Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook

14 October 2013


The musical style biguine first appeared in Guadeloupe in the second half of the 19th century. It is believed to derive from embéguiner (to have a crush on or be infatuated by). Biguine has many features in common with the earliest jazz of New Orleans.

The quadrille is a traditional square dance of French origin composed of five sections. It is performed by four couples.

This recording features raw quadrilles & biguines of a decidedly Tropical groove.

 Various – Guadeloupe Folklore, Celini Disques 113, late60s-early 70s. 
all decryption codes in comments

Face A –

Zombi Barré Moin – G. Calixte
Bateau Moin Rivé – Taret Turgot
Canne a la Richesse – R. Loyson
Moin cé la Centrale – G. Calixte
Médõ – R. Loyson

Face B –

On N’homme a Case en Moin – G. Calixte
En di Manman en Vlé Mayé – R. Loyson
Robertine – G. Calixte
En Tamarin ti ni dé Gade Mobile – R. Loyson
Do, Ré, Mi, Fa, Sol, La, Si, Do – Taret Turgot


Here is some more gwo ka music from Guadeloupe as performed by Yvon Anzala & his band Anzala.

The origin of gwo ka goes back to the period of enslavement in the 18th century. Musical research shows that the music finds its roots in the drums & songs of the West African countries, specifically the Guinea gulf & the Congo. From the diverse music & dance of their homelands, the slaves created a communication tool, a new form of art, like the creole language: the gwo ka.

Gwo ka (big drum) is both a family of hand drums & the music created with them, which is a major part of Guadeloupe folk music. There are seven rhythms in gwo ka, which are embellished by the drummers. Different sizes of drums establish the foundation & its flourishes, with the largest or big drum, the boula, playing the central rhythm. Smaller markeur (or maké) drums embellish upon it creating a rhythmical interplay with the drums, dancers, audience, or singer. Gwo ka singing is usually guttural, nasal, & raw. It is accompanied by uplifting complex harmonies & melodies. There are also dances that tell folk stories that are accompanied by the gwo ka drums.

Rural Guadeloupeans still use gwo ka drums in communal experiences called lewozes; this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival & other celebrations. A modernized & popularized form of gwo ka is well-known on the islands; it is known as gwo ka moderne which adds new instruments ranging from conga or djembe drums & chimes to electric bass guitar.

 Anzala – Anzala, Disques Debs International HDD 730, 1983.

Face 1 –

Sé Roulé Moin Ka Roulé
Bèlai an Nous
L’incendie a Rio

Face 2 –

Anzala se Vous an Vlé
Ba Yo Biguine


Tenor saxophone star David Murray is such a prolific recording artist that even his side projects add up to full-blown categories. On Yonn-De he teamed up with the Guadeloupe gwo ka masters: singer Guy Konket; François Landreseau & Klod Kiavue, two superb gwo ka drummers & vocalists for his latest cross-cultural exploration.

The music was all written by Konket. The songs are mostly loose, extended workouts, but the jazz-meets-Creole recipe, which Murray has stirred before, hits the spot. Konket's vocal quirks keep things lively. The other musicians include a brilliant quartet of trumpeter Hugh Ragin, trombonist Craig Harris, bassist Santi Debriano, & drummer Pheroan Aklaff.

This recording centers on the African percussion music of this former French Antilles colony. Vocalist & political activist Guy Konket supplies the tropical emotion. Here Murray & the other jazz musicians take on the unfamiliar role as sideman. Konket’s rhythms are straight out of Guadeloupe but Murray is game for this drum-fest. His big slurring tenor melts with the groove-centric beats. The powerful combo of Hugh Ragin’s trumpet & Craig Harris’ trombone accent the pulse nicely. However, it is Santi Debriano who proves to be the beating heart of the entire project. His pulsing bass lends the perfect harmonic shape & direction that makes every track a unique journey.

All compositions by Guy Konket. Recorded January 10-February 15, 2001.

 David Murray & the Gwo Ka Masters – Yonn-De, Justin Time Records, 2002.

Tracklist –

Twa Jou San Manjé
On Jou Maten
Onomatopée (Boula Djèl)
Nwèl 'O!
La Pli La
Moman Colombo


1 comment:

  1. Folklore