I MÜSETTA

 

''I MÜSETTA'' 

BANI E TIGLIÒN Vol.2

Madau Dischi,  1985, K-018

The couple piffero-fisarmonica (chromatic accordion) is typical of the region called in Italy ''le Quattro Province'' because the area  straddles the provinces of Piemonte, Lombardia, Liguria and Genoa. The accordion replaced in fact the bagpipe called ''müsa'' and that duet was known then as ''I Müsetta'' until the beginning of the 20th century.
Bani and Tigliòn are members of the folk band I Müsetta. Ettore ''Bani'' Losini plays the piffero (local traditional oboe) and sings, Attilio ''Tigliòn'' Rocca plays the fisarmonica and sings as well. The repertoire is completely traditional with polkas, waltzes, monferina, mazurcas, ...
Now the bagpipe is alive again thanks to the revival in Northern Italy and plays again with the piffero and the accordion. The major piffero master is Stefano Valla who is by far the most well known abroad; but lots of other pifferari keep this lovely music alive. 

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musiques mexicaines

 

MUSIQUES MEXICAINES

MEXICAN MUSICS

Zapotèque Huichol Nahuatl Séri Purépecha Tarahumara Maya Chontal Mixtèque Lacandon

Disques Ocora, ORTF,  1978, OCR 73

This is an album entirely recorded in the field by Jose Raul Hellmer among Mexico's indigenous population. Back then, out of the 50 million inhabitants 3 million were considered as ''Indians'' who didn't speak Spanish in their daily life. About 50 ethnic groups were known and alive still.
The text in French and English was written by this French mexican music lover and specialist Serge Roterman (sse my post 11th of May 2022). He introduced each tune and song with enough detail to understand the situation of these people at that time. Although the ''indigena'' culture has been under pressure since the 16th century, Roterman thought that some aspects of the musical and ritual original culture were still audible. Some instruments are from the pre-hispanic period while some Spanish instruments were quickly adopted but used differently.
One the most astonishing track is A8 with an extract from the peyotl ceremony ''performed'' by Huichol men.
Ocora could be proud of the publication of such an album because at the time it was quite difficult to get access to Mexican native musics except for the few tapes issued by Folkways in the 60s.

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