Musical Outsider: Joropo

 Musical Outsider: Música Llanera (Joropo)

Introduction: Joropo is a vibrant musical tradition with deep roots in Venezuela and Colombia's plains (llanos). Often regarded as the musical heartbeat of the llanero (plainsman) culture, Joropo features fast-paced rhythms, poetic lyrics, and virtuosic instrumentation, particularly the harp, cuatro (a small four-string guitar), and maracas. This musical form blends influences from African, Native American, and European cultures. Joropo is also a partnered dance.

The first song in our playlist is "Caballo Viejo (Old Horse)" by Simón Díaz. Simón Díaz (1928–2014) was a Venezuelan national treasure known for preserving Joropo and rural folklore. “Caballo Viejo” uses a lilting 3/4 rhythm, cuatro, and harp. The lyrics, about missed love and aging, feel universally resonant. Díaz’s soft vocal tone and poetic metaphors reflect the wisdom and simplicity of llanero life. As the first song, “Caballo Viejo” sets a gentle, reflective tone for the playlist, emphasizing storytelling and poetic metaphor more than instrumental showmanship.

Questions:

1. How do rural Venezuelans interpret the metaphor of the “old horse”—as humorous, tragic, or both?

2. Are there any local idioms or sayings embedded in the lyrics that non-Venezuelans might overlook?

Our next song is "A Usted (To You)" by Reynaldo Armas. Reynaldo Armas (1953) , a prolific Joropo singer-songwriter, is known for emotionally restrained and highly respectful lyrics. “A Usted” is a conversation between pride and pain, using the formal address (“usted”) to express love with dignity. Traditional instrumentation supports his conversational, almost confessional style. 

Where Díaz’s song is rich in metaphor and reflection, “A Usted” is more direct and intimate. Both songs discuss love, but Armas emphasizes respect and formality, while Díaz leans into romantic nostalgia.

Questions:

1. Does the use of formal address in romantic songs reflect generational values or regional customs in the llanos?

2. How does the emotional restraint in Armas’s vocal style reflect unspoken cultural values about masculinity or vulnerability in the llanero tradition?

Our third song is "Cómo No Voy a Decirlo (How Could I Not Say It?)" by our final Venezuelan artist, Luis Silva. Luis Silva (1962), dubbed El Barinés de Oro (The Golden Barinés ), brought a smoother, more melodic sound to Joropo. In this love song, his voice is polished and expressive, and the harp and cuatro are used to enhance the romantic tone. His style is accessible and emotional, appealing to both rural and urban listeners. Silva’s song is less formal and more sentimental than Armas’s. Both discuss love and heartbreak, but Silva uses lush vocal melodies and a more modern delivery, whereas Armas is rawer and more traditional in tone.

Questions:

1. How has Luis Silva’s vocal delivery influenced younger generations of Joropo singers?

2. Do purists within the Joropo tradition view Silva’s smoother, mainstream sound as a departure from traditional forms?

Moving on to Columbian Joropo, our next song is Orinico by Cimarrón. Cimarrón is a Grammy Award winning Colombian musical group that modernizes Joropo through virtuosic playing and fusion with global styles. “Orinoco” is instrumental, using rapid harp arpeggios and powerful percussion to evoke the movement of the Orinoco river. It’s a showcase of technical skill and cultural pride, rooted in nature and rhythm.
Where “Cómo No Voy a Decirlo” is lyrical and romantic, “Orinoco” is intense and wordless, driven by rhythm and texture. Silva’s voice carries emotion; Cimarrón lets the instruments speak, transforming Joropo into something almost cinematic.

Questions:

1. Are specific harp techniques used in “Orinoco” tied to environmental storytelling or symbolic movement?

2. How does the bandola’s role differ in Colombian Joropo compared to Venezuelan versions?

Our final song of this playlist is "Mi Caballo y yo (My Horse and Me)" by Cholo Valderrama. Cholo Valderrama (1951), a Grammy-winning Colombian llanero, is known for his deep voice and authentic storytelling. A real-life plainsman, he sings with rugged realism. “Mi Caballo y Yo” celebrates the relationship between man and horse with slow, deliberate instrumentation and reverent lyrics that evoke rural pride.

While Cimarrón captures nature’s energy through pure sound, Valderrama reconnects with it through personal narrative. “Orinoco” is abstract and energetic; “Mi Caballo y Yo” is earthy and grounded, using words and imagery to reinforce llanero identity.

Questions:

1. Are horses still central to llanero identity, or is their presence in music more symbolic now?

2. Does Valderrama’s vocal style reflect a specific regional sub-style within Colombian Joropo?

Bibliography

“Cholo Valderrama.” Wikipedia, Wikimedia Foundation, 6 Mar. 2025, es.wikipedia.org/wiki/Cholo_Valderrama.

“Cimarrón (Band).” Wikipedia, Wikimedia Foundation, 21 Jan. 2025, en.wikipedia.org/wiki/Cimarr%C3%B3n_(band).

“Joropo.” Wikipedia, Wikimedia Foundation, 18 Mar. 2025, en.wikipedia.org/wiki/Joropo.

“Luis Silva (Cantante).” Wikipedia, Wikimedia Foundation, 13 Feb. 2025, es.wikipedia.org/wiki/Luis_Silva_(cantante).

“Reynaldo Armas.” Wikipedia, Wikimedia Foundation, 2 Apr. 2024, en.wikipedia.org/wiki/Reynaldo_Armas.

“Simón Díaz.” Wikipedia, Wikimedia Foundation, 17 Feb. 2025, en.wikipedia.org/wiki/Sim%C3%B3n_D%C3%ADaz.

Musical Insider: A Look Into Bahamian Folk Music

Introduction: The genre I have chosen to explore is Bahamian folk music/Goombay. Many of you likely grew up hearing different versions of the songs that will be featured in this playlist or listening to your parents sing them. Folk music is typically passed down through generations by ear rather than through written notation. Bahamian folk music is deeply rooted in African rhythms, drumming, and call-and-response singing, which provide strong percussive and communal elements. 

European influences, such as hymns and sea shanties brought by British settlers, have also shaped its melodic and lyrical aspects. Furthermore, Caribbean rhythms from neighboring islands like Jamaica and Trinidad have added to its vibrant and diverse sound, creating a unique musical fusion that reflects the rich cultural heritage of The Bahamas. 

Compiling this playlist has been a nostalgic experience for me, and I hope to share those warm feelings with you as you listen.

Playlist

Our first song in this playlist is Uncle Lou by George Symonette, a lively and humorous tale about Uncle Lou’s misadventure of falling down a well. This upbeat track captures the joyful essence of Bahamian folk music with its infectious goombay/calypso style. Driven by steady, syncopated piano chords, the song’s bouncy rhythm invites movement and dancing. Symonette’s charismatic, storytelling vocal delivery enhances the playful, almost conversational tone, bringing the lyrics to life. The melody is simple and catchy, making it easy to sing along, while light percussion elements, such as maracas and a bass drum, provide a steady and engaging groove.

Our second track is one of my personal favorites, Bangalee by Charlie Adamson. This lively and rhythmic song tells the story of a man who falls head over heels for a beautiful woman, completely enchanted by her charm and allure. However, his joy quickly turns to heartbreak when he discovers that she has been unfaithful. The lyrics vividly capture the emotional rollercoaster of love and betrayal, blending humor with a touch of melancholy. Set against an infectious, danceable melody, the song’s upbeat energy contrasts with its bittersweet theme, a hallmark of Bahamian goombay music. Through its engaging storytelling and call-and-response style, Bangalee invites listeners to feel both the excitement of new love and the sting of deception, all wrapped in a tune that’s impossible to forget.

As someone who was originally from Bain Town, the next song hits very close to home. Bain Town Woman by Pat Rahming is a lively and colorful track that captures the fierce, unshakeable spirit of the women from this iconic neighborhood in Nassau. The song is all about how it’s best not to cross a Bain Town woman, with lyrics that mix humor and respect for their strength and determination. Musically, the song carries a contagious energy, driven by a steady rhythm and sharp, percussive beats. The guitar strums are vibrant and syncopated. The percussion is tight and crisp, with an upbeat, almost swinging feel that keeps the momentum going. Rahming’s voice is both playful and commanding, perfectly matching the tone of the song’s story. 

Our next song has gained significant popularity after being featured in the highly acclaimed film NOPE. Exuma, The Obeah Man by Exuma is a haunting track that explores Caribbean mysticism and folklore. As a lover of horror when I heard the song in the film I was very excited, it is not often that our music is heard in mainstream media. Driven by rhythmic percussion and hypnotic chants, the song introduces the Obeah man, a spiritual figure connected to the supernatural. Exuma’s powerful, almost ritualistic vocals and the trance-like melody create an immersive atmosphere, blending traditional instruments with modern electric guitar. The song transports listeners into a world of mysticism, embodying the deep spiritual connection to the unseen forces of the universe.

Our final song is also quite popular, as it was famously remade by The Beach Boys. Sloop John B, performed by George Symonette, is a beloved Bahamian folk song that captures the essence of island life with its catchy melody and vivid storytelling. The song tells the tale of a sailor's troubled voyage aboard the Sloop John B, a traditional wooden boat, as he faces various misadventures and longing for home. Symonette’s rendition remains deeply rooted in Bahamian musical traditions, and his laid-back yet expressive vocal style brings the song's story to life. Musically, Sloop John B carries the rhythmic pulse of goombay, a style that is rich in syncopated beats and driven by traditional percussion. The gentle strumming of the guitar and the subtle percussion create an easygoing, beachy atmosphere, perfectly capturing the calm yet bittersweet mood of the song. Symonette’s voice flows smoothly, delivering the song's narrative with warmth and nostalgia, drawing listeners into the journey of the sailor who longs to return home.

I hope you enjoyed this playlist and that it brought back memories of songs from your past—or perhaps introduced you to something new. Thank you for listening, and I’m glad you could join me on this musical journey!

Bibliography

Folkways. (n.d.). Explore. Smithsonian Folkways Recordings. https://folkways.si.edu/islands-song-bahamas/world-sacred/music/article/smithsonian

Music. Grand Bahama Museum. (n.d.). https://www.grandbahamamuseum.org/exhibits/culture/music?utm_source

Wikimedia Foundation. (2024, October 26). Music of the Bahamas. Wikipedia. https://en.wikipedia.org/wiki/Music_of_the_Bahamas

Musical Connections- Spanish Speaking Caribbean

  Playlist For Spanish Speaking Caribbean Artist

Central Artist: Lopez Brothers (Orestes "Macho" Lopez {1908-1991} & Israel "Cachao" Lopez {1918-2008})

Macho Seated playing cello and Cachao playing bass on the right

 

Description: This playlist is dedicated to the artists Macho and Cachao López, exploring their connections and those they have influenced. The brothers were Cuban musicians known for creating the Cuban musical genre Mambo, which combines Afro-Cuban rhythms with elements of American jazz. Macho, the elder brother, was a multi-instrumentalist who played the cello, piano, and bass, and was also a composer. Cachao was an exceptional bassist, often regarded as one of the greatest bass players in the history of Cuban music. The López brothers were members of Arcaño y sus Maravillas, one of Cuba’s most renowned danzón orchestras, led by flutist Antonio Arcaño. It was in this orchestra that Macho, its main composer, began to innovate. In 1938, he composed a piece called "Mambo" as part of a danzón, infusing it with energetic Afro-Cuban rhythms and syncopation. This rhythmic innovation added a new level of intensity and movement to the danzón, evolving it beyond its traditional structure.

Playlist 

The first song in this playlist is "Mambo," performed by Arcano y sus Maravillas. Composed by the Lopez brothers, this song is known as "The Mother of All Mambos."The lively brass sections provide a dynamic backdrop, while the syncopated rhythms create a danceable pulse that captivates listeners. The combination of these elements not only showcases the technical prowess of the musicians but also marks a pivotal moment in music history. With its rhythmic complexity and engaging melodies, "Mambo" helped to elevate the mambo from a simple dance rhythm into a distinguished musical genre, establishing its own identity and influencing countless musicians and composers who followed in its footsteps. This track truly exemplifies the spirit of the mambo and its enduring legacy in the world of music.

Our next song is "Chanchullo," also by Arcano y sus Maravillas. This track was one of the band's final songs before their dissolution and was composed by Cachao. It gained significant popularity in the U.S., where it has been covered by many artists, often with minimal credit given to Cachao for his work. The song features an infectious piano groove, punchy brass melodies, and vibrant percussion that includes congas, timbales, and bongos, creating an upbeat and danceable rhythm. The call-and-response vocals and dynamic bassline enhance the lively, celebratory energy of the song, making it a rhythmic and festive track.

The next song is "Oye Como Va" by Tito Puente. You can tell by listening to the song that Puente drew a lot of inspiration from Cachao's "Chanchullo," although Puente denies copying it. Both "Oye Como Va" and "Chanchullo" feature infectious rhythms, strong percussion, and call-and-response vocals that create a festive, danceable atmosphere. While "Oye Como Va" has a smoother and groovier feel, "Chanchullo" is more energetic. This song was eventually covered by a popular American Rock band "Santana" where Cachao continued to be uncredited.

Next on our playlist is "Isora Club," performed by Cachao Lopez. I wanted to highlight this song because it was written by Lopez's sister, Juana Coralia Lopez. As the middle sibling, she was a talented pianist, bandleader, and composer. From 1940 to 1956, she directed a charanga danzonera (a type of Cuban orchestra), becoming one of the first women to take on this role. This song is incredibly popular in the Latin music world and is considered one of the classics.

Continuing with the theme of family, our next track is "Redencion," performed by Orlando "Cachaito" Lopez. Cachaito is the son of Macho Lopez, who composed "Redencion." Like his uncle, Cachaito was a bassist, which is how he earned his nickname, meaning "little Cachao." The song features a soulful and emotive bassline at its core, complemented by light congas and timbales that provide a subtle, steady rhythm. Delicate piano and horns add harmonic depth and melodic warmth. With its slow, introspective groove, the track creates a reflective and intimate atmosphere, showcasing influences from Afro-Cuban jazz.

Our last song is "Mambo No. 5" by Pérez Prado. Pérez Prado was a Cuban bandleader, pianist, composer, and arranger who significantly impacted and popularized the Mambo genre in the 1950's, earning the title "King of the Mambo." This song is one of his most famous works. It features an infectious percussion groove, incorporating congas, timbales, and bongos that drive its fast-paced rhythm, encouraging dancing. A steady yet dynamic bassline supports the energetic brass melodies. The call-and-response moments between the horns and the rhythm section create a festive, vibrant atmosphere, making it a classic in Latin dance music.

Bibliography

Wikimedia Foundation. (2024a, May 18). Orlando “Cachaíto” lópez. Wikipedia. https://en.wikipedia.org/wiki/Orlando_%22Cacha%C3%ADto%22_L%C3%B3pez

Wikimedia Foundation. (2024b, June 7). Orestes López. Wikipedia. https://en.wikipedia.org/wiki/Orestes_L%C3%B3pez

Wikimedia Foundation. (2024c, September 26). Cachao. Wikipedia. https://en.wikipedia.org/wiki/Cachao

Wikimedia Foundation. (2024d, November 12). Pérez Prado. Wikipedia. https://en.wikipedia.org/wiki/P%C3%A9rez_Prado

Musical Connections- Dutch Speaking Caribbean

  Playlist For Dutch Speaking Caribbean Artist

Central Artist: Roël Calister (1979)

Description: This playlist is dedicated to the artist Roël Calister, his connections, and his musical influences. Roël Calister is a talented percussionist from Curaçao, known for creating his own genre of music called Tambutronic which blends traditional Tambú rhythms with contemporary music styles like electronic dance music (EDM) and dubstep. He excels in playing percussion instruments such as congas, timbales, and various drums, which are central to the folkloric music of the Curaçao, particularly in genres like tumba and tambú. Calister is the founder and leader of the band Kuenta i Tambú (KiT). His work has contributed to preserving and modernizing the cultural music of Curaçao, making it more accessible to younger generations and audiences around the world. In 2005, Roël founded drumdrumdrum.nl, specializing in developing rhythmic concepts and educational programs for schools and theaters.

Playlist

Our first track is "Santa Electra" by Roel Calister's band, Kuenta i Tambú. It features Elia Isenia, who is regarded as the first Tambú Queen. This collaboration was significant as it demonstrated that Tambutronic received approval from the Queen herself as a genre. Like their other works, this song masterfully blends genres by merging traditional tambú sounds with modern electronic dance music (EDM). This fusion juxtaposes the raw, percussive energy of traditional music with the polished, bass-heavy beats of EDM, creating a vibrant sound that connects cultural history with contemporary global club scenes. The vocals further enhance this blend, incorporating both traditional call-and-response patterns and modern rhythmic delivery, making the track a dynamic, genre-defying experience.

Our next track is "Borboleta" by the band Electrococo. Electrococo has a concept similar to Calister, as their music blends classic Latin genres with electronic sounds. In this particular performance, Calister serves as the main percussionist. "Borboleta" combines traditional Latin rhythms, such as cumbia, with electronic beats, driven by energetic, syncopated drums. The percussion fuses organic, hand-played drums with electronic layers, creating a rich, textured rhythm that anchors the track. This combination of acoustic and digital drumming gives the song a dynamic, danceable pulse, while melodic instruments and rhythmic vocals contribute to its festive, tropical energy.

Moving on, our next piece is a tribute performance of "Dugudugu sin sous" by Rudolph Th. Palm. Our lead vocalist is Izaline Calister, who happens to be the sister of Roël Calister—talent certainly runs in the family! Rudolph Palm was a Curaçaoan composer and the grandson of Jan Gerard Palm who was known as "the father of Curaçao's classical music." In this performance, Roël Calister also serves as the percussionist, alongside Pernell Saturnino, who will be discussed next in our playlist. The instrumental arrangement beautifully complements Calister's powerful vocals. Acoustic and electric guitars provide rich harmonies and rhythmic strumming, enhancing the upbeat feel of the song. Traditional percussion instruments, such as congas and timbales, drive the energetic rhythm, while brass instruments add brightness and celebratory accents. Keyboard elements introduce modern textures, and a prominent bassline anchors the arrangement, creating a dynamic interplay that highlights Calister's voice and the song's vibrant energy.

Our next track isn't precisely a song; rather, it's an improvisation based on a Cuban melody by Pernell Saturnino. Saturnino is a Grammy Award-winning percussionist from Curaçao and the founder of the Percussion Creed School which just so happens to be where Roël Calister was taught and trained, making Calister a student of Saturnino In this performance, Saturnino showcases his exceptional skill and deep connection to Afro-Cuban rhythms. He navigates traditional styles like son, rumba, and bolero, utilizing intricate patterns and syncopation through techniques such as open tones, slaps, and muted notes. The dynamic range of the congas—ranging from soft subtleties to powerful strikes—highlights his rhythmic prowess.

This next track, along with the one that follows, will highlight the singular genres that make up the Tambutronic genre. The performance features traditional tambú, which holds great cultural significance in ABC Island's heritage. Tambú refers to the drum, dance, and music associated with this vibrant tradition. Tambú music is characterized by lively call-and-response singing, where the lead vocalist interacts with the audience, encouraging them to join in. The rhythmic backdrop is enriched by the energetic clapping of hands and the stomping of feet from both participants and spectators, creating an engaging atmosphere. The instruments used in tambú music are handmade. They include the agan—a instrument made from a plow blade that is rhythmically struck with a metal bar—and the wiri, which consists of a metal pipe that has been grooved and sawed in half, and is scraped with a metal rod or butter knife. Of course, the tambú drum is also a central part of this musical tradition.

Our final track is quite distinct from the previous songs in our playlist, as it highlights the EDM/dubstep aspect of the Tambutronic genre. The song is titled "I Can't Stop" by Flux Pavilion. Flux Pavilion, whose real name is Joshua Steele, is a British electronic musician and DJ with no direct connection to Calister, other than their similar music style. When you listen to this track, you'll notice how closely it resembles the electronic sound found in Santa Electra. The song features heavy, wobbly bass lines and punchy kicks, which are characteristic of dubstep. Catchy synth melodies intertwine with sharp snare hits, creating a vibrant and energetic atmosphere. Additionally, the repetitive, slightly distorted vocal sample contributes to the track's addictive quality, enhancing its appeal for the dancefloor.

Bibliography

1000awesomethingsaboutcuracao. (2018, August 2). 589. percussionist Roël Calister. 1000 Awesome Things About Curaçao. https://1000awesomethingsaboutcuracao.com/2014/04/01/589-percussionist-roel-calisters-ingenious-straddle-of-europe-and-the-caribbean/

Electro côco discography | Discogs. (n.d.). https://www.discogs.com/artist/278933-Electro-C%C3%B4co

LeGrand, C.G. C. (2019). Tour de Force: A Musical Journey of the Caribbean. Sound Caribbean. https://online.vitalsource.com/books/9789769624900

Wikimedia Foundation. (2024a, April 11). Rudolph Palm. Wikipedia. https://en.wikipedia.org/wiki/Rudolph_Palm

Wikimedia Foundation. (2024b, August 31). Flux pavilion. Wikipedia. https://en.wikipedia.org/wiki/Flux_Pavilion

Wikimedia Foundation. (2024c, August 31). Izaline Calister. Wikipedia. https://en.wikipedia.org/wiki/Izaline_Calister

Musical Connections- French Speaking Caribbean

 Playlist For French Speaking Caribbean Artist

Central Artist: Julio Racine (1945-2020)

Description:  This playlist is dedicated to the artist Julio Racine, focusing on his influences and artists with similar styles. Julio Racine, a conductor and composer, was born in Port-au-Prince, Haiti. He is renowned for his contributions to Haitian classical and folkloric music, blending traditional Haitian rhythms and melodies with classical music forms. Additionally, he is a skilled flutist and has worked diligently to preserve and promote Haiti’s musical heritage through his compositions and performances. Julio Racine received his musical education at the National Conservatory of Haiti and the University of Louisville School of Music. He later served as the director and conductor of the Holy Trinity Philharmonic Orchestra from 1963 to 2008. This orchestra is affiliated with the École de Musique Saint Trinité, Haiti's leading music school, which was unfortunately destroyed in 2010 by an earthquake.

Playlist

Our first track is third movement of Julio Racine's "Voodoo Jazz Sonata for Flute and Piano," titled "Avec Allure," was published in 2004. In this sonata, the flute delivers expressive melodies, transitioning between smooth and jazzy phrases, while the piano provides rhythmic support and rich harmonies. Racine combines traditional Vodou beats with syncopated jazz rhythms, resulting in a lively and energetic atmosphere. The music is characterized by its vitality and grace, which align with its title, meaning "With Style." It showcases a unique blend of cultural and musical influences.

Our next track is "And the Glory of the Lord (Messiah, HWV 56)" performed by the Holy Trinity Philharmonic Orchestra along with the Les Petit Chanteurs (the little singers) during a Christmas event. This track was added to the playlist because Racine was once a conductor for this orchestra, though he isn't the conductor for this particular performance. "And the Glory of the Lord" from Handel’s Messiah is an energetic chorus filled with rich harmonies. It features bold, ascending melodies and rhythms that convey a sense of majesty. The choir sings in a straightforward style, highlighting the text about divine glory with dynamic contrasts.

Our third track is the Les Petit Chateurs from the École de Musique Saint Trinité performing 'Mesi Bon Dye' (Thank You, Good God) . I chose this track because the music school is closely associated with the Holy Trinity Philharmonic Orchestra. Additionally, this particular song holds significance in Haitian culture and is often performed at religious gatherings and celebrations. The choir comprises children aged between 8-15, and their impressive performance highlights why École de Musique Saint Trinité is considered Haiti's top music school.

The fourth track on our playlist is "Offrandes Vodouesques" by Werner Jaegerhuber, a classical piece inspired by Haitian Vodou rituals. It features lively, syncopated rhythms that mimic ceremonial drumming, creating a spiritual and rhythmic energy. The melodies are drawn from Haitian folk music, using traditional scales and chants, while the harmonies blend Western classical and Haitian styles. Jaegerhuber's style is very similar to Racine's, as they both took inspiration from the same sources and . The wonderful singer is Changal Levine and the piano is being played by David Bontemps.

Our fifth track is called "Legba Nan Baye" by Paul Austerlitz. Paul Austerlitz is an ethnomusicologist who has written several books on understanding, celebrating, and preserving music from different cultures. One of his books, "Jazz Consciousness: Music, Race, and Humanity," mentions Racine as an inspiration to him. The song draws heavily on Haitian rhythmic patterns associated with Vodou rites, especially those connected to Legba, the loa (spirit) who serves as the gatekeeper between the spiritual and earthly realms. Austerlitz’s bass clarinet leads with improvisational flair, while traditional drums and percussion deepen the spiritual connection. The music evokes a ceremonial atmosphere, gradually intensifying as it captures the ritualistic and improvisational elements of both Vodou and jazz traditions.

Our final track is "Papa Legba" by M. Nerval. This song is a traditional vodou song that also references the deity Legba. I included this song because I wanted everyone to experience the sounds of classic vodou and Haitian music that inspired Racine. The song prominently features the tanbou drums, which provide the rhythmic backbone of the piece. Accompanying these are rattle instruments like the asson (Haitian Rattle) and possibly cymbals, creating a complex rhythm that evokes the spirit of Vodou rituals. The song also features call-and-response vocals.

Bibliography

Julio Racine. Crossing Borders Music. (n.d.). https://crossingbordersmusic.org/explore-the-music/haiti/julio-racine/#:~:text=Julio%20Racine%20is%20a%20flutist,of%20Louisville%20School%20of%20Music

LeGrand, C.G. C. (2019). Tour de Force: A Musical Journey of the Caribbean. Sound Caribbean. https://online.vitalsource.com/books/9789769624900.

Paul Austerlitz ~ about Paul Austerlitz. (n.d.). https://www.paulausterlitz.org/About.shtml

Wikimedia Foundation. (2024a, April 27). Werner Jaegerhuber. Wikipedia. https://en.wikipedia.org/wiki/Werner_Jaegerhuber

Wikimedia Foundation. (2024b, September 7). Papa Legba. Wikipedia. https://en.wikipedia.org/wiki/Papa_Legba

Wikimedia Foundation. (2024c, October 5). Haitian Vodou. Wikipedia. https://en.wikipedia.org/wiki/Haitian_Vodou

Musical Connections- English Speaking Caribbean

 Playlist For English Speaking Caribbean Artist

Central Artist: Alton Adams Sr. (1889-1987)

Description: This playlists focuses on the artist Alton Adams Sr., his influences, and those with similar style and or style to him.  Alton Adams Sr. was a composer and musician from St. Thomas. He was the first black man to become a band leader for the Navy. His music was deeply influenced by both classical European traditions and the rhythms of the Caribbean. Adams is remembered not only for his musical talent but also for breaking racial barriers and contributing to the cultural heritage of the Caribbean and the United States.

Playlist

The first track on our playlist is The Virgin Islands March a renowned composition by Adams. This particular piece is officially recognized as the anthem of the United States Virgin Islands and is considered Adams' signature work. Composed in the early 1920s, the march seamlessly integrates elements of European classical music, American patriotic melodies, and Caribbean influences, all of which are characteristic of Adams' distinctive style. It follows a traditional military march structure, with strong brass and percussion elements, while also incorporating melodies and rhythms that reflect Caribbean musical traditions.

Our next song is another rendition of "The Virgin Islands March" performed by The V.I National Guard 73rd Army Band. This version includes patriotic lyrics and incorporates more Caribbean influences through the use of the steel pan. The rendition was performed during Covid-19, which explains why the musicians are all in separate spaces. Each musician is wearing their army uniform as they put their all into this performance. This performance also feels more modern due to the use of electric guitars. This performance was made to show solidarity between the islands during such a trying time.

The next song was composed by John Philip Sousa, who was a significant influence on Adams. The piece is titled "Stars And Stripes Forever" and is a military march made in 1896 for the U.S. Military. It is a patriotic piece known for its striking opening fanfare.The composition uses a steady march rhythm along with dynamic contrasts, concluding with an energetic finale. The similarities between Sousa's and Adams' works can be heard in this piece.

The upcoming piece we'll be discussing is "Chimes of Liberty" by Edwin Franko Goldman. After many musicians from Sousa's band joined The Goldman Band, Goldman was considered to be Sousa's successor. Additionally, Goldman's band performed numerous compositions by Adams during their time. "Chimes of Liberty" is another march, distinguished by its emphasis on the piccolo and, of course, the chimes, setting it apart from the other marches mentioned.

The fourth piece is "Hiawatha's Wedding Feast," composed by Samuel Coleridge-Taylor in 1898. Samuel Coleridge-Taylor was a mixed-race British classical composer and conductor. In 1910, Adams wrote an article for The Dominant titled "Samuel Coleridge-Taylor, One of the Greatest Living Composers," indicating Adams' admiration for Taylor and his work. This particular composition brought Taylor widespread acclaim. The performance features the City Choir Dunedin under the direction of David Burchell, with tenor Matthew Wilson taking the lead.

Moving away from Adams' inspirations, we now go on to "Guavaberry" by Stanley and the Ten Sleepless Knights. This song is a traditional quelbe Christmas song. Quelbe is the name of the folk music found in the USVI, similar to the Rake-Scrape found in the Bahamas and Fungi found in the BVI. I included this song not only because it is the traditional music from Adam's home country, but also because Stanley and The Sleepless Knights' main focus is to keep quelbe and traditional Caribbean music alive, which I think Adam would have appreciated. The song includes a catchy melody, call-and-response vocals, woodwind instruments, and the iconic scraping sound.

The final piece in our playlist is "Afro-American Symphony (Symphony No. 1)" composed by William Grant Still in 1930. Still's musical style combines classical music with African-American sounds. I chose this piece because I believe that Still and Adams' musical styles are very similar. They both take classic European music and incorporate their cultures and heritage to create unique music. When you listen to the composition, you can hear the influences of blues and jazz. The work features rich orchestration, with a prominent use of strings, woodwinds, and brass. Out of the entire playlist, this may be my favorite piece. It is performed by the Detroit Symphony Orchestra and conducted by Neeme Jarvi.

Bibliography

Alexander, O. (2021, June 11). Alton Augustus Adams, sr. (1889-1987) •. •. https://www.blackpast.org/african-american-history/people-african-american-history/alton-augustus-adams-sr-1889-1987/

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