# World Music: Folkloric music of our countries



## Aquos (May 26, 2013)

Hi, this thread is to show the folkloric / tradicional music that is not-classical or comercial.

I come from Colombia a southamerican country famous because of its cultural diversity. We have 12 different folkloric musical regions in Colombia. Each region has different rhythms, only my region has like 30 ones. I'm glad to show you all the music of my country. I hope you enjoy it.



*Region:* Caribe Occidental (West Caribbean)
*Rhythm:* Chandé





*Region:* Llanera (The Plains)
*Rhythm:* Joropo





*Region:* Andina Centro-oriental (Mid-East Andes)
*Rhythm:* Pasillo


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## Aquos (May 26, 2013)

*Region:* De Frontera / Amazonas (Border / Amazonas)
*Rhythm:* Paseata





*Region:* Insular (Caribbean Islands)
*Rhythm:* Mentó





*Region:* Valles Interandinos (Andean Valleys)
*Rhythm:* Fuga


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## Aquos (May 26, 2013)

*Region:* Caribe Oriental (East Caribbean)
*Rhythm:* Puya





*Region:* Andina Contro-sureña (South Andes)
*Rhythm:* Rajaleña





*Region:* Pacífico Sur (South Pacific)
*Rhythm:* Currulao


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## Aquos (May 26, 2013)

*Region:* Andina Noroccidental (North-West Andes)
*Rhythm:* Trovas





*Region:* Pacífico Norte (North Pacific)
*Rhythm:* Jota





*Region:* Andina Sur-Occidental (South-West Andes) 
*Rhythm:* Bambuco sureño


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## Ingélou (Feb 10, 2013)

Thanks, Aquos. What an interesting place you live in!


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## SanAntone (May 10, 2020)

*Timbuktu*






Global superstar *Oumou Sangaré* returns with her most ambitious work to date. Recorded in multiple locations (US, Mali and France) and her first new material since 2017's critically acclaimed '_Mogoya_', '_Timbuktu_' is a stunning collection of songs, fusing her distinctive Malian sound and voice with elements of blues, folk and rock – resulting in a timeless body of work, free from borders and genres.

'_Timbuktu_' weaves intimate sonic connections between traditional West African instruments and those linked to the history of the blues, most notably the kamele n'goni and its distant heirs, the Dobro and slide guitar. Never have Oumou Sangaré's lyrics achieved such a poetic quality, such depth. Never have we seen her so inspired to deliver her thoughts on the indecipherable mysteries of existence, the perilous situation that her country is going through right now or the general condition of African womanhood, all proof that despite becoming so powerful, she hasn't renounced the belief and commitment of her youth.

Oumou Sangaré was visiting New York City when the pandemic shut things down. She used her time in isolation to compose most of the songs on Timbuktu, co-writing a few with her long time kamele n’goni player, Mamadou Sidibé. As things opened up, she traveled to Baltimore, Mali, Burkina Faso and Paris to record. More than a dozen musicians participated in the sessions.

The music is still rooted in the sounds of her home in the Wassulu region of Mali, but there are subtle, international elements in the arrangements. One of her co-producers, *Pascal Danaë*, adds bluesy guitar licks to several tracks, including the album opener, “Wassulu Don.” Sangaré’s lyrics celebrate the culture of Wassulu, with Danaë’s guitar and a funky drum loop supporting her free-flowing vocals. “Kêlê Magni” laments the hardships of the civil war, that’s been raging in Mali for more than decade. It starts with rippling balafon and n’goni rhythms behind Sangaré’s call and response with the backing vocalists. Halfway through, Danaë’s distorted blues guitar and a rolling bass line provide a propulsive lift to Sangaré’s harrowing vocals. She wraps things up with “Sabou Dogoné,” a traditional tune that asks Allah to connect her to the ancient knowledge and wisdom of Mali. Sustained organ chords and sparse piano back her fervent vocals. (*downbeat*)


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## SanAntone (May 10, 2020)

*Horace Andy | Midnight Scorchers / Midnight Rocker*

Both albums, released 6 months apart, are complete. _Midnight Rocker_ is the pitch, and _Midnight Scorchers_ smacks it out of the park. Maybe a better way to put this is, _Midnight Rocker_ is the spliff, and _Midnight Scorchers_ is Jah. When I first played them, it took me twenty minutes to realize I was lying in front of my speakers. (*aquarium drunkard*)


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## SanAntone (May 10, 2020)

*Clara Cantore* is a young musician from Argentina that has been touring the world with a new way of approaching folk rooted music through the electric bass as a solo instrument. 

Singer, guitarist, bassist and composer, her music is traversed by her commitment to social justice and equality of opportunities, especially among the Latin American women’s movement. Though her music is firmly rooted within the context of Argentine and Latin American folk, there is also a strong influence of tango, jazz, flamenco and classical music, as a result of her extensive training and musical curiosity.






Very interesting. Playing the six string bass like a guitar is somewhat unique, I mean, as a solo accompaniment instrument.


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## SanAntone (May 10, 2020)

*Wau Wau Collectif—Mariage*






The second collaborative album from musicians in Toubab Dialaw, Senegal, led by vocalist Aurora Kane, and Sweden’s Karl Jonas Winqvist is a welcome sequel to Wau Wau Collectif’s debut, Yaral Sa Doom. Familiar voices flow through songs packed with fuzzy xalam guitar riffs, trills of flute, and plunky balafon percussion augmented by spacey electronic effects.


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