Honest Jons logo

A copper plate is balanced on the thumbs — the left hand fingers embellish the melody, played by the right (a bit like a Yemenite Bongo Joe). The songs are in the national tradition of courtly love.

The Flores’ first Ocora recordings, just the two brothers’ guitar and accordion live and in the studio, in Buenos Aires in 1993.

From the north-eastern provinces, mixing Spanish, African and Guarani influences (and long derided for it), a distant cousin of tango. Guitar and six-string guitarron, accordion and bandoneon, double bass, singing.

The don gorgon, ablaze in 1971.

Mainly female vocal ensembles performing seasonal, child-bearing and wedding songs, with instrumental dance excursions by violin, reed-pipe, cymbalum, accordion and drum.

Griot music with delicate dambararou lute; ritual possession songs with gogue fiddle and gon and karou drums; and a women’s choir.

Recordings of ritual and entertainment music from 1958, 1969, and the nineties.

The dignified, expressive music of Andean Indians — the huayno, the slower tonado, the syncopated pascua — sung and played on charangos and guitarrillas by the Alvis Family, including Barbara, aged eighty-six.

Brilliant, jacking, extended, improvisatory, ancient dance music played at the initiation of diviners (drugged with jolonthi, to ward off spells) on a twelve-blade xylophone with calabash resonators.

Fantastic music. Flutes made of bamboo, shell, clay, wood, bark, horn or reed, along with breathing songs, transverse horns, harp, xylophone, drums and percussion, in various lineups.

Polyrhythmic vocal and percussion music for dancing, performed by women, from the Cape Verdean island of Santiago.

Masterful playing of the qin zither, in China considered the most noble of instruments, as if tracing the shapes and meanings of silence.

Delicate, quietly profound 1959-60 chamber recordings of old masters, on a dozen instruments, notably the guqin zither, the pipa lute and the xiao flute.

Traditional and popular pieces for drums, xiao and dizi flutes, banhu fiddle, sheng mouth organ, yangkin hammered zither, pipa lute, and xun ocarina (an instrument at least 7,000 years old).

Buddhist hymns and chants, with ritual percussion.

Playing the xun, an ancient ocarina, the xiao, a vertical flute, and the qin zither, half the time with ‘amateur’ ensemble or zheng zither accompaniment. A last exponent in 1996, haunting and poised, dead now.

From the first settlement of emancipated Blacks in the New World, in a rain forest on the Caribbean coast — songs about sisterhood, everyday living and death, a cappella or with stirring percussion.

Gaitas music, for flutes and alegre, llamador and tambora drums.

Fifty 2011 recordings of voice — polyphonic paghjella, lullabies, laments, orations — and traditional instruments like goat horn, pirula flute and cialamedda bagpipes, and modern violin, mandolin, accordion.

Guajira, trova, guaracha, bolero and punto from the heart of Cuba, lavishly done — lutes and tres luminously crossing traditions from Spain, the Canaries and Africa.

Lullabies, carnival, work, wedding, shepherds’, bandits’ — music for singing, flutes, bagpipes, guimbards, fiddles and cymbalums.

Epic poetry wrapped up in the rabab viol (a coconut shell covered with fish skin, with a long, spiked handle, two horsehair strings), the vertical suffara flute, the arghul double clarinet, droning and melodious.

Dramatic, intricate singing from South West Ethiopia — non-verbal, turning the voice inside, as an instrument — sometimes with lyre, riffing till death, clapping, flutes from space, bells and other accompaniments.

‘Wild songs’ (without words), sophisticated choral singing, improvisations, pastorals and newer song forms.