Gaita (music style) - Factbites

Gaita (music style) - Factbites
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Topic: Gaita (music style)

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	Music of Galicia, Cantabria and Asturias - Wikipedia, the free encyclopedia
		Certainly, Galicia is nowadays a strong player on the international Celtic folk scene; and as a result, elements of the pre-industrial Galician tradition have become integrated into the modern Celtic folk repertoire and style.
		The gaita is a bagpipe, and it is the primary instrument used in both Galician and Asturian folk music.
		The traditional music of Galicia is probably the least related to the rest of the Iberian Peninsula, although some similarities exist with the neighbouring areas of Asturias and Cantabria or Castille and northern Portugal and it is characterized by an extensive use of bagpipes.
	en.wikipedia.org /wiki/Music_of_Galicia,_Cantabria_and_Asturias (2464 words)

	CVMusicWorld.com Music Ferro Gaita
		This project presented funana in its original style, which came to the surprise of many of those who did not believe funana would bounce back in the market after the collapse of the band FinaÃ§on.
		Ferro Gaita, initially a trio-band, became the greatest musical revelation in the most recent history of Capeverdean music.
		During their teenage years, the members discovered the gaita and ferro, with the addition of drums and a bass guitar they found new ways to play Funana.
	www.cvmusicworld.com /news_articles/templates/artists.aspx?articleid=335&zoneid=3 (380 words)

	Ferro Gaita / Cape Verde - Cap Vert/ RootsWorld Recording Review
		Estevão "Iduino" Tavares' accordion (gaita) is often slightly askew of his band's furious beat, as if it cannot quite keep up with the frenzy it has incited, a breathtaking musical effect also prominent in the "ultramerengue" of Dominican accordionist Francisco Ulloa.
		Ferro Gaita demonstrates that this Cap Verdean dance music is not only infectious fun, but rich in influences and rewarding to hear.
		Ferro Gaita mixes in snare and hand drums, electric bass, and even a conch shell to create a lively instrumental backing for Iduino's lead vocals and the band's Bahian-style chorus.
	www.rootsworld.com /reviews/ferrogaita.shtml (377 words)

	Guaco
		Guaco is a 18-member band with breathtakingly tight musicianship and some amazing arrangements that borrow from salsa, 'gaita,' and other Afro-Caribbean rhythms, as well as from funk, jazz, pop, and rock, offering one of the most attractive Latin music proposals at present.
		Founded in 1960, Guaco is without doubt the greatest Afro-Latin band of Venezuela, with a music style of its own.
		They have taken the Afro-Caribbean rhythm and, based on it, have built their own unique style" Rubén Blades
	www.redgrasshopper.co.uk /guaco.htm (377 words)

	Festival International Nuits d'Afrique de Montréal - World music Musique du monde
		Ferro Gaita has adopted a fiery revolutionary roots style, as discovered at the Club Balattou last November.
		The funana, birthed at the turn of the last century and initially banned by the Portugese colonial authorities, is a traditional festive Cape Verdean rhythm that has been given a new life by Ferro Gaita, albeit in a more modern electric setting.
		A characteristic of the funana is the « chant du lambi », likened to the sound made when blowing in a pierced seashell.
	www.festivalnuitsdafrique.com /artistesfest_en.php?id=2005013 (377 words)

	various artists, The Rough Guide to the Music of Cape Verde
		The four main styles of Cape Verdean music collected on this CD are are morna, coladeira, batuque and funa'na'.
		Grupo Ferro Gaita's "Fundo Baxa" is an example of this style; the accordion is very much in evidence.
		Grupo De Batuque Da Cidade Velha provides an example of batuque with "CPLP." This style relies on percussion and singing.
	www.rambles.net /roughguide_cverde.html (377 words)

	Ferro Gaita / Cape Verde - Cap Vert/ RootsWorld Recording Review
		Despite hailing not only from the same Cap Verdean archipelago as Cesaria Evora, but from the very same island, São Vicente, the funana dance music of Ferro Gaita could hardly be more different from Evora's melancholy morna style.
		Ferro Gaita demonstrates that this Cap Verdean dance music is not only infectious fun, but rich in influences and rewarding to hear.
		Estevão "Iduino" Tavares' accordion (gaita) is often slightly askew of his band's furious beat, as if it cannot quite keep up with the frenzy it has incited, a breathtaking musical effect also prominent in the "ultramerengue" of Dominican accordionist Francisco Ulloa.
	www.rootsworld.com /reviews/ferrogaita.shtml (377 words)

	Ferro Gaita / Cape Verde - Cap Vert/ RootsWorld Recording Review
		Despite hailing not only from the same Cap Verdean archipelago as Cesaria Evora, but from the very same island, São Vicente, the funana dance music of Ferro Gaita could hardly be more different from Evora's melancholy morna style.
		Estevão "Iduino" Tavares' accordion (gaita) is often slightly askew of his band's furious beat, as if it cannot quite keep up with the frenzy it has incited, a breathtaking musical effect also prominent in the "ultramerengue" of Dominican accordionist Francisco Ulloa.
		Another similarity of funana with merengue is the use of a metal scraper, or ferro, as a base for percussion.
	www.rootsworld.com /reviews/ferrogaita.shtml (377 words)

	CVMusicWorld.com Music Ferro Gaita
		Ferro Gaita, initially a trio-band, became the greatest musical revelation in the most recent history of Capeverdean music.
		Ferro Gaita is indeed investing in the traditional advancement of Cape Verde.
		With encouragement from friends and the financial support of the Capeverdean government and private companies, Ferro Gaita produced their first work in June 1997 in Holland by the name of âFundu Baxuâ introduced in August of the same year becoming the highest selling CD in Cape Verde in 1997.
	www.cvmusicworld.com /news_articles/templates/artists.aspx?articleid=335&zoneid=3 (380 words)

	Totó La Momposina : La Candela Viva - Listen, Review and Buy at ARTISTdirect
		However, the musical crossover becomes more interesting with the sextet piece "La Sombra Negra," which was brought over to Colombia by black Cubans, and shows its origins in the guitar and tiple playing and rhythms, as well as the style of harmonies in the voices.
		You can think of this music as folkloric, preserving a tradition that's in danger of extinction, and in many ways you'd be right -- the gaita playing of "Dáme la Mano Juancho," for example, is redolent of that.
		Much of it, like the cumbias "Dos de Febrero" and "El Pescador," is driven by voices and percussion, with Tóto in particular displaying a powerful vocal strength.
	www.artistdirect.com /nad/store/artist/album/0,,194248,00.html (375 words)

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