La flauta zapoteca

 

Grupo Biniguenda
Sones Zapotecos de Juchitán
1998
Tracks:

01. Nisiaaba Ne Bapu
02. Estomago Vacio
03. Pitu Nisiaab
04. El Perro Del Diablo
05. Danza Del Tigre
06. Bere Xhiga
07. Son Telayu
08. Viejo Lucuxu
09. Muchacha Cara Fea
10. Anastasia
11. Semana Santa
12. Xmale Guzina
13. Guzee Benda
14. La Mareña
15. La Llorona
16. La Ultima Palabra
17. Bigose Guixi'

Personnel:

Flauta: Germán López López
Redoblante: Feliciano Luis López
Bombo: Cecilio Santiago Castillo
Carapacho: Virgilio Luis López
Redoblante: Ramiro Martínez Vázquez

  

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Sones Juchitán Zapotecos
by: Rene Villanueva

The Zapotec people of Oaxaca have developed and preserved a culture of strong personality and distinctive. One of them is language. Despite the common origin, they differ by geography variants that are up to six or nine, according to the authors who classified. His tonal language status (tone of voice determines the meaning of the word) makes this language has a musical sound. While he has received many Spanish loans, has retained its strong structure basically unwritten language preserved by oral tradition. However poetry and songs are composed and until recently has started her writing.

 

Juchitán is an important center of Zapotec culture, preserved and transmitted by its inhabitants speak mostly of the ancient language than Spanish. Tracing the flute or whistle Zapotec heard in the field recordings in 1965 with the strong support of the painter Francisco José Raúl Hellmer Toledo made the masters of the flute Don Lopez and Isidro Melesio Regalado, wanted to assess how much the tradition was preserved after more than thirty years he had done his research. The agaves that he met and recorded as dead, so the question was valid. Fortunately for us, awareness and appreciation of their culture with the people Juchiteco now allows us to enjoy this tradition through the transmission is maintained through generations.

The transmission of culture as a value which we pass from one to another generation, a fundamental guarantee for the peoples: identity and roots, which are not incompatible with progress and changes that each season brings, but on the contrary, allow how to select the elements of these changes to assimilate when they go in the sense of history and feel of each town and not the result of external imposition of so-called modernity are but the old tactics of dispossession and subjection to hegemonic powers with ideology archaic but equipped with technologies developed. Thanks to that cultural transmission, the young musician Heberto Torn Juchitán introduced me to his flute master Don Germain López López, who agreed to be recorded part of his vast repertoire.

  

Don Germain says: "The traditional Zapotec flute with eight holes, six up, one down and one back. Special reeds are used longer, to accommodate the holes and the nozzle. Now scarce the reed, because it cleared the river after Cyclone flooding Paulina.'re growing some but are very short and does not reach out a flute. The reeds grow in the most mountainous part of the river, where there are more trees. As long sticks In the air, so there grows, there is growing longer the joints. They are in a part that tells isunaa, Paso Cruz. For all this part near the village, most were not. I also makes drums and flutes. The drums that do not are parts, the body is one piece of guanacaxtle, a very fine wood, hollowed out with gurbia. There are still some of that wood, because it reaches the mill and takes it all. The straps are frijolillo and is leather tie deer or goat, the patches are also goat. There are drums of different sizes. It used to be played with one drum pore now use the bass or drums, and is heard more beautiful. The sticks are all wood. It touches with a tortoise shell and given to deer. It is played here. The huaves play with different shells and their music is different. "

The reed flute is Juchiteca seven holes, six in front and one back, which has peak mouth air duct is made of wax. Is adapted to Western notation, but by crafting the pitch and tone are in most cases approximate and are resolved at the discretion of performing musician. It is not intended rigor and accuracy of tuning of an instrument of conservatory, suffice to allow playing the traditional repertoire. The traditional set called Piter yaa to play the sounds or sounds authentic Ismene accompanying the flute has two double patch drums, one big drum and bass sound or other acute or snare sound. A tortoise shell hammered with two deer antlers complete the envelope and give the set a rich tone. The shell is involved along with two drums on the old tunes that Don Germain called pre-Hispanic and retain more features and elements Zapotec Indians. The two drums acompaflan to traditional tunes, many of which agaves have been adapted for the flute, as are those who dance at parties, as Anastasia, The Marena. La Llorona, etc.

This recording is the way of gratitude, knowing and recognizing the beauty of the music of the Zapotec people, as well as a fitting tribute to the art of Mr. Germain López López, master of the flute.

translation amigo google ; )

♥

Son con corazón...

  

Corason

...diez años son.
2003

Tracks:

01. Si las mujeres tocaran tres - Eliades Ochoa y el Cuarteto Patria
02. Esas no son cubanas - Septeto Nacional
03. El Sancho - Banda La Michoacana
04. Despierta joven - Eulalio Gallardo
05. Almendra - Rubén González y su Orquesta
06. An Ki Façón - Van Lévé
07. El tiempo - Juanita Ríos y Andrés Castillo
08. La media calandria - Los Tiradores de la Nueva Italia
09. El Conde de Tamarindo - Eneida y Joaquín
10. La chica de mi rosal - Cuarteto Oriente
11. Pulque para dos - Conjunto de cuerdas de Apizaco
12. La Huasanga - Los Camperos de Valles
13. El Caimán - La Tumbita Criolla
14. El son te llama - Orquesta Baobab
15. Quiero estar cerca de ti - Las Hermanas Ferrín
16. Tot Taraful - Taraf de Haidouks

  

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Discos Corasón celebrate the labels' first 10 years with a CD that brings together 16 previously unreleased tracks, each with a special story behind it.

There is an uncensored guaracha that reveals Eliades Ochoa's tremendous sense of humour, a live track from a now legendary concert that Ruben Gonzalez gave in Mexico in 1998; deep country music from Panama and Cuba; Mexican son and brass band music, amongst other musical jewels that have never been previously available on CD.

 

CORASON

 

♥♥♥

¡Baila!

  

Daniela Mercury

Swing Tropical
1999

Tracks:

1) O Canto Da Cidade
2) Nobre Vagabundo
3) O Reggae E O Mar
4) So Pra Te Mostrar
5) Minas Com Bahia
6) Voce Nao Entende Nada
7) Rapunzel
8) Swing Da Cor
9) Rede
10) Batuque (Ta No Batuque)
11) O Mais Belo Dos Belos (A Verdade Do Ile) O Charme Da Liberade
12) A Primeira Vista
13) Musica De Rua
14) Pais Tropical (Brasil)

      

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  Daniela Mercury is one of the most popular modern Brazilian artists, a champion of the swinging Bahian axe style, which mixes Afro-Brazilian samba with rock, pop, reggae, soul and Caribbean influences. Throughout the 1990s, Mercury was the style's superstar, a dynamic interpreter of this new dance music.

***

Brazil is rich with musical heroes, past as well as present, and Daniela Mercury is one of them, for she was the premier axé performer of the 1990s, with a goddess-like standing in Salvador da Bahia. This is because that northeastern capital city is ground zero for axé, a uniquely Bahian style that is generally described as a fusion of samba, reggae, and rock, with some Caribbean rhythms thrown in for good measure. It's a relentlessly upbeat, highly percussive style of music that is the open-air soundtrack of Carnaval da Bahia and that came to be in the mid-'80s, with Luiz Caldas' "Fricote" cited as its dawning moment. Mercury, more than anyone, popularized axé internationally. Her breakthrough hit, "Swing da Cor," from her self-titled debut album, was one of the most popular songs in Brazil during 1991, and her follow-up effort, O Canto da Cidade (1993), was a national phenomenon. The first Brazilian album to top a million in sales, O Canto da Cidade continues to sell today, regardless of its outdated production standards. Following massive hits such as "Swing da Cor," "O Canto da Cidade," and "Musica de Rua," which established her as perhaps the most popular Brazilian performer of the early '90s -- and certainly the most popular Bahian, rivaling only Marisa Monte nationally -- Mercury eschewed the synthesizers and other such commercial glitz from her early albums, and she proceeded to record what is generally agreed upon as her masterpiece, Feijão com Arroz (1996). The album is a touchstone achievement for axé, featuring hits penned by renowned songwriters such as Carlinhos Brown ("Rapunzel"), Márcio Mello ("Nobre Vagabundo"), and Chico César ("À Primeira Vista"). In subsequent years, Mercury began experimenting with various inflections of axé, drifting for a while deep into electronica, and her fan base dwindled accordingly -- except in Bahia, that is, where she remained infallible. After some years in the commercial hinterlands, Mercury staged a grand comeback with Balé Mulato (2005), a remarkable return to form that echoed the greatness of Feijão com Arroz.

Born Daniela Mercuri de Almeida Póvoas on July 28, 1965, in Salvador, Bahia, she grew up in a middle-class family in the Brotas neighborhood. Her father, Antônio Fernando de Abreu Ferreira de Almeida, is of Portuguese descent and immigrated to Brazil as a child, whereas her mother, Liliana Mercuri, is of Italian descent. She has four siblings: Tom, Cristiana, Vania (also a successful singer, billed as Vania Abreu), and Marcos. Daniela began to study dance at age eight. Inspired by Elis Regina, she decided to take up singing, too. Her repertoire consisted of bossa nova as well as the music of Caetano Veloso, Gilberto Gil, and Chico Buarque. To the unease of her parents, she began singing in local bars, beginning in 1980. She made her trio elétrico debut soon afterward, during Carnaval da Bahia 1981. Mercury's zeal for dance eventually led her to the Federal University of Bahia, where she enrolled in the school's dance program in 1984. A year later she became a mother, giving birth to Gabriel Almeida Póvoas, and a year after that, she welcomed into the world another child, Giovana Almeida Póvoas. Mercury continued to pursue a career in music nevertheless, and at one point during the late '80s, she sang backup vocals for Gilberto Gil. In 1989, she formed a pop band, Companhia Clic. Besides Mercury, the bandmembers included Rudnei Monteiro (guitar), Raul Carlos Gomes (drums), Jonga Cunha (percussion), Marcus Sampaio (bass), and Sérgio Henrique (keyboards). Companhia Clic recorded two self-titled albums for Eldorado Records before Mercury went solo, recording Daniela (1991) for the same label and attaining her first taste of success.

Fusing together primarily samba, reggae, and pop/rock, Daniela is a logical extension of the Companhia Clic recordings. It's a relatively bland album, marred by outdated synthesizers, yet it does boast "Swing da Cor," her first bona fide national hit. Other noteworthy songs on Daniela are "Todo Canto Alegre," written by Carlinhos Brown, himself a future superstar, and also "Geléia Geral," written and originally performed by Gilberto Gil during his formative years. The success of "Swing da Cor," which was among the most popular Brazilian songs of 1991, opened many doors for Mercury, among them those of Sony, which promptly signed her to a major-label recording contract. Her debut for Sony, O Canto da Cidade (1992), produced by Liminha, was an impressive leap forward artistically from her previous album. A celebration of Salvador, O Canto da Cidade became a sensation, propelled by its chart-topping title track. Not only was O Canto da Cidade the first Brazilian album to top a million in sales, but it remains her best-selling album to date, with millions of copies sold -- and it continues to sell today.

Amid all of the fanfare surrounding the milestone success of O Canto da Cidade, Mercury kept pushing her career forward. She toured extensively in 1993, playing her first international show, at the Ritz in New York City, that April. She also went about recording a follow-up album, Musica de Rua (1994), again produced by Liminha. A video for the title track, recorded in a Portuguese as well as a Spanish version, was filmed in New York City. Mercury wrote about half of the album's songs herself, and Brown notably shows up again as a songwriter, with "Folia de Rei." One of the songs, "Sempre Te Quis," a ballad written by Herbert Vianna, became a telenovela theme. Overall, Musica de Rua was yet another step forward artistically for Mercury, even if it didn't sell as well as O Canto da Cidade, and with her next album, Feijão com Arroz (1996), she continued her strides of improvement, to the point of masterpiece.

For Feijão com Arroz, her most ambitious album yet, clocking in at 16 songs, she turned to the leading MPB songwriters of the day (as well as some old ones, namely the duo of Antônio Carlos e Jocafi), including not only Brown, who turns in two songs here, but also Chico César, who penned "A Primeira Vista." This song in particular stands out on this album of many highlights. Chosen as the theme of the telenovela O Rei do Gado, "À Primeira Vista" became a towering hit, lodging itself at number one on the singles chart for weeks on end. Brown's "Rapunzel" was another big hit, its popularity extending all the way to Europe. "Vestido de Chita" includes a cute guest vocal from her daughter, and "Minas com Bahia" is notable, too, as it features Samuel Rosa, the lead vocalist of the popular band Skank; the two sing a song of unity, with Rosa representing the state of Minas Gerais while Mercury reps Bahia. Indeed, the album's title, Feijão com Arroz (Beans and Rice), alludes to this theme of unity, particularly racial (i.e., black and white), and this theme is illustrated with the album's stark cover images. Produced by Alfredo Moura, Feijão com Arroz is a clear departure from her previous albums. Above all, there's far less commercial gloss, from the aforementioned cover images, which are serious whereas her past ones had been glitzy, to the absence of synthesizers and other pop/rock flourishes, with an emphasis instead on dense samba rhythms. Sales of Feijão com Arroz were impressive, an improvement over those of Musica de Rua, for sure, and almost on a par with those of O Canto da Cidade; in fact, with the album now considered a masterpiece by most, it sells at such a pace that it will likely become her best-selling album in the long run.

Mercury embarked on an international tour in support of Feijão com Arroz, performing in both Europe and the United States. Thanks in part to the critical acclaim for the album, she was warmly received most everywhere she went, especially in Portugal and France, where her recent singles had charted. Her shows no doubt impressed audiences unfamiliar with axé, as the emphasis of the concerts is as much on the "show" as it is on the music itself. Mercury is known well for her ability to dance almost constantly while singing, not so much as stopping to catch her breath or take a drink of water. Her energy level is incredible and often remarked upon. Moreover, she's classy. Granted, she often dresses scantily and is beautiful as well as sexy; however, she intends no titillation, never flaunting herself, and presents herself as a strong woman thrilled to be on-stage singing and dancing for an audience. Recorded in Salvador in August 1998, Elétrica (1999) showcases one such performance. Beginning with the title track, one of seven new songs on the album, Mercury blazes through her hits, beginning with "Swing da Cor" and "O Canto da Cidade," and as she had on Feijão com Arroz, she does away with the synthesizer gloss of her early albums in favor of heavier percussion (one drummer and three percussionists). A few frenetic medleys show up toward the end of the performance, which closes with fierce renditions of Brown's "Rapunzel" and Gil's "Toda Menina Baiana."

Sol da Liberdade (2000) marked a new direction for Mercury. Helmed by a variety of producers -- Andres Levin, Will Mowat, Juan Vincente Zambrano, and most curiously Emilio Estefan, Jr., as well as Mercury herself -- Sol da Liberdade is more stylistically experimental than her past albums. The intention seems to be that the album should have a little bit of something for everyone, and indeed, even though the core style is axé, it's inflected in a number of fashions, especially in terms of beat-driven electronic music. Sol da Liberdade is no masterpiece, but it's certainly interesting to contemplate and is a lot of fun to explore. "Ilê Pérola Negra," one of the two Estefan productions, was among Mercury's biggest hits to date. Other highlights include "Groove de la Baiana," a popular song during Carnaval da Bahia 2001, and "Axé Axé," one of two songs written by Caetano Veloso. Sou de Qualquer Lugar (2001) continued Mercury's drift toward electronic music -- and thus away from the relative earthiness of Feijão com Arroz. Again, she employs a stable of producers -- Ramiro Musotto, Celso Fonseca, Marcelo Sussekind, and Cesário Leony, in addition to herself -- and pushes axé into new territory. In doing so, she was graced with songs by Lenine ("De Qualquer Lugar"), Brown ("Baiana Havaneira"), Márcio Mello ("Beat Lamento"), and Gil ("Quem Puder Ser Bom Que Seja"); she covers songs by Chico Science ("A Praieira") and Rita Lee ("Mutante"); and sings a few songs written by herself ("Aeromoça," "Ata-Me," "Nina"). Critics weren't too impressed, and her fan base evidently wasn't either. Consequently, Sou de Qualquer Lugar sold poorly; in fact, it was her least-selling new album to date, not counting her non major-label debut.

Mercury continued to struggle commercially in the years that followed, as her fan base seemed increasingly indifferent to her ever-changing styles. Eletrodoméstico (2003) seems promising enough in concept: stage a high-profile, star-studded concert for MTV, including new songs, old favorites, covers, and guest collaborations. Filmed at Castro Alves Theater in Salvador, the CD/DVD features guest appearances by Italian rapper Jovanotti ("Ive Brussel"), Brown ("To Remember"), flamenco-pop singer Rosario Flores ("Riqueza"), Portuguese singer Dulce Pontes ("Milagre do Povo"), and the band Olodum ("Umbigo do Mundo"). Moreover, Lenine wrote the title track, and some of the covers are well known: Veloso's "Baby" and Lenny Kravitz's "It Ain't Over 'Til It's Over." The sum of all this didn't equate to a successful album, unfortunately. If anything, Eletrodoméstico was a disappointment on all counts. The same could be said of Carnaval Eletrônico (2004), another collaborative album. Comprised of Brazilian electronica, it was overlooked by most non-Bahian consumers. On the other hand, though, the album opener, "Maimbê Dandá," yet another Brown song, was a big hit in Bahia, especially at Carnaval da Bahia 2004. Also overlooked was Clássica (2005), a live CD/DVD recording that features Mercury covering MPB standards.

To the delight of longtime fans, Balé Mulato (2005), marketed in partnership with EMI in Brazil, for Mercury and Sony had previously parted ways, was her grand return to form. An axé album though and through, without any digressions or experimentation whatsoever, the sure-fire Balé Mulato harks backs to Feijão com Arroz. From the packaging, which boasts a photograph of Mercury looking defiant at the Beija Flor de Nilópolis samba school in Rio de Janeiro's Baixada Fluminense district, to the music itself, Balé Mulato is wholeheartedly Bahian and Carnaval-esque. There is no electronica nor any international crossover intentions; rather, it's an album intended to rally the base. "Topo do Mundo" and "Levada Brasileira," the album's opening tracks, were arguably her best work since "Ilê Pérola Negra," from Sol da Liberdade, if not her best since Feijão com Arroz itself. Also impressive, "Olha o Gandhi Aí" enjoyed a rapturous reception at Carnaval da Bahia 2005. "Pensar em Você," a show-stopping ballad by Chico César, seems intended to revisit the majesty of "À Primeira Vista," from Feijão com Arroz, which he'd written a decade earlier. Furthermore, Mercury is graced with a standout song by another renowned songwriter from her past, Márcio Mello, who contributes "Toneladas de Amor," and there are bold reinterpretations of Brazilian favorites by Toquinho e Vinicius ("Meu Pai Oxalá") and Ary Barroso ("Aquarela do Brasil").

The acclaim showered upon Balé Mulato revived interest in Mercury, who had been written off by some as a has-been, and she reveled in the limelight. To kick off the album's release, she presented a gala performance at Carnaval da Bahia 2005 and filmed it. The resulting release, Baile Barroco (2006), was billed as the first DVD recorded exclusively on a trio elétrico. The performance itself was a celebration of 20 years of axé music, including numerous guest appearances, and in a duet with Luiz Caldas, Mercury celebrated this anniversary with "Fricote," the 1985 song of his that is cited by some as the first axé song. In the wake of Carnaval, she put together a traveling stage show and embarked upon a long international tour. A performance from the tour was released on CD and DVD as Balé Mulato ao Vivo (2006). This series of events and releases in support of Balé Mulato constituted a triumphant comeback for Mercury. Granted, she'd remained adored in her native Bahia, even during her rocky stretch that began in 2001 with the commercial disappointment of Sou de Qualquer Lugar, but beyond the nucleus of Salvador, her popularity had dissipated as she abandoned the style of music that had brought her so much success in the 1990s. Hence the rising chorus of critics looking back at Feijão com Arroz as her touchstone accomplishment. And so Balé Mulato revived hopes for further music from Mercury, and the uptick in album and ticket sales reflected this.  ~ Jason Birchmeier

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♥

 

Sones Istmeños

  

La tortuga

Sones Istmeños
1998
Produced by Eduardo Llerenas

Tracks:

01. La llorona - Los Hermanos Rios
02. El feo - Los Hermanos Rios
03. Son huini - Los Hermanos Rios
04. La Martiniana - Los Hermanos Rios
05. La petenera - Los Pergaminos
06. Bacanda - Los Pergaminos
07. La Petrona - Los Pergaminos
08. Admira - Los Pergaminos
09. Ni'bixi dxi ziña - Binni Gula´ Za
10. Simuna - Binni Gula´ Za
11. María - Binni Gula´ Za
12. Ra bacheeza - Binni Gula´ Za
13. Shuncu stinee - Binni Gula´ Za
14. Vieju lucuuxhu - Luis Sánchez
15. Griseyda amá - Luis Sánchez
16. La tortuga - Luis Sánchez
17. Ranchu gubiña - Los Andariegos
18. Sollozando - Los Andariegos
19. La Juanita - Los Andariegos

  

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Virtuoso guitarists - some famous, others unknown, sing, in Zapotec and Spanish, the love songs and laments that are amongst the great romantic compositions of Mexican music.

Third in the acclaimed series that presents the great masters of Mexican son, this CD reveals the musical heart of a proudly defiant culture. Vocals in the sones istmeños are profoundly emotional, charged with an infectious melancholy.

There is a rugged sweetness in the singing both in Zapotec and in Spanish.
  

 
This CD was recorded in the towns and villages of the Isthmus of Tehuantepec and brings together three groups as well as one duet and one solo artist. The musicians vary considerably in age and in their styles of playing, from the country style of Los Pergaminos to the deep roots of Vieju Lucccxhu and Binni Gula'za to the more sophisticated style of Hermanos Rios and the spectacular trio from Juchitan, Los Andariegos.
  

***
  

Un son muy conocido es La tortuga, canción popular que evoca la captura de tortugas y sus huevos en el Golfo de Tehuantepec. Originalmente en zapoteco, existen versiones en castellano.

Letra en zapoteco:

¡Ay, ay, bigu xhi pé scarú
jma pa ñaca me guiña dó
jma pa ñoo me ndani zuquii
nanixha ñahua laame yanna dxi!

Traducción al español:

Ay, ay, tortuga, qué linda
pero mejor en un mole
pero mejor asada en un horno
qué rico si me la comiera hoy!

 

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♥

Sones Jarochos

  

La Iguana

Sones Jarochos
1996
Produced by Eduardo Llerenas

Tracks:

01. La guacamaya - Trío de Mandinga
02. El cascabel - Trío de Mandinga
03. El ahualulco - Trío de Mandinga
04. La manta - Los Tiburones del Golfo
05. La sarna - Los Tiburones del Golfo
06. La bamba - Conjunto de Santiago Tuxtla
07. La María Justa - Daniel Cabrera
08. La culebra - Daniel Cabrera
09. Los juiles - Daniel Cabrera
10. La candela - Daniel Cabrera
11. El cupido - Ecos del Papaloapan
12. El pájaro cú - Ecos del Papaloapan
13. La tuza - Ecos del Papaloapan
14. El cascabel - Conjunto Tlacotalpan
15. El siquisirí - Conjunto Cosamaloapan
16. La morena - Conjunto Cosamaloapan
17. El canelo - Conjunto Cosamaloapan
18. La tarasca - Conjunto Cosamaloapan
19. El balajú - Conjunto Los Jarochos
20. El jarabe loco - Conjunto Los Jarochos
21. El pájaro carpintero - Conjunto Los Jarochos
22. La indita - Conjunto Los Jarochos
23. La iguana - Conjunto Los Jarochos

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 "A CD series featuring old and new practicioners of the traditional son, and its first offering is an irresistible collection of Sones Jarochos" TIME

  

***

From the Port of Veracruz down the Gulf Coast to the sugar town of Cosamaloapan and beyond, son jarocho bands play the furious percussive guitars and harps that have made this style a favourite throughout Mexico.

Presenting bands from the most rootsy to the most commercial, this collection is the first in a series of CDs that feature great masters of the eight different styles of Mexican son. Son jarocho, born of the blend of the region's African, Spanish and indigenous roots, is best known internationally for providing La Bamba in its original form. In this collection, the traditional repertoire is interpreted in styles that vary from the slick sophistication of Los Jarochos to the raw emotional power of Daniel Cabrera, a man in his nineties who plays the forgotten sones alone, accompanied on his jarana guitar.

All the selections on this CD are original, unedited recordings

 

  
What is the Son Jarocho?
  
"According to ethnomusicologist Daniel Sheehy, although the son jarocho repertoire consists of around  80 individual sones based on local themes, the jarocho musicians ability to improvise new harmonies, melodies, and verses, always makes the performance of one of these sones unique. Jarocho musicians always say that they never perform two identical versions of the same son."
 

♥

Sones Huastecos

   

El Caimán

Sones Huastecos
1996

Produced by Eduardo Llerenas
 
Tracks:

01. El caimán - Los Caporales
02. El apasionado - Los Caporales
03. El cielito lindo - Los Caporales
04. Las flores - Los Caporales
05. Las poblanitas - Los Cantores de la Huasteca
06. La huasanga - Los Cantores de la Huasteca
07. El tepetzintleco - Los Cantores de la Huasteca
08. El apasionado - Huasteco del ébano
09. La leva - Huasteco del ébano
10. El fandanguito - Los Cantores de la Sierra
11. La Cecilia - Perla Tamaulipeca
12. El sacamandú - Perla Tamaulipeca
13. La llorona - Esperanza Zumaya & Los Trovadores del Pánuco
14. La presumida - Esperanza Zumaya & Los Trovadores del Pánuco
15. Las canastas - Los Camalotes
16. Las flores - Los Camalotes
17. La presumida - Los Hermanos Pérez Maya
18. El llorar - Los Hermanos Pérez Maya
19. El bejuquito - Dinastía Hidalguense
20. La malagueña - Dinastía Hidalguense
21. El cielito lindo - Los Caimanes
22. Las conchitas - Los Caimanes

  

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 Second in the series that bring together the masters of Mexican son - from the most celebrated to the anonymous - El Caimán captures the intensity of the son huasteco, the haunting falsetto voices and the fury of the violin.

All over the Huasteca this is the music of parties and dances played by trios who win their public with astonishing solos and verses composed to fit the moment.

All selections are original, unedited recordings and many of them are irrepeatable since the collection brings together tracks recorded over more than 15 years of travelling to towns, villages and ranchos throughout the region, looking for the great unknown masters of this music.
  

source

 

  
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Son Huasteco

  

El Son de la Huasteca
Mexique

 
5 Trios de 

Ciudad Mante

Pánuco

Tamazunchale

Tampico

Ciudad Valles
2005

Tracks:

01. Soraima Y Sus Huastecos - Cascabel
02. Soraima Y Sus Huastecos - Tepetzintleco
03. Soraima Y Sus Huastecos - La Llorona
04. Soraima Y Sus Huastecos - Canario
05. Soraima Y Sus Huastecos - Fandanguito
06. Soraima Y Sus Huastecos - La Araña
07. Soraima Y Sus Huastecos - El Bejuquito
08. Los Hermanos Reyes - La Petenera
09. Los Hermanos Reyes - El Caiman
10. Trio Tamazunchale - El Zacamandu
11. Trio Tamazunchale - Cielito Lindo
12. Trio Tamazunchale - Huerfanito
13. Trio Tamazunchale - Perdiguero
14. Trio Tamazunchale - Querreque
15. Trio Tamazunchale - Presumida
16. Trio Tamazunchale - Las Flores
17. Trio Tamazunchale - Huasteca Triste
18. Trio Tamazunchale - Tamazunchalense
19. Trio Tamazunchale - Alma Huasteca
20. Los Caporales De Panuco - Las Poblanitas
21. Los Caporales De Panuco - Las Canastas
22. Los Caporales De Panuco - Las Chaparreras
23. Los Camperos De Valles - Las Flores
24. Los Camperos De Valles - El Gustito

  

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Son Huasteco is one of 8 Mexican son styles and is a traditional Mexican musical style originating in the 6 state area of Northeastern Mexico called La Huasteca. It dates back to the end of the 19th century and is influenced by Spanish and indigenous cultures. Usually it is played by a Trio Huasteco composed of a guitarra quinta huapanguera (a five course, eight stringed guitar-like instrument) a Jarana Huasteca (a stringed instrument related to the jarana) and a violin. Singers will often use the falsetto register. The son Huasteco is particularly noteworthy for its flamboyant and virtuoso violin parts, although the style varies from state to state. Two different dances are often danced to Son Huasteco: the Zapateado and the Huapango. Improvisation plays a strong role in the style, with musicians creating their own lyrics and arrangements to a standard repertoire.

Related genres are Son Jarocho and Fandango español.

wiki

  

Son Huasteco is party music played by groups made up of three musicians (known as Trios). The instruments these Trios employ are the Jarana (a small guitar), a huapanguera (a big guitar) and a violin. The violin plays the role that the harp does in the Son Jarocho, carrying the melody. Similarly, both styles use dancers to mark out rhythm. The wooden dance floor (Tarima) is arguably an additional instrument. Traditional zapateado dancers bang the floor with their boots and shoes in time with the rhythm – a phenomenon akin to tap dancing.

 

source

a lot more music : )

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Friends

  

Humberto Ramirez & Giovanni Hidalgo

Best Friends
1999

 
Tracks:

1. San Juan Ritual
2. Celebrando
3. Hasta Decir No Mas
4. A Puerto Rico
5. Clean
6. Herencia
7. La Perla
8. Best Friends

Personnel:

Humberto Ramirez : Trumpet
Giovanni Hidalgo : Percussion
Oskar Cartaya : Bajo Sexto
Papo Lucca : Piano
Horacio "El Negro" Hernández : Bateria
Carmen Luz Quiñones : Peinado

Special Guests:

Tito Puente : Timbales

and with a very special appearance by their fathers:

Humberto "Pipo" Ramírez on Tenor Sax
José "Mañegue" Hidalgo on Congas.

  

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For Humberto Ramirez and Giovanni Hidalgo, this recording was more than a mere opportunity to reunite in a studio. It was a 'reliving' process. For two humble individuals that were both born in 1963, in Old San Juan, that grew up together, this was a recording that ‘had’ to happen somewhere down the road. More than being childhood friends, their paths have had their turns and twists, but their bond has never been touched.

After close to a decade performing with his own group (the Humberto Ramirez Jazz Project), Humberto has developed his voice, direction and vision on the trumpet and has become a respected record producer in the process. In the mean time, Giovanni's congas and percussion have recorded Grammy nominated albums (‘Hands Of Rhythm’ with Michel Camilo) and performed with world named acts (Paul Simon and Mickey Hart, among them) around the globe. These experiences, blended with the commonality of their backgrounds and brotherhood were put to the test on this historic recording.

  

    

Latin jazz is generally hot-blooded music, but a quiet fire is maintained by the music of trumpeter/flugelhornist Ramirez and percussionist Hidalgo. Not that this is salsa light; far from it. The music sports a tempura-like crust: airy, simply melodic, and spicy, but not burning. The heat does come from Hidalgo on congas and timbales alongside the exciting drummer Horacio "El Negro" Hernandez, while pianist Papo Lucca and bassist Oskar Cartaya match Ramirez, step-for-calm, patient step. Just about every well established Afro-Cuban/Puerto Rican rhythm is heard during the eight cuts, five penned by Ramirez. "San Juan Ritual" sets the compact, non-threatening tone in mambo fashion. This piece and the easy cha-cha-cha "Celebrando" reserve space for Ramirez to trade fours with the Hidalgo and Hernandez cooking on timbales and drums. "A Puerto Rico" uses standard clave rhythm, closest to a 50/50 latin/jazz mix, the trumpeter's effortless lines recognizing the witty pianistics of Lucca before Hernandez steals the show with an incredible solo. "Herencia" and the title track relieves Ramirez of writing chores. The former features the hottest montuno piano on the date with other guest "best friends" Tito Puente on timbales, and the fathers of the leaders, "Pipo" Ramirez on a piquant tenor sax solo, and Jose "Manengue" Hidalgo on ripping conga drums. "Best Friends" is ostensibly a descarga between the co-leaders, Ramirez using sweet muted and non-muted trumpet to inform Hidalgo in various improvisational notions. Hidalgo wrote "Clean," a beautifully conceived, repeated piano chord sequence, heavy yet delicately balanced, based in part on the melody of "Summertime." He also penned "La Perla," a classic rumba with more repetition on the piano by Lucca, and lilting trumpet. A bomba or plena Afro-Rican motif with hints of "The Peanut Vendor," establishes with precise montuno piano "Hasta Decir No Mas," again with a percussion workout that is a common thread for the end of most bridges in these selections. There's a consistency of tempo heard throughout; nothing boils over, nothing gets too soppy slow, and nothing is boring or overtly copped. It's as if the intent is to simmer and bubble, an alluring technique that serves the participants and the listener well. A fine release from these expert musicians for the general latin-jazz public. Recommended. 

~ Michael G. Nastos

 

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I dedicate this post to all my friends out there and to YOU too :)

   

♥

¡Baila!

  

Pucho And The Latin Soul Brothers

Caliente Con Soul!
1999

Tracks:

1. El Niño Mambo (6:47)
2. Lena's Moods (4:19)
3. Cold Duck Time (5:03)
4. Ella's Groove (4:04) (!)
5. Happy Feet Mambo (5:31)
6. My Dream Boogaloo (Mon rêve boogaloo) (4:20)
7. Copacabana (5:26)
8. Alligator Boogaloo (4:58)
9. Laura (5:40)
10. Descarga on Las Palmas (6:19)

Personnel:

Marvin Horne (guitar);
Eddie Pazant (flute, oboe, saxophone);
Jon Hart (bass);
John "Mad Hatter" Spruill (piano);
Tyrone Govan (drums);
Johnny Griggs (congas);
Ernesto "Ernie" Colon (bongos);
Henry "Pucho" Brown (timbales).

Arturo Velasco: Trombone on cuts 4,7, 10
Antoine Caito: Baby bass and quinto on cut 10
Michale Turre: Flute on cuts 5 & 7, soprano sax on cut 7
Bobby Matos: Guiro on cuts 2, 6, and 10; bata on cut 10.

  

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"Caliente Con Soul" picks up where Pucho and His Latin Soul Brothers left off years ago: putting him at the top of the pile of current soul-jazz party bands. Pucho is the original and still the best.

***

Timbalero Henry "Pucho" Brown has for decades held onto the mantle of being at once underaccorded and fiercely open to integrating different musics atop fundamentally Latin and Cuban rhythms. He opened ears in the 1960s as part of the "boogaloo" movement (and here covers the great Lou Donaldson's "Alligator Boogaloo"), where he thrived. A New Yorker by birth, Pucho got his ears and chops from East Harlem, where Latin pop and jazz seemed to play together as two channels in a single stereo system. Organ groove jazz, hard bop, hardcore Havana traditional rhythms, all of it came together in Pucho's world, lending his recordings a tough, driving power. His 1990s resurgence reaches a peak on Caliente con Soul!, which has the audacity to blow through rhythmic riff-outs that would make James Brown proud and a sure-to-please revision of Barry Manilow's "Copacabana." Pucho is strong, quick, and intense on the timbales, which he pounds on as his band creates a mix of styles so well thought that it'll score with Cuban music purists and '90s dance culture equally.

~Andrew Bartlett

  

 

Pucho

♥

Bansuri in Nepal

Sunil Dev

The Music of Sunil Dev
2009

Tracks:

1. Improvisation 1
2. Improvisation 2
3. Improvisation 3
4. Improvisation 4
5. Improvisation 5
6. Improvisation 6
7. Improvisation 7

  

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Sunil Dev Shrestra is a young Nepalese flautist who is now 30 years old. His favourite flute is the bass reed flute (in F). His repertoire is that of Indian classical music. He plays north Indian ragas for traditional festivities and in the thousand-year-old temples of Bakhtapur. His first master and guru was Prem Autari, an internationally renowned Nepalese flautist whose own guru had been the Indian flautist Chaurasia.
    Since then, Sunil has been to France to play at the Nuits de Fourvière festival in Lyon in front of 3,000 people and then in Paris at the Paris Quartier d’été festival. Those who were lucky enough to be there still remember these concerts. At the first, Sunil, who was totally unknown, had an audience of less than a hundred people; by the fifth concert, there were more than a thousand people there. People followed him around like the Pied Piper of Hamelin.
    Since then, Sunil has been to Bombay to study for three years with the great master Prasad Chaurasia. Sunil has become a master himself.
    Sunil belongs to the Newar tribe. This tribe is very devout and practises a blend of animism, Hinduism and Buddhism. Sunil performs in temples at the incredibly lively Hindu festivals with his accompanist, Babu, the best tabla player in Nepal.
    What is interesting about these Nepalese musicians is that when they play this music in these places where it has been listened to for centuries, they give a new impetus to Indian music. Their energetic, rustic, sometimes naive performances give it a freshness, an emotion and an immediacy that the masters from Varanasi often lack. Sunil’s work helps us to understand how this north Indian classical music has been able to survive until the present day. Sunil’s music is important because it allows us to arrive, through him, at a better understanding of Hindu polytheism and Indian classical music.
    This is a very rare opportunity to see classical music performed in a traditional context that has not changed for hundreds of years. Raw and original. I went back to Nepal to record a whole album with Sunil.

- Martin Meissonnier -

get the cd here

Martin Meissonnier
  

space

Thank you for the music Arvind and not just for the music :)

♥
  

some more music from the roof :)

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Postcard from India