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Sometimes I like to kick start my mornings with a nice strong 6 8 rhythm. My theory is that it’s good for circulation, since I can feel my blood accelerate while I listen. Son Jarocho and Joropo are my two favourite cousins of 6 8 time: Son Jarocho from Veracruz, Mexico, and Joropo from the plains of Colombia and Venezuela.
Over Memorial Day weekend we were incredibly blessed with a visit and spontaneous performance by L@s Cafeter@s from Los Angeles, who came to visit us from LA and play some fútbol. Juancho posted a live recording of their show that night, and I’d like to share another, from their live CD. Definitely keep your ears open to the footwork (zapateo) in the recording, because more fancy footwork awaits you in the Joropo post below. The music also features a marimbol – bass and mbira in one instrument! I can’t wait to get my hands on one of those…
Look for L@s Cafeter@s at the Eastside Café in El Sereno, Los Angeles, contact them for classes on how to play, or find more info here
(Note: a very different version of this same song was posted by Juancho here)
They say you haven’t truly heard maracas (called capachos in los llanos de Venezuela and Colombia) until you hear Joropo. And perhaps you haven’t really seen a harp being played until you see one of these rockstars pulling their crazy harp antics –playing above their head and even behind their back. Here’s a little treat we picked up in Colombia for you:
Llanero De Condicion
The Colombian Grupo Cimarron is also continuing to evolve this form. There’s a treat for you at the end of the clip: some dance footwork that’s so fast, it’s a blur:
(Apparently it helps to start learning young!)
Hope this helps get you going this Monday morning!
China Tu Madre
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Poi spinning, pop locking, breakdancing, laser effects and roller skates – Maori style! Watch for the guy in the white gloves, he starts doing helicopters toward the end.
– China Tu Madre
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The first merengue CD I ever bought was by Juan Luis Guerra, thanks to my fellow student, known fondly as Copete, who taught me how to dance it when I arrived at college. Little did I know that ten years later I would play “A pedir su mano” (Translation: “To ask for her hand”) during my wedding. It was too appropriate – we couldn’t pass it up.
(The video includes some bad 80s effects and some brilliant footage of the Dominican Republic. I’d never seen it till now.)
Also at college, I was invited to learn and perform a dance to Soukous, thanks to Janet and Kirimania. When people who hadn’t heard it before asked me to describe what Soukous sounded like, I would tell them it was “how you’d imagine Merengue sounded before it crossed the Atlantic”. At the time I didn’t realize that in fact, it really had.
This was affirmed again many years later, when we picked up this little treasure:
And to our surprise, we found this song, Dédé Priscilla, by Lea Lignanzi – the original version of “A pedir su mano”. Since then we’ve tracked down a few other tracks by Juan Luis Guerra that are adaptations of soukous. Maybe I’ll dig those up for you sometime.