Cantos Yoruba de Cuba
Walter Zanetti
Cantos Yoruba de Cuba
Boomkat Product Review:
Recorded at a Benedictine monastery, Italian guitarist Walter Zanetti's debut for Caterina Barbieri's light-years imprint rearranges original material from Cuban composers José Angel Navarro and Hector Angulo, who draw from sacred Afro-Cuban batá drum songs.
Santería is an Afro-Caribbean religion that's syncretic - it takes traditional Yoruba religious elements and blends them with Catholicism, and music is at the heart of the ceremonies. When Yoruba peoples were shipped forcibly from West Africa to Cuba, they brought their gods with them, worshiping Orisha deities that they replaced with Catholic saints. And the music too went through a metamorphosis; the Yoruba chants and rhythms became Santería prayers, accompanied by the Batá drum - a double-headed hourglass drum from Nigeria that's now commonplace in Cuba.
After spending a month in Cuba, Zanetti decided to pay his respects to the tradition by studying the music, and draws directly from Cuban composers. Six of the pieces were written by Navarro and dictated to Zanetti while he was in Cuba, and the rest of the album is reinterpretations of Angulo's 'Cantos Yoruba de Cuba', a suite he composed in the late 1960s. It's an intriguing release for light-years, considering the rest of their catalog, but makes sense if you know Barbieri's background as a classical guitarist. Zanetti's clearly a gifted player (plus the recording itself in a 14th century monastery doesn't hurt), and whether you're familiar with the source material or not, it's fascinating to hear how the ideas have passed from person to person, culture to culture. You could listen to this as classical guitar music, but tune in a little closer and you begin to pick out unusual rhythms and combinations.
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Boomkat Product Review:
Recorded at a Benedictine monastery, Italian guitarist Walter Zanetti's debut for Caterina Barbieri's light-years imprint rearranges original material from Cuban composers José Angel Navarro and Hector Angulo, who draw from sacred Afro-Cuban batá drum songs.
Santería is an Afro-Caribbean religion that's syncretic - it takes traditional Yoruba religious elements and blends them with Catholicism, and music is at the heart of the ceremonies. When Yoruba peoples were shipped forcibly from West Africa to Cuba, they brought their gods with them, worshiping Orisha deities that they replaced with Catholic saints. And the music too went through a metamorphosis; the Yoruba chants and rhythms became Santería prayers, accompanied by the Batá drum - a double-headed hourglass drum from Nigeria that's now commonplace in Cuba.
After spending a month in Cuba, Zanetti decided to pay his respects to the tradition by studying the music, and draws directly from Cuban composers. Six of the pieces were written by Navarro and dictated to Zanetti while he was in Cuba, and the rest of the album is reinterpretations of Angulo's 'Cantos Yoruba de Cuba', a suite he composed in the late 1960s. It's an intriguing release for light-years, considering the rest of their catalog, but makes sense if you know Barbieri's background as a classical guitarist. Zanetti's clearly a gifted player (plus the recording itself in a 14th century monastery doesn't hurt), and whether you're familiar with the source material or not, it's fascinating to hear how the ideas have passed from person to person, culture to culture. You could listen to this as classical guitar music, but tune in a little closer and you begin to pick out unusual rhythms and combinations.
Boomkat Product Review:
Recorded at a Benedictine monastery, Italian guitarist Walter Zanetti's debut for Caterina Barbieri's light-years imprint rearranges original material from Cuban composers José Angel Navarro and Hector Angulo, who draw from sacred Afro-Cuban batá drum songs.
Santería is an Afro-Caribbean religion that's syncretic - it takes traditional Yoruba religious elements and blends them with Catholicism, and music is at the heart of the ceremonies. When Yoruba peoples were shipped forcibly from West Africa to Cuba, they brought their gods with them, worshiping Orisha deities that they replaced with Catholic saints. And the music too went through a metamorphosis; the Yoruba chants and rhythms became Santería prayers, accompanied by the Batá drum - a double-headed hourglass drum from Nigeria that's now commonplace in Cuba.
After spending a month in Cuba, Zanetti decided to pay his respects to the tradition by studying the music, and draws directly from Cuban composers. Six of the pieces were written by Navarro and dictated to Zanetti while he was in Cuba, and the rest of the album is reinterpretations of Angulo's 'Cantos Yoruba de Cuba', a suite he composed in the late 1960s. It's an intriguing release for light-years, considering the rest of their catalog, but makes sense if you know Barbieri's background as a classical guitarist. Zanetti's clearly a gifted player (plus the recording itself in a 14th century monastery doesn't hurt), and whether you're familiar with the source material or not, it's fascinating to hear how the ideas have passed from person to person, culture to culture. You could listen to this as classical guitar music, but tune in a little closer and you begin to pick out unusual rhythms and combinations.
Boomkat Product Review:
Recorded at a Benedictine monastery, Italian guitarist Walter Zanetti's debut for Caterina Barbieri's light-years imprint rearranges original material from Cuban composers José Angel Navarro and Hector Angulo, who draw from sacred Afro-Cuban batá drum songs.
Santería is an Afro-Caribbean religion that's syncretic - it takes traditional Yoruba religious elements and blends them with Catholicism, and music is at the heart of the ceremonies. When Yoruba peoples were shipped forcibly from West Africa to Cuba, they brought their gods with them, worshiping Orisha deities that they replaced with Catholic saints. And the music too went through a metamorphosis; the Yoruba chants and rhythms became Santería prayers, accompanied by the Batá drum - a double-headed hourglass drum from Nigeria that's now commonplace in Cuba.
After spending a month in Cuba, Zanetti decided to pay his respects to the tradition by studying the music, and draws directly from Cuban composers. Six of the pieces were written by Navarro and dictated to Zanetti while he was in Cuba, and the rest of the album is reinterpretations of Angulo's 'Cantos Yoruba de Cuba', a suite he composed in the late 1960s. It's an intriguing release for light-years, considering the rest of their catalog, but makes sense if you know Barbieri's background as a classical guitarist. Zanetti's clearly a gifted player (plus the recording itself in a 14th century monastery doesn't hurt), and whether you're familiar with the source material or not, it's fascinating to hear how the ideas have passed from person to person, culture to culture. You could listen to this as classical guitar music, but tune in a little closer and you begin to pick out unusual rhythms and combinations.
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Boomkat Product Review:
Recorded at a Benedictine monastery, Italian guitarist Walter Zanetti's debut for Caterina Barbieri's light-years imprint rearranges original material from Cuban composers José Angel Navarro and Hector Angulo, who draw from sacred Afro-Cuban batá drum songs.
Santería is an Afro-Caribbean religion that's syncretic - it takes traditional Yoruba religious elements and blends them with Catholicism, and music is at the heart of the ceremonies. When Yoruba peoples were shipped forcibly from West Africa to Cuba, they brought their gods with them, worshiping Orisha deities that they replaced with Catholic saints. And the music too went through a metamorphosis; the Yoruba chants and rhythms became Santería prayers, accompanied by the Batá drum - a double-headed hourglass drum from Nigeria that's now commonplace in Cuba.
After spending a month in Cuba, Zanetti decided to pay his respects to the tradition by studying the music, and draws directly from Cuban composers. Six of the pieces were written by Navarro and dictated to Zanetti while he was in Cuba, and the rest of the album is reinterpretations of Angulo's 'Cantos Yoruba de Cuba', a suite he composed in the late 1960s. It's an intriguing release for light-years, considering the rest of their catalog, but makes sense if you know Barbieri's background as a classical guitarist. Zanetti's clearly a gifted player (plus the recording itself in a 14th century monastery doesn't hurt), and whether you're familiar with the source material or not, it's fascinating to hear how the ideas have passed from person to person, culture to culture. You could listen to this as classical guitar music, but tune in a little closer and you begin to pick out unusual rhythms and combinations.
Estimated Release Date: 30 May 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Recorded at a Benedictine monastery, Italian guitarist Walter Zanetti's debut for Caterina Barbieri's light-years imprint rearranges original material from Cuban composers José Angel Navarro and Hector Angulo, who draw from sacred Afro-Cuban batá drum songs.
Santería is an Afro-Caribbean religion that's syncretic - it takes traditional Yoruba religious elements and blends them with Catholicism, and music is at the heart of the ceremonies. When Yoruba peoples were shipped forcibly from West Africa to Cuba, they brought their gods with them, worshiping Orisha deities that they replaced with Catholic saints. And the music too went through a metamorphosis; the Yoruba chants and rhythms became Santería prayers, accompanied by the Batá drum - a double-headed hourglass drum from Nigeria that's now commonplace in Cuba.
After spending a month in Cuba, Zanetti decided to pay his respects to the tradition by studying the music, and draws directly from Cuban composers. Six of the pieces were written by Navarro and dictated to Zanetti while he was in Cuba, and the rest of the album is reinterpretations of Angulo's 'Cantos Yoruba de Cuba', a suite he composed in the late 1960s. It's an intriguing release for light-years, considering the rest of their catalog, but makes sense if you know Barbieri's background as a classical guitarist. Zanetti's clearly a gifted player (plus the recording itself in a 14th century monastery doesn't hurt), and whether you're familiar with the source material or not, it's fascinating to hear how the ideas have passed from person to person, culture to culture. You could listen to this as classical guitar music, but tune in a little closer and you begin to pick out unusual rhythms and combinations.
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