Caribbean Café - World Music Network

MUSICROUGHGUIDES
THE ROUGH GUIDE to
Caribbean Café
Caribbean travel brochures like to highlight the
world’s most picturesque beaches, seemingly
endless white sand, palm trees, crystal-clear
turquoise waters that are home to coral reefs
that could be part of a Jacques Cousteau
documentary. However, it is the music of the
region that has truly transformed the world’s
culture. Rhythms including Jamaican reggae,
dancehall and ska, Cuban son, mambo and
salsa, Trinidadian calypso, Martinican zouk,
a host of sounds from Haiti, and countless
other styles, have revolutionized music in
virtually every corner of the globe. How did a
string of relatively small island nations have
such a profound impact on global culture? The
music of the Caribbean has been shaped by
its turbulent history. It is the music of three
races: indigenous, African and European.
It reflects stories of colonization, slavery,
revolutions, dictatorships and perseverance
against insurmountable odds.
Christopher Columbus first arrived in the
Caribbean in 1492, an event that would herald
the transformation of the region into a slavedriven economy based on lucrative sugar
cane and other agricultural products. The
region is home to some of the most African
music in the Americas. In the United States,
there are only a handful of direct musical
and religious links to Africa. When slaves
arrived in the United States, ethnic groups
were immediately divided, with the goal of
squashing language and culture to make
uprisings more difficult. By contrast, in
places like Haiti and Cuba there were large
communities of African slaves from Dahomey
(present-day Benin) and Yoruba (present-day
Nigeria). As a result, even today, you’ll hear
versions of the same sacred songs to Orishas
(gods) including Shango, Yemaya and Elegua
in both the Caribbean and West Africa.
Some of the most traditional Caribbean
folk music can actually be heard in Central
America. Centuries ago, a slave ship crashed
near the Caribbean island of St Vincent, and
these Africans (and some escaped slaves
from nearby islands) lived in St Vincent for
generations, quickly mixing with the native
Arawak Indians. The Garifuna language is a
fusion of African tongues and Arawak and,
to this day, it is one of the only languages
spoken by Africans in the Americas that is not
a derived from a European language. In 1797,
after a war over land (to make room for more
tobacco and sugar-cane plantations), the
British exiled the entire Garifuna population
from St Vincent – first to Jamaica and later to
Honduras. Half of the 4000 Garifuna died in
the passage. Since then, the Garifuna spread
along the Caribbean coast of Central America
and have managed to preserve some of the
most authentic Afro-Caribbean folk music.
Meanwhile, Afro-Cuban son swept the
Caribbean’s largest island in the early part
of the twentieth century, blending Spanish
guitar rhythms with African percussion. By
the 1920s, groups like Sexteto Habanero
and Septeto Nacional were performing
internationally and recording for prestigious
labels in New York City. Those records quickly
reached remote places those bands couldn’t
tour and completely altered the global musical
landscape. The sound became the basis for
Congolese rumba. Later, Cuban salsa (rooted
in son) captivated Latin America.
Another genre that has swept the Caribbean
and beyond is the ‘sung newspaper’, two
famous examples of which are the Puerto
Rican plena and Trinidadian calypso. They
began in the days well before cable news,
even where printed papers couldn’t reach
remote parts of islands, with pleneros and
calypsonians bringing the news of the day
from village to village through song. Topics
would include everything from the latest
headlines, biting political commentary and
double-entendre-filled rumours that would
make even contemporary readers of gossip
magazines blush. Eventually, the British tried
to censor the genre, but by the 1950s, the
calypso rage had gone global. It was fuelled
by both Harry Belafonte’s release of the
classic ‘Banana Boat Song’ and The Mighty
Sparrow’s ‘Jean And Dinah’ (a story about two
prostitutes who used to frequent a US military
base in Trinidad). The calypso has since led to
offshoots, including soca (soul calypso) and
rapso (rap calypso).
Looking at the map, it seems logical
that you would find touches of calypso in
Venezuela; after all, the island of Trinidad
is just off Venezuela’s eastern Caribbean
coast. However, this isn’t the region of
Venezuela where you’ll typically hear the
genre – El Callao, near Ciudad Bolivar in
the southeastern part of the country, is the
centre of Venezuelan calipso. More than a
century ago, thousands of immigrants from
the eastern Caribbean came to this region in
a South American gold rush, and today their
descendants sing a unique version of calipso.
The lyrics are essentially Spanglish, with
rhythms from Trinidad as well as Guadeloupe
and St Kitts, but with Andalucian cadence and
chord progressions. Like its cousin in Trinidad,
the calipso in Venezuela is an essential part
of the carnival celebrations every February,
with huge floats, elaborate costumes, and
song and dance all day and night, in the days
leading up to Lent.
Censorship in Caribbean music hasn’t been
limited to the calypso: in the slave era, colonial
masters often banned African instruments
and practices. In the early days of the Cuban
son, dictator Gerardo Machado considered
the genre subversive, and began rounding
up soneros. In the Dominican Republic in the
1870s, moralist Ulises Francisco Espaillat
launched a failed political campaign against
merengue because he considered it a ‘corrupt
music’ and, during the 1930s, dictator Rafael
Trujillo brought rural Dominican culture into
urban areas (which he denuded of much of
its original political messages, in favour of
outright propaganda). Similarly, the Duvalier
dictatorship in Haiti tried to silence much
of traditional Haitian vodou in favour of the
innuendo-filled compas. Following the fall
of Baby Doc Duvalier in 1986, a new wave of
music called rasin (‘root’) swept the nation,
led by the group Boukman Eksperyans. The
style fused Haitian vodou with elements of
rock ’n’ roll, and was often filled with overtly
political messages.
One of the most influential, and also overtly
political, Caribbean genres has been
Jamaican reggae. The musical explosion
led by Bob Marley in the 1970s raised social
consciousness worldwide, and has played
an integral role in places as far apart as
Salvador de Bahia, Brazil, and West Africa. In
the twenty-first century, this trend continues,
as Caribbean artists create new sounds
that are raising political consciousness and
captivating audiences globally.
Les Caraïbes évoquent des plages de sable
fin à perte de vue, des palmiers, une mer
turquoise transparente, des récifs coralliens
dignes d’un documentaire de Jacques
Cousteau. C’est pourtant par sa musique
que cette région a profondément transformé
la culture mondiale: des rythmes comme le
reggae, le dancehall et le ska jamaïcains, le
son, le mambo et la salsa cubains, le calypso
de Trinidad, le zouk de la Martinique, les
nombreux styles haïtiens et bien d’autres
genres, ont révolutionné la musique dans
pratiquement tous les pays du monde.
Comment ce chapelet d’îles relativement
petites a-t-il pu avoir un impact aussi profond
sur la culture mondiale ? La musique des
Caraïbes a été forgée au gré des turbulences
historiques de celles-ci. Elle associe trois
peuples - indigène, africain et européen et reflète l’histoire de la colonisation, de
l’esclavage, des révolutions, des dictatures
et d’un combat persévérant contre des maux
insurmontables.
L’arrivée de Christophe Colomb dans les
Caraïbes en 1492 a marqué le début de la
transformation de ces îles en une économie
fondée sur l’esclavage et le lucratif commerce
de produits agricoles comme la canne à
sucre. La région a vu naître quelques unes des
musiques les plus africaines des Amériques.
Au contraire, les États-Unis ne comptent
qu’une poignée de liens musicaux et religieux
directs avec l’Afrique. En effet, dès l’arrivée
des esclaves, les groupes ethniques ont été
divisés: afin de limiter les risques de révolte,
leur langue et culture furent éparpillées.
A Haïti et Cuba, par contre, d’importantes
communautés d’esclaves africains originaires
du Dahomey (l’actuel Bénin) et d’esclaves
yoruba (du Nigéria) ont subsisté, permettant
que soient conservées jusqu’à aujourd’hui,
dans les Caraïbes comme en Afrique de
l’Ouest, des versions différentes des mêmes
chants sacrés adressés aux orishas (dieux)
Shango, Yemaya, Elegua, etc.
Les musiques populaires caribéennes les plus
traditionnelles sont à entendre en Amérique
centrale. Il y a des siècles, un bateau rempli
d’esclaves s’est abîmé au large de l’île
caribéenne de St Vincent. Ces Africains (et
certains esclaves échappés des îles voisines)
ont peuplé l’île durant des générations, se
mélangeant rapidement à la population
locale, les Indiens arawak. La langue locale, le
garifuna, témoigne de cette fusion puisqu’elle
combine des langues africaines à l’arawak.
Elle est à ce jour l’une des seules langues
parlées par des Africains en Amérique, qui
ne dérive pas d’une langue européenne. En
1797, après une guerre de territoire (pour
accroître leurs plants de tabac et de canne
à sucre), les colons britanniques ont chassé
toute la population garifuna de St Vincent. Les
quelque 4 000 Garifuna, d’abord réfugiés en
Jamaïque, ont ensuite gagné le Honduras,
mais près de la moitié d’entre eux n’a pas
survécu à ces déplacements. Installés le long
de la côte caribéenne d’Amérique centrale,
les Garifuna sont parvenus à conserver pour
partie une des plus authentiques musiques
populaires afro-caribéennes.
Quant au son afro-cubain, c’est au début du
XXème siècle qu’il a déferlé sur la plus grande
île des Caraïbes, mélangeant les rythmes
de la guitare espagnole et des percussions
africaines. Dans les années 1920, des groupes
comme Sexteto Habanero et Septeto Nacional
ont connu une carrière internationale et
enregistré pour des labels prestigieux à New
York. Leurs morceaux ont rapidement conquis
le public de pays éloignés dans lesquels ces
groupes ne pouvaient pas se produire et
ont totalement modifié le paysage musical
mondial. Le son est devenu la base de la
rumba congolaise. Plus tard, la salsa cubaine
(autre dérivé du son) a conquis l’Amérique
latine.
Un autre genre inventé dans les Caraïbes et
qui a connu un succès mondial est le «journal
chanté». Le plena portoricain et le calypso
de Trinidad en constituent deux exemples
célèbres. Ces styles sont inventés bien avant
l’ère de la télévision par satellite, dans un
temps où même les journaux imprimés ne
pouvaient pas gagner les régions reculées
des Caraïbes. Des pleneros et des chanteurs
de calypso parcourait donc l’île de village en
village, en chantant les nouvelles du jour. Tous
les sujets étaient abordés, des événements
les plus récents aux rumeurs les plus osées,
en passant par des commentaires politiques.
Les Britanniques essayèrent bien de censurer
ces chansons, mais vers les années 1950,
l’engouement pour le calypso avait gagné le
monde entier. La sortie par Harry Belafonte
du classique ‘Banana Boat Song’ et par The
Mighty Sparrow de ‘Jean And Dinah’ (l’histoire
de deux prostituées qui fréquentaient
une base militaire américaine à Trinidad)
nourrissait ce succès. Depuis, le calypso a
donné naissance à la soca (contraction de soul
calypso) et au rapso (rap calypso).
Il suffit de jeter un coup d’œil à un atlas
pour trouver logique que des airs de calypso
se retrouvent au Venezuela: en effet, l’île
de Trinidad est située au large des côtes
orientales de ce pays. Ce n’est pourtant
pas sur ces rivages que le genre est le plus
populaire mais à El Callao, près de Ciudad
Bolivar. Voici plus d’un siècle, le sud est
du pays est devenu le centre du calipso
vénézuélien en raison d’une ruée vers l’or qui
a fait affluer dans cette région des milliers
d’immigrants des Caraïbes orientales.
Leurs descendants chantent aujourd’hui
une version unique du calipso dont les
paroles sont principalement en spanglish, un
mélange d’anglais et d’espagnol. Quant aux
rythmes, ils sont empruntés à la Guadeloupe,
à St Kitts, mais avec des cadences et des
progressions d’accord andalouses. Comme
son cousin de Trinidad, le calipso vénézuélien
est une composante essentielle des fêtes du
carnaval en février, avec ses immenses chars,
costumes sophistiqués, chants et danses jour
et nuit avant le Carême.
La censure dans la musique caribéenne
n’a pas été limitée au calypso: aux temps
de l’esclavage, les maîtres supprimaient
souvent les pratiques et les instruments
africains. Au début du son cubain, le
dictateur Gerardo Machado considérait le
genre comme subversif et avait commencé
à recenser les soneros. Dans la République
dominicaine des années 1870, le moraliste
Ulises Francisco Espaillat avait lancé – sans
succès - une campagne contre le merengue,
au motif qu’il considérait celui-ci comme
une «musique corrompue». Dans les années
1930, le dictateur Rafael Trujillo a diffusé la
culture dominicaine rurale dans les centres
urbains (tout en la privant de la plupart de ses
messages politiques originaux, au profit de sa
propre propagande). De la même manière, la
dictature de Duvalier en Haïti s’est efforcée
de réduire au silence la plupart des chants
vaudou haïtien et a privilégié le compas, aux
nombreuses allusions. Après la chute de Baby
Doc Duvalier en 1986, une nouvelle vague
de musique appelée le rasini («racine») est
apparue en Haïti, sous la houlette du groupe
Boukman Eksperyans. Le genre opérait la
fusion du vodou haïtien avec des éléments
de rock’n’roll et était souvent porteur de
messages politiques.
Quant au reggae jamaïcain, il constitue un des
genres musicaux caribéens les plus influents,
également très politique. L’explosion musicale
conduite par Bob Marley dans les années 1970
a éveillé la conscience sociale de citoyens du
monde entier et a joué un rôle de premier
plan dans des régions aussi éloignées que
Salvador de Bahia au Brésil et l’Afrique de
l’ouest. Au XXIème siècle, cette tendance se
poursuit, alors que les artistes caribéens
créent de nouvelles chansons qui renforcent
la conscience politique et conquièrent un
public mondial.
SKA CUBANO - As their name implies, Ska
Cubano fuses Jamaican ska with a host
of Cuban rhythms, including mambo and
salsa. This track, ‘Cumbia Del Monte’, was
originally a Colombian classic. Cumbia is
one of Colombia’s most popular rhythms, an
African-rooted style that originated on the
country’s Caribbean coast.
AURELIO MARTÍNEZ - Aurelio Martínez
was the first person of African descent to
become a deputy in the Honduran Congress.
Today, he is one of the leading exponents of
a Garifuna guitar style called paranda. Like
most paranderos, Aurelio sees music as a way
to express feelings, and confront problems:
‘We write a song when we have a problem with
another member of the community; instead of
confronting that person and pick a fight, we
will write him a song.’ For this recording,
Aurelio travelled to Senegal to work with
legendary singer Youssou N’Dour, and the
results show the remarkable connection
between African music on both sides of the
Atlantic.
UN SOLO PUEBLO - Un Solo Pueblo have
done extensive research into Venezuela’s
incredibly rich folk traditions. Their music
blends elements of salsa, merengue and soca,
transforming these songs into timeless pop
classics. One of their most popular songs is
the calipso ‘Woman Del Callao’ – it became so
popular that even merengue superstar Juan
Luis Guerra recorded a version of it.
ANDY
PALACIO
&
THE
GARIFUNA
COLLECTIVE - Andy Palacio’s life is evidence
of what one person can do, almost singlehandedly, to revive a threatened culture. ‘My
decision to become a musician was made
in part from my experience while living in
England,’ he explains. ’I always came face to
face with the fact that no one [in the rest of
the world] knew anything about Belize, while
everyone knew, for example, about Jamaica.’
Palacio teamed up with Stonetree Records
to create a sound that both placed Belize on
the map of world-music capitals alongside
Brazil, Cuba, and Senegal, and shaped a new
generation of musicians. Palacio’s line-up was
based on standard punta, with its Garifuna
barrel drums, turtle shell percussion, bass
and guitar, but halted its reliance on electric
keyboards. In the song, ‘Ámuñegü (In Times to
Come)’ Palacio asks ‘Who will speak to me in
Garifuna in times to come?’ Tragically, Palacio
died incredibly young in 2008, but his music
has led to a revitalization of Garifuna culture.
PARACUMBÉ - Like so much of the Americas,
the music of Puerto Rico was fundamentally
shaped through the slave trade. The bomba,
with roots in West Africa, is heavily percussive
and played on large barrel drums. Sung
entirely by women, Paracumbé’s bomba
are a series of beautiful call-and-response
songs from the southern part of the island
(as opposed to the bomba of the north, often
performed by men). The plena has more
European elements than the bomba: the
cuatro guitar and accordions mix with drums
and scrapers, all led here by Nelie Lebron
Robles’ incredibly powerful voice.
SIERRA MAESTRA - Sierra Maestra, one of
Cuba’s leading son ensembles, were launched
back in the 1970s. The band’s name came
from the mountain range in eastern Cuba
that was the birthplace of both Cuban son
and Castro’s ‘La Revolución’. In the decades
since, Sierra Maestra have been leaders in a
modern-day music revolution. ’Today there
are hundreds of bands playing this old style of
Cuban music,’ Marcos remembers, ‘but when
we began, there was virtually no one.’
CHICHI PERALTA - Chichi Peralta grew up
in Santo Domingo (Dominican Republic).
He describes his style as fuson – a dynamic
melange that takes merengue, bachata and
son and adds touches of gospel, jazz, blues,
R&B and salsa, plus electronic dance music,
symphonic textures and percussive layers
from Africa, Brazil and Asia. But, at heart,
Peralta describes himself as a sonero – a
singer of the local son (close cousin of Cuba’s
song style).
GYPTIAN - One of Jamaica’s hottest stars,
Windel Beneto Edwards (aka Gyptian) gained
national prominence in 2004, winning the
Star Search talent competition. His repertoire
includes a wide range of love songs, as well
as political tunes, many concerning the plight
of Jamaicans living in poverty. His nickname
derives from his habit of twisting a shirt
around his head like an Egyptian pharaoh.
3 CANAL – In Trinidad and Tobago, 3 Canal
are leaders of the rapso movement, which
blends rap and calypso and is known as
the ‘consciousness of Soca’. They burst on
the scene in the 1990s, creating a dynamic
new sound that has become the heart of
the modern Trinidadian carnival. The group
also works with schoolchildren in carnival
workshops, teaching them to use artistic
expression as a means of empowerment.
ORCHESTRE SEPTENTRIONAL D’HAITIHaiti’s most celebrated big band, Orchestre
Septentrional has been performing together
since 1948. The twenty-member ensemble
brings a jazz big-band sound to traditional
Haitian compas. Their incredible story is also
the subject of a 2011 documentary about the
group, Orchestre Septentrional: When The
Drum Is Beating, which followed the group
through Haiti’s turbulent history, from the era
of dictatorships to the harrowing earthquake
of 2010.
ANDRE TOUSSAINT - Andre Toussaint was
born in Haiti, and later emigrated to the
Bahamas, where he was a regular performer
in the top nightclubs. His repertoire included
Cuban, Mexican, French and even Yiddish
songs, but he is best known for his evocative
calypsos, which, like ‘Little Nassau-Bahama
Mama’, often incorporated Bahamian folk
ballads.
PUERTO PLATA - José Cobles was born in
1923 in the Dominican town of Puerto Plata,
from which he took his nickname. To this day,
he performs a style of merengue that dates
to the 1930s and 1940s. His style includes
sensual boleros, with merengue and son, to
create a captivating sound that is no longer
common in the Dominican Republic.
SEPTETO NACIONAL DE IGNACIO PIÑEIRO Ignacio Piñeiro grew up in Pueblo Nuevo, the
black quarter of Havana, and sang in choirs
and played Afro-Cuban percussion as a child.
He founded Septeto Nacional (‘National
Septet’) in 1927. The group widely popularized
son by adding a trumpet to the ensemble (up
till then, son had been played primarily with
percussion, vocals and strings). The style took
off – not just in Cuba, but worldwide – , and
the group played virtually nonstop on Cuban
radio stations, at concert halls and on public
squares.
YUCHI CORDOBA - Percussionist Yuchi
Cordoba, a founding member of the group
Issoco, studied drumming in Dakar (Senegal),
and Havana (Cuba) with the Conjunto
Folklorico Nacional, and was a member of
Curacao’s national football/soccer team.
He has been a leading exponent of AfroCuraçaoan muzik di zumbi. During the slave
era, the Dutch tried to ban African drumming
in Curacao, Aruba and Bonaire, as well as
religious practices such as tambú (similar to
French attempts to do the same in Haiti with
vodou). Of course, this only led to using other
objects – from water barrels to calabashes
– as makeshift instruments. In addition to
performing with his own band, Cordoba
teaches children about the rich traditions of
Afro-Curaçaoan music.
a Grammy award. Over the next three years,
they toured globally and spoke out against
the military dictatorship of Raoul Cédras, only
able to return to their homeland in 1994 when
Aristide was returned to power.
BOUKMAN EKSPERYANS
Boukman
Eksperyans are the leaders of Haiti’s mizik
rasín (literally ‘roots music’) revolution.
Their name is taken from Dutty Boukman, a
vodou priest who helped launch the Haitian
revolution in 1791. The group, led by Lolo and
Mimerose Beaubrun, fuses rock ’n’ roll and
soul music with Haitian vodou rituals. During
the Duvalier dictatorship, these traditional
forms, as well as any political dissent, were
banned. After the fall of Duvalier, Boukman
Eksperyans transformed Haitian music,
with hit after hit, many launched during the
country’s carnaval. When Haitian president
Aristide was overthrown in a coup in 1991,
Boukman Eksperyans was forced to flee the
country and go into exile. That same year,
their first CD, Vodou Adjae, was nominated for
Dan Rosenberg has travelled to numerous
remote villages throughout the Caribbean,
and has lugged back an eclectic collection of
recordings, musical instruments and recipes to
his home in Toronto, Canada, where he works as
a journalist and compilation producer.
www.danrosenberg.net
GRUPO VOCAL DESANDANN - Haiti was the
first (and only) country to launch a successful
slave revolution. Consequently, its music
has some of the strongest African roots in
the Americas. This ensemble, Grupo Vocal
Desandann, is not based in Haiti, but rather
in neighbouring Cuba. Over the years, there
have been several huge waves of Haitian
immigration across the straits to eastern
Cuba.
01 SKA CUBANO Cumbia Del Monte
from the album MAMBO SKA (CAS20102)
(Rovira) pub Casino Sounds. Licensed from Casinosounds.
02 AURELIO Lubara Wanwa
from the album LARU BEYA (DRW180)
(Martínez, Duran, N’Dour) pub Real World Works/
Stonetree Music. Licensed from Real World.
03 UN SOLO PUEBLO Woman Del Callao
from the album 20 AÑOS (0.4460)
(Delgado) pub Sonográfica. Licensed from Record Land.
04 ANDY PALACIO & THE GARIFUNA COLLECTIVE
Ámuñegü (In Times To Come)
from the album WATINA (CMBCD3)
(Andy Palacio) pub Stonetree Music (BMI). Licensed from
Cumbancha.
05 PARACUMBÉ Sueño Sueño
from the album TAMBÓ (CAT2005)
(trad, arr Lebrón) pub Lorun Music/BMI. Licensed from
Ashé Records.
06 SIERRA MAESTRA Ai Vaivén De Mi Carreta
from the album SON: SOUL OF A NATION
(TUGCD1039)
(Saquito, arr Himely) pub Riverboat UK Music (MCPS).
Courtesy of Riverboat Records/World Music Network.
07 CHICHI PERALTA La Negra Bella
from the album DE AQUEL LAO DEL RIO
(SVES8921.2)
(Peralta) pub Cutucupla-Records. Licensed from
Cutucupla-Cupla Records.
08 GYPTIAN Leave Us Alone
from the album HOLD YOU (VPCD1867)
(Lawes, Fairclough, Winward) pub Greensleeves
Publishing. Ltd., Stb Music Inc. Licensed from VP Music
Group Inc.
Aurelio
Andy Palacio & The Garifuna Collective
Puerto Plata
09 3 CANAL Irie Tempo
from the album THE FIRE NEXT TIME (CO6699)
(3 Canal) pub RCRP. Licensed from Caribbean Music
Group.
10 ORCHESTRE SEPTENTRIONAL D’HAITI
Pi Douvan
from the album PI DOUVAN
(Alce) pub Cosepten. Licensed from Mizik Depot.
11 ANDRE TOUSSAINT Little Nassau-Bahama
Mama
from the album BAHAMIAN BALLADS (76029-2)
(Toussaint) pub Naxos World. Licensed from Select Music
and Video Ltd.
12 PUERTO PLATA Santiago
from the album MUJER DE CABARET (IASCD2)
(Lockwood, arr Jose Cobles) pub iASO Publishing (ASCAP).
Licensed from iASO Records.
13 SEPTETO NACIONAL DE IGNACIO PIÑEIRO
Mueve La Cintura
from the album SIN RUMBA NO HAY SON (468105)
(Almenares) pub ACDAM (Cuba). Licensed from World
Village/Harmonia Mundi USA.
14 YUCHI CORDOBA Marka Paso
from the album MARKA PASO (26029060)
(Cordoba, arr Biswane) pub Yuchi Cordoba. Licensed from
Yuchi Cordoba.
15 BOUKMAN EKSPERYANS Twoubadou Rasín
from the album LA RÉVOLTE DES ZOMBIES
(Ted Gabriel Beaubrun & Théodore Beaubrun) pub Balenjo
Music. Licensed from Balenjo Music.
16 GRUPO VOCAL DESANDANN Se Lavi
from the album DESCENDANTS
(words Clodet, music Marcelo Andrés Luis) pub Bembé
Records. Licensed from Bembé Records.
Septeto Nacional de Ignacio Piñeiro
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Yuchi Cordoba
MUSICROUGHGUIDES
RGNET1281CD
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