Project Kalinda Funded by MacArthur Grant
TAECENTER
for Black Music Research has
received a grant in the amount of $112,460
from the John D. and Catherine T. MacArthur
Foundation. The funds, to be provided over
two years, will support Project Kalinda,
including lecture-demonstrations and
performances of Ensemble Kalinda Chicago,
Afro-Latin and Afro-Caribbean acquisitions
for the CBMR Library and Archives, public
exhibition of project-related materials,
production and distribution of Kalinda!
newsletter, and augmentation of the Center's
program staff.
Ensemble Kalinda
True to Spirit of
Latin American Beat
[JANUARY 27,19951 The debut of a serious and
scholarly musical ensemble does not typically
inspire cheering, shouting and whistling from
the audience.
But Ensemble Kalinda Chicago, which
made its bow Thursday night in the Getz
Theater, on East 1lth Street, is anything but
typical. Its eight players specialize in neglected
works of the Caribbean and Latin America,
from Cuban dances to traditional Brazilian
song-forms to Puerto Rican ceremonial pieces.
The great appeal of this ensemble,
however, lies not so much in the novelty of its
repertory as in the authenticity of its
performances. Consistently, Ensemble Kalinda
honors the stylistic requirements and historical
demands of the music while dispatching it with
a freshness and a spirit that one might sooner
expect to hear from an indigenous street band.
Little wonder, then, that Ensemble Kalinda
Chicago seduced general listeners and
connoisseurs alike during Thursday night's
(Reprint courtesy of the Chicago Tribune)
Ensemble Kolinda Chicago. Seated (lefr m righrJ Paulo Garcia.
Carlor Eguis-Aguila. Sfnnding (Iefl lo righr): Edwin S6nche~
JosC Smingo. Luiz Ewerling, Henry Solgodo, Kenny Anderson.
Mik Rivera
show. The feat seemed all the more impressive
considering the band has been in existence less
than half a year and has given only a couple of
preliminary performances leading up to
Thursday's official debut.
L i e the Black Music Repertory Ensemble,
Ensemble Kalinda is a venture of the Center
for Black Music Research, a nationally noted
institution based at Columbia College,
Chicago. But while the Black (continued on 3)
2
SPRINO
95
Toward Community:
Project Kalindu, Its Purpose and Goals
BY S
m A. FLOYDJR.
DIRECTOR,
CBMR
k p d o f
nosiddm
cW'req-
THISSECONDISSUE of Kalinda! follows two
very successful programs designed to foster
intimate musical and intellectual ties among
Latino, West Indian, and African-American
communities in Chicago. The first, entitled
"From the Mandinga to the Mambo: African
Rhythms in Latin Music," was held on
September 24 at the Columbia College Dance
Center. The second was a January concert in
which our Ensemble Kalinda Chicago
appeared jointly with Sones de M6xico
Ensemble and Son del Barrio. Recognizing
that the pursuit of our goal requires musical,
cultural, and intellectual interactions that build
mutual respect, effective communication, and
lasting relationships, we think the September
and January events were a signifcant step in
the right direction.
Building an audience
Another goal of Project Kalinda is to build an
audience for its cultural activities-a diverse
I
y*
MIXVINm
I
-
~.
A
E Z
Assistant Director, Centerfor Latino Research
DePuul University
..
audience with a working knowledge of LatinAmerican, Caribbean, and African-American
musics and their connections. It is the
as&mption of the project that the programs
created and sponsored by Project Kaliuda will
build such an audience, which will be well
prepared for future and larger events of Project'
Kalinda.
This publication, Kalinda!, serves as
another means of fostering the goals of the
project, containing as it does articles that
provide information about the African roots of
present-day Latino and West Indian musics.
The CBMR hopes thereby to facilitate the
understanding of contemporary manifestations
of African-based musics through howledge
and familiarity with the historical manifestsand distinctive elements
tions of the
of varieties of musics of the Americas.
We take this opportunity to thank all who
have attended and participated in our events.
And we ask that you continue to support our
effort by spreading the news about the
activities of Project Kalinda.
PROJECTKALINDA'Sefforts to develop
scholarship pertinent to the African music of
the Americas will serve to illustrate how
African peoples and their cultures have
persevered in the face of physical and cultural
genocide over the past five hundred years.
%le racial repression throughout most of the
Americas has prevented the recognition of
African cultural influences, this project will
represent one more effort toward celebrating
this rich and valuable heritage.
Music is the most universal of all languages.
Througb it we can experience how much we
really have in common. Project Kalinda is a
window of opportunity for both Latin Americans and African Americans to appreciate their
common heritage through music.
EVARETO RODRIGUEZ
Segundo Ruiz Belvis Cultural Center
PROJECT
KALINDAopens the discussion on
the issue of black music, which is badly needed
in our community. The project will create unity
and, in a sense, a common identity in the Americas and the rest of the world. (continuedon 3)
Music Repertory Ensemble specializes in
music by black composers, Ensemble Kalinda
explores specifically Latin contributions to the
black musical canon.
In other words, because African slaves
were taken not only to North America but to
sites throughout Latin America and the Caribbean. unique Afro-Latin and Afro-Cuban music
sprang up in these regions. Ensemble Kalinda's
mission is to revive these musical traditions and
to show their links to such Afro-American
idioms as jazz, blues, gospel and so forth.
The links were apparent even in this
premier performance, whether in the gently
Voices (continuedfmm 2)
TSEHAYE
HEBERT
President of the Board
African American Arts Alliance
TaANg YOU for thinking of us
as you
progress with Project Kalinda The work of
the Advisory Committee and the Center for
Black Music Research is vastly important to
the ongoing scholarship in black music. We
wish you much continued success!
TIFFANIFRAZIER
Chicago, Illinois
1JUSTGOT the Kalink' newsletter and it's
really great and extremely important. As an
African American, I used to think (when I was
evening's works or in the specific rhythmic
motifs and riffs that defined particular works.
Sure the four-square, pre-swing meter of
"Las alturas de Simpson," a tum-of-the-century
Cuban dance piece, bore obvious similarities to
the pre-swing march forms of tum-of-thecentury New Orleans. And the five-note
rhythmic motif that defined "Loreta," a
merengue from the Dominican Republic,
suggested a close relationship to the ostinatos
of music from African antiquity.
The evening also included sirong
performances by Sones de Mexico Ensemble
and Son del Barrio.
~
~
a kid) that although Latin Americans, African
Americans, and Caribbean blacks might share
some commonalities, we were extremely
distinct populations that really didn't mix in
any significant way. I now know much
better-from school and working politically
with people of these communities.
A. NODAL
ROBERTO
Shorewood Wisconsin
I HAVE JUST received my copy of the
Kalinda! newsletter. I fmd it excellently
produced, containing absolutely wonderful
and fascinating material. Excellent job!!
:I
i rrLpum!
A.
,
.
A
*
THE ikluc.4~M ~ U E N C Eupon the music of
most of what is now called Latin America is
demonstrated in the negrito, a type of
villancico. Its text and music speaks to us in a
living language about the confrontation and
assimilation of diverse cultures during the
sixteenth and seventeenth centuries.
The Villancico
-
MPnynegritaS
-sKdaR
ot-&
Afikmllirnlm
andthewed
thns pm7idilIg
illale
hdarmebionabaa
Afikmlmnsic and
dslreastheyeame
to~Ameliea
The term ''villancico" is
derived from the Spanish
word for "rustic" and was
first applied to poetry of
the mid-fifteenth century.
During the sixteenth
century, the villancico
became a favorite song for
many voices. Its texts
were joyful and frequently
referred to Christmas. The
villancicos of this period
are usually popular in sty1e and rhythmically
energetic; their musical form often reflects the
poetic structure of their text. Their middle
sections, called coplas, feature contrasts
between solo and ensemble passages and
thinner textures. One of the best-known
villancicos of this type is "Riu, nu, chiu,"
which comes from the Cancionero de Upsala,
a collection of songs published in Venice in
1556.
As in the case of many Spanish cultural
forms, the villancico quickly became popular
in Latin America'
the viuancicos of the
mother country, those of Latin America were
intended for the feasts of Christmas and
Corpus Christi. Parades, pageants, or even
dances conferred color and drama on these
celebrations. Increasingly, villancicos were
for the feast Of Christmas and were
entitled "Villancicos de Navidad." By the
eighteenth century the term villancico almost
always implied a Christmas composition.
The Negrito
During the seventeenth century a particular
type of villancic~variouslycalled negro,
negrito, guineo, or negrilla-appeared in large
ENRIPUE
ALBERTO
Arias is director of Am Musica
Chicago.
numbers in Latin America. As these names
imply, this type of villancim is special because
the texts mix Spanish and dialect, with frequent
references to Africa. Many of these villancicos
were composed for Christmas, and most
feature such African-derived elements as callresponse
-patterns and intricate osciIlations
between duple and triple
rhythmic groupings.
The negrito grows out
of the tradition of cofadfa,
or a brotherhood formed to
fulfillparticular religious
and benevolent purposes.
Many of these brotherhoods
had exclusively black
membership and provided
the participants an
opportunity to socialize and
do good works. These
brotherhoods often put on
colorful pageants for the Christmas and corpus
Christi events that the villancicos marked.
Music played a central role in these religious
events by highlighting the meaning of the
particular occasion as well as by giving the
members a chance to perform. Because of the
nature of such confraternities, lively villancicos
rather than complex liturgical polyphony were
apropos.
The negrito provides background on the
membership of these cofradias because of the
spec*c references persons of African
descent. Some negritos tell of a young black
man giving a gift to Christ, which leads to a
charming account of the gift's origins or the
reason for its presentation. Occasionally, texts
are nostalgic, implying .that the speaker,
although apparently content with his new
surroundings, has not forgotten the place from
which he came. Many songs make specific
references to African dances and the use of
percussion, thus providing invaluable
information about African music and dance as
they came to Latin America.
The l q e number of negritos found in
Latin American sources implies that Africans
quickly became an important part of Latin
American society, a society characterized by
racial diversity. Because of the high mortality
rate of the Indians, Africans took their places
on estates, in mines,and in other work places.
Thus, large concentrations of blacks were
found as early as the sixteenth century not only
in the Caribbean region but also in Mexico,
Peru, and Brazil.
Readers who mag be interested in hexing
examples of the negrito will find two
charming examples on a recent recording by
the Boston Camerata entitled Nueva Espaiia:
Close Encounters in the New World;
15904690. 'Dame albriqia" by Gaspar
Fernandes (c. 1570-1629) begins with the
following text:
Dame albrigia mano Anto
que Jisu nace en GuSnea.
Una lunguya y viejo su pagre son
yebarnos le culagion.
(Hear the good news, brother Anthony,
that Jesus was born in Guinea of a virgin and
old man.Let us bring him something to eat.)
This negrito alternates solo, duet, and full
ensemble in rapid fashion. Slower rhythmic
values underline the narrative, which is
followed by a rhythmically more active duet
for the upper parts.
The second negrito on this recording,
'Tar& tarad" Antonio de Salazar
(c. 1650-1715). featum short phrases for the
two upper voices which move to repeated
cadences supported by a bass line. The
infectious rhythmic pattern of the opening
dominates the piece and highlights the refrain.
The text refers to dancing in Puerto Rico and
Camemon, implying that specific African
dances were common in Latin America by the
end of the seventeenth century. The style of
this example suggests that the genre is rich in
individuality and that composers looked at
each negrito as intimately related to its text
and the challenges it offered
These two examples show the power of
the African influence on the music of colonial
Latin America. Above all else, negritos are
musically interesting and challenging and
deserve to be better known.
Latin and Caribbean
Recordings Held at
the CBMR Library
General
Afica in America. Corason MTCD 11517.
African and Afro-American D m . Folkways
FE 4502.
The Best of Both Worlds. Rykodisc RCD
30298.
Blanco y Negro: Hispanic Songs of the
Renaissance fmm the Old and New World.
Klavier KS-450.
Caribbean Dances. Folkways FW 6840.
Caribbean Folk Music, VO~.-I.Folkways FE
4533.
CaribbeanIsland Music. Nonesuch H-72047.
Caribbean Rhythms. Folkways F W 8811.
Cohen, Joel, and The Boston Camerata. Nueva
Espaiia: Close Encounters in the New
World, 1590-1690. Erato 2292-45977-2.
Gloeden, Everton. The Clnssical Guitar in
Lmin America. Inter-American OAS-012.
In Praise of O d and Other Gods: Black
Music of South America. Nonesuch
H-72036.
Lafin American Choral songs. Inter-American
OAS-009.
Leonard de Paur Chorus. D m k , Calinda!/
Latin American Songs/A Choral Concert.
Cassette.
(continued on 6)
MARCOSS u m , a musician andgraduate of Columbia
College, is rhe assisfontlibmrian of the CBMR U b m v .
All rea,*
at the CBMR
Library and
Archives
are available
for tistening.
AreqnM
r e a , ~ i ¶
retrieved Born
played for the
patron in one
of two^
earrelswim
headphones
Recordings (continuedfrom5 )
-
Z
-
I
-.
Nonnan, Ruth. An Anthology of Piano Music
by Black Composers. Opus One 39.
Roberts, John Storm. Black Music of 'liuo
Worlds. Folkways FE 4602.
Salsa: Musical Examples. White Cliffs ISBN
0-941677-19-2. Cassette.
Salsa Session WH MCWH 29999 RM.Casseae.
Santos, Turbio. Latin-American Classicsfor
Classical Guita,: Musical Heritage Society
MHS 1445.
Singers of the National Dance Theatre
Company of Jamaica. TraditionalSongs of
the Caribbean. Inter-American OAS-005.
The Spirit Cries: Music from the Rainforests of
South America and the Caribbean.
Rykodisc RCD 10250.
Thomas,Michael Tilson. Tangazo: Music of
Latin America. Argo 436 737-2.
Voices of the Americas. World Music Institute.
Eight-cassette set.
Wagner, Roger. Festival of Early Latin
American Music. Eldorado S-1.
_. Latin American Musical Treasuresfrom
the 16rh 17rh cadl8th Cenauies Qdnado 2
WestIndian Spirituals and Folk Songs. Musical
Heritage Society MHS 1515.
a u k . CD accompanying Zouk: World Music in
the West Indies, by Jocelyne Guilbault.
Chicago:UniveAy of ChicagoRess, 1993.
Guthrie, Gwen. Gwen Guthrie. Island 90004-1.
Portrait. Island 90082- 1.
Library of Congress. "Dig My Grave," "Round
the Bay of Mexico," 30wline"r'Sail, Gal,"
"Hallie Rock," "Bimini Gal." LC AAFS
-.
The Real Bahamas, @hamIT.Nomu& H-72078.
Religious Songs and Drums in the Bahamas.
Folkways FE 4440.
Roberts, John, and Frederick McQueen.
Bahaman Ballads and Rhyming Spirituals.
Folkways FS 3847.
Spence, Joseph. The Complete Folkways
Recordings, 1958. Folkways CD SF 40066.
-.
Folk Guita,: Folkways FS 3847.
-. The Spring ofSiay-Five Rounder CD 2114.
Belize
Mr. Peters Boom and Chime. Haul up Your
Foot. You Fool. Fire Ant FACD 1006.
_.
You Better Belize it! Fire Ant FA 1001.
Cassette.
The Spirit Cries: Music from the Rainforests of
South America and the Caribbean.
Rykodisc RCD 10250.
Trqiitional Music of the Garifuna (Black
Carib)of Belize. Folkways FE 403 1.
Brazil
Afro-Brazilian Religious Music. Lyrichord
LLCT 7315. Cassette.
Afros e Afoxis da Bahia. Mango 539 893-2.
Amaz8nia: Festival and Cult Music of Northern
' Brazil. Lyrichord LYRCD 7300.
M a , John. The Music of Santeria: The Om
del lgbodu. White Cliffs Media ISBN O941677-22-2. Cassette.
Bkndeng6. Bendengd. Brazilian Popular Music,
[seriesnj, vol. 10. cbiinentall.07.405.221.
The Best of the Bossa by Brazil's Best.
Monument SLP18074.
BeMnia, Maria Talismii. Brazilian Popular
Music [series El,vol. 2. Philips 6328 302.
Brazil-Roots-Samba. Rounder CD 5045.
Brazil: Forrd. Rounder CD 5044.
Brazilian Popular Music, [series I ] vols. 6-8.
Continental 1-54-404-002; Tapecar LPPWOOI; Tapecar LP-PF-002.
Brisil enfire: Batucadas et musique du
nordesteBrazilian Folk Festivities:
Batucadas and Music of the North-East.
Playasound PS 65098.
Byrne, David, comp. Beleza Tropical: Brazil
Classics I. Luaka BopIWmer Bros. 9
25805-2.
_, comp. 0 Samba: Brazil Classics 2.
Luaka BopISire 9 26019-2.
Carnival in Rio. Olympic 6144.
Coelho Neto, Marcos. Maria mater gratiae
(hino a 4). Mestres do barroco mineiro
(sdculoXVIII). Philips 6747 3 14.
Gil, Gilbexto. Nightingale. Elektta 6E-167.
and Jorge Ben. Gi6Jorge. Verve 314 512067-2
Gomes, Antonio Carlos. I1 Guarany. Voce48.
-. Lo Schiavo. Voce-39.
Gomes da Rocha, Francisco. Novena de nossa
-
Senhora do Pilar. Mestres do barroco
mineiro (sdculoXVIII). Philips 6747 314.
Gonzaga, Luiz. Asa branca. M6dia 7 GLO
137 1400.
In Praise of Oxald and Other Gods: Black
Muric OfSouthAmerica Nonesuch H-720%.
0 s ~ u o sCharasfmnr
.
BmziL Nunbus M 1422
Jungle Rhythms. Olympic 6150.
Lobo de Mesquita, Jose Joaquim Emerico.
Antifona de nossa senhora. Mestres do
barroco mineim (skculoXVIU)). Philips
6747 3 14.
.
Missa en mi bemol. Mestres do bamco
mineim (s6culoXVLU). Philips 6747 314.
Luiz, Nonato, and T15lio Mourlio. Carioca.
Milestone MCD-9214-2.
Maria, Tania. Piquant. Concord CJP-15 1.
MM
e Elegibo. 0539 855-2
Mestres do barroco mineiro (sdculoXVIII).
Philips 6747 314.
Nascimento, Milton Courage. A&M 064 608%.
-. Milton. A&M SP 4611.
-. Sentinela. Brazilian Popular Music
[series II], vol. 9. Ariola 201 610.
Nunes Garcia, J o d Maurlcio. Mntr'nas de
f i d o s . FunarteLP 3.56.404.018.
-. Mktodo de pianofone do comptndio de
mlisica. Funarte LP 3-56-404-01 1.
__. Requiem Mass. Black Composers
Series, vol. 5. Columbia M 33431.
Olodum. Revolution in Motion. World Circuit
WCD 031.
Parreira Neves, Idcio. Credo. Mestres do
barroco mineim (skculoXVIII). Philips
6747 3 14.
Quinteto Negro. Qw?etoNegm. JZthuicB 6146.
Ribeiro, Roberto. Fala meupovo. Brazilian
Popular Music [series
vol. 5. EM1
Odeon 31C 062 421208.
Samba Session: Baiiio, Afoxk, Bossa Nova,
Fond, ee.WH MCWH 30000RM. Cassette.
Sulsbriick, Birger. Latin American Percussion
2: Brazilian Rhythm Instruments. WH
Rytmisk Bibliotek KWH 29822l2 RM.
Cassette..
-. Latin American Percussion 3:
Cuban and Brazilian Rhythms. WH
Rytmisk Bibliotek KWH 2982213 RM.
Cassette.
a,
Carriacou.
See Grenada
Cayman Islands
Under the Coconut nee. Original Music
OMCDO25.
Colombia
Afro-Hispanic Music from Western Colombia
and Ecuodox Folkways FE 4376.
Cumbia cumbia 2: Lh clpoca doraah de
cumbias colombianas. World Circuit
WCD 033.
Durh, Alejandro. Alejandm Durcin interprets
a Escalow Cantos vallenatos. Fuentes
D16097.
In Pmise of Oxald and Othei Go&: Black
M u r i c ~ M A m e r i c aN~oesuch
.
H-72036.
Meza, Lisandro. 'Lisandro's Cumbia ':
Sabanem King of Colombia. World
Circuit WCD 026.
Toto la Momposina. Colombia A.S.P.I.C. X
55509.
Costa Rica
Calypsos: Afro-Limonese Music of Costa Rica
Lyrichord LYRCD 7412.
0 0 D
3
A
L
m
A
I
4riicm~Amrricm5
,!ufin-Amcriws and
Caribbean Music6
hemclioas
-0
1995
CBMRQT*PP
Dincror
S m e l A. Floyd J
Associate Directo
and C~)rdbwmr
of Pu6?ip&
I
W h a J. k i w r
Cosrdinofor of
Pmgram
Morris A. Phibbs
tibrarim andArcht
Suzanne Flandresa
Pmjm C o o r d i ~ ~ i
Carlos Plores
Assisral~tM the Arckr
Marem Sueiro
Pnblicariom Speciorrsr
TRV. Ford
I
GRI&C Designn
Aiie
Cillwae'en
019% Axie Ereel
Cuba
Azpiazu, Don. Don Aqoiazu. Harlequin HQ
CD 10.
Brouwer, Leo. The Classics of Cuba. Musical
Heritage Society MHS 3839.
Cachao y su Orquesta. Descargas cubanas.
Maype CD-122.
Caliente=Hot:Puerto Rican and Cuban
Musical Expression in New York New
World NW 244.
Candido. Candido. ABC-Paramount ABC125.
_. Drum Fevex Polydor PD 5063.
_. Latin Fire. ABC-Patamount ABC 286.
Celina y Reutilio. Rezos y canros guajims.
Ansonia HGCD 1392.
Chappotin. Chappotin y sus estrellas. Antilla
CD-594.
I
(continued on 8)
Copies of ffiIW,an
.Vnif&le fneof charge.
To ~ s e i v your
e im or
roinfmmusofachangc
af acW5s, send your
name and illlmess to
Kdindal
Centa for
Black Music Researclr
Columbia CoIlege
1 600 S. Michigan Ave.
Chicago. lL
-
Recordings (continuedfrom 7 )
artides about the
black music of the
Indiesand Latin
Cuban Counterpoint: History of the Son
Montuno. Rounder CD 1078.
The Cuban Danzdn: Its Ancestors and
Descendants. Folkways FE 4066.
Cuervo, Caridad. Hoy canto a Cuba. Orbe
ARS 17025.
D'Rivera, Paquito. Paquito D'Rivera Presents
40 Years of Cuban Jam Session. Messidor
15826-2.
Les danses des diem Ocora C 559051.
Fernhdez, Nohema. Caribbean Rhythmsfor
Piano. Protone PRCD 1107.
Guaguancd Vol. 2. AntiIla CD 595.
Idcae. The BestofImkez. ColumbiaCK57719.
. Irakere. Columbia JC 35655.
Isidr6n, Chanito, y Las Guitarras de Ojeda.
Ddcimas Guajiras. Rumba R-55554.
Cassette.
El jazz cubano. World Pacific CDP 0777 7
80599 2 9.
Jungle Rhythm. Olympic 6150.
Le6n. Tania. Indigena. Composers Recordings
CD 662.
Machito. Mwho macho. PabloPACD2625-712-2
Mendoza, Celeste. Cuba. A.S.P.I.C. X 55516.
Muiiequitos de Matanzas. Rumba cdiente
88/17. Qbadisc QB-9005.
Patato. Masterpiece. Messidor 15827-2.
Puebla, Carlos. Cuba: Songsfbr Our America.
Paredon P-1018.
Puente, Tito. Master nmbalero. Concord
Picante CCD-4594.
Rico, Filiberto. Rico's Creole Band:
1931-1937. Harlequin HQ CD 31.
Roldsn, Amadeo. Ritmica No.1, for Wind
Instruments and Piano. Angel 35105.
. Ritmica V. Tangazo: Music of Latin
America. Argo
. 436 737-2.
.
Suite de "La rebambaramba." Tangazo:
Music of Latin America. Argo 436 737-2.
. Three Small Poems for Orchestra. J.
Valdes,A. Roldan, H. Villa-Lobos.
Melodiya 33 D 014563-64.
-. TWO Ritmicas. Concert Percussionfor
Orchestra. Mainstream MSl5011.
Rubalcaba, Gonzalo. Rapsodh Blue Note
CDP 7243 8 28264 2 2.
Sanfamda, Mongo. Mongo's Way. Atlantic SD
1581.
-. Red Hot. Columbia JC 35696.
. Upfmm the Roots. Atlantic SD 1621.
-. Ihe IWennelopr Man Milestone M-47012
Dizzy Gillespie and Toots Thielemans.
Summertime. Pablo Live D2308229.
Septeto Anacaona and Ciro Rimac. 1936-1937.
Harlequin HQ CD 27.
SeptWs cubanos: sones de Cuba. Corason
MTCD11314.
Sulsbriick,Birger. Latin American Percussion
1: Cuban Rhythm Instrumems. WH
Rytmisk Bibliotek KWH 2982211 RM.
Cassette.
.
Dominican Republic
Ah-Dominican Musicfrom San Crisfdbal,
Dominican Republic. FoIkways FE 4285.
Caribbean Island Music. Nonesuch H-72047.
Caribbean Revels: Haitian Rara and
Dominican Gaga. Folkways CD SF 40402.
Cmdle of the New World: Musicfrom the
Dominican Republic. Folkways FE 4283.
Expresi6n Joven. ;La horn estd llegando!/The
lime is Coming! Paredon P-1025.
Guandulito y su Conjunto Tipico Cibaeiio.
Me&ngues.W S A L P 1517.
Henriquez, Tatico. 20 Lxitos. Bachata B-6007.
The Island of Espafiola: Music from the
Dominican Republic. Folkways FE 4282.
The Island of Quisqueya: Music from the
Dominican Republic. Folkways FE 4281.
Merengwsfrom the Dominican Republic.
rylichordLLCT7351.~
Songsfrom the North: Music from the
Dominican Republic. Folkways FE 4284.
Viloria, Angel. Merengues, voL 3. Ansonia
ALP 1208.
DUkhAntilles.
See Netherlands Antilles
Ecuador
Afro-Hispanic Music from WesternColombia
and Ecuado,: Folkways FE 4376.
In Praise of Oxald and Other Gods: Black
Szndova/~.~(~m)CiffPGRD9761. Muric ofSouthArne& Nonesuch H-72036.
French Guiana
The Spirit Cries: Musicfmm the Rainforests of
South America and the Caribbean.
Rykodisc RCD 10250.
French West Indies
LesHarimBRouges. LesAdIes Hibiscus 11044.
Malavoi. L'autre style. CocoSound 88052-2.
Grenada
The Big Drum Dance of Carriacou. Folkways
FE4011.
Guatemala
Music OfGuatemah,WL 2. Folkways FE4213.
San Lucas Band. Music of Guatemala. ABC
COMS-9001.
Guyana
Dahlia. Chants traditionnels. Bleu Caraibes
82819-2.
Ti SClks. Ti Sil2s. Poli Disc 397514. Cassette.
Traditional African Ritual Music of Guyana.
Folkways FE 4238.
Haiti
Atis Indepandan. Ki sa pou-n fe?/U7har Is 80
Be Done? Paredon P-1031.
Augustin, Frisner. The Drums of Voudou.
White Cliffs ISBN 0-941677-46-X.
Book trade edition, Cassette.
Calypso-Meringues. Folkways FW 6808.
Caribbean Island Music. Nonesuch H-72047.
Caribbean Revels: Haitian Rara and
Dominican Gqga Folkways CD SF40402.
Cuevas, Lolita. Haitian Folk Songs Sung by
Lalita Cuevas. Folkways FW 6811.
Divine Horsemen: The Voodoo Gods of Haiti.
Lyichord LLCT 7341. Cawtte.
Dorival, Althiery. An Ba Tonelle. Mini
Records MRS 1072.
Drums of Haiti. Folkways FE 4403.
Duroseau, Fabre. Haitian Piano with Fabre
Duroseau. Folkways FW 6837.
Folk Music of Haiti. Folkways FE 4407.
Jean-Baptiste, Nemours. Mu8ical Tour of
Haiti. Ansonia HGCD-1280.
Jungle Rhythms. Olympic 6150.
Lamothe, Ludovic. Danza Number Four. An
Anthology of Piano Music by Black
Composers. Opus One 39.
Magnum Band, La Seule Difference. The Best
in Town. TIDA.
Meringue. Corason COCD 107.
Meringues and Folk Ballads of Haiti.
Lyrichord IbX3T7340. cbselte
Pasquet, Dadou. Islam . . . ~ a o d i Makers
e
MMICD- 1021.
-. Live at ~erklie!TIDA/Burkelan 1001.
Sicot, Weber, Ensemble. Haitian Merengues.
Ansonia ALP 1281.
Tabou Combo. 8th sacrement. Mini Records
MRS 1044.
-.Anthology
Vol. N (1979-1986). Mini
Records MRSD1019.
Voodoo Ceremony in Haiti. Olympic 6113.
Voodoo Trance Music: Ritual Dnuns of Haiti.
LyrichordLU3T7279.c%em.
Honduras
The Black Caribs of Honduras. Folkways FE
4435.
Jamaica
Abyssinians, The. Satta Massaganu. Heartbeat
CD HI3 120.
Alexander, Monty. Jamento. Pablo 2310 826.
Bennett, Louise. Jamaican Folk Songs Sung
by Louise Bennett. Folkways FP 6846.
Black Slate. Black Slate. Alligator AL 8301.
Black Uhunr. Chill Out. Island IL 9752.
Bongo, Backra and Coolie: Jamaican Roots,
Volume I. Folkways FE 4231.
Bongo, Backra and Coolie: Jamaican Roots,
Volume 2. Folkways FE 4232.
Burning Spear. Live. Island ILPS 9513.
. Living Dub. Volume One. Heartbeat CD
HI3 131.
Caribbean Island Music. Nonesuch H-72047.
Cliff,Jimmy. Give the People What They
Want. MCA-5217.
-. In Concert, The Best of Jimmy Clig
RepriseIWamer Bros. MS 2256.
ihe H& They Come. Mango SMAS-7400.
(continued on 10)
.
Recordings (continuedfrom 9 )
-.
U n l m W a r n e r Bms. MS 2147.
Drums of Defiance: Jamaican Maroon Music.
Folkways SF CD 40412.
Grant, Eddy. Killer on the Rampage. Portrait
B6R 38554.
.
My Turn to Love you. Epic JE 36522.
IrmaCircle. Everythhg is Greot.IsLvldILPS9558.
Intensified! Original Ska 1962-66. Mango
MLPS-9524.
John Crow Say: Jamaican Music of Faith,
Work and Play. Folkways FE 4228.
The Kmg Kong CompiMon Mango MLPS %32.
Kingston Town: 18Reggae Hits. Heartbeat CD
HB 82.
Lititz Mento Band Dance Music and Working
SongsfromJ&a
Weltmusik SM 1512-2.
Marley, Bob. Chances Are, Cotillion SD 5228.
.
Kaya. Island ISLPS 9517.
-.
Legend: The Best of Bob Marley and The
Wailers. Island 90169-1.
_. Live. Island ILPS-9376.
-. Nany Dread. Island ILPS 9281.
. Survival. Island ILPS 9542.
-.
Uprising. Island ILPS 9596.
Mighty Diamonds, The. Right E m . Vugin PZ
34235.
Mowatt, Judy. Look at Love. Shanachie 43087.
Pamgam, The. The Paragom. Mango MLPS %3 1.
Reggae Sunsplash Live. MCA MCAD-10706.
Riley, J i i y . t$&nDriven Mango MLPS 9671.
Roots of Reggae. Lyrichord LLCT 7314.
Cassette.
Rudies AU Round Rude Boy Recorrlr 1965-1%7.
Trojan CDTRL 322.
Shabba Ranks. Rough and Ready, Vol. 1. Epic
EK 52443.
Skatalites, The. Scattered Lights. Top-Deck
CDB 1000.
The Spirit Cries: Music from the Rainforests of
South America and the Caribbean.
Rykodisc RCD 10250.
Third World. You've Got the Power: Columbia
FC 37744.
Toots and The Maytals. Funky Kingston. Island
ILPS 9330.
Tosh, Peter. Bush Doctor. Rolling Stones COC
39109.
-.
Equal Rights. Columbia 34670.
.
-.
Mama Africa EM1 SO-17095.
Mystic Man. Rolling Stones COC 39111.
Wailers, The. Catch a Fire. Island SW-9329.
Wailing Souls. Wild Suspense. Mango MLPS
9523.
Watch How You Flex!: More Reggae Dance
Hall Killers. Shanachie 45002.
Lesser Antilles
Vifstindien: Smd Antillem. Caprice CAP
2004.1-2.
Martinique.
See French West Indies
Mexico
Santana, Carlos. Lotus. CBS 66 325.
_. Greatest Hits. Columbia JC 33050.
Netherlands Antilles
T m b a , Cuarta and Ka'i. Original Music OMC
202C. Cassette.
Panama
Cordem, Roque. Concerto for Violin and
Orchestra /Eight Miniatures. Black
Composas Saies, voL 4. Columbia M 32784.
-.
[Duo Sonata?]. Delphin and Romain at
Fisk University Chapel. Cassette.
-.
Quintet for Flute, B-jkl Clarinet, Eolin,
Cello and Piano. Turnabout TV-S 34505.
Perez, Danilo. The Journey. Novus 63166-2.
Street Music of Panama. Original Music
OMCD 008.
D
O
.
.
.
.
1 c1.m
Chocolate. Peru's Master Percussionist.
Ly;ichordLYRCD 7417,
Pllel'tQRico
B-,
Ray. Taboo. Chmrd Picante CCD-4601.
Caliente=Hot: Puerto Rican and Cuban
Musical Expression in New York New
World NW 244.
Canaria y su grupo. P h . Ansonia HGCD1232
Fefita La Grande. Todos 10s hombres son
buenos. Jos6 Luis CDJLR-160.
Morel Campos, Juan. Bellos ojos. An
Anthology of Piano Music by Black
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-. Danzas puertomqueiias. Caribbean
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Palmieri, Eddie. Palmas. Elektta Nonesuch 9
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Pleneros de la 21, Los, and Conjunto Melodfa
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Puerto Rican Music in Hawai'i. Folkways CD
SF 40014.
Rodn'guez, Pete. I Like it Like That (A mime
gusta ad). Alegre SLPA 8550.
Sanchez, David. The Departure. Columbia CK
57848.
Son del Barrio. Son del Barrio. AVL94156CD.
St. Lucia
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Folkways CD SF 40416.
The Spirit Cries: Music from the Rainforests of
South America and t& Caribbean.
Rykodisc RCD 10250.
Trinidad and Tobago
Calypso Calaloo. Rounder CD 1105.
Cult Music of Trinidad. Folkways FE 4478.
Lord Invader. Calypso with the Lord Invade,:
Folkways FW 6914.
%
The Music of Trinidad. National Geographic
3297.
The Native Steel Drum Band. Steel Drum3
Everest 2064.
Sir Lancelot. Trinidnd is Changing. Heritagc
HT321.
Soca Session. WH GR 30136K. Cassette.
Spiritual Baptist Music of Trinidad. Folkways
FE 4234. '
Trinidad Panharmonic Orcbtra. Steel Band.
Folkways FW 6865.
West Indian Folksongs for Childrrn.
Scholastic SC 7744.
St.Thomas. See Virgin Islands
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Venezuela
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Adams, Alton Augustus. Spirit of the U.S.
The Creole Music of Surinam (Dutch Guiam).
Folkways FE 4233.
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CBMR001.
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America: The Golden Age of.the American
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94 Calypso and Brass: Collage. Brown Sugar
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Regenerated Singers. Let's Go Forward. R.S.001314629 92.2CD.
Rising Stars Youth Steel Orchestra. On Tour
with the Rising Stars Youth Orchestra.
Temtorial Court CAS0004. Cassette.
Under the Coconut Tree. Original Music
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Unique Touch. No lime for Second Best.
CAR0010.
The Music of Venezuela. High Water LP 1013.
Virgin Islands of the United States
0 ' .
Muiiequitos (continuedfrom 14)
Ministry of Culture.
During the July 1994 visit of the
Muiiequitos de Matanzas to Chicago, I had an
opportunity to interview Mr. VilladaresPombo. The excerpts that follow are taken
from our intemiew.
CARLOS
FLORES:
How and when did the
Muiiequitos begin to incorporate certain
aspects of Yoruba religion into their show?
ARMANDOV~LADAUFS-POMBO:
The religious phase
of the Muiiequitos' show began when I became
involved with the group in 1989. I indicated to
the group that the rumba had become very
sophisticated around the world and that in
order for the group to go out of. Cuba we had to
develop a spectacular show that would include
the various forms of the original rumba as well
as a program that demonstratedthe Yoruba
religion. We wrote a program called "Patalcin,"
which translates to the legends and history of
the African ancestors. In 1989 the group
incorporated the bata and abakwi drums.
Abakuii societies were exclusively male
htemal organizations brought to Cuba by the
Carabali slaves from Nigeria. (Bata drums
come directly from the Nigerian Yoruba people
who were brought to Cuba during the slave
trade. The bati are double-headed drums used
primarily for religious purposes. They are
similar in shape to an hourglass, with each
head being a different size and pitch.)
CF: To what do you attribute the preservation
of the African religion, music, and culture in
Cuba, that is, Yoruba religion,
Abakd
.
societies, and so on?
AW: There is at least one secret as to why the
Cubans have maintained and preserve their
African traditions for over four hundred years,
and even today the music is being played in the
same manner it was brought by African slaves
several centuries ago. The secret is that it has
been passed down from fathers to sons,
generation after generation. For example, the
province of Matanzas has two neighborhoods
that have maintained these African musical
traditions; one is called Simpson, and the other
is called La Marina. Havana has Belen;
Santiago has Barrio Losollo. If you were to
walk in these neighborhoods, you would think
you were in Africa.
The Muiiequitos were visited by the
Ambassador of Nigeria at the Provisional
Museum in Matanzas, Cuba, and the
Muiiequitos performed the Yoruba program of
their show. The Ambassador was delighted with
the performance and commented that the
Muiiequitos had transplanted him back to
Nigeria and that the Yomba demonstration was
identical to what the African ancestors brought
from Africa. The Ambassador also commented
that this music is no longer being played in the
same manner in Nigeria.
CF: Since its inception, has there ever been any
hostile or discriminatory action by the majority
of the society against the rumba?
A&: The rumba originated in Matanzas in the
earlier part of this century. In some respects, the
rumba was considered a taboo, especially when
it was associated with the African religion.
Cuba was predominantly Catholic, and the
Church prohibited the practice of other African
religions. There were laws passed in the 1930s
and 1940s prohibiting rumba playing. These
laws were strictly enforced by the police to
repress any conga-drumming associated with
the rumba. In the 1950s rumba playing was
permitted in various neighborhood outdoor
parks, but never in theaters or at high society
functions. Since 1959, the rumba is allowed to
be played throughout Cuba. Today, the music of
the Muiiequitos is heard in all of Cuba's best
concert halls.
CF: Why has the role of women been limited or
non-existent in rumba playing? Why have the
Muiiequitos incorporated some women to
participate in their performance?
AVP: When the Mufiequitos began, there were
eight men and no women. Women began to be
incorporated in the group when the need arose
to actually dance the rumba. One of the
characteristics of the rumba are its dances,
especially the guaguanco, where the male
to maintain many of the
rich cultural traditions
handed down by their
African ancestors. The
Muilequitos de
~ a & is one of the
many artistic p p p s in
the Americas that have
presewd the language,
religidn, music, and
dance of our AEcan
ancestors.
Discography
The following is a
partial listing of the
recordings made by the
Muilequitos de Matanzas.
pursues the female and tnes to possess her. In
the yambu, the fundamental of the dance is
that the female is showcased more than the
male. lbenty-seven years ago, Diosvaldo
Ramos became the fwst dancer of the
Mufiequitos, but there was a need to have a
female dancer to accompany him in the
dances. That is how Ana and Vivian were
incorporated in the group. In rumba groups or
groups that practice Yomba religion, there a k
no women percussionists. In the YON^^
religion women are not allowed to play the
baa drum; the impediment of not allowing
women to participate in the drumming rituals
came from the mandates of the religion.
Over four hundred years ago, Afiicans
were introduced to the Americas through the
cruel institution of slavery. Today, many
descendants of African slaves have managed
-
Cantar Maravilloso: The Rumba Originals.
Globe Style Records CDORB 053,1990.
Reissue.
Guaguanco: Con Papin y Sus Rumberos.
Antilla Records 565.Reissue.
Guaguanco/ColumbidKmnbu.Vit~alRecords
277,1989.Reissue.
Gugraneo: Volume 2. Antilla Records 595,
1993.Reissue.
Rumba Caliente 8&/77.Qbadisc Records
QB-9005,1992.
Oyelos de Nuevo. Qbadisc Records QB-9013,
1970.Reissue.
Congo Ymnbumba Qbadisc Records
QB-9014,1994.
BY CARU)SFLOW
THE RUMBA,according to Larry Crook,
writing in Latin American Muric Review, is a
secular danceImusic/poetic expression that
during the colonial time.
The Mnfiequitos de Matanzas, Cuba's
critically acclaimed twelve-member drumming
and dancing ensemble, is a group that
specializes in playing the rumba. According to
ArmandoVilladares-Pombo, the group's artistic
director, the Muiiequitos de Matanzas began its
career in 1952. As dock workers in the
CARLOS
FMRESis coordinatorof Project Knlndn at the
Centerfor Black Music Research. He has aho designed
cultrrml pmgrnms for orher organizntiomandschools.
province of Matanzas, the
members would gathet in "I3
Gallo Bar," located in a
neighborhood called Marina
One day as they were drinking
in the bar, the jukebox was
playing a son (one of the oldest
Afro-Cuban musical forms) by
Arsenio Rodriguez, and they
began to follow the music by
beating on tables, glasses, and
bottles. Viadares-Pombo states
that ''people were so astounded
with the rhythms being created
by their playing that someone
suggested starting a group, and
the rest is history."
Initially, the group was
called Guguanco Matancero.
Their first album, recorded in
1953, included a song about a
character in the newspaper
funnies. The album became such a hit that
people began calling them the Mnfiequitos de
Matanzas (funny figures from Matanzas). The
group has recorded at least tweIve albums.
Since the 1950s. several of the original
members have been replaced, the majority of
the new members are related to their
predecessors. Today, the group continues to
perform the classic rumbas: yambu, columbia,
and guguanco (three dominant styles of rumba
music). The group also presents "Patakin," a
performance that preserves the religious music
and dance of the Yoruba, one of the primary
groups from West and Central Africa imported
to Cuba.
Armando Vinadares-Pombo was
responsible for researching and writing the first
'Tatakin" for the group, which resulted in
performances in England, their first trip outside
Cuba Before ioinine, the Mufiepuitos de
Matanzas, & Viadares-porn& worked as an
actor, radio personality, and writer. For the last
twenty-three years he has spent most of his time
(continued on 12)
w&g
for Cuba's