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Afro-Caribbean music is a broad term for music styles originating in the Caribbean from the African diaspora. [1] These types of music usually have West African/Central African influence because of the presence and history of African people and their descendants living in the Caribbean, as a result of the trans-Atlantic slave trade. [2]
Harry Belafonte, a Jamaican-American pop-calypso singer in 1954. Caribbean music genres are very diverse. They are each synthesis of African, European, Arab, Asian and Indigenous influences, largely created by descendants of African slaves (see Afro-Caribbean music), along with contributions from other communities (such as Indo-Caribbean music).
The band's name was taken from a 1970s term, "cocolo", that originated in parts of the Caribbean and was later used in New York City's Latin communities, often as a pejorative, to describe non-Hispanic African descendants, many of whom were fans of Afro music. Kokolo aimed to invert the negative connotation of the term through the positivity in ...
Osibisa has been credited with introducing African music to European and North American audiences [10] with their fusion of African and Western music styles. [11] The band's style encompasses elements of rock, progressive rock, acid rock, Latin, jazz, afro-funk, jazz fusion, soul, highlife, reggae, calypso and pop.
André Tanker; Anslem Douglas; Marlon Asher; Atilla the Hun; Babla & Kanchan; Billy Ocean; Beenie Man; Black Stalin "Boogsie" Sharpe/Earl Brooks; Bunji Garlin
The band name derives from a calypso word for "dove", which symbolises peace and love; [2] "Dove" is also the title of one of their best-known songs. With a membership deriving from several Caribbean nations, Cymande were noted for an eclectic mix of funk, soul, reggae, rock, African music, calypso, and jazz that they called "nyah-rock".
The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988 by experimenting with a fusion of cadence-lypso and jing ping. They began using native drum rhythms such as lapo kabwit and elements of the music of jing ping bands, as well as ragga -style vocals.
Combining the experiences of his journey in music, Carlos formed his own band in 1963 called the Afro-Jamaican Rhythms, with members including Karl Bryan (saxophone), Larry McDonald (conga drums), Boris Gardiner (vocals, bass), Lascelles Perkins (vocals), and Winston "Sparrow" Martin (drums). [5]