1-2 of 2 results  for:

  • Popular Music x
  • Music Business, Institutions and Organizations x
  • Traditional, Folk and Indigenous Musics x
Clear all

Article

Melanie Maldonado

Plena and bomba group. Los Pleneros de la 21 (LP21) have the distinction of being the longest-running group to specialize in performing Puerto Rican Plena and Bomba in the continental United States. Since 1983, this New York City-based, intergenerational group has taken these traditional genres from their local New York community to the international stage. The group has produced five albums that both celebrate traditional AfroPuerto Rican music and fuse it with other genres of their urban soundscape. LP21 was founded in the South Bronx by National Heritage Fellow Juan Gutierrez-Rodriguez and contemporaries who included Edgardo Miranda and Eugenia Ramos. Other luminaries who contributed to the evolution of the Grammy-nominated group include famed plena musician (plenero) Marcial Reyes and the distinctive bomba musician (bombero) Roberto Cepeda, a member of one of Puerto Rico’s premier musical families. The members of LP21 are more than musicians and dancers; they are educators and cultural activists who invest their time into their local community by providing workshops for children and adults in the historic community of El Barrio in Manhattan. Today LP21 boasts a membership and group of alumni that includes some of the most well respected pleneros and bomberos in the United States and Puerto Rico....

Article

Barry Jean Ancelet

Cajun musicians. On 27 April 1928 Joseph Falcon (b nr Robert’s Cove, LA, 28 Sept 1900; d Crowley, LA, 19 Nov 1965; accordionist, vocalist, and songwriter) and his wife Cléoma (b Crowley, LA, 27 May 1906; d Crowley, LA, 9 April 1941; guitarist, vocalist, and songwriter) became the first musicians to record a commercially released Cajun music record. They recorded for Columbia with Cléoma on guitar and Joseph on accordion and vocals. Their first album featured “Lafayette” and “La valse qui ma portin de ma fose” [La valse qui m’a porté dans ma fosse]. They subsequently recorded more songs for Columbia as well as for Decca until Cléoma’s death in 1941. Many of these recordings became part of the core repertoire of Cajun music as it evolved in the 1920s and 30s. Partly due to the impact of their early recordings, and also as a result of their musical talents, Joseph and Cléoma Falcon were among the most popular and influential Cajun musicians of that formative period. They shared vocal duties, with Joseph singing mostly traditional Cajun material, and Cléoma singing both traditional songs and Cajun French translations of American popular tunes, such as “Lulu’s Back in Town.” Cléoma, who was the sister of active Cajun musicians Amédé, Ophy, and Clifford Breaux, was especially renowned for her soaring, soulful vocal style. Joseph, on the other hand, had a keenness for improvising new arrangements for older traditional songs. After Cléoma’s death Joseph continued to perform, eventually with his second wife Thérèse playing drums. He produced one additional recording, a live performance at the Triangle Club in Scott in ...