ADD: jamaican folk music

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 30 Jun 11 - 03:25 PM

Lyr. Add: DIS LONG TIME GAL
Mento, for dance and play.

1
Dis long time gal a nevva see you
Come mek me hol' yu han',
Dis long time gal a nevva see you
Come mek me hol' yu han'.

Chorus:-
Peel head John Crow si-dung pon tree top
pick off de blossom
Mek me hol' yu han' gal,
Mek me hol' yu han'.

2
Dis long time gal me nevva see you
Come mek we walk an' talk,
Dis long time gal me nevva see you
Come mek we walk an' talk.
3
Dis long time gal me nevva see you
Come mek we wheel an' tun,
Dis long time gal me nevva see you
Come mek we wheel an' tun.
4 (Coda)
Mek we wheel an' tun till we tumble dung
Mek me hol' yu han' gal
Mek we wheel an' tun till we tumble dung
Mek me hol' yu han' gal.

No. 60, with musical score.

Olive Lewin, Coll., 1973, Forty Songs of Jamaica, General Secretatiat of the Organization of American States, Washington, D.C.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 01 Jul 11 - 01:19 PM

A version of "Dip Dem, Bedward," by Sam West, was posted in the thread "Origins: Sly Mongoose," 138126.

Lyr. Add: BEDWARD
Anon. folk.

An' me always go up a de Augus' Town
But me never go up a Mona.
One day I was invited
By a ole man dem call Jonah,
When me go up a Mona,
me see Bredda Bedward standin',
Im tek Sister Mary pull im han'
An' dip her in de healin' stream.

Chorus:-
Dip dem Bedward dip dem
Dip dem in de healin' stream
Dip dem sweet but not too deep
Dip dem fe cure bad feelin'.

2
Some ride jackass but dem cyan get a pass,
Fe go dip in a de healin' stream.
Some carry Jimmy John, wid dem face favah pan,
Fe go dip in a healin' stream.
3
Some come from the wes' like a perfec' pes',
Fe go dip in a de healin' stream.
Some come from eas' like a big leggo beas'
Fe go dip in a de healin' stream.
4
Some come from de north wid dem face full a wart
Fe go dip in a de healin' stream.
Some come from de south wid dem big *yabba mouth
Fe go dip in a de healin' stream.

*Yabba- Big pot, Awawak origin, for domestic use.
leggo- let go

p. 38, with musical score.
Olive Lewin, Coll., 1973, Forty Folk Songs of Jamaica, General Secretariat of the Organization of American States, Washington, D.C.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 01 Jul 11 - 01:46 PM

Lyr. Add: COME TO SEE JANIE
Game song

I come to see Janie (3 times)
An' where is she now?
2
She's washing her clothes (3 times)
You can't see her now.
3
Goodbye (6 times)
I'll call back again.
4
I come to see Janie, etc.
5
She's hanging out her clothes (3 times)
You can't see her now.
6
Goodbye, etc.
7
I come to see Janie, etc.
8
She is ironing her clothes (3 times)
You can't see her now.
9
Goodbye, etc.
10
I come to see Janie, etc.
11
She's sick, (6 times)
You can't see her now.
12
Goodbye, etc.
13
I come to see Janie, etc.
14
She's gone to the doctor (3 times)
You can't see her now.
15
Goodbye, etc.
16
I come to see Janie, etc.
17
She's dead (6 times)
An' cannot be seen.
18
What shall we bury her in, what shall we bury her in?
What shall we bury her in? Bury her in green.
19
Green is for the lizards (3 times)
An' that will not do.
20
What shall we bury her in? (3 times)
Bury her in black.
21
Black is for the mourners, (3 times)
An' that will not do.
22
What shall we bury her in? (3 times)
Bury her in white.
23
White is for the duppies (3 times)
An' here is she now.

"Jane is hidden behind one player and six or eight other players stand some distance away. As they sing," I come to see Janie, and where is she now" they all approach walking abreast. The player behind whom Janie hides replies and they reverse to their former position, singing goodbye excepting at the last verse "White is for the duppies" when Janie comes out of hiding and chases them. The person who is caught is beaten and then becomes Janie."

p. 50, with musical score.
Olive Lewin, Coll., 1973, Forty Folk Songs of Jamaica, General Secretariat of the Organization of American States, Washington, D.C.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 01 Jul 11 - 08:59 PM

Lyr. Add: SAILOR GIRL FROM ASIA

I'm a sailor girl from Asia, a sailor girl from home
I'm a sailor girl from Asia, a sailor girl from home
An' I saw my papa coming from far upon the sea
An' I saw my papa coming from far upon the sea.
Papa, you bring me some silver
No I bring you none
Papa you bring me some gold
No I bring you none.
I come today to see you hang
An' hang you mus' be hang.
2
Sailor girl from Asia, a sailor girl from home
Sailor girl from Asia, a sailor girl from home
An' I saw my mama coming from far upon the sea
An' I saw my mama coming from far upon the sea.
Mama you bring me some silver
No I bring you none
Me mama you bring me some gold
No I bring you none
I come today to see you hang
An' hang you mus' be hang.
3
Sailor girl from Asia, a sailor girl from home
Sailor girl from Asia, a sailor girl from home
An' I saw my brother coming from far upon the sea
An' I saw my brother coming from far upon the sea.
Me brother you bring me some silver
No I bring you none
Me brother, you bring me some gold
No I bring you none
I come today to see you hang
An' hang you mus' be hang.
4
Sailor girl from Asia, a sailor girl from home
Sailor girl from Asia, a sailor girl from home
An' I saw my sister coming from far upon the sea
An' I saw my sister coming from far upon the sea.
Me sister you bring me some silver
No I bring you none
Me sister you bring me some gold
No I bring you none
I come today to see you hang
An' hang you mus' be hang.
5
Sailor girl from Asia, a sailor girl from home
Sailor girl from Asia, a sailor girl from home
An' I saw my cousin coming from far upon the sea
An' I saw my cousin coming from far upon the sea.
Me cousin you bring me some silver
No I bring you none
Me cousin you bring me some gold
No I bring you none.
I come today to see you hang
An' hang you mus' be hang.
6
Sailor girl from Asia, a sailor girl from home
Sailor girl from Asia, a sailor girl from home
An' I see my lover coming from far upon the sea
An' I see my lover coming from far upon the sea.
Please wait until he comes
Me lover you bring me some silver
Yes I bring you some
Me lover you bring me some gold
Yes I bring you some.
I come today to see you save
An' save you mus' be save.

Similar to the English song "The maid freed from the gallows," "The golden Ball," etc. and to an Anansi story transcribed by Jekyll 1907.
The tune resembles neither the English nor American tunes.

p. 87-89, with musical score.
Olive Lewin, Coll., 1973, Forty Songs of Jamaica, General Secretariat of the OAS, Washington, D.C.

Subject: RE: ADD: DALLAS GAWN A CUBA
From: MorwenEdhelwen1
Date: 05 Jul 11 - 06:31 AM

DALLAS GAWN A CUBA
(from "Mango Time: Folk Songs of Jamaica" Collected by Noel Dexter and Godfrey Taylor, published 2007)

DALLAS GAWN A CUBA

1. Dallas gawn a Cuba,
Dallas gawn a Cuba,
Dallas gawn a Cuba, lef Francella wan fi wanda.

(Chorus)
Maamie, wai oh! She faint 'way!
Sen' fi di docta! She faint 'way!
Run fi di camphor! She faint 'way!
Maamie, wai oh! She faint 'way!

2. Po' Miss Mary daata,
Po" Miss Mary daata,
Po' Miss Mary daata,
Po' Francella lef fi wanda.

(Chorus)

3. Johnnie roun' di corner,
Johnnie roun' di corner,
Johnnie roun' di corner,
Him naa lef yu wan fi wanda.

(Chorus)

Musical score on pg 20 of "Mango Time". This song is about a girl, Francella, whose boyfriend immigrates to Cuba.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 09 Jul 11 - 08:26 PM

The song "Colon Man" posted in the Barbados thread, may be Jamaican, but these songs do travel.
Colon Man

Subject: RE: ADD: Mattie Rag
From: MorwenEdhelwen1
Date: 10 Jul 11 - 12:14 AM

Mattie Rag (

1.
Mumma, mumma, dem ketch puppa,
Dem ketch 'im dung a mango walk.
If a neva run dem woulda ketch mi tu,
So mi sing sweet song an' play guitar.

(chorus)
Wai oh, Mattie rag,
Wai oh, Mattie rag.

2. Puppa go down a mango walk
Cause 'im ear wan hog a chaw a piece a rag.
Wen 'im ax 'im a chaw fa (or: who fa) rag,
'Im tell 'im sey a Mattie rag.
(Chorus)
3. Pickney hear whe yu mumma sey,
Yu betta 'tap go mango walk.
If yu neva run dem woulda ketch yu tu,
So sing sweet song an' play guitar.
(Chorus)
Source: "Mango Time: Folk Songs of Jamaica" Noel Dexter and Godfrey Taylor, Ian Randle Publishers, Jamaica, 2007.

Subject: RE: ADD: jamaican folk music
From: MorwenEdhelwen1
Date: 10 Jul 11 - 12:17 AM

(A mento song).

Subject: RE: ADD: jamaican folk music
From: MorwenEdhelwen1
Date: 12 Jul 11 - 04:06 AM

Add: WHEEL O'MATILDA
(from "Mango Time: Folk Songs of Jamaica".Noel Dexter, Godfrey Taylor. Musical score on p122)

1. Matilda laas ar pretty likkle gol' ring,
Matilda laas ar pretty likkle gol' ring,
Matilda laas ar pretty likkle gol' ring,
Tun di waata-wheel, O Matilda.

(Chorus)
Wheel O, wheel O Matilda,
Tun di waata-wheel, O Matilda.

2. Matilda fine ar pretty likkle gol' ring,
Matilda fine ar pretty likkle gol' ring,
Matilda fine ar pretty likkle gol' ring,
Tun di waata-wheel, O Matilda.

(Chorus)

3. Matilda walk an' yanga so-so,
Matilda walk an' yanga so-so,
Matilda walk an' yanga-so-so,
Tun di waata-wheel, O Matilda.
(Chorus)

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 14 Jul 11 - 07:31 PM

Lyr. Add: CALL DINAH

1
All de call wa me dah call
Dinah, Dinah heary but him no 'peak.
Sake a de pain a back me kean limba,
Sake a de pain a back me kean limba,
Me got five more mile fe go walk.
2
Me beg Dinah buy quatty suga,
One big gill a coconot ile,
Ha' penny pickle fish fe de brata,
Now she heary but she no answer,
Sake a de pain a back me kean limba,
Me got five more mile fe go walk.

All de call wa me da call- As much as I am calling
Sake a- On account of
Kean limba- Can't hurry
Quatty- penny halfpenny
Big gill- One quarter pint
Ile- OilFe de brata- for good measure.
pp. 10-11, with musical score.
Tom Murray, edit., 1952, Folk Songs of Jamaica, Oxford University Press.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 14 Jul 11 - 07:56 PM

HOSANNA, HOSSANNA: Jamaican song, posted in thread 138159.

Hosanna

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 15 Jul 11 - 06:24 PM

Lyr. Add: CHI-CHI BUD OH!

Chi-Chi Bud oh !
Some a dem a halla, some a bawl.
Chi-Chi Bud oh !
Some a dem halla, some a bawl.

Some a come long,
Some a dem a halla, some a bawl.
Some a Blue-foot,
Some a dem a halla, some a bawl.

Some a Ting-ling,
Some a dem a halla, some a bawl.
Some a Laggahead, Some a dem a halla, some a bawl.
Some a Chick-man-chick,
Some a dem a halla, some a bawl.

Some a Grung-dove,
Some a dem a halla, some a bawl.

Some a Black-bud,
Some a dem a halla, some a bawl.

*Some a Long-tail,
Some a dem a halla, some a bawl.
Some a John-crow,
Some a dem a halla, some a bawl.
Some a Night-owl,
Some a dem a halla, some a bawl.
*Repeat this section for last verse.

"The line 'Some a dem a halla, some a bawl' is the Chorus. There are two different melodic lines for this chorus and they can be combined with excellent effect.
"If the song is going well, the singer will improvise, and once the rhythmic movement is established, will take liberties in varying the song."
(Two additional lines of music, showing variation, with bird's name spoken.)
"In this manner the word 'Dove' or 'Owl' etc. (a word necessarily of one syllable), is spoken and not sung; all the time the singer and chorus slightly sway or keep the pulse by some physical action.
"This is a kind of perpetual motion song, to be continued as long as the singers wish, the bars .S to ⌢. being used to begin and end the song."

Chi-Chi Bud- a company of birds
Come long- flying over

Tom Murray, edit., 1952, Folk Songs of Jamaice, Oxford University Press.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 17 Jul 11 - 08:57 PM

Lyr. Add: WHEN YOU SEE ONE PRETTY GAL

When you see one pretty gal (3x)
You tek you finger call her.
2
When you see one ugly one (3x)
You cut you eye an' pass her.
3
You wheel her roun' an' twist her roun' (3x)
For kisses go by favour.
4
Hampton girl going marry to you
Going to marry to you, going to marry to you
Hampton girl going to marry to you
For kisses go by favour.
5
Dis is the way my money go (3x)
For kisses go by favour.

A variant of the Ugly Gal previously posted.

P. 107, with musical score.
Olive Lewin, coll., 1973, Forty Folk Songs of Jamaica, General Secretariat of the OAS, Washington, D.C.

Subject: RE: ADD: jamaican folk music
From: GUEST
Date: 04 Oct 11 - 08:51 AM

can someone post the lyrics to "One solja man a.k.a wheel and tun me" please

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 04 Oct 11 - 02:00 PM

Lyr. Add: ONE SOLJA MAN

1
One solja man come fe court me,
Me sey me no ha' nobody,
*Him gimme one shillin' an' quatty.
Me tek i' buy silk an' satin.
2
Me wash i' me starch i' me iron i',
Me pred i' pon pingwing macka,
An one ole un-conscionable John Crow
Come fling i' eena crevice an' corner.
3
No tear i' Jeremiah, no tear i',
No tear i' Jeremiah, no tear i',
No tear i' Jeremiah, no tera i',
No tear up me silk an' satin.
4
A weh yuh dah weel an' tun me,
A weh yuh dah weel an' tun me,
Yuh mussa wan' me fe go fall dung,
An' lick me belly pon tambourina.

Solja- Soldier
Ha'- Have
Quatty- Penny halfpenny
Pred- Spread
Pingwing macka- Cactus
John Crow- Jamaican scavenger bird, but here used in a derogatory sense, alluding to 'Jeremiah'.
Eena- In
Weh- Why
Mussa- Must
Fe go fall dung- To fall down
Tambourina- Tambourine

Also sung as 'One Bungo Man', Bungo meaning an African.
*May be sung as: 'Him gimme one cock-y'eye fourbit', 'fourbit' being one shilling and sixpence.

Pp. 58-59, With music for voice and piano.

Tom Murray, Ed. and arr., 1951, Folk Songs of Jamaica, Oxford University Press.

Subject: RE: ADD: jamaican folk music
From: MorwenEdhelwen1
Date: 09 Nov 11 - 07:57 PM

UNITY (from "Mango Time" on p116-117. Sheet music with melody and lyrics. Described as "A mento song concerning an exorcism in rural Jamaica")

UNITY

1. Tell dem Brown's Town gyal mi say,
Tell dem Brown's Town gyal mi say,
Tell dem Brown's Town gyal mi say
Dem tek cocoa bade Miss Matty.

Chorus
Come wi go dung a Unity,
Come wi go dung a Unity,
Come wi go dung a Unity
Fi go si Matty chase one duppy*.

2. Tell Missa Tingling write di note,
Tell Missa Tingling write di note,
Tell Missa Tingling write di note
For duppy de go run like hell tonight.

(1st Chorus)

3. Firs' of all she tie ar ed,
Secondly she put on red,
Then she start provoke di dead
Jus' watch Matty an' di duppy.

(Chorus)

4. She buy one bran' new shetpan*
An' pack it full a white rice
Shake it up, wheel roun' three time
Den open di pan mek di duppy feed.

(Chorus)

5. Matty start fi groan an' prance,
Den she drop dung eena dance,
Now di whole ting gone to France,
Jus' watch Matty ketch di duppy.

(Chorus)

6. When Matty get up off di groun'
Tek up ar foot an' start fi run,
Matty bawl, nearly bun dung* town
When di duppy chase poor Matty.

Last Chorus
Come wi go dung a Unity,
Come wi go dung a Unity,
Come wi go dung a Unity,
Fi go si duppy chase poor Matty.

*shetpan- literally "shutpan", a can with a lid
*duppy*- a ghost or spirit
*bun dung*- burn down

Subject: RE: ADD: jamaican folk music
From: Azizi
Date: 22 Jul 12 - 09:55 AM

A Guest's query about this song on another thread sparked my interest in this song. As a result, I published a post on my cultural blog about "One Solja Man". Here's a link to that post:

http://pancocojams.blogspot.com/2012/07/caribbean-song-one-solja-man.html Caribbean Song "One Solja Man"

That post includes a video of the song "One Solja Man". Here are my comments about that song with a hat tip to Q for his posting of those lyrics on this thread from the 1951 book by

The composer of this old Caribbean song is unknown. I believe "One Solja Man" is a Mento from Jamaica.

With regard to the words "no tear i jeremiah" found in the song "One Solja Man" song as found in that 1951 book Folk Songs of Jamaica edited by Tom Murray, Oxford University Press:

I believe "no tear i" means "don't wheel & turn me [spin me around] so fast [or "too fast"] or I might fall on the dance floor*.

A subsequent verse of that song refers to the Caribbean dance movement of "wheel and turn" and I believe that "tear" is another way of referring to that fast spinning around movement....

*I've given "tambourina" the general translation of "dance floor" instead of the specific translation of the musical instrument "tamborine".

That said, it's also my position that the "no tear I Jeremiah" lyrics are an adaptation - albeit for a different purpose and with a different meaning- of the words of Jeremiah 9, verses 1-18.   
Here are two verses from that chapter:

Jeremiah 9:1 - 1 "Oh, that my eyes were a fountain of tears; I would weep forever! I would sob day and night for all my people who have been slaughtered"

Jeremiah 9:18 - 18 "Quick! Begin your weeping! Let the tears flow from your eyes"

-snip-
Because of those verses and other verses in that book of the Bible, "Jeremiah" is now known as the "weeping prophet".

By the way, I found those verses and other verses of Jeremiah 9 to be particularly poignant in the context of the horrific massacre of movie attendees that occurred on July 20, 2012 in Aurora, Colorado.

Click http://pancocojams.blogspot.com/2012/07/caribbean-song-one-solja-man.html President Obama's Comments "The Dark Knight Rises" Shooting Aurora Colorado (Video & Transcript) for a post on my cultural blog about that massacre.

Best wishes,

Azizi Powell

Subject: RE: ADD: jamaican folk music
From: GUEST,Azizi
Date: 22 Jul 12 - 10:05 AM

My apologies. Here is the correct link for the pancocojams post that is related to the Dark Knight Rising massacre:

http://pancocojams.blogspot.com/2012/07/president-obamas-comments-dark-knight.html President Obama's Comments "The Dark Knight Rises" Shooting Aurora Colorado (Video & Transcript)

Azizi Powell

Subject: RE: ADD: jamaican folk music
From: Stringsinger
Date: 22 Jul 12 - 10:36 AM

Louise Bennett is one of the leading lights of Jamaican music.
She has a lovely song called "Evenin' Time" which someone could find and post.

Mento is the Jamaican folk jazz. Banjo is a principal instrument here.

Mention must be given to Bob Marley, an important influence.

Subject: RE: ADD: jamaican folk music
From: GUEST,Azizi
Date: 22 Jul 12 - 10:52 AM

Greetings, Stringsinger!

It's good to "hear from you" again.

**

I should have written that the word "tear" in the lyrics No tear i' Jeremiah, no tera i'/ No tear up me silk an' satin" in the "One Solja Man" song appears to have the clear meaning of "Jeremiah, don't cause me to tear [cut] my silk and satin dress. But I think that word "tear" may also have had the added meaning of "tearing around [moving fast, wheeling and turning] on the dance floor.

As to how the woman in the song might cut her dress, the subsequent verse has her cautioning Jeremiah not to wheel & turn her so fast on the dance floor.

Subject: RE: ADD: jamaican folk music
From: Q (Frank Staplin)
Date: 22 Jul 12 - 02:00 PM

Some notes from mentomusic.com
"...in 1965, The Wailers recorded a classic ska track, Rude Boy for Coxsone, with lyrics that grab from mento, American soul and Jamaican folklore. It's the couplet,
Now why you come wheel and turn me
Fi go lick a mi head 'pon you tambourine
That comes directly from mento. It's from a song alternatively titled "One Solja Man", or later, "Wheel and Turn Me"."
The first known recordings of this song come from the early 1950s. One was part of "Medley of Jamaican Mento" by Lord Fly & the Dan Williams Orchestra. This 78 RPM single of urban style mento released on M.R.S. is believed to be the very first Jamaican record (on youtube, http://www.youtube.com/watch?v=IOtt1tAFsQ).

The other recording was the folk style"One Solja Man" by Edric Conner..."Songs from Jamaica." ( a partial may be heard at mentomusic, http://www.mentomusic.com/edricConner.htm#edric).
Many covers, including "Wheel and Turn Me" by Lord Lebby and the Montego Hotel Calypso Band "from later in the 1950s."

Subject: RE: ADD: jamaican folk music
From: Jack Campin
Date: 09 Feb 20 - 06:49 AM

Just bought a copy of Walter Jekyll's "Jamaican Song and Story" - it was reprinted by Dover in 1966. The woman in the shop didn't want to touch it when selling it to me because of the BIG BLACK SPIDER on the cover.

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 01 Dec 21 - 06:10 AM

The Frats (above) didn't form up until 1951. I don't think they recorded Day-O until the late 1950s after all the Belafonte fuss had died down a bit.

Small world tho. Manuel W. “Manny” Warner, the man behind the Frats Quintet U.S. record label (Ritmo,) was also one of the fellows behind Irving Burgie's first live venue (The Blue Angel, Chicago, with baritone Jean Fardulli.)

Still, as mentioned elsewhere, the basic theme of the Jamaican banana boat loader's song goes back a long-long way.

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 01 Dec 21 - 06:16 AM

Just beneath the irony… more irony. The calypso craze Day-O revival was actually a British Government patois conspiracy that backfired in a rather spectacular fashion. No joke.

Couple of long posts but the lady is worth it: Louise Bennett-Coverley

Hugh Paget's (British Council Representative, Kingston) foreword to the 1952 Murray songbook is also the liner notes, verbatim, to the 1954 Edric Connor release on Argo. (More to follow on that.)

“FOREWORD
by Hugh Paget
The Jamaican people have some three hundred years of continuous history. In the course of these centuries they have developed into an increasingly homogeneous community until the pattern of their life has become so local and individual in character that its origins have become obscured. On a closer view, however, the fabric is found to be woven of many threads the sources of which must be sought in places far distant from the Caribbean sea and from one another. The woof and warp, so to speak, come from the British Isles and from the west coast of Africa but other threads have also been woven into the pattern.

The music of Jamaica epitomizes the life and culture of the people of the Island. In the opinion of such students of folk-music as Miss Lucy Broadwood and C.S. Meyers, the tunes of most of the Jamaican songs derive ultimately from Europe and mainly from the British Isles; the rhythm, however, is African in origin, while the blend is essentially Jamaican. The African rhythm provides a common denominator to the music of all the West Indian islands. The history of each is reflected in its music, so that, whereas the music of the British islands is, broadly speaking, a British-African compound, elsewhere it is French-African or Spanish-African. Nor indeed is the African element altogether uniform, for the population of the Spanish and French colonies came predominately from African races different from from those which peopled the British islands. The newcomer to the West Indies tends to overlook these differences of history and character and, at first at any rate, to be insensitive to these variations on the West Indian theme. To him (and to many who never been to the Caribbean and for whom there is therefore more excuse) any West Indian song is a Calypso whereas this term is only properly applied to a certain type of ballad sung in Trinidad and is quite inapplicable, for example, to the folk-songs of Jamaica.

The African element in Jamaican culture can be traced almost entirely to the Akan group of peoples in the Gold Coast and the term 'Kromanti', derived from Koromantin in that country, is still applied by the Jamaican Maroons to certain of their old songs.

Jamaicans have 'good ears for music', as the historian, Long, noted as long ago as 1774, and music is a necessary and integral part of the life of the country people. They work and play to music: it is the spontaneous expression, in their own idiom, of their joys and sorrows, their wit, their religion and their philosophy of life. Songs of all these kinds are to be found in this collection. Perhaps the most characteristic if them all is 'Linstead Market', which tells the sad little story of a woman who went to market with a basket -load of ackees but failed to sell even a 'quattie wut.' How clearly it reflects the life of so many Jamaican country folk!—the early rising in the morning freshness of the mountains; the picking of the ackees and the long journey down the mountain-side to the little town of Linstead; the long day in the hot sun in the market and then, at night, the weary miles of climbing up the mountain and the sad return to the children clamouring for the food which she has not been able to buy for them. The song evokes the courageous and enduring spirit of the Jamaican country people as, by contrast, 'Missa Ramgoat', for example, expresses their gaiety and lively sense of humour.

As Cecil Sharp has written, “The careful preservation of its folk-music is to a nation a matter of the highest import'. This has a special relevance for Jamaica today, where a rising sense of Jamaican national consciousness is being transcended by an awareness of the common West Indian cultural heritage which is one of the conditions of the successful federation of the West Indian Colonies into a new nation.

The Calypso of Trinidad has, in recent years, become largely commercialized as a result of the development of the tourist industry and has thus lost much of its original character. This has not yet been the fate of the Jamaican songs, although it is not unreasonable to fear that the demand of the tourist may engender a spurious supply. Another force inimical to the survival of Jamaican folk-music in recent years has been the rapid development of wireless and the overwhelming dominance of American radio in the Caribbean area. In fact, extinction rather than vulgarization appears to be the fate in store for Jamaican music if nothing is done to check the process. Now, however, young educated Jamaicans are beginning to turn to their own music: many of them know something of the old songs but when an attempt to sing them is made at any gathering it is nearly always found that only a few know the words of any particular song and that each knows a different version of it, while the accompaniment is usually, at best, a gallant approximation. It has, in fact, long been clear that there is an urgent need for the publication of an authentic collection of Jamaican folk-songs based upon careful research into the original words and music. This has been done by Mr. Tom Murray, with the aid of Miss Louise Bennett: all West Indians and indeed all who believe music to be a vital part of the culture of a people, or who value it for its own sake, owe them a lasting debt of gratitude.”
[Murray, Tom, ed., Folk Songs of Jamaica, (Oxford U. Press: London, New York, Toronto, 1951]

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 01 Dec 21 - 06:22 AM

“INTRODUCTION
After collecting about seventy-five Jamaican folk-songs I had hoped to have them published complete without any accompaniments or dressing of any kind. This proved to be economically impossible but as, like most countries which are developing, Jamaica might lose her folk-songs though contact with the general world-wide trend of both culture and amusement, it was recommended by many interested people that a selection of the songs be made available and that these should have accompaniments which would be useful to all, particularly in schools.

The Jamaican folk-song has a contour and rhythm that demands the utmost freedom. Unfortunately this is difficult to indicate on paper but the accompaniments, while aiming at enhancing and supporting each song, do not cover or underline the voice part and so allow it the maximum freedom. At the same time it had to be kept in mind that teachers and others with a limited piano technique would desire to use these songs, therefore the accompaniments have been made as simple as circumstances will allow. If some pianists find the demand made upon their technique too great, I recommend that they retain the line or structure of the bass and fill in the harmonic content as indicated in the accompaniment.

As can be seen from the list of songs, it has been the custom of Jamaica to create songs on all manner of occasions or things. Digging or working songs help to increase team work and a regular rhythm in application, besides making the workers cheerful by keeping their minds off the monotony that can sometimes come with manual labour. The Jamaican is normally a cheerful person, and even in the most solemn song his wit and humour cannot be suppressed, as may observed in 'Day Dah Light'. Strangers to Jamaica and Jamaican folk-song will find not only the words but also the rhythms difficult to comprehend and master. Careful attention to the tempo indications given in the metronomic speed and good strong pulse will overcome these difficulties. Apart from these features the songs are simple and regular in pattern. Indeed, many have the simple melodic pattern of nursery rhymes which have been adopted and modified by succeeding generations.

Mr. Hugh Paget, one-time Representative of the British Council in Jamaica, first suggested this collection of folk songs in 1946, and I am indebted to him for his interest and advice. The formation of such a collection takes considerable time and my duties did not allow me more than a occasional opportunity to hear folk-songs. Fortunately Miss Louis Bennett generously agreed to collaborate by singing to me all the songs she knew. Many of the songs had to be repeated several times to ensure that the record on paper was exactly what was sung. To Miss Bennett I am deeply grateful for her patience, kindness and good humour. Without the able help of Mrs. Barbara Ferland, who notated and typed the words and assisted in numerous ways in the preparation, my task would have been much more difficult, and to her I am also very grateful.
TOM MURRAY
Kingston, Jamaica, B.W.I.
April, 1951”
[Murray, Tom, ed., Folk Songs of Jamaica, (Oxford U. Press: London, New York, Toronto, 1951]

Note: Louise Bennett, Jamaican & Canadian national treasure that she is, would be considered urban petite bourgeois by the rural Jamaican working class/country folk in the songs.

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 01 Dec 21 - 06:29 AM

“DAY DAH LIGHT
Banana Loaders' Song

Day oh! Day— oh! Day dah light an' me wan' go home.
1. Come Missa Tallyman Come tally me banana.
Day dah light an' me wan' go home.
Six han', seven han', eight han', Bunch!
Day dah light an' me wan' go home.
Day dah light an' me wan' go home.

Day dah light an' me wan' go home.
Me come yah fe wuk Me no come yah fe idle.
Day dah light an' me wan' go home.
Day dah light an' me wan' go home.

Day dah light an' me wan' go home.
De checker dem a check But dem check wid caution.
Day dah light an' me wan' go home.
Day dah light an' me wan' go home.

Day dah light an' me wan' go home.
Me back dis – a bruck Wid bare exhaustion.
Day dah light an' me wan' go home.
Day dah light an' me wan' go home.

Day dah light an' me wan' go home.
No gimme so – soh bunch Me no horse wid bridle.
Day dah light an' me wan' go home.
Day dah light an' me wan' go home.



Day dah light… Day is breaking
Yah… Here
Disa bruck… Is just breaking
Noh… Don't
So—soh bunch… All bunches
Me noh horse wid bridle… I'm not a horse with a bridle


Copyright, 1952, by the Oxford University Press, London.
NOTE. This is a banana-wharf song, sung by the carriers who sometimes work through the night loading the ships with bananas. What is known as 'bunch fruit' is a bunch larger than average, with nine or more hands of bananas.”
[Murray, Tom, ed., Folk Songs of Jamaica, (Oxford U. Press: London, New York, Toronto, 1951]

Note: “In 1945, (Louise) Bennett was the first black student to study at London's Royal Academy of Dramatic Art (RADA) after being awarded a scholarship from the British Council.” [Bennett-Coverly wiki]

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 02 Dec 21 - 03:52 AM

Forewarned - the exact time line for 1954 is more than a little noisy.

Why Louise Bennett wouldn't/couldn't get the Argo release gig; and why in the name of Hugh Paget a Trinidadian was chosen to present/preserve 'authentic' Jamaican folk-song is lost to history at present.

Nothing against Edric Connor but, by 1954 Tom Murray et al had gone off track and Louise Bennett had gone to New York City. Here's the really fun bits:

“Stinson Records, a folk recording company in the village, invited us to record an album. Earl Robinson*, the gifted left-wing balladeer and composer of such songs as “Ballad for Americans” and “The House I Live In,” arranged an audition with Max Gordon, owner of the Village Vanguard. At the same time Earl introduced me to a Jamaican folklorist and actress, Louise Bennett, who had just arrived in New York after studying at the Royal Academy of Arts in London.

I worked over a few things with Louise and had her join us** for a couple of numbers and street cries at the audition. Max Gordon hired the group on the spot and gave us two weeks to get ready. We spent the time blending Louise into the group and work in in some of her material. She was a plump, jolly, attractive woman, who dressed in Jamaican folk garb, and cut an imposing figure….

The group was well received at the Vanguard. It was my first regular club appearance in New York, and it felt good. “Lord Burgess (Max Gordon gave me the name***) and the Sun Islanders” was the first Caribbean-style group to come along, so we were a novelty. We spent six weeks at the Vanguard, but the group didn't really jell, and Louise's manager**** entertained the idea of her going out as a single….”
[Burgie, Day O!!!, (New York: Caribe, 2006)]

Trivias:
* So Robinson was hanging with Louise Bennett while he co-wrote Black & White (Seeger, '56) with David I. Arkin at roughly the same time the latter's son Alan was 'adapting' the Tarriers' cover of Bennett's Hill & Gully/Banana Boat/Day O. Just sayin'.

** Irving Burgie was the only non-Jamaican in the quartet. None of the on-line Louise Bennett 'bios' mention Lord Burgess &co when noting her Village Vanguard appearance.

***And from this we know the Stinson recording under the new stage name must come sometime after the May Vanguard date.

****Louise's 'manager' was Jamaican entertainer/impresario Eric “Chalk Talk” Coverley. The two had known each other since c.1936 and got hitched while she was appearing at the Vanguard with Burgie &co. Busy year!

The are a few of the Murray/Bennett songbook tunes on Burgie's 1954 Stinson release but Day O! isn't one of them. Best I can figure, he would not record his own take until the 80s.

Subject: RE: ADD: jamaican folk music
From: Felipa
Date: 04 Dec 21 - 03:10 PM

It's timely to sing Jamaican songs as the country celebrates becoming a Republic. I wonder what topical songs have emerged on the topic, and whether there is a new national anthem for Jamaica.

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 05 Dec 21 - 02:45 AM

Felipa: Either a great leap forward on Jamaica's long & winding road to republicanism or... Barbados?

Subject: RE: ADD: jamaican folk music
From: Joe Offer
Date: 05 Dec 21 - 03:09 AM

Phil, I would very much like to be in contact with you because I think we have a lot of music information to discuss. You don't have to belong to Mudcat, but I would very much like to be able to contact you and discuss music with you. If you would like to establish communication but not become a member, contact me, [e-mail]. Many times, people ask me how to contact you. I would like to be able to forward their requests to you without revealing your contact information. On top of that, I have a number of questions of my own, like what Caribbean songbooks you would recommend.
Thanks.
Joe Offer, Mudcat Music Editor

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 09 Dec 21 - 12:55 AM

Joe: Pass. Happy to help out in the forums wherever I can. See y'all there!

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 12 Dec 21 - 11:18 PM

As noted above, the 1952 Hugh Paget foreword was reprinted, intact, as the liner notes to the 1954 Edric Connor release with the added footnote: It is this complete collection which has been recorded here by Edric Connor as a long playing record of great variety, contrast and charm.

“Day O Day— O
Day dah light an' me wan' go home.
2x

Come Mister tally man, come tally me banana.
Day dah light an' me wan' go home.

Me come yah fe wuk, me no come yah fe idle.
Day dah light an' me wan' go home.

Six han', seven han', me eight han' bunch.
Day dah light an' me wan' go home.
2x

De checker man him check but him check with caution.
Day dah light an' me wan' go home.

Me back is a bruk wid bare exhaustion.
Day dah light an' me wan' go home.

Nah give me so-soh bunch, me nah horse wid bridle.
Day dah light an' me wan' go home.

Day O Day— O
Day dah light an' me wan' go home.
2x”

Transcribed from:
[U.K. - Connor, Edric & The Caribbeans, Songs from Jamaica, Argo, RG 33, 1954, trk.A1]
[U.S. - Connor, Edric & The Caribbeans, Songs from Jamaica, Westminster, WP 6038, 1956, trk.A1]
Edric Connor, 'Day Dah Light' (1954)

Notes: The Murray-Bennett songbook lyrics are changed up to suit Edric Connor's voice; which is anything but working class Jamaican. It does improve on the British Council's goal of making the music, such as it has become, accessible to a wider audience.

Subject: RE: ADD: jamaican folk music
From: GUEST,Phil d'Conch
Date: 14 Dec 21 - 07:10 PM

The 1954 Louise Bennett release is on Folkways Records. That entire catalog was acquired by the Smithsonian in 1987 (see below.)

“DAH DAY LIGHT
A banana lading song. About three o'clock in the morning, the men and women who have been loading the banana boats all night see the first light of dawn and they sing: “Day dah light an me wan' go home” (“Day is dawning and I want to go home.”). A “bunch” of bananas has nine or more bands, but the loaders are not paid anything extra for carrying bunches, hence the stress on “bunch”.

Day oh day oh day dah light an me wan' go home.
Come missa tally-man, come tally me banana.
Day dah light an me wan' go home.
Come fix your cotta'* Matty, fe he come tek bunch banana.
'cotta: leaf leaf binding bananas on the head
Day dah light etc.
Six-hun', seven-hun', eight-hun' bunch!
Day dah light etc.
Me come yah fe work, me no come yah fe idle.
Day dah light etc.
No' gimme so so bunch, me no horse wid bridle.
Day dah light etc.
Six-hun', seven-hun', eight-hun' bunch!
Day dah light etc.
The checka man a check but him check with caution.
Day dah light etc.
Me back jus bruk wid bare exhaustion.
Day dah light etc.
Day oh day oh, day dah light an' me wan go home.”
[Bennett, Louise, Jamaican Folksongs, Folkways Records FP 6846, 1954, trk.B5]
Assisted by: Eric Coverly and Keith Johnson**.

Liner notes and samples: Jamaican Folk Songs
ytube: Louise Bennett - Day Dah Light

Notes:
*Only version to mention the loader's head “cotta.” Head-carrying

**His Excellency Ambassador Keith Johnson (1921-2009)… !!!???

“Louise was given away by the poet George Campbell. Eric's best man, Keith Johnson, was working at the United Nations.”
[Miss Lou: Louise Bennett and Jamaican Culture, Morris]

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 03 Sep 23 - 12:39 PM

BANYAN TREE
Jamaican: Trad

1, Moonshine tonight come mek we dance an’ sing,
Moonshine tonight come mek we dance an’ sing,
Me deh rock so, yu deh rock so, under banyan tree,
Me deh rock so, yu deh rock so, under banyan tree,
2, Ladies mek curtsy, gentlemen mek bow,
Ladies mek curtsy, gentlemen mek bow,
Me deh rock so, yu deh rock so, under banyan tree,
Me deh rock so, yu deh rock so, under banyan tree,
3, Den we join hands an’ dance around an’ roun,
Den we join hands an’ dance around an’ roun,
Me deh rock so, yu deh rock so, under banyan tree,
Me deh rock so, yu deh rock so, under banyan tree,

According to the notes accompanying this song:
On nights of the full moon country people like to gather and sing, dance, tell stories, play games, and exchange riddles. Often their meeting place is under some large tree in the neighbourhood such as a banyan tree. This song is simply an invitation to join in the fun and should be accompanied by graceful dance steps, with the ladies curtsying and the gentlemen bowing to each other.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Banyan Tree
M: 3/4
L: 1/4
N: Gracefully
O: Jamaica
Z: NP 03/09/2023
K: C
cec| G2E| F/F/ F F| F3| BBA| G2F| E/E/ EF| G3| E/E/ EG| F/F/ FA| G/G/ Bd| c3| E/E/ EG| F/F/ FA| G/G/FD| C3||

X: 2
T: Banyan Tree
M: 3/4
L: 1/4
N: Second part (optional)
O: Jamaica
Z: NP 03/09/2023
K: C
c2 G| E2 C| B,/B,/ B,D| F/G/ FD| zFD| B,DB,| C3/ C/ D| E3/ F/ E/D/| C/C/ C E| D/D/ DC| B,/D/ GF| E3/ F/ E/D/| C/C/ CE| D/D/ DC| B,/D/ G/A/ B|C3||
w: La la la la etc.


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 03 Sep 23 - 01:08 PM

BEENY BUD
Jamaican: Trad

Refrain:
Wake up, wake up, wake up beeny bud,
Wake up, beeny, soon a mawning.
Wake up, wake up, wake up beeny bud,
Wake up, beeny, soon a mawning.
Leader: Little bit a beeny but ‘im love ‘im mango,
Chorus: Wake up, beeny, soon a mawning.
Leader: Little bit a beeny but ‘im love ‘im mango,
Chorus: Wake up, beeny, soon a mawning.
Refrain:

Leader: Little bit a beeny but ‘im love ‘im cawfi,
Chorus: Wake up, beeny, soon a mawning.
Leader: Little bit a beeny but ‘im love ‘im cawfi,
Chorus: Wake up, beeny, soon a mawning.

According to the notes accompanying this song:
This vigorous work song was sung by the women to accompany their early morning tasks. ‘Beeny bud’ means tiny bird, and the leader would improvise verses as she went along to keep the workers amused and lighten their toil.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Beeny Bud
M: 4/4
L: 1/4
N: Vigourously
O: Jamaica
Z: NP 03/09/2023
K: Eb
|:e/d/ c/B/ c//B/(A// A//)B//G/| E/E/ G/G/ D//D3// E/E/:||: G//G//G//F// E//E//E//D// C//E/(G,// G,/)B,/|E/E/ G/G/ D//D3// E/E/:||
X: 2
T: Beeny
M: 4/4
L: 1/4
N: Second part (optional)
O: Jamaica
Z: NP 03/09/2023
K: Eb
|: z4|G/G/ B/B/ A//A3// G/G/:||: z4| G/G/ B/B/ A//A3// G/G/:||


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 03 Sep 23 - 01:39 PM

CHRISMUS A COME
Jamaican: Trad
1, Chrismus a come me wan’ me lama,
Chrismus a come me wan’ me lama,
Chrismus a come me wan’ me deggeday,
Chrismus a come me wan’ me deggeday,

2, Pretty, pretty gal, me wan’ me lama,
Pretty, pretty gal, me wan’ me lama,
Pretty, pretty gal, me wan’ me deggeday,
Pretty, pretty gal, me wan’ me deggeday,

3, Not a shoe to me foot, me wan’ me lama,
Not a shoe to me foot, me wan’ me lama,
Pretty, pretty gal, me wan’ me deggeday,
Pretty, pretty gal, me wan’ me deggeday,

4, Not a hat to me head, etc.

5, Not a bangle to me han’, etc.

According to the notes accompanying this song:
During the days of slavery Christmas was the one time of the year when the slaves were sure of a holiday. Jonkunnu was a form of merrymaking in which pantomime-like characters such as Horse Head, Bride, Devil, and Pitch Patchy went around in a merry procession with African-style singing, fife playing, and drumming. They hoped to collect money in this way to pay for their own festivities. Some of their costumes were very fine (the words ‘lama’ and ‘deggeday’ mean finery) with elaborate masks. Jonkunnu dancers can still be seen in the streets of Jamaica around Christmas time. The singers make up new verses mentioning all the articles of clothing that they lack as they go along.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Chrismus a come
M: 4/4
L: 1/8
N: Brightly
O: Jamaica
Z: NP 03/09/2023
K: G
BB/B/ BB/(B/ B/)A/G A2| cc/c/ cc/(c/B/)AB2|BB/B/ BB/(B/ B/)A/G/G/ A2| AA/A/ AA/(A/ A/)G/F/F/ G2|


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 04 Sep 23 - 04:08 PM

I COME TO SEE JANIE
Jamaican: Trad

1, I come to see Janie, I come to see Janie,
I come to see Janie an’ where is she now?

2, She’s washing her clothes, she’s washing her clothes,
She’s washing her clothes, you can’t see her now.

3, Goodbye, goodbye, goodbye, goodbye,
Goodbye, goodbye, I’ll call back again.

4, I come to see Janie, I come to see Janie,
I come to see Janie an’ where is she now?

5, She’s ironing her clothes, she’s ironing her clothes,
She’s ironing her clothes, you can’t see her now.

6, Goodbye, goodbye, goodbye, goodbye,
Goodbye, goodbye, I’ll call back again.

7, I come to see Janie etc.

8, She’s sick, she’s sick, she’s sick, she’s sick,
She’s sick, she’s sick, she can’t see you now.

9, Goodbye, goodbye, etc.

10, I come to see Janie etc.

11, She’s dead, she’s dead, she’s dead, she’s dead,
She’s dead, she’s dead, an’ cannot be seen.

12, An’ what shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in blue?

13, Blue is for sailors, oh blue is for sailors,
Blue is for sailors so that will not do.

14, What shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in green?

15, Green is for lizards, oh green is for lizards,
Green is for lizards so that will not do.

16, What shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in black?

17, Black is for mourners, oh black is for mourners,
Black is for mourners so that will not do.

18, What shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in white?

19, White is for de duppies, oh white is for de duppies,
White is for de duppies an’ here she is now!


According to the notes accompanying this song:
Half the fun of this song for Jamaican children is in going on and on until everyone has had a turn to be Janie. The player taking the part of Janie has to mime washing, ironing, being in bed sick, and any other actions suggested as an excuse for her not being able to see her friends. The rest of the singers join hands and advance in a long line at the words ‘I come to see Janie’ and each time that Janie’s mother tells them they can’t see her they fall back singing ‘Goodbye, goodbye’. The same pattern is repeated with the colours until the very last verse when, at the mention of the word ‘duppies’ (ghosts), Janie rises from the dead and chases the other players. The one she catches becomes Janie and the song begins all over again.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: I come to see Janie
M: 6/8
L: 1/8
N: Lilting
O: Jamaica
Z: NP 04/09/2023
K: G
D| DBB BAG| EAA AGE| DBB BAG| ddd d2||


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 04 Sep 23 - 04:52 PM

WASH AN BE CLEAN
Jamaican: Trad

1, Go dung a Bethlehem, wash an be clean.
Wash an be clean, wash an be clean
Go dung a Bethlehem, wash an be clean,
Go wash in de blood of de Lamb.

2, Go dung a Calvary, wash an be clean.
Wash an be clean, wash an be clean
Go dung a Calvary, wash an be clean,
Go wash in de blood of de Lamb.


According to the notes accompanying this song:
This is a rousing Revival chorus on the oft repeated theme of the cleansing power of the blood of the Lamb.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Wash an be clean
M: 2/4
L: 1/8
N: Joyfully
O: Jamaica
Z: NP 04/09/2023
K: A
Ec2B|AG F| EA2G| A2z2| GB2A| B2z2| Ac2B| c2z2| Ec2B| AGF2| EA2G| A2A2| B2 d3/d/| c2 B3/B/|A4|

X: 2
T: Wash an be clean
M: 2/4
L: 1/8
N: Second part (optional)
O: Jamaica
Z: NP 04/09/2023
K: A
z4|z2 (AB)| (c4|c2) Bc| d4|(E2d2)| cA2F| (EF) G2|A2z2|z2(AB)|(c4|c2)C3/C/|D2 F3/F/|E2 G3/G/|A4|
w: Go_ wash_ an be clean. Go_ wash an be clean_ go wash Go_ wash_ in de blood, in de blood of de lamb.


Words for part 1 just follow the music. Words added for the optional second part for clarity.
NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 05 Sep 23 - 12:42 PM

The next two songs in this booklet seem to have been well covered already, with this booklet not giving major variations. ('Day Oh' and 'Linstead Market')
If anyone really wants to trawl through them for variations, I've scanned the whole book 'Beeny Bud': Here

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 03 Sep 23 - 12:39 PM

BANYAN TREE
Jamaican: Trad

1, Moonshine tonight come mek we dance an’ sing,
Moonshine tonight come mek we dance an’ sing,
Me deh rock so, yu deh rock so, under banyan tree,
Me deh rock so, yu deh rock so, under banyan tree,
2, Ladies mek curtsy, gentlemen mek bow,
Ladies mek curtsy, gentlemen mek bow,
Me deh rock so, yu deh rock so, under banyan tree,
Me deh rock so, yu deh rock so, under banyan tree,
3, Den we join hands an’ dance around an’ roun,
Den we join hands an’ dance around an’ roun,
Me deh rock so, yu deh rock so, under banyan tree,
Me deh rock so, yu deh rock so, under banyan tree,

According to the notes accompanying this song:
On nights of the full moon country people like to gather and sing, dance, tell stories, play games, and exchange riddles. Often their meeting place is under some large tree in the neighbourhood such as a banyan tree. This song is simply an invitation to join in the fun and should be accompanied by graceful dance steps, with the ladies curtsying and the gentlemen bowing to each other.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Banyan Tree
M: 3/4
L: 1/4
N: Gracefully
O: Jamaica
Z: NP 03/09/2023
K: C
cec| G2E| F/F/ F F| F3| BBA| G2F| E/E/ EF| G3| E/E/ EG| F/F/ FA| G/G/ Bd| c3| E/E/ EG| F/F/ FA| G/G/FD| C3||

X: 2
T: Banyan Tree
M: 3/4
L: 1/4
N: Second part (optional)
O: Jamaica
Z: NP 03/09/2023
K: C
c2 G| E2 C| B,/B,/ B,D| F/G/ FD| zFD| B,DB,| C3/ C/ D| E3/ F/ E/D/| C/C/ C E| D/D/ DC| B,/D/ GF| E3/ F/ E/D/| C/C/ CE| D/D/ DC| B,/D/ G/A/ B|C3||
w: La la la la etc.


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 03 Sep 23 - 01:08 PM

BEENY BUD
Jamaican: Trad

Refrain:
Wake up, wake up, wake up beeny bud,
Wake up, beeny, soon a mawning.
Wake up, wake up, wake up beeny bud,
Wake up, beeny, soon a mawning.
Leader: Little bit a beeny but ‘im love ‘im mango,
Chorus: Wake up, beeny, soon a mawning.
Leader: Little bit a beeny but ‘im love ‘im mango,
Chorus: Wake up, beeny, soon a mawning.
Refrain:

Leader: Little bit a beeny but ‘im love ‘im cawfi,
Chorus: Wake up, beeny, soon a mawning.
Leader: Little bit a beeny but ‘im love ‘im cawfi,
Chorus: Wake up, beeny, soon a mawning.

According to the notes accompanying this song:
This vigorous work song was sung by the women to accompany their early morning tasks. ‘Beeny bud’ means tiny bird, and the leader would improvise verses as she went along to keep the workers amused and lighten their toil.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Beeny Bud
M: 4/4
L: 1/4
N: Vigourously
O: Jamaica
Z: NP 03/09/2023
K: Eb
|:e/d/ c/B/ c//B/(A// A//)B//G/| E/E/ G/G/ D//D3// E/E/:||: G//G//G//F// E//E//E//D// C//E/(G,// G,/)B,/|E/E/ G/G/ D//D3// E/E/:||
X: 2
T: Beeny
M: 4/4
L: 1/4
N: Second part (optional)
O: Jamaica
Z: NP 03/09/2023
K: Eb
|: z4|G/G/ B/B/ A//A3// G/G/:||: z4| G/G/ B/B/ A//A3// G/G/:||


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 03 Sep 23 - 01:39 PM

CHRISMUS A COME
Jamaican: Trad
1, Chrismus a come me wan’ me lama,
Chrismus a come me wan’ me lama,
Chrismus a come me wan’ me deggeday,
Chrismus a come me wan’ me deggeday,

2, Pretty, pretty gal, me wan’ me lama,
Pretty, pretty gal, me wan’ me lama,
Pretty, pretty gal, me wan’ me deggeday,
Pretty, pretty gal, me wan’ me deggeday,

3, Not a shoe to me foot, me wan’ me lama,
Not a shoe to me foot, me wan’ me lama,
Pretty, pretty gal, me wan’ me deggeday,
Pretty, pretty gal, me wan’ me deggeday,

4, Not a hat to me head, etc.

5, Not a bangle to me han’, etc.

According to the notes accompanying this song:
During the days of slavery Christmas was the one time of the year when the slaves were sure of a holiday. Jonkunnu was a form of merrymaking in which pantomime-like characters such as Horse Head, Bride, Devil, and Pitch Patchy went around in a merry procession with African-style singing, fife playing, and drumming. They hoped to collect money in this way to pay for their own festivities. Some of their costumes were very fine (the words ‘lama’ and ‘deggeday’ mean finery) with elaborate masks. Jonkunnu dancers can still be seen in the streets of Jamaica around Christmas time. The singers make up new verses mentioning all the articles of clothing that they lack as they go along.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Chrismus a come
M: 4/4
L: 1/8
N: Brightly
O: Jamaica
Z: NP 03/09/2023
K: G
BB/B/ BB/(B/ B/)A/G A2| cc/c/ cc/(c/B/)AB2|BB/B/ BB/(B/ B/)A/G/G/ A2| AA/A/ AA/(A/ A/)G/F/F/ G2|


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 04 Sep 23 - 04:08 PM

I COME TO SEE JANIE
Jamaican: Trad

1, I come to see Janie, I come to see Janie,
I come to see Janie an’ where is she now?

2, She’s washing her clothes, she’s washing her clothes,
She’s washing her clothes, you can’t see her now.

3, Goodbye, goodbye, goodbye, goodbye,
Goodbye, goodbye, I’ll call back again.

4, I come to see Janie, I come to see Janie,
I come to see Janie an’ where is she now?

5, She’s ironing her clothes, she’s ironing her clothes,
She’s ironing her clothes, you can’t see her now.

6, Goodbye, goodbye, goodbye, goodbye,
Goodbye, goodbye, I’ll call back again.

7, I come to see Janie etc.

8, She’s sick, she’s sick, she’s sick, she’s sick,
She’s sick, she’s sick, she can’t see you now.

9, Goodbye, goodbye, etc.

10, I come to see Janie etc.

11, She’s dead, she’s dead, she’s dead, she’s dead,
She’s dead, she’s dead, an’ cannot be seen.

12, An’ what shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in blue?

13, Blue is for sailors, oh blue is for sailors,
Blue is for sailors so that will not do.

14, What shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in green?

15, Green is for lizards, oh green is for lizards,
Green is for lizards so that will not do.

16, What shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in black?

17, Black is for mourners, oh black is for mourners,
Black is for mourners so that will not do.

18, What shall we bury her in, what shall we bury her in,
What shall we bury her in, bury her in white?

19, White is for de duppies, oh white is for de duppies,
White is for de duppies an’ here she is now!


According to the notes accompanying this song:
Half the fun of this song for Jamaican children is in going on and on until everyone has had a turn to be Janie. The player taking the part of Janie has to mime washing, ironing, being in bed sick, and any other actions suggested as an excuse for her not being able to see her friends. The rest of the singers join hands and advance in a long line at the words ‘I come to see Janie’ and each time that Janie’s mother tells them they can’t see her they fall back singing ‘Goodbye, goodbye’. The same pattern is repeated with the colours until the very last verse when, at the mention of the word ‘duppies’ (ghosts), Janie rises from the dead and chases the other players. The one she catches becomes Janie and the song begins all over again.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: I come to see Janie
M: 6/8
L: 1/8
N: Lilting
O: Jamaica
Z: NP 04/09/2023
K: G
D| DBB BAG| EAA AGE| DBB BAG| ddd d2||


NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 04 Sep 23 - 04:52 PM

WASH AN BE CLEAN
Jamaican: Trad

1, Go dung a Bethlehem, wash an be clean.
Wash an be clean, wash an be clean
Go dung a Bethlehem, wash an be clean,
Go wash in de blood of de Lamb.

2, Go dung a Calvary, wash an be clean.
Wash an be clean, wash an be clean
Go dung a Calvary, wash an be clean,
Go wash in de blood of de Lamb.


According to the notes accompanying this song:
This is a rousing Revival chorus on the oft repeated theme of the cleansing power of the blood of the Lamb.

From:
"Beeny Bud"
12 Jamaican Folk-Songs for children
Collected & arranged for schools by OLIVE LEWIN
Oxford University Press 1975
ISBN 0 19 330543 7

X: 1
T: Wash an be clean
M: 2/4
L: 1/8
N: Joyfully
O: Jamaica
Z: NP 04/09/2023
K: A
Ec2B|AG F| EA2G| A2z2| GB2A| B2z2| Ac2B| c2z2| Ec2B| AGF2| EA2G| A2A2| B2 d3/d/| c2 B3/B/|A4|

X: 2
T: Wash an be clean
M: 2/4
L: 1/8
N: Second part (optional)
O: Jamaica
Z: NP 04/09/2023
K: A
z4|z2 (AB)| (c4|c2) Bc| d4|(E2d2)| cA2F| (EF) G2|A2z2|z2(AB)|(c4|c2)C3/C/|D2 F3/F/|E2 G3/G/|A4|
w: Go_ wash_ an be clean. Go_ wash an be clean_ go wash Go_ wash_ in de blood, in de blood of de lamb.


Words for part 1 just follow the music. Words added for the optional second part for clarity.
NP

Subject: RE: ADD: jamaican folk music
From: Nigel Parsons
Date: 05 Sep 23 - 12:42 PM

The next two songs in this booklet seem to have been well covered already, with this booklet not giving major variations. ('Day Oh' and 'Linstead Market')
If anyone really wants to trawl through them for variations, I've scanned the whole book 'Beeny Bud': Here