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CD

Lititz Mento Band

Dance Music and Working Songs from Jamaica
House of the Cultures of the World
Product number: SM 15122
€12.00
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Product Details

Description

As late as the 1960s the cheerfully elated rhythms of mento would be found at every village festival. In the age of modern and Afro-American pop music, however, the most important and oldest folk tradition of Jamaica - which developed from the displaced Africans’ contact with European music - has fallen increasingly into the shadows. With violin, banjo, guitar, and rumba box this famous Jamaican group presents a piquant potpourri of mentos, folk tunes, religious songs, and American hits. The songs are not infrequently lewd, and they treat daily life with humor and satire.

Content

Quadrille
Born Jamaican
Rivers of Babylon
Man of Montego Bay
Island in the Sun
Day Oh!
Fan Me Soldier Man
Linstead Market
Shaving Gram
Little Girl in Kingston Town
Grader Man
Revival Man
Tennessee Waltz
Weel An' Tune

More Information

Title:
Lititz Mento Band
Dance Music and Working Songs from Jamaica
House of the Cultures of the World
Gerald Myers: banjo / Clement Smalling, Sonny Borriel: guitar / Theodore Miller: violin / Cleveland Salmon: rhumba box / Jerome Williams: vocals
Publisher/Label:
Wergo
Duration:
62 ′30 ′′
Series:

Technical Details

Product number:
SM 15122
MAN EAN:
4010228151220
Weight:
0,12 kg

More from this series

Music of World Cultures
World Music – What Is Distant? What Is Near? World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today. This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar. The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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