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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.