Variant title |
Havana and Matanzas, Cuba, circa 1957 |
Portion of title |
Batá, Bembé, and Palo songs |
Contents |
Tui-tui for Shangó (1:38) -- Idé werewere ni'ta Oshún idé werewere (Song for Oshún) (3:07) -- Okú ó Sholá Kinibá ó (Praise song for Aganjú) (1:46) -- Babá Fururú oloré ré ó (Song for Obatalá) (3:34) -- Kurukuru bede/Osain adádará mádá ó (Song for Osain) (1:26) -- Mojuba Olodumare (To Olodumare, the orishas, and the ancestors) (1:30) -- Agó agó 'lona mojuba/Ibarabo agó mojuba (Songs for Eshú) (4: 21) -- Oyá o owó kodé Oyá bé wá ló (Song for Oyá) (1:44) -- Obé ré obé Ayankú Naná lewá (Arará song for Naná Burukú) (3:49) -- Ibeji otá esé aremú béji otá esé (Song for the divine twins) (3:11) -- Kiri nya kiri nya agó/Eshu o Elegbara e (Song for Eleguá) (2:35) -- Kolelé kolé ó iyá ó wó miyá kolelé (Song for Ogún) (3:21) -- Babá Fururú oloré ré ó (Song for Obatalá) (5:01) -- Moforibale oba [k]oso/ Moforibale fú[n] Shangó (Song for Shangó) (4:42) -- Kayobá Oba ó omó lowó Oba lere mi/Oba elekó ayá osi (Song for Obá) (4:12) -- Awoyó, Yemayá ó omo du kwe [modupué ó] lowó mi (Song for Yemayá) (5:13) -- Iyámi ilé oro [odo] (Praise song or oriki for Oshún) (3:25) -- Okonilé ré rá é okó mi lo é milé bewá é (1:57) -- Omodé t'orisa de ké awaó omodé funmi rawaó (1:35) -- E bé oró, be mode loró (1:58) -- Ndudu dale vuelta al ingenio (The spirit is circling the sugar mill) (4:37) -- Vola volando nsaura (The turkey vulture is flying around) (4:24) -- Shanigó (1:34) -- Oyayá obé (1:15) -- Obá o china (1:09) -- Marengue (0:41) -- Umbé (1:14) -- Vamo' tuñe tuñe tuñe a casa mangoya (0: 51). |
General note | "From the historic recordings of Lydia Cabrera and Josefina Tarafa"--Original container. |
General note | Previously issued as compact disc. |
General note | Program notes by Morton Marks, with bibliography and discography (24 p. : ill.) in original container. |
General note | Traditional music for the orishas and ceremonial rhythms featuring batá drums. |
Date/time/place of a event note | Recorded in 1957. |
Language | Sung principally in Yoruba with several tracks in Arará (21-22) and some Kongo material. |