Born to a Czechoslovakian Mother and Hungarian father (who grew up in a traveling basket weaving gypsy family), “roma” music is nothing new to me. But the groundswell of attention for Gypsy music has only built slowly over the last few years. Ethnomusicologists have always been fascinated by Roma, but the public … lets just say it took a little longer to catch the fever.
What the hell is she talking about …? Let me explain …
Hungarian Gypsy Music.....Turkish Gypsy Music..... Flamenco... Gypsy Jazz..... Because the Roma have lived and played in such diverse lands, a bewilderingly wide assortment of music can all be lumped into the generic category of "Gypsy Music." The Roma are people, no more, no less. We know from the study of linguistics that Gypsies (Roma) were originally from North Central India. Their migration is approximated as starting around 300 BC, when they moved to North Western India, and from there to Persia, which they reached "some time before 100 AD*" and from there on to Europe. The designation "Gypsy" emerged in the 1400’s when these dark-skinned strangers were thought to come from Egypt.
The reasons for the original migration are conjecture. Their persecutions, on the other hand, are a matter of record. For five hundred years they were slaves in Wallachia and Moldavia (which are now part of Romania) and were liberated only as recently as 1856. Even though their treatment in Eastern Europe was abominable, during that same time period in Western Europe, the flogging, branding, and in some cases hanging of Roma was encouraged. Possibly as many as a million were murdered in the holocaust. Today they live with continued harassment and marginalization in Eastern and Western Europe.

For hundreds of years, Roma have lived by traditions that keep them separate and contrary to the myth that Gypsy women are "loose" (sultry, with large earrings, a shirt that barely covers their breasts and a skirt hitched up above her knees, her legs provocatively wide apart; a wild and sensuous creature), there are very strict rules regarding modesty and chastity. Today, as was with my father, traditional Roma continue to hold their own courts, where disputes of all kinds are settled, and the ultimate punishment within these courts is to be branded marimé, or unclean, and expulsed from the community (as was my family because my father married a non-gypsy). Hardly any Roma are nomadic, and in the United States there is a

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sophisticated network of territories, and a good percentage of middle-class Roma, perhaps best known for their musical contributions. There are numerous historical references to Roma musicians holding royalty in thrall with their virtuousic renditions of local music, and among the common people of Eastern Europe the Gypsy has been the player of choice for most traditional celebrations. When the Hungarian ensemble Muzsikás went to study the roots music of Hungary back in the 1960’s, they went to Transylvania where the Roma were still playing it much the way Bartòk heard it in his famous field trips at the turn of the century. Later, when they researched Jewish music in their landmark CD The Lost Jewish Music of Transylvania, it was Roma who helped them to piece together the fragments of this nearly obliterated tradition. In these instances, the Roma have acted as repositories of endangered music.
But is this music "Gypsy Music?"
Perhaps the most important and influential of all Roma musicians inthis century was Django Reinhardt, a Sinto. (In France these are also known as "Manouche.") It is not an exaggeration to say that Reinhardt transformed the guitar’s role in jazz. His collaborations with violinist Stephane Grapelli in the Hot Club of France produced some of the most elegant and enduring jazz of the time, and created an entire genre of music which is still played by the Roma of France, "Gypsy Jazz." Although we have no way of knowing what elements of Sinti music Reinhardt incorporated into his special style of jazz, its influence is acknowledged. It is possible that some of the harmonic concepts which were new and startling in his day were borrowings from his Sinti heritage. Django passed away in 1953, and there are still festivals and competitions held currently amongst Roma, in which guitarists of every age exhibit the same steel wristed swing and awesome velocity that were Reinhardt’s trademark. Indeed, any Rom music from France is likely to be "Gypsy Jazz." On the world stage, the best known player is Birelli Lagrene.
Flamenco music is probably Europe’s most famous folk music, and though many Spaniards may tell you that flamenco is NOT solely a Gypsy invention, their contribution is so formidable, that they have become synonymous with it. The Caló (or Gitanos) have produced some of the finest flamenco artists, notably Camaròn de la Isla. But there are

many others, and if you have a jones for flamenco, there is a world of good stuff for you to explore. A taste for the classic masters can be whetted on Early Cante Flamenco (Arhoolie CD326), and for the feeling of a live "juerga" (jam session) check out Cante Gitano, on Nimbus Records. Of course, Spanish lables have a plethora of authentic flamenco in their catalogues. Here in the US, a very good overview of flamenco is provided in Angel Romero’s thoughtful compilation Duende on the Ellipsis Arts label.
The popularity of the Gipsy Kings gives them the distinction of being the most famous Roma in the world today. The band is made up of the sons and nephews of Jose Reyes, the great singer who collaborated for many years with Manitas de Plata. They have taken the impassioned vocals and driving guitars of flamenco, thrown in a healthy dash of rumba, and created a highly accessible and sellable product in the pop flamenco tradition. Ketama is another band that has pioneered the pop nuevo flamenco sound. Recently a band from Perpignan, Tekameli has been gaining popularity, and their CD on Sony Globetrotter is well worth checking out. The CD contains commercial recordings of music from the Evangelical church which has swept a multitude of Roma converts into its fold. In addition the guest shot by Khaled on one of the tracks is a chance to compare the Flamenco singing style with a north African style. For those who are particularly fascinated with the North African/Flamenco connection, Encuentros with Juan Pena Lebrijano on Globe Style Records is a chance to hear these interrelationships at full tilt.

And what does that have to do with today’s music … check out Eugene Huntz, who embraces the traditional Roma folk music with his punk style 8 piece band.

And why did you write this …. Never heard of broadening your horizon?
By the way, is this story inspired you to take a closer look into Roma Music and you are ever in London; you must check out the “Le Quecum” Bar, at 42-44 Battersea High Street … the food is great and the music … well … you have to experience yourself …..

GMc