Putumayo - Carnival, НКЦфРЮ ИЛ, РНОЧ Йз ПРЖє, Audio CD

Putumayo - Carnival


	СІЧА ID:	43330
	СІЧАИэ	Putumayo - Carnival
	Special Price	$15.95 ($17.95) regular
	Categories	РНОЧ Йз ПРЖє
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РЬ ЦфРЬСіИІ ФЃБИПЁАд КИГРНУДй!

Brief Description:

This festive collection features upbeat songs from many of the world's great carnival celebrations.

Ara Ketu

Eddie Bo

Fruko Y Sus Tesos

Cuarteto Patria

Un Solo Pueblo

Kermit Ruffins

King Posse

Martinho Da Vila

Big Davy

Andre Tanker

Supporting language:	НКЦфРЮ ИЛ
ЧУЗПЦћ СіСі:	Audio CD

It is three o' clock in the morning. The streets are filled with thousands upon thousands of dancers, a sea of people for as far as the eye can see. A band of 300 drummers and singers bring the crowd to a frenzy; marching, dancing, and waving their hands in unison, drenched in sweat. It is Carnival in Salvador de Bahia, Brazil, and in countless cities around the world, from Port-au-Prince to Port of Spain, Rio to New Orleans, the days leading up to Lent are unlike any other. Entire cities are transformed as avenues are filled with spectacular floats. People live out their fantasies, dressing up in elaborate costumes. Men dress as women, women dress as men, or even wear next to nothing while dancing through the night to the most vivacious music in the world.

The origins of carnival date back to the ancient Greek spring festival in honor of Dionysus, the god of wine. The Romans adopted the celebration with Bacchanalia (feasts in honor of Bacchus, the Roman equivalent to Dionysus) and Saturnalia, where slaves and their masters would exchange clothes in a day of drunken revelry. Saturnalia was later modified by the Roman Catholic church into a festival leading up to Ash Wednesday. It quickly evolved into a massive celebration of indulgences, one last gasp of music, food, alcohol and sex before Lent, 40 days of personal reflection, abstinence, and fasting until Easter. 40 days of purging sins, preceded by a week filled with virtually every known sin. The word itself comes from Latin, "Carne Vale" or "Farewell to the Flesh."

The subject matter of carnival songs is as varied as the carnivals themselves. Haiti has a long history of anti-government political messages running through its songs. Similarly, many of Trinidad's calypsos, impromptu sung newspapers, are filled with overt social commentaries. While in Rio, songs are composed as part of a carnival theme for the various escolas de samba (samba schools). These songs, like the floats that accompany them, border on the spectacular. Topics include the creation of the earth, the history of Brazil, in addition to local passions such as futebol (soccer).

While the stories may differ, carnival music everywhere is music of the streets, designed for partying and group celebrations. From the brass bands of New Orleans to the soca monarchs of Trinidad, carnival music is a soundtrack for the one time of the year when everyday people leave their inhibitions behind in a wave of frenzied celebration. In the past, it was a time when slaves could live in freedom, if only for a few days. Today, it is still an opportunity to dress up, protest, and do things that would be considered "socially unacceptable" on any other day, ranging from criticizing oppressive regimes to cross-dressing to wearing absolutely nothing. Carnival is a magical event when the poor and downtrodden can forget their troubles, dress up like imaginary characters or fantastical people and basically get their ya-ya's out. We hope this collection inspires you to celebrate life every time you hear it, not just once a year!

Ara Ketu "Tapete Negro" Salvador de Bahia was Brazil's first center of government (from 1549 to 1763), and remains its musical capital. For centuries, Bahia was the hub of the Portuguese sugar industry, and the slave trade. As a result, Salvador is the largest center of African culture in the Americas. Amidst the colonial architecture and cobblestone streets, there is the unmistakable beat of Bahian drumming. You can hear it in the stereo speakers and boomboxes blasting the latest axФ pop music. It becomes overwhelming when the large percussion ensembles (with literally hundreds of drummers) called blocos afros take to the streets for carnival. Salvador is Brazil's street carnival. It lasts for weeks. The music begins daily as early as noon and runs until 7 or 8 the next morning. Bahian superstar Carlinhos Brown explains, "we play, not for money, but to celebrate happiness. Our carnival is a street carnival. It is for everyone, not just for those with money." In addition to the blocos afros, artists like Carlinhos Brown and Daniela Mercury perform on huge trucks, packed with loudspeakers called trio electricos. The tradition began in 1950 when two Bahian musicians, Dodo and Osmar, performed with their electric trio aboard a 1929 Ford pickup truck. Bahia's carnival is perhaps the world's largest public festivity, attracting crowds of three million that dance through the night in Salvador's historic colonial streets. Ara Ketu began as a carnival bloco afro in 1980. Originally a huge drumming ensemble, like Olodum, it was dedicated to the preservation of Afro-Bahian culture. Their name means "People of Ketu" adopted from the Yoruban god Oxossi (the god of hunters). Their blue outfits adorned with the bow and arrow are also in honor of Oxossi. Like the escolas de samba in Rio, the blocos afros of Salvador are also neighborhood social organizations. Based in Salvador's Periperi district, Ara Ketu's social mission includes a massive campaign to fight discrimination based on sex, religion and race. Ara Ketu has also been at the forefront of a movement that began in the late 1980s, taking the traditional Afro-Bahian drumming patterns, and adding a salsa-tinged brass section, bass and guitar to create an infectious sound that has brought the group to superstardom not just in Bahia, but across Brazil. Eddie Bo "I Know You Mardi Gras" New Orleans, a city dubbed the northernmost part of the Caribbean, is home to the largest carnival in the United States, Mardi Gras (French for "Fat Tuesday"). French explorers first celebrated Mardi Gras on the banks of the Mississippi River in 1699 in a region 60 miles south of present day New Orleans. By the late 1700s when New Orleans was a large French colonial center in the New World, the city was home to massive costume carnival balls. However, during subsequent Spanish rule, Mardi Gras was banned, a prohibition that lasted well after the United States took control of the city in 1803. Following massive pressure by Louisiana's Creole population, the event returned in 1823. New Orleans' "krewe" system began in 1857 with the Krewe of Comus. Krewes were secret carnival societies that were immediately embraced by the Louisiana aristocracy, as well as white supremacists that used their secrecy to fight reconstruction. Rex, the king of carnival, first appeared in 1872, proclaiming the official colors of Mardi Gras: purple for justice, green for faith, and gold for power. The first black Mardi Gras krewe, the Original Illinois Club, started in 1894, followed by the first women's group, Les Mysterieuses, in 1896. Today, there are over 60 Mardi Gras krewes that build and organize the now famous carnival floats. Pianist Edwin Joseph Bocage, or Eddie Bo, is a giant in the New Orleans music scene. With his trademark sound, fusing New Orleans rhythm and blues, jazz and funk, combined with be-bop voicings, he has delighted audiences worldwide for nearly half a century. He has recorded more 45s than any other New Orleans artist besides Fats Domino. Bo is an accomplished singer, songwriter, composer and arranger. He is also one of the most sought after producers in a city synonymous with music, having produced albums for Art Neville, Irma Thomas, Robert Parker, and Johnny Adams. Among Bo's songwriting credits are "My Dearest Darling" (which became a hit for Etta James), "I'm Wise" (adopted by Little Richard under the name "Slippin' and Slidin'"), and "Check Your Bucket," Bo's biggest hit, which reached #13 on the American pop charts in 1969. Well into his fifth decade in the music business, Bo remains one of New Orleans' leading musical ambassadors. "I Know You Mardi Gras" is a classic New Orleans- style rhythm and blues number whose lyrics describe the pleasures of Fat Tuesday. The horn arrangements on Eddie Bo's version, especially the pungent trombone riffs, capture the rowdy brass flavors of parade bands. Fruko Y Sus Tesos "El Nuevo Caiman" The Caribbean coastal town of Baranquilla boasts Colombia's largest carnival. Its music is based on dances from all regions of the Caribbean coast, a mix of Afro-Latin, Spanish and indigenous. Traditionally, carnival goers would march house to house, dressed in elaborate costumes, performing Danza de Indios, Danza de Congo, or Danza de Negro. It later evolved into a carnival procession called "La Gran Parada" (The Great Parade) that incorporated Colombia's most popular form, the cumbia. Ernesto "Fruko" Estrada began his musical career at the age of 15 when he joined the legendary cumbia group, Los Corraleros de Majagual. It was Los Corraleros back in 1968 that gave Fruko the first opportunity to travel to New York to witness the city's burgeoning salsa scene. The group Fruko y sus Tesos began in 1970 when Fruko and musical director Mario "Pachanga" Rincon, while working for Discos Fuentes, Colombia's leading record company, set out to create a sound similar to New York's Fania All Stars. In the decades since, Fruko y sus Tesos, along with the king of the Baranquilla carnival, Joe Arroyo, (Arroyo has earned the carnival's top prize, the "Congo de Oro" eight times) and Grupo Niche have led a salsa scene in Colombia that ranks second to none. Arroyo himself joined Fruko in 1973, with "Piper" Pimienta Diaz and Wilson Manyoma to create a true Colombian equivalent to Fania. "El Nuevo Caiman" (The New Alligator) refers both to a common character in the Baranquilla carnival and to a classic song, "El Caiman," by Cuban legends Sonora Matancera that contained the famous lyric "the Caimnn is going to Barranquilla." The new Caiman is a cool dude, dressed in the finest clothes and made even more handsome with plastic surgery. "The alligator is back / The alligator from Baranquilla / He was in Mazatlan and in Florida / He went to New York / He went to Baranquilla / His cool walk / Imported clothes / He's a cool one, the new alligator / His clothes of strange brands / Expensive shoes for strutting / He puffs out his chest / He's elegante, he's suave / He's in love, the new alligator / The sun rises / It heats up the sand on the beach / For carnival / What a beautiful tradition / People in their costumes / Battle of the Flowers / The verbena of the neighborhood/Neighborhood that I love." Cuarteto Patria & Manu Dibango "Carnaval" Cuba celebrates its carnival in July in honor of the anniversary of Fidel Castro's attack on the Moncada garrison on July 26, 1953. The carnival in Santiago, a city in the eastern Oriente province, is Cuba's largest, filled with one of the most unusual arrays of instruments in the Caribbean, including frenos (huge round metal brake drums) played with iron rods, guatacas (hoe blades), bells and other resonant metal percussion, plus trumpets and trombones, set to the shrill sound of the corneta china (a double reeded instrument of Asian origin brought to Cuba by Chinese immigrants). Eliades Ochoa's Cuarteto Patria is Santiago de Cuba's leading exponent of son, the roots of salsa. For more than two decades, Ochoa has been a regular at the son hotspot, La Casa de la Trova (the House of Trova). Ochoa has created a unique son sound by managing to play his guitar like the Cuban tres (a small three stringed Cuban guitar). "It happened by accident," remembers Ochoa. "When I was young, I broke a string, and not having enough money, I just added a second G-string and re-tuned my guitar." Ochoa and Cuarteto Patria joined Santiago de Cuba legend ,ico Saquito on his famous final recording "Goodbye Mr. Cat" recorded weeks before Saquito passed away two decades ago. Eliades Ochoa was also largely responsible for rediscovering Compay Segundo in the early 1990s. In 1997, Ochoa gained international fame as one of the primary figures in the groundbreaking Buena Vista Social Club. That same year, Ochoa and Cuarteto Patria recorded another landmark album, "CubAfrica" with Cameroonian saxophonist Manu Dibango. In the 1970s, Dibango released the mega-hit "Soul Makossa" that even reached the top of the American pop charts. "We grew up listening to Cuban music," explains Dibango. "Our rumba comes from Cuba, so it seemed only logical for us (Cuarteto Patria) to record together." "Carnaval" is a testament to the transatlantic connections between Cuban and African music. "I hope the day never arrives when there is no Carnival in Oriente / I could get by with dancing rumba / Because without rumba I couldn't live / For Oriente I'm going to dance the changYi / It's a very popular dance that goes like this." Un Solo Pueblo "Macoklis Mango" Looking at the map, it seems logical that you would find a calypso filled carnival in Venezuela. After all, the island of Trinidad is just off of Venezuela's eastern Caribbean coast. However, this isn't the region of Venezuela where you'll typically hear calypso. Venezuela's calypso (spelled "calipso"), and its largest carnival can be found in El Callao, in the southeastern part of the country (near Ciudad Bolivar). 120 years ago, thousands of immigrants from the eastern Caribbean came to this region in a South American gold rush. Today, their descendants sing a unique version of calypso in one of the most colorful carnivals in South America. The lyrics are essentially Spanglish with rhythms from Trinidad as well as Guadeloupe and St. Kitts, but like almost all of the music in Venezuela, the calypso also draws on Andalucian roots, including Andalucian cadence and chord progressions. Like its cousin in Trinidad, the calypso in Venezuela is an essential part of carnival, with huge floats, elaborate costumes, in a frenzy of all night celebrations leading up to Lent. Both the Trinidadian and Venezuelan calypsos have histories as "sung newspapers" as local calypsonians would traditionally bring news of the day to the public through cleverly rhymed verse. The music of Un Solo Pueblo is the soundtrack of a nation. It is nearly impossible to find a Venezuelan who doesn't know many of their songs by heart. In a land of plains, deserts, tropical rainforests, snow-capped mountaintops and Caribbean coast, Un Solo Pueblo has defined the music of two generations of Venezuelans by bringing together music as diverse as the landscape it comes from. Like much of the Americas, Venezuela is a mix of three cultures: African, Spanish, and Native American. Nearly 80% of Venezuela's population is of mixed origin. As a result, Un Solo Pueblo's music, like Venezuela's folk traditions, reflects a mix of three cultural legacies. The combination of indigenous maracas, stringed instruments (cuatros and bandolas) of Spanish origin and drums from West Africa lead to Un Solo Pueblo's uniquely Venezuelan music. The words "Un Solo Pueblo" are Spanish for "One People." Kermit Ruffins "Kermit's Second Line" Ever since Esther Ruffins bought her young son Kermit a trumpet, she knew she was on to something special. Kermit began playing while in the 8th grade, drawing upon the ultimate inspiration: growing up in New Orleans, the birthplace of jazz, and a city that embodies music. Rather than simply imitating past legends, Ruffins' music is a true reflection of the diversity and dynamics of the gumbo that makes up New Orleans. Imagine a man who makes his trumpet sing like Dr. John, Professor Longhair, and Louis Armstrong wrapped into one. That is Kermit Ruffins. In 1982 Ruffins formed the ground-breaking Re-Birth Brass Band with school-mate Philip Frazier. They went on to record six albums together and toured six continents before Ruffins decided to branch out with a solo career in 1992. This gave Ruffins the opportunity to realize one of his long time dreams, to form a big-time swing band: Kermit Ruffins and the Barbecue Swingers. New Orleans brass bands are descendants of the military bands of the late 1800s, yet the swinging melodies and funky beats of the Crescent City version are a far cry from ceremonious Marine Corps medleys. Brass bands play an important social function and are used for all types of community events, including weddings, funerals, and, of course, Mardi Gras processions. "Second line" refers to the people who walk behind the band dancing and partying, the second line of the parade. King Posse "Retounen" Haiti's carnival is the most African carnival in the Americas, and traces its roots to African ceremonies brought by slaves to the New World. The festival begins on December 25th celebrating the birth of the sun god and runs until his "death" on Easter Sunday, celebrated even today in Haiti with rara bands parading through the streets. In the 17th and 18th centuries, the French government tried numerous times to ban these African religious practices, but to no avail, compromising on a six week festival running between the Epiphany Sunday (the second Sunday in January) through Mardi Gras. The Church once again banned the Haitian carnival in 1729, only to see it return the following year with defiant revelers dressed as bishops and priests, even crossdressing to mock the pope and the government. It was the start of Haiti's long tradition of political carnivals. Even during the harshest of times during Duvalier's dictatorship when bands were ordered to sing songs in support of the government, carnival marches regularly included subliminal messages. Following a decade where the Haitian carnival was dominated by musik rasin, the overtly political Haitian roots music based on traditional Vodou drumming patterns, King Posse has significantly moved Haitian carnival music in a new direction through a music they describe as compas muffin, which refers to the blend of Haitian compas and Jamaican raggamuffin. King Posse captured the top prize at Haiti's carnival with this unique blend of Jamaican dancehall reggae, hip hop, ragga, R & B and compas. "Retounen (Comeback)" is a contagious anthem that will have your head bobbing for a long time. The singer mentions musical legends and influences Bob Marley, Marvin Gaye and Ti-Manno, a well-known Haitian singer. "My friends, please don't cry / If King Posse doesn't show up / Please don't scream / Let's look back / Let's look to the left / Let's look to the right / Lord have mercy / This is the time we were waiting for / King Posse has set a tradition in our nation / The carnival is theirs / Because people are normal / Once they are in it." Martinho da Vila "Canta Canta, Minha Gente" Rio's lavish carnival is the world's most famous. Scores of spectacular floats surrounded by thousands and thousands of dancers, singers, and drummers parade through the enormous Sambodromo Stadium dressed in elaborate costumes. The origin of Brazil's carnival goes back to a Portuguese pre-Lent festivity called entrudo, a chaotic event where participants threw mud, water, food, and just about anything squishy at each other in a street event that often led to riots. Rio's first masquerade carnival ball (set to polkas and waltzes) was in 1840. Carnival street parades followed a decade later with horse drawn floats and military bands. The sound most associated with the Brazilian carnival, the samba, wasn't part of carnival until 1917. The samba captivates the body of the dancer. Feet move back and forth at lightning speed, as does the barely covered Brazilian bottom. The samba is a mix of Angolan semba, European polka, African batuques, with touches of Cuban habanera and other styles. Martinho da Vila is widely considered the greatest living sambista, or samba singer. His cool, smooth voice combined with a spontaneous wit has kept him at the top of Brazil's music scene for three decades. Later in Martinho da Vila's career, he joined the samba school Vila Isabel. In Rio, samba schools are much more than musical groups, they are neighborhood associations, often involved in community work such as health care and education in a country with no social safety net. During Rio's famous carnival, each samba school with its 3 to 4 thousand singers, drummers and dancers take to the streets of the Sambodromo, Rio's enormous stadium dedicated to samba. It is an effort that takes almost an entire year of preparation. Vila Isabel finally won its first carnival championship at the 1988 carnival. This classic song captures the beauty and significance of samba in the life of Brazilians. Fun and danceable, yet with a tinge of melancholy in the melody, the song reflects the way in which samba helps people forget their everyday problems and enjoy life, even if only for a few weeks a year during the Carnival season. "Sing, sing my people / Leave your sorrow behind / Sing strong, sing loud / Life is going to get better." The largest festival in the Caribbean nation of Barbados is Crop Over. The event dates back centuries, and, as its name suggests, is a harvest celebration, celebrating the end of the sugar crop (Barbados' largest agricultural industry). Crop Over began as an all night celebration by the slaves on Barbadan plantations marking the end of a rough crop season. Today, the event lasts weeks, beginning in mid-July, with musical competitions, all night dances, and elaborate costumes. One of the highlights of the festival is the "Pick-O-De-Crop" competitions where calypso and soca artists compete in an all night challenge that fills the national stadium flanked by stilt walkers, dancers and thousands of revelers. Crop Over concludes with a huge street parade on the first Monday in August. Known as the Grand Kadooment, the event is reminiscent of many Caribbean springtime pre-Lenten carnivals. Big Davy "Spirit of Crop Over" A native of Trinidad, Big Davy has lived in Barbados since 1988 where he has become a leading figure on the local music scene. Big Davy is no young blood; he started singing calypso professionally over 30 years ago. He has toured Europe extensively, recorded for EMI and Island Records, and even appeared with Sammy Davis, Jr. at the London Palladium. "Spirit of Crop Over" was the anthem of the 1997 Barbados Crop Over Festival. Trinidad's carnival is immense, rivaling its cousins in New Orleans and Brazil. For two weeks, the island is transformed in a series of spectacular competitions: Steel pan yards, calypso competitions, the famous "road march" (best song of carnival), and the crowning of the King and Queen of carnival. However, the Trinidadian carnival had humble beginnings. It was not a major event during Spanish colonial rule. The French took control in 1783 (and later the British in 1797) and brought with them the tradition of huge masquerade parties between Christmas and Lent. Following the eradication of slavery in Trinidad in 1834, carnival took on a much stronger African flavor. European instruments were replaced with a wide range of percussion instruments, metal graters, banjos, bottles and spoons. Today, Trinidad's carnival features one of only a handful of acoustic instruments created in the 20th century, the steel drum. Created out of old oil drums, Trinidadians have created entire orchestras out of steel pans. Every year, 20 to 30 steel pan orchestras face off in a competition and take to the streets to launch Trinidad's carnival on Monday morning: the j'ouvert1 of the carnival. Andre Tanker "Wild Indian Band" Andre Tanker grew up surrounded by music. His mother, a dancer, inspired Andre's curiosity in music with a record collection that included Nigeria's Fela Kuti, Ray Charles, Ravi Shankar, Perez Prado as well as calypsonians Lord Kitchner and Mighty Sparrow. In addition to singing and composing, Tanker has worked extensively writing and conducting musical scores, including the Playboy of the West Indies (which debuted at New York's Lincoln Center in 1993) and the score to Nobel Laureate Derek Walcott's Ti-Jean and his Brothers. "Wild Indian Band" is from Tanker's critically acclaimed CD, Children of the Big Bang that features an all-star lineup including pianist Andy Narell, drummer Richard Bailey, and fellow Soca superstar David Rudder. The song describes in detail the scene of a typical Carnival parade in Trinidad. "Movin' downtown in a carnival way / Man steppin' early to check out the j'ouvert / Love the way how dem steel band play / Mankind have to jump when dem brass band breakaway / But as we take the corner a different vibration really tief mih head / Was a wild Indian band, looking so fierce dey had the whole street dread / Hear dem chanting." As in New Orleans, it is common for parade groups in Trinidad to dress up in elaborate, ornate costumes inspired by Native American garb.



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