Pipa master Wu Man and her Uyghur, Tajik, and Hui collaborators explore connections between the musical worlds of China and Central Asia.
From 1959, on-the-spot recordings of New York street-kids improvising with drums, bottles and sticks, making up songs, raps and mini-dramas.
‘The epitome of my experimenting with the integration of music and poetry in a Black idiom taken from the rich source of inspiration welling from the Black experience here in America.’
Tough, pioneering, female Appalachian bluegrass.
A dizzying kind of Dixieland gamelan, played on Indonesian, Chinese, and sometimes European-derived instruments.