Smithsonian launches Venezuelan folk CD - Parranda!

By Russell Maddicks
Folk group La Sardina de Naiguatá will be bringing all the feelgood fun of a Venezuelan street party when they tour the USA in June and July with a series of free concerts in Washington, Houston, San Francisco and Chicago to promote their new album "Parranda! Venezuelan Carnival Music", which is being released by Smithsonian Folkways Recordings today, 19 June 2012.
As the name suggests, the group comes from the town of Naiguatá - located on the long strip of Caribbean coast north of Caracas known as the Litoral Central.
The town is not the most picturesque spot on the coast - many people only stop here to stock up with alcohol from the many liquor stores before heading off to the popular seaside sands of Los Caracas or the more attractive and isolated beaches of Osma, Caruao and Chuspa - but for those in the know Naiguatá is famous for celebrating the largest number of street festivals in Venezuela.
The party people of Naiguatá have preserved the tradition of Diablos Danzantes (dancing devils) during the Catholic feast of Corpus Christi, hold parades in honour of Saint John the Baptist on June 23-24, and dance madly in masks and costumes during carnival.
But the festival that most clearly marks the town as special is the annual procession on Ash Wednesday known as El Entierro de la Sardina (The Burial of the Sardine).
Amid much mock solemnity a man dressed as a priest leads a motley assortment of men in drag known as viudas (widows) in a funeral cortege for a papier mache sardine that is ceremonially cast into the sea while the celebrants, including a horned devil, lament the end of carnival and the the start of Lent.
Fundamental to the procession is the music, a shuffling merengue beat that can be adapted to cover virtually any popular song of the day and which has evolved dramatically thanks to Ricardo Díaz - a local fisherman, trumpet player and founder of La Sardina de Naiguatá.
Realizing that he could add more oomph to the traditional procession music provided by cuatro (four-string guitar like a ukelele), charrasca (gourd or metal scraper) and Afro-Caribbean drums, Díaz added brass, electric bass, electric keyboard, and a choir of female singers.
The group now lead local revellers around the streets of the town from the back of a truck, giving a real carnival feel to the annual procession, which was brought to Venezuela by the Spanish and mirrors similar festivities still celebrated in the Spanish cities of Madrid and Murcia and on the Canary islands.
Over the years La Sardina de Naiguatá have built up a repertoire of songs that draw on local folk styles such as parranda and fulía that tap into the Spanish and African roots that gave birth to these hybrid musical forms that are as unique to Venezuela as vallenato is to Colombia or bachata to the Dominican Republic.
The Smithsonian was so keen to capture the authentic sound of the group that Folkways director Daniel Sheehy, the musical director Alexander Livinally, and sound engineer Peter Reinier travelled to Caracas to oversee the recording of the album, which was later remixed in the USA.
Folkways Recordings is the most important repository of World Music in the United States and was founded in 1948 by Moses Asch to document "people's music" from around the globe.
To coincide with the release of the CD, the Smithsonian has produced a mini-documentary about La Sardina de Naiguatá.
Parranda! Venezuelan Carnival Music
TRACK LIST
1. Abran la puerta [Open the Door] (calipso)
2. Parranda calle [Street Parranda] (parranda)
3. Volveré [I Will Return] (fulía) - Audio clip
4. Pájaro amarillo [Yellow Bird] (parranda)
5. Guayana es [It’s Guayana] (calipso)
6. Potpourrí “Alí Primera” [“Alí Primera” Medley]
7. Tambores de Naiguatá [Drums of Naiguatá]
8. El pilón [The Corn-Pounder] (parranda)
9. Flor de loto [Lotus Flower] (vals)
10. Potpourrí del gallo pinto [Spotted Rooster Medley] (fulía)
11. Río Manzanares [Manzanares River] (parranda)
12. Bandido [Bandit] (calipso) - Audio clip
13. Carmela (fulía)
14. Potpourrí “Sabor a navidad” [“Taste of Christmas” Medley]


To buy the album, download it from Amazon or listen to audio samples, click here.

For details of other releases on the Smithsonian Folkways music label click here.

US Tour dates and details: 
Free places are limited to some of these events so reserve early to avoid disappointment

29 June - Washington - Smithsonian Folklife Festival - Free - 6:30 pm
1 July Houston, Texas - Miller Outdoor Theatre - Free - 8 pm
5 July Washington -  Embassy of Venezuela - Free
8 July San Francisco - Yerbabuena Gardens Festival - Free -1-3 pm
11 July Chicago - Chicago School of Folk Music - Free - 8:30 pm
13 July Chicago - Chicago School of Folk Music - See link above

Simon Diaz & Hugo Blanco - El Peine

"El Peine" ("The Comb") is a tongue-in-cheek song by Venezuelan folk singer Simón Díaz from the early days of his career in 1965, just after he'd got his big break singing with harpist and composer Hugo Blanco.

The video shows a young Díaz sitting with a furruco, the special drum used in gaita music from Maracaibo, which is played by rubbing the hands down the stick attached to the drum head.

From the beginning Díaz stood out as a comedian and "El Peine" is no exception, playing on the similarity in sound between the Spanish word for comb and the word for a delicate part of the male anatomy.

Accompanied by a jaunty harp, a four-stringed guitar known as a cuatro and maracas, the verse goes "lend me your comb to play some music and start the party with a barrel of guarapita", referring to the heady cocktail of raw cane alcohol and passion fruit juice called guarapita which is popular along Venezuela's Caribbean coast.

Tio Simón (Uncle Simon), as he is known to his fans, is considered a national treasure in Venezuela and for many years presented a children's show that promoted folk traditions, humour and songs.

Born in 1948 in Barbacoas and baptized Simón Narciso Díaz Márquez, he is famous for his renditions of folk songs known collectively as joropo or música criolla from the area known as Los Llanos, a vast swathe of seasonally-flooded cattle country that stretches from Venezuela into Colombia.

His most famous composition is "Caballo Viejo" - which became a huge international hit for the Franco-Spanish group the Gipsy Kings after they renamed the song "Bamboleo".

He also recorded a very popular version of the country's unofficial anthem "Alma Llanera".

Some of his most famous songs were remixed a few years ago by young electronica artists such as Baylon Motorhome,  who added a lilting ska beat to the song "Angustia". 

Gaitas: Astolfo Romero - Una Florecita

I would like to Wish everybody a Merry Christmas and a Feliz Navidad, and what better way to celebrate than with gaitas, the traditional music of Zulia State.
In Venezuela, Christmas isn't Christmas without gaitas and Astolfo Romero was one of the great voices of the genre.
"El Parroqiano", as he was known, was born on 8 February 1950 in the neighbourhood of El Empedrado in Maracaibo, the capital of Zulia State.
Part of Santa Lucia, El Empedrao is known for its colourfully-painted colonial houses.
Astolfo started singing professionally with the children's group Los Invasores and graduated to top groups such as Los Cardenales del Exito, the Gaiteras de Pillopo and Maragaita, which he founded and directed.
Sadly, in May 2000 Astolfo died of a heart attack, robbing Venezuela of one of its great gaiteros, but not before he founded the University of Gaita in 1980.
Florecita was one his many hit compositions.

More Gaitas: Maracaibo 15 - La Negra del Tamunangue