Crossing Borders Music | Zombie: Origin and Evolution

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Zombie: Origin and Evolution

by Crossing Borders Music

The world premiere recording of Haitian composer Jean "Rudy" Perrault's String Quartet #2: "Zombie: Origin and Evolution" and string quartets by Haitian composer Sabrina C D Jean Louis.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
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1. Zombie Origin and Evolution: 1. Papa Legba Ouve Barye'a
2:47 $0.99
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2. Zombie Origin and Eovlution: 2. Bare Vole
5:05 $0.99
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3. Zombie Origin and Evolution: 3. Pwazon
4:26 $0.99
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4. Zombie Origin and Evolution: 4. Papa Nou Prye
4:41 $0.99
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5. Zombie Origin and Evolution: 5. Koral Zonbi
5:58 $0.99
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6. Zombie Origin and Evolution: 6. Rara
4:34 $0.99
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7. Zombie Origin and Evolution: 7. Sel Sosiete
4:26 $0.99
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8. Zombie Origin and Evolution: 8. Papa Legba Femen Barye'a
2:44 $0.99
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9. Un Voyage Vers Le Sud
3:21 $0.99
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10. L'odeur du Cafe
2:28 $0.99
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11. Minuit
2:54 $0.99
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12. Chrysalide Devient Papillon
4:13 $0.99
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13. Joyful City
3:31 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The “Zombie: Origin and Evolution” Project is an inter-cultural exploration of the “zombie” through film, visual art, music, and dance. Becoming a zonbi, or slave laborer, is the ultimate punishment in Haiti, a country founded on a slave revolution and intensely proud of its freedom. Justifying American imperialism, Hollywood transformed the zonbi into horrifying, flesh-eating, undead “zombies,” just as traditional Haitian religion became evil witch doctors sticking pins in “voodoo dolls.”
Haitian American composer Jean “Rudy” Perrault tells the particular story of becoming a zonbi and the universal story of fighting to keep one's humanity. First, his music invokes Papa Legba, the Vodou deity who gives access to the spiritual realm who is invoked first in worship. Then, Bare Vòlè imagines a thief running away with a victim's soul and being chased by a mob. Pwazon represents the bitterness of the poison used to take away the victim's will. In Papa Nou (“Our Father”), the victim then intones a prayer to God the Father and the analogous Vodou spirit Danballah, then grows angry, and finally loses all will. By Koral Zonbi (“Zombie Chorale”), no humanity is left, and the zonbi victim can only faintly hum. Rara, a pre-Harvest, Lenten ritual, depicts Baron Samedi, a spirit associated with cemeteries and the dead. Sèl Sosiete (a play on words meaning both “Society Alone” and “Salt Society,” referring to the supposed cure for zombification) is a desperate, courageous, and universal struggle to keep one's humanity. In the end, Papa Legba's gate to the spiritual world closes, ending with a note of ambiguity, as if questioning whether freedom has been attained. After all, the composer points out, modern-day zombies aren't Haitian; they're universal, and they're all around us: people doing mindless tasks for hours on end, clocking-in to “soul-sucking” jobs just to collect a paycheck, blindly following orders, or falling into step with a mob mentality...
Haitian composer Sabrina C D Jean Louis began composing at age 14 before she knew the word “composer." Her music captures emotions and, she hopes, provides outsiders an accessible entry to Haitian culture. Un Voyage vers le Sud imagines the discovery of the mountains in the countryside of Haiti. In l'Odeur du Cafe, she captures the rich, invigorating feeling that comes with the smell of her aunt's coffee brewing each morning. In Minuit, she has the string quartet imitate a rara ensemble, in which bamboo horns and struck pieces of metal play interlocking rhythms and melodies for a ritual procession. Chrysalide Devient Papillon finds the delicacy, loss, and beauty embodied in the chrysalis becoming a butterfly, while Joyful City expresses easy-going joy.
The “Zombie: Origin and Evolution” Project was funded in part by The Chicago Community Trust.

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