nantu ("Luna") - Pedro Nayap - 3:39
07. Yan Tox - Mateo Mo Xal and Crisanto Coc - 2:08
08. Jacaltenango - Grupo Jolom Conob - 3:52
09. Aires Fandango - Marcelino Poot Ek, Pedro Ek Cituk, and Esteban Caamal Dzul - 4:39
10. Tzacamson - Townspeople of Tancanhuitz - 1:55
11. Son Para Entregar a la Novia - José Augustín and José Martín Cruz - 4:00
12. Wiricuta - Mariano, Pablo, Rosenda, and Augustín - 2:05
13. Melody Played on the Enneg - Francisco Barnet Astorga - 0:48
14. I'll Go with You - Chesley Goseyun Wilson - 3:25
15. Pahko'ola Dance Song - Felipe Molina and the Yaqui Deer Singers - 3:37
16. Never Alone - The San Xavier Fiddle Band - 2:15
17. Strathspey and Reel Medley - Lee Cremo Trio - 4:49
18. Jig Medley - Lee Cremo Trio - 5:13
19. Finale Medley - Lawrence Houle - 7:26
20. Eagle Island Blues: Athapaskan Love Song - Bill Stevens, Frances Williams, and Lisa Jaeger - 4:28
21. Turkey in the Straw - Georgia Wettlin-Larsen - 1:17
22. Road to Baroche - Jimmie LaRocque, Gerry McIvor, and Kim Chartrand - 2:28
23. Big John McNeill - Jimmie LaRocque, Gerry McIvor, and Kim Chartrand - 2:07

Countrys:

Argentina; Bolivia; Canada; Colombia; Ecuador; Guatemala; Mexico; Peru; United States; Venezuela
 
Culture Groups:

Apache; Assiniboine; Chapaco; Gwich'in; Huichol; Kanjobal Maya; Kekchi; Maya; Mbya; Micmac; Nahua; Ojibwa; Quechua; Seri; Shuar; Tenek; Tohono O'Odham; Warao; Yaqui

Instruments:

Baritono; Bombo (Drum); Enneg; Fiddle; Flute; Guitar; Harp; Jigger; Kitar; Monochord; Piano; Rebec; Seke-Seke; Tambura; Tiple (Plucked instrument); Torola; Trumpet; Violin

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

This anthology of Indian fiddle music of the Americas features performances by Indian musicians from Nova Scotia and Manitoba to North Dakota and Arizona, to Mexico, Peru, and elsewhere in Latin America. Using this most popular of instruments as a way to explore the great variety and creativity of Indian musical traditions—from chicken scratch to the indigenous Apache fiddle—this recording expresses the capacity of Native cultures to adapt and synthesize non-Native influences.  


Chasi, Bonito's Son, an Apache musician playing the "Apache fiddle"

 Jonathan Colcord writes:

 Here is an interesting anthology of songs performed by native Americans. My first reaction to these recordings was that they were old. While much of the material may be, the recordings are all of relativley recent vintage. The most wonderful aspect of this release is the way the works are placed in relation to one another, almost like a musical map. It begins in Bolivia with a piece simply titled 'Violin' from Jose Enrique Benitez. We are moved from there to Colombia, Peru, Venezuela, Agentina, Ecuador, Guatamala, and into Mexico. At this point you realize what is happening stylistically as we progress northward. Familiar western styles begin to emerge, epecially when Mexico emerges.

From there we move into Arizona, and from there, clear up to Cape Bretton. Mi'Kmaq group the Lee Cremo Trio play relatively straight forward Cape Bretton style fiddle music much to my surprise. It becomes more of a tribute to native musicians themselves than another collection of traditional songs, otherwise obscure. When we arrive in Manitoba, the styles bend more toward country fiddling even including a bit of the 'Orange Blossom Special'. In the US, stops are made in Alaska, Wisconsin, and North Dakota. One of the highlights for me was Jimmie Laroque, a Chippewa from Norht Dakota and 'Road To Batoche', a song which reminded me of 'Jerusalem's Ridge', one of my all-time favorite fiddle-tunes. Another high-point is Georgia Wettlin-Larsen, Assiniboine Nakota from Wisconsin performing 'Turkey In The Straw' including vocals in both English and her native language.

 Jim Nelson says:

Listening to this CD is like taking a musical journey among the Indian peoples that reside throughout the Western Hemisphere, from the Chapaco in Argentina to Gwich'in Athapaskans in Alaska, with stops all along the way. Some folks may be a bit surprised by the fact that fiddling itself is so commonplace among such diverse Indian cultures, and at the same time, by how remarkably similar some of this music sounds to fiddling traditions in the U.S. and Canada which derive directly from Scottish, Irish, and French sources with which they may be familiar. In fact, some of the fiddlers included here play in a style that is virtually identical to their Anglo counterparts. Leo Creomo and his trio, for example, play straight-ahead dance tunes not unlike those heard played throughout their native Cape Breton Island. Metis fiddlers Lawrence "Teddy Boy" Houle and Jimmie LaRocque both exhibit traces of Scottish as well as other European-rooted traditions, including Irish and French-Canadian. Both, for instance, play the well-known tune "Big John McNeill." Houle plays a medley of tunes that suddenly careens into bluegrass territory with versions of "Orange Blossom Special," "Old Joe Clark," and "Boil Them Cabbage Down."

While some of the tunes and styles played by the fiddlers from the U.S. and Canada often seem to have some familiar quality about them, the music on this disc played by the South and Central American musicians definitely sounds like it comes from a different time and place. Alternately mesmerizing or high-spirited, down-to-earth or downright spooky, the music captured on this CD is some of the most captivating and beautiful that I have experienced in some time. It is next to impossible to pick out favorites among the pieces as I hear something completely new each time I give this disc a listen.

This CD is a joint project of the National Museum of the American Indian and the Smithsonian Institution. The music was for the most part, recorded "in the field" by ethnomusicologists and folklorists from all parts of the Americas. As one might expect, the accompanying notes are extensive and informative, scholarly yet comprehensible, and help to provide the listener with clear contextual background about the music, the various types of violins and other instruments played, and the people who play them. The notes, which include bibliographical references, a discography and videography help to promote the sense that this CD is an important document. Any way one approaches it, Wood That Sings contains some lovely and captivating listening.  
 
Highly recommended.

 


 *♥*

 

21.5.15

Waila! ...don't stop dancing!

 
Waila!
2005
 
Tracks:

Tracks 1-4 are performed by El Conjunto Murrietta

01. La Sanja - "The Ditch" (3:02)
02. El Caballito Bronco - "Little Wild Pony" (2:40)
03. Y Cantatumbas - "Tumblings" (3:12)
04. Lucila (6:38)

Tracks 5-11 are performed by Mike Enis and Company

05. Agnes Polka (2:19)
06. Soy Norteño (3:09)
07. Cholla Polka (3:19)
08. Mesquite Polka (3:07)
09. Enis Special (1:59)
10. O'Dam-Cho - Two-Step (2:03)
11. To-Hono Polka - "Far Away" (2:26)

Tracks 12-17 are performed by Los Papagos Molinas

12. Tengo Mieto - Polka (2:28)
13. Tohono Chote - Chote (3:26)
14. Buttermilk - Polka (2:25)
15. Pisinimo Chote - Chote (2:43)
16. Winston Polka - Polka (2:47)
17. Hochude Waila - "Lizard Dance" Polka (2:40)

Tracks 18-23 are performed by Elvin Kelly y Los Reyes

18. Chen Wen Wen Chona - Polka (2:54)
19. La Zapateada - Redova (2:12)
20. Ester - Polka (3:03)
21. La Pipla - Chote (1:58)
22. El Gallo - Guaracha (3:03)
23. Ojos Peludo - Polka (2:40)

Total Time: 67:55

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Originally released in 1972, these are the legendary first two recordings of waila, the energetic social dance music of the Native American peoples of the southern Arizona desert. Also referred to as "chicken scratch", the vibrant melodies of saxophone, accordion, and electric guitar glide across the solid backbeat of bass and drums performing polkas, schottisches, and mazurkas. This newly remastered collection brings together classic recordings of this musical hybrid rooted in the contacts between European immigrants and the Tohono O'odham peoples.

***

Some of the craziest, most infectious high-energy dance music of the Southwest is waila, sometimes called “chicken scratch,” created and perfected by the Tohono O’odham tribe (formerly called Papago) of southern Arizona.

There’s even a Waila Festival that takes place every May at the University of Arizona in Tucson.

Canyon Records, that venerated purveyor of American Indian music both traditional and contemporary, recently re-released four of its classic 1970s waila albums on two CDs.

Waila! consists of the groundbreaking Chicken Scratch! (featuring two bands, El Conjunto Murietta and Mike Enis & Company) and its sequel, Chicken Scratch with Elvin Kelly y Los Reyes & Los Papagos Molinas. Both were originally released in 1972.

Then there’s The American Indians Play Waila, which consists of the first two albums by the Tohono O’odham band called The American Indians.

Waila — a word that comes from the Spanish baile (dance) — is predominantly instrumental music in which the lead instruments typically are the saxophone and accordion. At least since the rock ’n’ roll era, waila bands usually also include electric guitar, electric bass, and drums.

The history of waila is one of those tales of cultural cross-pollination that make America great. When German immigrants moved to Texas and introduced the accordion to the Mexicans already living there, the resulting proto-Tex-Mex sound swept the American Southwest (and northern Mexico, for that matter).

Tohono O’odham musicians, who had been introduced to European instruments by Catholic missionaries, took up the new sound, though the accordion wouldn’t become a staple in Tohono O’odham dance bands until the last half of the 20th century.

According to the Waila! liner notes, until the late ’40s, the typical band consisted of a fiddle, an acoustic guitar, bass drum, and snare drum. Sax and accordion came later — as did the wah-wah pedal, which American Indian John Manuel hooked up to his accordion in 1976 to produce some otherworldly sounds.

The nearby Pima tribe also embraced waila. Most of Los Reyes’ members, for example, are Pimas.

The songs come from old tribal melodies, Mexican songs, and European sources. Waila bands play a number of styles — polka, mazurka (originally a Polish folk-dance style), chote (a form of the German schottisches), and Mexican cumbia.

On some recordings, the guitars seem just slightly out of tune and the drums just a little clunky. I’m not sure if this is done intentionally, but the effect gives the music a strong DIY edge, an aura of roughness that distinguishes it from some of the squeaky-clean, overly precious polka records out there.
 

and get your own copy of the record

again here :-)

 


Rain Dance



20.5.15

"Waila! Making The People Happy"


  
  
  
"Waila! Making The People Happy"
 
Documental:
Waila Music
Chicken Scratch 
Música del desierto norte SonorArizona 

 A Daniel Golding Film
When filmmaker Daniel Golding, a member of the Quechan Indian Tribe, set out to capture the essence of waila (pronounced "why-la") the social dance music of the Tohono O'odham (Desert People) of Arizona and Sonora, Mexico, he focused on the Joaquin Brothers and their descendants who live in Florence Village, Covered Wells and villages across the Tohono O'odham Nation.

 Waila, the contemporary dance music of southern Arizona's tribal communities, is often called "chicken scratch." Played at tribal functions, this fun, lively music offers relief from the hardships of reservation life. Waila! Making the People Happy explores the history of the music and looks at the Joaquin's, a family of musicians, and their journey from a remote tribal village to performing at Carnegie Hall.

 The Joaquin Brothers play at a 1963 prom at St. John's Indian School, a boarding school in Laveen, just south of Phoenix. The band members (from left) are brothers Daniel Joaquin, Fernando Joaquin and Angelo Joaquin Sr.


***

History of the Waila

Waila is the O'odham word for dance and refers to the social dance music rooted in the desert of southern Arizona.   Previously known as the Papago or Pima Indians, the O’odham comprise two main groups: Tohono O’odham or Desert People and the Akimel O'odham or River People.  Originating in the south with the Tohono O'odham and thenSaxaphone spreading north to the Akimal O'odham, Waila music is now considered the traditional social dance music of the O'odham. Pronounced why-la, it is a hybrid of popular European polka and waltzes with a variety of Mexican influences mixed in. It originated in the 1800's and comes from the word "baile" which is Spanish for "dance".

Waila bands are made up of an accordion, alto saxophone, electric six-string, bass guitar, and drums and play all-night feasts.  Waila performances traditionally last from sundown to sunup without the musicians repeating a tune.  The music is often performed at weddings, birthdays, feasts and other celebrations.  Dancers move counter-clockwise around the dance floor doing a waila, also known as "chicken scratch".   It began as acoustic Tohono O'odham music and absorbed the influences of German immigrants, Spanish missionaries, and Norteño music.

The dances that accompany this music tradition are also a blend European influence with a Native mix. There are five common styles: 1) the waila, which is like a polka dance, 2) the chote (comes from a folk dance from Scotland or Germany), 3) the mazurka (a Polish folk dance), 4) the watersaw (redowa or redova - a Bohemian dance in three quarter time, an older form) and 5) the newest form, the cumbia (which originates from Colombia but came to the AccordionO'odham via Mexico).  O'odham dance waila in ways that connect with older ceremonial music and dance traditions in addition to long-standing cultural values.  Dancers move with a smooth gliding motion using more of a walking-step instead of the hopping steps associated with vigorous European polka-dancing. The O'odham way seems designed to conserve energy when dancing in the blazing sun or in the lingering evening heat of the desert.

The Cisco Band and the Joaquin Brothers are two legendary bands in the history of Waila. Waila has always been viewed as “traditional” music of the O'odham despite using instrumentation of European origin. Often Waila dances are held in conjunction with ceremonial dances, both finding their proper places at the important gathering of the Tohono O'odham.

The basic rhythmic scheme behind the music is solid and simple. There are no showy flashy improvisational guitar or lead instrument solos just the driving drums, bass and guitar chop behind a lively and simplistic melody often with a close harmony played by the other lead instruments either another saxophone or the accordion.


source


19.5.15

Shuffle your feet to the beat: Waila!

 
The Cisco Band
and
The Joaquin Brothers
  
Popular Dance Music Of The Natives Of Southern Arizona 
2009

Tracks:

Tracks 1-12 were recorded and originally released in 1975 as Canyon Records LP 
The Cisco Band - Popular Dance Music of the Indians of Southern Arizona.
Francis “Cisco” Enriquez (saxophone), Marvin Enis (accordion and guitar), David Narcho (drums), Frank Joaquin (guitar), and Leroy Martinez (bass Guitar).

01. Mountain Chair (2:27)
02. Where Were You Last Night? (3:43)
03. Love My Life (3:28)
04. Why Not? (3:17)
05. Marsa (3:16)
06. How About Queen's Well? (3:31)
07. Trophy (3:32)    
08. Did You See? (2:42)
09. Felipe (3:24)
10. Who Knows? (4:10)
11. Like It Was (2:21)
12. I Remember (3:21)


Tracks 13-24 were recorded and originally released in 1975 as Canyon Records LP  
The Joaquin Brothers Play Polkas and Chotis.
Daniel Joaquin (saxophone & accordion), Fernando Joaquin (saxophone), Leonard Joaquin (bass Guitar), Angelo Joaquin (guitar) and Jerome Joaquin (guitar).
 


13. La Pachuca Polka (2:00)
14. Hohokam Choti (2:01)
15. Hohokam Polka (2:45)
16. You Are My Sunshine Polka (2:01)
17. El Changolaso Choti (2:22)
18. Estamos En Texas Polka (2:29)
19. No Sabemos Polka (2:31)
20. El Ebanto Choti (1:42)
21. La Pecosita Polka (2:30)
22. Never On Sunday Polka (2:02)
23. Corazon Corbarde Polka (2:33)
24. La Mañana Choti (2:21)


Total Time: 68:12

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 The Cisco Band and the Joaquin Brothers are two legendary bands in the history of Waila, popularly known as "Chicken Scratch". The energetic dance music of the Native peoples of southern Arizona, Waila features the intertwining melodies of saxophone and accordion propelled by the rhythms of guitar, bass and drums. Playing the Polkas and Two-Steps that are hallmarks of the Scratch sound, these two renowned bands exemplify this innovative confluence of music from Tohono O'odham and European culture.

The third installment in the Canyon Waila Classics series. Features the digitally remastered debut recordings from two of Waila's most legendary bands. Shuffle your feet to the beat of the Joaquin Brothers' You Are My Sunshine Polka.

***
  
 The Origins Of Waila

Written by Jamison Mahto, Spirit Bear Productions
     
Tonight I ride with Canyon Records release of The Origins of Waila loaded to the I-pod and it’s perfect for the ride through downtown as Hennepin Avenue is an ocean of motion. A river of people on the street looking for the dream that lies hidden in the yearning eyes of the street corner preachers and poets on a Saturday night and I’m riding toward the light of the dance hall for a night full of legendary flirtations and mythical surprise. And I think of Sandy.

The Cisco Band and the Joaquin Brothers are two legendary bands in the history of Waila, popularly known as ‘Chicken Scratch’. The energetic dance music of the Native peoples of southern Arizona.

Waila has always been viewed as “traditional” music of the Tohono O'odham despite using instrumentation of European origin. Often Waila dances are held in conjunction with ceremonial dances, both finding their proper places at the important gathering of the Tohono O'odham.

The first half of this CD features 12 lively and up-tempo songs by The Cisco Band consisting of Francis “Cisco” Enriquez (saxophone), Marvin Enis (accordion and guitar), David Narcho (drums), Frank Joaquin (guitar), and Leroy Martinez (bass Guitar).
...

The Cisco Band plays a style reminiscent of every polka band that I’ve ever heard, not that I’ve actually listened to that many, but I have some experience with two step waltzing and polka’s from elementary school.

The basic rhythmic scheme behind the music is solid and simple. There are no showy flashy improvisational guitar or lead instrument solos just the driving drums bass and guitar chop behind a lively and again simplistic melody often with a close harmony played by the other lead instruments either another saxophone or the accordion. The norteno influence is clearly evident.

The second half of the CD is 12 songs by The Joaquin Brothers featuring Daniel Joaquin (saxophone & accordion) Fernando Joaquin (saxophone), Leonard Joaquin (bass Guitar), Angelo Joaquin (guitar) and Jerome Joaquin (guitar).
 ...

There seems to be a closer connection with the Norteno style of music in this band’s material and it sounds more traditional as indicated by the fact that most of the titles are in Spanish slang lingo.

Two songs, Hohokam Choti and Hohokam Polka, refer to an ancient paleo-Indian culture. Hohokam (ho-ho-KAHM) is one of the four major prehistoric archaeological traditions of what is now the American Southwest. Hohokam is a Pima (O’odham) word used by archaeologists to identify a group of people that lived in the Sonoran Desert of North America.  The two saxophones trade licks on the verses, play harmony on the choruses.

There is nothing maudlin or grief-stricken about this music. This is a real good time. I never thought I would listen to Polka and like it. It must be a sign that I'm getting older. This is back in the day when things were simpler. This sound is the sound of home and I ride with it in my head and my heart. Now if only my legs would cooperate.

Sandy loved to schottische. Oh she knew how to polka waltz and mazurka but the schottische was Sandy’s move.  Sometimes we go in a horrible stupid accident or degenerative debilitating disease, yet the end is always sudden.  The thing that I understand is that there are lots of polka bands and they don’t do no ballet in heaven and Sandy schottisches around in the clouds right now with the fire still burning brightly behind those eyes and a smile. Hey, Sandy save the next one for me.


 and get your own copy: