ALL proceeds collected here on bandcamp from this, my recording of my version of pachamama song will be donated to a fundraising project close to my heart, 'the Haiti Circle of Support' - a project by the Dominican Sisters to assist the people/children of Haiti after the devastating earthquake.
The pachamama song was given to me/us as a loving gift from the Q'ero mountain people of Peru. Marc Ribot, 1993ġ00% of the publishing proceeds benefits the "Frantz Casseus Young Guitarist Program" in Port-au-Prince Haiti, and other projects that promote the work of Frantz Casseus.This song, pachamama song is a fundraiser. I made this recording with the hope that it will help reawaken an interest among listeners and classical guitarists alike in this beautiful but neglected body of work”. In addition to the pieces mentioned above, it contains five compositions previously published as sheet music but never recorded by Frantz (Rara, Prelude #2, Serenade Lointaine, Valse and Romance) and six pieces (Romance 1978, Untitled, Chanson, Improvisation, Merengue and Prelude #1) previously unpublished in any form which Frantz, before his death in June 1993, had expressed a desire to have recorded. This record is the most comprehensive recording of Frantz Casseus’s music for solo classical guitar. However, after complications from an early hand injury made it increasingly diffi cult for Frantz to play guitar, he and I began to discuss the possibility that I would record his work. Although I studied guitar with Mr Casseus, my own development (or perhaps regression) took me far from these studies. “Dance on Sunday”, “Dance of the Hounsies”, and “Simbi” appeared on a 1968 recording for the now defunct Afro-Carib label. The four pieces of the “Haitian Suite” first appeared on a 1954 Folkway release. A formidable guitarist himself, Frantz originally recorded his own work. I believe Frantz saw it as his task to help create a national music for Haiti, and that as a composer, he used Haitian folk material in the same sense as Villa Lobos used the folk music of Brazil, Chavez that of Mexico, or Bartok that of Hungary. The music, however, remains consistently engaged with Haiti, where, in Port au Prince, 1915, Mr. They were written over a period of approximately 40 years, from 1940 to 1980, most of which were spent in New York City, where Frantz emigrated in 1946. The pieces on this record are the work of my friend and teacher, Frantz Casseus.
This remastered and expanded edition, with three additional bonus tracks recorded in 2020, marks the first time Marc's interpretations of this work is available on vinyl. In effort to preserve Frantz’s musical legacy, Marc edited a collection of Casseus' solo guitar compositions, and performed those same pieces on his 1993 album "Marc Ribot Plays Solo Guitar Works of Frantz Casseus". His three recordings, Haitian Folks Songs (1953), Haitian Dances (1954) and Haitiana (1969) were released on Folkway Recordings (and since reissued by Smithsonian Folkways) and his compositions have been covered by artists worldwide including the song “Merci bon dieu” by Harry Belafonte. In 1946, Frantz came to NYC from his native Port-au-Prince, Haiti with the ambition to compose a distinctly Haitian classical guitar music, to fuse the European classical tradition with Haitian folk elements as Heitor Villa-Lobos had done with his native Brazil’s and as Béla Bartók had done with Hungarian folk songs. Long before Marc Ribot made a name for himself as a pioneering force in NYC's downtown music scene, and as guitarist for luminaries like Tom Waits, Wilson Pickett and The Lounge Lizards, he began his guitar studies as a teenager with close family friend, the Father of Haitian classical guitar, Frantz Casséus.
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