Destined Kids - "Joy Joy Joy", "Emmanuel", and "Big Big God" (lyrics) [Nigeria]

Edited by Azizi Powell

This post presents three videos of the Nigeria Gospel group Destined Kids. The lyrics for those songs and some information about this Nigeria Gospel group is also included in this post.

The content of this post is presented for cultural, religious, and aesthetic purposes.

All copyrights rights remain with their owners.

My thanks to the composers of these songs. Thanks also to Destined Kids and to the publishers of these videos on YouTube.

INFORMATION ABOUT DESTINED KIDS
"Destined Kids" is group of six siblings who sing Gospel music. The Onitsha, Nigeria based group is also known as "Destiny Kids".

According to http://www.nairaland.com/253368/fans-onitsha-based-destined-kids-lets, the father of the group Deacon Stephen Iwueze, is "the composer of all the songs of the Destiny Kids". That 2009 blog post also identified then 13 year old Rejoice Iwueze as the "lead vocalist of the Destiny Kids". That blog post also indicated that Rejoice Iwueze continued to sing with her siblings but also recorded a solo Gospel song.

http://www.boysoloist.com/artist.asp?VID=4983 included the names of two more members of that brother & sister Gospel group: Joshua and Caled Iwueze.

In February 2014 commenter Peter Debby posted this comment to destined kids joy joy joy vol 8,one of these featured videos:
"Please celebrate your 10th Year Anniversary of musical limelight. I love you guys."

Phillip Olawuyi, another commenter, wrote in that same thread "igbooooooooooooooooooooooooo girls"
"Igbo" is a Nigeria, West Africa ethnic group.

Please add information about this group to the comments of this post or to their YouTube videos. Thanks!

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FEATURED VIDEOS & LYRICS
Video #1: Destined kids---Joy Joy Joy



barak klan, Uploaded on Mar 18, 2008

vol.1
this was thier first ever song
-snip-
Lyrics: JOY JOY JOY

Joy, joy joy in my heart is ringing
Joy, joy joy Jesus sets me singing
See what the Lord has done for me.
He died just to set me free.
Fill all my heart with melody.
With joy joy joy.

I'm rejoicing
[repeat that verse multiple times]

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Video #2: Destined kids Emmanuel YouTube



emmanuel soyombo, Published on Jun 22, 2012
-snip-
Lyrics: EMMANUEL

Spoken:
Once the presence of God is with us.
There is no fear
Be it night or day
We are under his coverage, hallelujah

Chorus:
His name is Emmanuel
God is with us
His name is Emmanuel
God is with us
I'll never be afraid
His name is Emmanuel
God is with us
I'll never be afraid.
Emma I love you.

[repeat the above chorus]

Verse:
Though I walk in the valley of death
I'll never be afraid
Though I walk in the fire or sea
I will never be consumed
God's great eyes is on me
Why should I fear?
His banner over me is love
I'm never alone.

[repeat the above verse]

Chorus

Spoken:
Even though we are living in a wicked world
We have a great God
Jehovah Adonai is his name
He is our friend and our Lord, hallelujah

Verse:
Unto us a child is born,
To us a child has come
Government shall be upon him
Wonderful is his name.
Counselor, almighty God
The everlasting Father
The prince of peace
The son of God
Emmanuel is his name.

Chorus

[repeat above verse]

Verse:
Though I walk in the valley of death
I'll never be afraid
Though I walk in the fire or sea
I will never be consumed
God's great eyes is on me
Why should I fear?
His banner over me is love
I'm never alone.

Chorus

[sing chorus several times]

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Video #3: destined kids joy joy joy vol 8



elvira abeso, Published on Jun 22, 2012
-snip-
This song begins at 3:54 in this video.
-snip-
LYRICS: A BIG BIG GOD

Chorus
A big big God
That does big things
You have done Oh!
Another big one.
A big big God
That does good things
I will never, ever leave you.

[repeat chorus times, alternate words for the lines:
A big big God who does big things etc. or these alternative lines"
"A big big God who does good things"
I will ever, ever praise you.]

Verse:
A fine, fine God that does fine things
A very good God that does good things
How I love you Oh! my Lord
You've made me proud, among people.

[repeat this verse]

[repeat the chorus several times, sometimes singing the alternate lines]

Amazing grace how sweet that sound
Oh! to you my Lord,
You've done what no one could have done
What a good father are you Lord

[repeat this verse]

[repeat chorus several times]

You gave my mum a new car.
You blessed my daddy with a new home.
You made me pass my exams.
You made my home a joyful home.

[repeat this verse]

[repeat chorus several times with added improvised words]

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RELATED LINK
http://pancocojams.blogspot.com/2012/07/lady-love-iwueze-featuring-destined.html

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Langston Hughes - "A Dream Deferred" (information, words, & video examples)

Edited by Azizi Powell

This post showcases two YouTube examples of Langston Hughes' 1951 poem "A Dream Deferred". This post also includes information about Langston Hughes and his "Dream Deferred" montage which contains the poem that begins "What happens to a dream deferred". The complete words to that short poem are also included in this post.

The content of this post is presented for cultural, historical, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Langston Hughes for his creative legacies. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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INFORMATION ABOUT LANGSTON HUGHES
From http://en.wikipedia.org/wiki/Langston_Hughes
"James Mercer Langston Hughes (February 1, 1902 – May 22, 1967) was an American poet, social activist, novelist, playwright, and columnist. He was one of the earliest innovators of the then-new literary art form called jazz poetry. Hughes is best known as a leader of the Harlem Renaissance."...

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From http://www.poets.org/poet.php/prmPID/83
..."[Langston] Hughes, who claimed Paul Lawrence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insightful, colorful portrayals of black life in America from the twenties through the sixties. He wrote novels, short stories and plays, as well as poetry, and is also known for his engagement with the world of jazz and the influence it had on his writing, as in his book-length poem Montage of a Dream Deferred (Holt, 1951). His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period—Claude McKay, Jean Toomer, and Countee Cullen—Hughes refused to differentiate between his personal experience and the common experience of black America. He wanted to tell the stories of his people in ways that reflected their actual culture, including both their suffering and their love of music, laughter, and language itself."...

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INFORMATION ABOUT LANGSTON HUGHES'S "MONTAGE OF A DREAM DEFERRED"
From http://en.wikipedia.org/wiki/Montage_of_a_Dream_Deferred
"Montage of a Dream Deferred is a book-length poem suite published by Langston Hughes in 1951. Its jazz poetry style focuses on descriptions of Harlem (a neighborhood of New York City) and its mostly African-American inhabitants.[1] The original edition was 75 pages long and comprised 91 individually titled poems, which were intended to be read as a single long poem.[2] Hughes' prefatory note for the book explained his intentions in writing the collection:

In terms of current Afro-American popular music and the sources from which it progressed— jazz, ragtime, swing, blues, boogie-woogie, and be-bop—this poem on contemporary Harlem, like be-bop, is marked by conflicting changes, sudden nuances, sharp and impudent interjections, broken rhythms, and passages sometimes in the manner of a jam session, sometimes the popular song, punctuated by the riffs, runs, breaks, and disc-tortions of the music of a community in transition.[3]

The primary motif of the poem is the "dream deferred", which represents the opposition between Harlem of the 1950s and the rest of the world.[4] Other motifs include boogie-woogie and discrimination against African-Americans. The poem is characterized by its use of the montage, a cinematic technique of quickly cutting from one scene to another in order to juxtapose disparate images, and its use of contemporary jazz modes like boogie-woogie, bop and bebop, both as subjects in the individual short poems and as a method of structuring and writing the poetry.[5] The poem is divided into five sections (although some editions contain six); each section represents a different time of day in Harlem, moving from dawn through the night to the dawn of the following day. The poem begins and ends with the same two lines: "Good morning, daddy! / Ain't you heard?".[5] Montage of a Dream Deferred was Langston Hughes' first major publication following the end of World War II.[5] Its themes include the subjugation of the black community, African-American racial consciousness and history, and the need for social change to resolve the injustices faced by the residents of Harlem."
-snip-
The short poem that begins "What happens to a dream deferred" is part of this montage.

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WORDS TO THE POEM: DREAM DEFERRED (HARLEM)
By Langston Hughes

What happens to a dream deferred?

Does it dry up
like a raisin in the sun?
Or fester like a sore--
And then run?
Does it stink like rotten meat?
Or crust and sugar over--
like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

Source: http://www.youtube.com/watch?v=79YjXKYeWCk

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FEATURED EXAMPLES
Example #1: "Dream Deferred (Harlem)" Langston Hughes poem GREAT EXAMPLE of Harlem Renaissance literature

.

Tim Gracyk, Published on Jul 2, 2013

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Example #2: A Dream Deferred



Huntington Theatre Company, Published on Feb 13, 2013

What happens to a dream deferred? LeRoy McClain ("Walter Lee Younger" in the production) performs the classic poem by Langston Hughes. The Huntington's production of Lorraine Hansberry's timeless family story A RAISIN IN THE SUN, directed by Liesl Tommy, plays March 8 - April 7, 2013 at the Avenue of the Arts / BU Theatre.
-snip-
Click http://en.wikipedia.org/wiki/A_Raisin_in_the_Sun to read about the 1959 play A Raisin In The Sun

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Bioshock 2 & Bessie Smith's "Nobody Loves You When You're Down And Out"

Edited by Azizi Powell

This post presents a sample of comments that mention Bioshock 2 that were posted to the discussion thread of a video of Bessie Smith's 1929 rendition of a Blues song. That song, "Nobody Loves You When You're Down And Out", was included in the Bioshock 2 video game.

This video is presented for cultural, entertainment, and aesthetic purposes. These comments are presented for cultural and sociological purposes. Read more about my reasons for showcasing these comments in the section below.

All copyrights remain with their owners.

Thanks to Bessie Smith for this powerful song. Thanks to all those who are quoted in this post and thanks also to the publisher of this video on YouTube.

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SHOWCASE VIDEO: Bessie Smith (Nobody Knows You When You're Down And Out, 1929) Jazz Legend



RagtimeDorianHenry, Uploaded on Jun 4, 2009

Nobody Knows You When You're Down And Out (1929)
-snip-
Click http://www.pbs.org/jazz/biography/artist_id_smith_bessie.htm for information about Bessie Smith (1894-1937)

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GENERAL OVERVIEW ABOUT YOUTUBE COMMENT THREADS AND YOUTUBE COMMENTS
It's my position that certain YouTube video viewer comments can be considered cultural artifacts that can provide information about a particular subject or subjects and/or reveal societal attitudes about people, places, or things. Presenting a sample of YouTube comments from the same viewer comment thread can give a sense of some of the ways that interactions occur on YouTube comment threads. YouTube viewer comments also demonstrate the ways that language is used -including the use of slang and text talk - and the customs that people use in self-selecting internet user names. Because I take a folkloric approach in editing pancocojams, a number of pancocojams blog posts include selected examples of YouTube comments about its featured videos. In addition, a few pancocojams posts focus on particular categories of user names that YouTube commenters give themselves.

However, the way that YouTube comments are presented makes responses to comments and conversations between commenters difficult to follow. In large part this is because comments are usually posted in descending order with the newest comments posted first. As a result, when reading the comment thread from top to bottom which is the usual way that threads are read, comments written in response to a particular comment are often found before that comment. One way that a response to a comment is identified is when the responder begins his or her comment with "@ ____ [the name of the person who wrote the comment which is being responded to]. However, some responders don't use that format. Adding to the possibility for confusion in reading YouTube video comments is the fact that some commenter’s names have changed because of YouTube’s promotion of people using their real names instead of screen names. Consequently, some responses to comments refer to the original commenter's screen name instead of the person's "real name". It also appears that some commenters have exchanged one "made up" user name for another "made up" user name. Furthermore, YouTube has changed their viewer comment format, deleting the "like" and "dislike" options (around the end of 2013), but those options are still mentioned in older comments.

It should also be said that a major problem with many YouTube viewer comment threads (including this showcased video's comment threads) is that a number of the comments include profanity. Readers of many YouTube viewer comment threads should also be advised that those threads may contain racist language, homophobic language, sexual explicit content and other objectionable content.

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INFORMATION ABOUT THIS PARTICULAR COMPILATION
The viewer comment thread for the video "Bessie Smith (Nobody Knows You When You're Down And Out, 1929) Jazz Legend" is found at http://www.youtube.com/watch?v=6MzU8xM99Uo

As of 11:50 AM. Feb 28, 2014 there were 985 comments. At least ½ of the comments refer to Bioshock 2, Bioshock, some other specific videogame, or videogames in general.

These selected comments are grouped by the year that they were posted on YouTube, with the oldest comments presented first (along with any comments that are or appear to be posted in response to that comment). However, with the exception of that sub-group, these comments aren't presented in any consecutive order. In some cases, responding comments are given without the comment that they respond to.

The only examples of profanity that I include in the comments in this compilation is what I consider to be the mild profanity "damn", "ass", and "hell". Other examples of profanity within these comments are represented by the phrase in brackets "profanity deleted"].

These comments are numbered for references purposes only and are given as is without any editorial comments.

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SELECTED COMMENTS
2009
1. anthonyvvs
lol I heard of her from Bioshock 2 as well... Funny how a good video game can make someone so much more popular and bring their works back to the current times (more than it already is, of course)

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2. fiury5i
people who havent played the first bioshock loves bioshock 2, however people who played first one dont find the sequal at the same level as the first one

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3. fiury5i
people who havent played the first bioshock loves bioshock 2, however people who played first one dont find the sequal at the same level as the first one

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4. Raphael Stoker
Oh Bioshock 2 brought me here, but Bessie Smith kept me here. People need to realise that some 'games', such as bioshock and L.A Noire, should be held in as high regard as some films. It's art. Sorry to change the subject, this song really is lovely.

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2010
5. jackram2h2
in reply to Shelly Wilkinson
@shellybelly2895 Bioshock is a an extremely good first person shooter.It takes place in the under sea city called rapture.Thats another story....But the reason why people are commenting about Bioshock is because it takes place in The 50's and 60's and on each loading before the level begins the play these types of songs.This one specifically.They also have old record players lying around playing this music.It's games like Bioshock that got me to like this music :)

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6. Fernando Blake
Thanks bioshock thanks 4 show me this amazing music :D

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7. Craziness714
Thanks Bioshock and Fallout, for introducing to some amazing music I wouldn't have listened to otherwise. =)

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8. Nunya DirtySanchez
Youre a DAM FOOL if Bioshock brought your young ass here and you should be ashamed..now that youve learned.. go teach your friends :D

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9. Justin Huffman
Warning: if you actually purchase the Bioschock 2 Sountrack, this song IS NOT there... i don't get it. They do include the second best song: the trouble with me is you, though. I downloaded it just for this song and it's not there... [profanity deleted]??

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10. sagat4
It is possible that game developers are trying to rekindle interest in these great lost songs. I play games occasionally and have never heard good music like this. I know my stuff but life is a learning experience:)

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11. samtheposter
in reply to WEJIRC
@WEJIRC Hi there, the music was used as a loading screen for Bioshock 2. The game itself is excellent and the way the music compliments the theme of the game is superb. In many ways it has brought back quite a few older songs into todays lifestyle and a lot of gamers will never forget the music now. I myself have searched youtube for all of the songs from the game and have stumbled on some real legends :-)

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12. Emma Pinkney
this song makes me want to play bioshock 2 all day!!

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13. Phazonin
Her voice is incredible. So powerful... thank you Bioshock 2 loading screen.

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14. thecatman00
in reply to Phazonin
@Phazonin It's incredible the way you can cultivate good art to help make other good art, I am especially impressed by said connection between blues and videogames

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15. thedogisoflove
I love this dang stupid song. I of course first heard it on Bioshock 2. For a minute, I was like: "Is that Billy Holiday?" Then I thought, "Nooooooo! That's definately not her." Now I know who it is! I love it if you let Grace live, and you go back down to the last floor to gather Adam, you can hear Grace singing this song over the PA too.

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16. Justin Huffman
this is Grace Holloway not Bessie Smith

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17. tjovaughn
in reply to Justin Huffman
@aspacelot ....grace holloway is a VIDEO GAME CHARACTER. Bessie Smith is REAL. got it? eh? not so hard to figure out smart-[profanity deleted]. gawd.

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18. TGCVugi
iwe heard this song @ my friend, his kid played bioshock 2,, and i will tell you something, it's so damn true, this song touches me in the heart!

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19. F14ace
6 people have no musical taste whatsoever. This song is great for BioShock because it basically describes the story of Rapture. Well, except for the genetically spliced nutjobs running around everywhere. There is also a good lesson to be learned from this song.

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20. jackram2h2
in reply to Shelly Wilkinson
@shellybelly2895 Bioshock is a an extremely good first person shooter.It takes place in the under sea city called rapture.Thats another story....But the reason why people are commenting about Bioshock is because it takes place in The 50's and 60's and on each loading before the level begins the play these types of songs.This one specifically.They also have old record players lying around playing this music.It's games like Bioshock that got me to like this music :)

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2011
James Last
in reply to khal eesi
@jujabyummy bioshock is a game based in the 20's-30's i think. its not to bad kinda intence at points though

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21. Bonbeck100
Thumbs up if you're here not because of bisoshock, just because you love Bessie Smith

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22. 420Cannabis
why are you guys so proud of needing a video game to discover good music?

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23. Dee Lazarus
Personally, I have no idea what 'Bioshock' is, nor do I care to discover. I think it's great that peoples end up here listening to this, regardless of the source of their original interest, but I would query why these same folks have this burning need to proclaim "The Simpsons brought me here!!!" and then say nothing of the singer and song. Come on guys and gals - can and should do better. Best wishes for the future, PP. x

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24. alen mathew
thumbs up if [profanity deleted] bioshock DIDNT bring you here..and you have REAL taste in music..

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25. Skirlasvoud
in reply to alen mathew
@amathew711 Oi! How's real taste in music defined by the way it came to you? :P Maybe the makers of Bioshock had enough taste to select this particular piece for their game, making it a real tasteful game? Let's reach a middleground after I bought a CD with this stuff, THANKS to Bioshock: We BOTH love this music and at least we're nog listening to Carla Bruni.

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26. 0m
in reply to alen mathew
@amathew711 who cares whether or not bioshock turned people onto this music or not? (a) that's beside the point, because the music's still lovely, and (b) if a modern classic sci-fi/horror story can instill interest in this music for new generations, where's the harm in that? you ever played the bioshock games? because not only are they super fun to play, the plots are unbelievably genius. it's genuine storytelling up there with huxley, bradbury and their ilk. don't hate. bioshock rules. :-P

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27. Cleaver Mama
in reply to alen mathew
@amathew711 Why does Bioshock bringing someone here mean that they don't have a 'real' taste in music? Shouldn't you be happy that they know about the song at all, and are giving a talented artist the recognition she deserves, rather than worrying about how they found the song?

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28. Cyconik
Music like this needs to be spread. If its being spread to youth by a video game, so be it. I actually just happened across this song. I didn't know it was in Bioshock, but I've played it before too. Come on people, as long as its being spread, its being spread!

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29. Raphael Stoker
Oh Bioshock 2 brought me here, but Bessie Smith kept me here. People need to realise that some 'games', such as bioshock and L.A Noire, should be held in as high regard as some films. It's art. Sorry to change the subject, this song really is lovely.

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30. Stephenthecupcake101
in reply to Raphael Stoker
@AstinTheDawg same here, that was my favorite level in bioshock2. Loved the idea of a gehto in Rapture, now I love this music, gotta get some of her stuff. Back when music had meaning in the words.

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31. Stephenthecupcake101
in reply to khal eesi
@jujabyummy Best game of 2007. But this is from the sequal. The game was about an underwater city that was supposed to be absent in government, but went to hell. One hell of a good story, I highly recomend it.

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32. sonicscreamingblue
What the [profanity deleted] is Bioshock and why do people keep alluding to it on a blues video?

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33. HERBLANDZ
in reply to sonicscreamingblue
@sonicscreamingblue a video game that plays that palys 20 and 30s music while u kill people underwater or some [profanity deleted] i never liked that game but its pretty huge in sales

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34. ReptilianWhisperer
I played Bioshock and it did not bring me here, but I still ended up here. I guess I just got lucky. Legendary voice...Miss Bessie Smith

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35. Ray De La Peña
it shouldn't matter where people get their music source, as long as they listen and like it at some point in time.. i think.

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36. drivenedge007
but you have to admit,younger folks would not get any exposure to "real" music if it weren't for those video games......good music at any means necessary...

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37. kwilli93
Thumbs up if you're happy Bioshock educated thousands of gamers to Bessie Smiths greatness.

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38. Wafflehaus
I don't care if it took a video game to bring you here.. if you enjoy the song that's good enough in my book. Hopefully the song can spark an interest in blues/jazz history.

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39. Reverb Twang
idk what bioshock is but welcome to the world of Bessie Smith !!!!!

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40. PunkRockFreak09
in reply to Reverb Twang
@moondog50002000 It's a video game that takes place in about 1960's and plays this kind of music. In fact Bioshock notorious for using music like Bessie's. I'll say Bioshock did not bring me here, which is odd because I played it before I discovered Bessie, but it is a good game to find good music. Hell I wouldn't never even thought of this music before it.

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41. Riitzni
lol'ing at people looking down their nose at games. For those of you oblivious to society, some games introduce songs like this to people that would otherwise never hear them. That's more than most of you sitting on your computers whining about it can say. I understand though that having a person or radio bring you this song is a far better way to hear about it. Oh wait, it's the same. Idiots.

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42. cwcwful
in reply to Nathan Sanchez [posted in 2012]
@thesickdancer I am not asking to be a jerk, but what is Bioshock? Just curious. For what it's worth, I promise not to get involved in the debate.

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43. Dattebayo04 [posted in 2012]
in reply to cwcwful
Bioshock is a popular steampunk video game

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44. Nozomi
I'm sad that this song wasn't on the Bioshock 2 official soundtrack. It took me a while to find it.

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2012
45. Shishio Makoto
Merci Bioshock pour m'avoir fait découvrir cette artiste! Un jeu magnifique pour une chanteuse magnifique!

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FunkyTownGhost
46. I was listened this song on Bioshock 2. It's "Pauper's Drop's" theme music. These words, this voice... I'm really, really love that angel voice- women...

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47. 63toes
I don't care where you from, what brought you here, or where you going. Let's just enjoy this sweet sad music

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48. buttercupfirefly
hearing this song or any other song does from a video game or tv show does not make you any less "with it" cool or intelligent then someone who was brought up listening to it. Everyones music taste is due to outside influence- media, family or seeking it out yourself. I just think that people who say "i knew this before Bioshock" really need to get a life

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49. jasonvoorhees12345
If I lived in rapture. I would have gone down to just hear her sing everyday

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2013
50. gun1987gunn
It doesn't matter if people heard this on Bioshock and love it. Let them appreciate a great song. Game developers introducing the younger generation to old classics is a good thing. Stop you moaning and let everyone enjoy the song.

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51. gnarles trevor
I didn't realize that I absolutely love listening to music like this until I played Bioshock haha

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52. TearShatter
Bioshock <3 Introduced me to so much great older music.

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53. Zé Maconha
in reply to TearShatter
When this song played, I used to wait and stare at the loading screen until the end of the song

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2014
54. Juan Vazquez
Thank you bioshock 2 for introducing me to this amazing voice

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55. mondenkindqueen
Me too. I know some folks will get on to you for that, but people shouldn't care how a fellow fan is introduced to a great artist. If it weren't for Bioshock 2, I'd be missing out on this blues legend.

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Toyin Adebola - "Kabi O Osi O" (Nigerian Gospel) with lyrics

Edited by Azizi Powell

This post showcases a video of Toyin Adebola singing the Nigerian Gospel song "Kabi O Osi O". That song's lyrics, and comments about the meaning of the Yoruba words "Kabi O Osi O" are also included in this post.

The content of this post is presented for cultural, religious, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Toyin Adebola for this powerful song. Thanks to all those who are quoted in this post and thanks also to the publishers of these videos on YouTube.

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SHOWCASE VIDEO:

Toyin Adebola'Kabi O Osi'



MOA Music, Uploaded on Jun 27, 2011

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LYRICS - KABI O OSI O

You are the King above all the earth
Kabi O o si o
KabiOosi

You are the King above all the earth
Kabi O o si o
Kabi O osi

come on raise your voice and sing

Kabi O o si o
Kabi O o si o
You are the King above all the earth
Kabi O o si o
KabiO osi

we praise You we praise You
Kabi O o si o
Kabi O o si o
(You are You are) You are the King above all the earth
Kabi O o si o
KabiO osi

Kabi O o si o
Kabi O o si o
You are the King above all the earth
Kabi O o si o
KabiO osi

Kabi O o si o
Kabi O o si o
You are the King above all the earth
Kabi O o si o
KabiO osi

You are the King above all the earth
Kabi O o si o
Kabi O osi

You are the King above all the earth
Kabi O o si o
Kabi O osi

You are the King above all the earth
Kabi O o si o
Kabi O osi

we praise You
we praise You
You are worthy
There is no God beside You
You are not a man that You should lie
Neither the Son of man that You should repent
we bow before You
we bow before You
Kabi O si o

Posted by ojo kehinde on http://frontlyrics.blogspot.com/2013/03/kabi-o-osi-o.html

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COMMENTS ABOUT THE MEANING OF "KABI O OSI"
From http://nigerianpraise.wordpress.com/2010/11/05/kabio-osi-o/#comments
Posted by Landry on August 24, 2011 at 5:09 pm
"Kabio Osi O what does it mean"

Reply
Posted by tosin2010 on June 23, 2013 at 3:47 pm

Ki’a (for us to) bi (question) o (you)
O si (it can’t happen).
For us to question you, it can’t happen."

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From http://www.nairaland.com/298215/whats-favorite-name-god/3
Re: What's Your Favorite Name For God? by amf(f): 1:33pm On Sep 14, 2009
"KABI O OSI meaning unquestionable cos nobody can questioning HIM for anything"

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Florocka (Nathan Akiremi) - "Twale" (Nigerian Gospel)

Edited by Azizi Powell

This post showcases a sound file of the Nigerian Gospel song "Twale" by Florocka (Nathan Akiremi). Also included in this post are the song's complete lyrics, the words to Twale's chorus with an analysis of its Yoruba language meaning, and two bonus videos of "Twale".

The content of this post is presented for cultural, religious, and aesthetic purposes.

All copyrights remain with their owners.

Kabiyesi Olu Olorun! Thanks to Nathan Akiremi and his singers & musicians. Thanks to all those who are quoted in this post and thanks also to the publishers of these videos on YouTube.

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SHOWCASE VIDEO: FLO - TWALE



Charles Anjorin, Published on Jun 12, 2013

This is a beautiful and powerful song by Flo and I hope you enjoy it. (I been looking forever for this and couldn't find it, so I uploaded it myself)

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LYRICS: TWALE
(Nathan Akiremi)

VERSE 1
If I was an eagle, I would lift myself Spread my wings and fly
If I was a lion, I would run into the jungle And give the loudest growl
And if I was the sun, yes I would rise early in the morning And shine my light so bright
If I was an angel, I would sound the alarm For the whole of creation to bow at your feet..

CHORUS
Kabiyesi Olu orun, I have come to give you twale
To give you worship
Kabiyesi Olu orun, I have come to give you twale
To give you worship

VERSE 2
If I was a little child, I would sing and shout for joy
If I was a stallion o, I would use my four horse power
If I was a shining star, I would illuminate everywhere
And if I was the son of a governor
I would make everybody troway salute o
And if I could control the times, I would go back to the garden of eden
I will give you the worship that only you deserve, YES!
I will look for beautiful names like Alade wura o
Yes I will go on soun and patewo iye Gbe oruko re ga o

CHORUS

BRIDGE
Only a fool will look into the heavens and say there is no God
Only a mad man will look into the sea And claim that the fishes are a mistake
Even the babalowos can testify that there is only one Jehovah
So who are you to tell me that my Yahweh, my Tsidkenu doesn’t exist
He is a consuming fire o,
Yes He is the Lion of the tribe of Judah
He alone shall I serve For the rest of my days

CHORUS to FADE

Source: http://gmusicplus.com/flo-twale-dowload-song-lyrics-remix/

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AN ANALYSIS OF TWALE'S TITLE AND CHORUS
[Please add to and correct any information and please correct any pronunciation errors that I've made in this post. Thank you.]

The song "Twale" is sung in the Yoruba language of Nigeria, West Africa.

Here are two quotes about the word "twale" (pronounced TWAH-lay):
https://www.facebook.com/permalink.php?id=409644762443875&story_fbid=462060100535674

"a Nigerian word, meaning to salute, or give due respect,......Dear God we give you Twale!!"

**
http://www.nairaland.com/104810/teach-me-naija-slang-please/2

Twale= "I salute"

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Here are three quotes about the word "Kabiyesi" (pronounced kah-be-YEH-see)

From: Yoruba Creativity: Fiction, Language, Life and Songs
books.google.com/books?isbn=1592213367
Toyin Falola, ‎Ann Genova - 2005 - ‎Yoruba (African people)
"Irrespective of dialect divide, Yoruba salute their oba "kabiyesi" meaning that his authority is not subject to question from anyone as all powers belong to him."

**
From http://en.wikipedia.org/wiki/Highness
"For example, the Yoruba people of West Africa usually make use of the word Kabiyesi when speaking either to or about their sovereigns and other royals. As such, it is variously translated as Majesty, Royal Highness or Highness depending on the actual rank of the person in question, though a literal translation of the word would read more like this: He (or She) whose words are beyond questioning, Great Lawgiver of the Nation."

**
From http://nationalmirroronline.net/new/why-i-dont-want-to-be-addressed-as-kabiyesi-oba-akiolu/ Why I don’t want to be addressed as ‘Kabiyesi’ –Oba Akiolu
by MURITALA AYINLA on Jan 17, 2013
...."His words: “Let’s look at the meaning of the word ‘kabiyesi’ which means unquestionable King. Those calling themselves ‘kabiyesi’ are deceiving themselves. Either rightly or wrongly, the kings are sometimes taken to court and removed.

“So, only Almighty God deserves the accolade ‘kabiyesi.’ He is the King of all kings.
I would rather like to be addressed as ‘Alayeluwa, Olowo Eko,’ Oba Akiolu, not ‘kabi o osi’,” he added."

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Here is information about the Yoruba words "Olu Orun":
Olu Orun (oh-loo) orun (oh-roon) are Yoruba words which mean "God in heaven"
Source: http://www.nigerianchurchonline.com/blog/names-god-yoruba-language-oruko-ati-oriki-olorun "The Names of God in Yoruba Language"
-snip-
As such "Olu Orun" refers to the Yoruba's traditional Supreme God and also refers to the Christian God "Jehovah".
-snip-
"Olu" is a clip of the word "Oluwa". Here's a quote about the word "Oluwa"
http://findaname.wordpress.com/2009/07/22/a-to-z-of-yoruba-names/
"Olu/oluwa; means God. They are used interchangeably."
-snip-
Click http://pancocojams.blogspot.com/2012/01/various-interpretations-of-ise-oluwa.html "Various Interpretations Of The Song "Ise Oluwa".

**
Here's a quote about Olorun:
http://en.wikipedia.org/wiki/Olorunhttp://en.wikipedia.org/wiki/Olorun
"Olòrún is the Yorùbá name given to one of the three manifestations of the Supreme God in the Yoruba pantheon. Olorun is the owner of the heavens and is commonly associated with the Sun. The vital energy of Olorun manifests in humans as Ashé, which is the life force that runs through all living things.[1] The Supreme God has three manifestations: Olodumare, the Creator; Olorun, ruler of the heavens; and Olofi, who is the conduit between Orun (heaven) and Ayé (earth).

No gender is typically assigned to Olorun because Olorun transcends human limitations. Olorun rules Orun (the heavens), whereas humans live in Ayé (the earth). Typically, humans do not interact directly with Olorun but they receive the life-giving energy from the sun and recognize the power of Olorun over their lives."

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OTHER EXPLANATIONS:
Explanation of the line "Even the babalawos can testify that there is only one Jehovah"
From http://en.wikipedia.org/wiki/Babalawo
"Babalawo (Babaaláwo in full and pronounced Baba-a-láwo, literally meaning 'father or master of the mysticism' in the Yoruba language) is a Yorùbá chieftaincy title that denotes a Priest of Ifá. Ifa is a divination system that represents the teachings of the Orisha Orunmila, the Spirit of Wisdom, who in turn serves as the oracular representative of God. The Babalawo claim to ascertain the future through communication with Orunmila. This is done through the interpretation of either the patterns of the divining chain known as Opele, or the palm nuts called Ikin, on the traditionally wooden divination tray."

**
Partial Explanation of the line "I will look for beautiful names like Alade wura o"
The name "Alade" means "the crowned one" http://findaname.wordpress.com/2009/07/22/a-to-z-of-yoruba-names/

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BONUS VIDEOS
Example #1: Flo (The African Praise Experience 26-Jul-13)

http://www.youtube.com/watch?v=UsZZHETM6rk

[This is a live performance of Flo singing "Twale". Embedding disabled by request

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Video #2: Twale



emmanuel john, Published on Sep 25, 2013
-snip-
This is a dance interpretation of the song "Twale".

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Jola (Diola) Music & Dance (West Africa) With Clave-Like Instruments

Edited by Azizi Powell

This post presents seven videos of Jola (Diola) music and dance, with special focus on the clave-like instrument that is played by the female singers/dancers.* Information about the Jola (Diola) people is also included in this post.

*"Claves... are a percussion instrument (idiophone), consisting of a pair of short (about 20–30 cm (7.9–11.8 in), thick dowels. Traditionally they were made of wood...Qhen struck they produce a bright clicking noise." http://en.wikipedia.org/wiki/Claves

I don't know the name of the Jola instrument that I'm referring to as a "clave-like instrument". If you know the name of this instrument, please add it in the comment section of this post. Thanks in advance!

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post. Thanks to all those who keep the dance and music traditions of Africa alive. Thanks also to the publishers of these videos on YouTube.

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INFORMATION ABOUT THE JOLA PEOPLE
From http://en.wikipedia.org/wiki/Jola_people
"The Jola (Diola, in French transliteration) are an ethnic group found in Senegal (where they predominate in the region of Casamance), the Gambia, and Guinea-Bissau. There are great numbers on the Atlantic coast between the southern banks of the Gambia River, the Casamance region of Senegal and the northern part of Guinea-Bissau. The Jola are believed to have preceded the Mande and Fula peoples in the riverine coast of Senegambia and may have migrated into Casamance before the 13th century. The Jola and Serer people with whom they have an ancient relationship with[2] are believed to be some of the oldest historical inhabitants of the Senegambia Region.[3] The Jola language is distinct from the Dioula language of the Dioula (Dyoula) Mande people of the Gambia,
Upper Niger and the Kong highlands of Burkina Faso."

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From http://observer.gm/africa/gambia/article/legends-spotlight-on-daniel-lamou-jatta-the-sound-of-akonting
..."The Jola, Manjak (Manjaco, Manjago), Bujogo (Bijago), Papel, and Balanta are neighboring rice-farming peoples with similar cultures and social systems. Their traditional village-based agrarian societies are non-hierarchical without the tripartite caste system of their Mande, Wolof, and Fulbe (Fula, Fulani, Peul) neighbors. This being the case, these people have no griot caste nor do they have traditions of professional/semi-professional music-making and praise-singing (i.e. composing and performing laudatory songs for gratuities). Amongst the Jola, Manjak, Bujogo, Papel, and Balanta, playing the lute-- like all other forms of music-making-- is a vernacular social activity open to all, rather than being the exclusive domain of specialist music/word artisans...

While Daniel [Laemouahuma Jatta, the Jola scholar from The Gambia] set about his work to preserve and perpetuate the ekonting in Gambia, the instrument was faring a little better in neighboring Casamance, the crucible of the tradition. Unlike the Gambian Jola, the Jola are the largest ethnic group in Casamance with something like two-thirds of the total population of that region. This is the heartland of the Jola people and culture, especially in Lower Casamance, the region along the southwestern shores of the Casamance River.

According to some tradition-bearers, the actual birthplace of the ekonting is the village of Kanjanka in Lower Casamance...

Thanks to the crucial ground-breaking work of Daniel Jatta and others, there is growing global awareness of ekonting (akonting) and its siblings in the large diverse family of West African folk/artisan lutes, which have been hitherto overlooked. These instruments are just now beginning to get the international recognition and attention they deserve as living ancestors of the banjo. Many museums around the world have updated their collections to include the ekonting and other members of the West African folk/artisan lute family, while banjo historians and ethnomusicologists have begun to broaden the range of their focus to take these instruments.

Author: Oko Drammeh"

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FEATURED VIDEOS
These examples are presented in chronological order based on their posting dates with the oldest examples given first.

As somewhat of an aside, notice the number of videos that include the saxophone being played with this traditional music.

Video #1: Mike Bennett presents...Jola dance



Omarmane, Uploaded on May 3, 2008

Captured by Mike Bennett in Kafountine, Senegal. This is the dance style of the Jola tribe.
-snip-
cavaleer2, a commenter wrote "These rhythms are SMOKIN! Love Bugarabou. Respect from USA. That's a touch dance too.”
-snip-
Click http://en.wikipedia.org/wiki/Bougarabou for information about the Jola drums known as "bougarabou".

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Video #2: Mike Bennett presents...more Jola dance



omarmane, Uploaded on Jul 23, 2009

In the beautiful village of Kafountine, Senegal.

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Video #3: Jola at Lamin-Feb 2010



platini64, Uploaded on Apr 7, 2010

Jola music at a wedding in Gambia(Feb 2010). More at www.onegambia.com

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Video #4: Jola Music Performance at The Roots Festival Gambia



HarmattanProductions, Uploaded on Sep 23, 2011

Music Tradition of Jola (Diola) people in Gambia. Filmed at The Roots Festival, Gambia

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Video #5: gambia jolas dance



BUBACARY SILLAH, Published on Dec 11, 2012
-snip-
Commenter sam12508 wrote in 2014:
"To be honest, we the Gambians are the same blood relatives. It doesn't whether you are Mandinka, Jola, Fula, Serehule, Wollof, Manjago, Karonika or whatever tribes you belong to we are the same blood relative...whether you are Muslim, Christian Gambians or not we still the same blood under one family umbrella. I am a Madinka tribe man living in USA but i love all the tribes in the Gambia. Keep up my sisters and brothers Jola. Nice dance"

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Video #6: CASAMANCE - Mariage Diola IgoRama


Tapha Diedhiou, Published on Jan 6, 2013

Mariage de Cheikh Sémou DIEDHIOU et de Rama Dia, oussouye, le 26 décembre 2010.

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Video #7: Traditional African dance. Diola. Cap Skiring. Casamance.Senegal.



Андрей Сапронов, Published on Jan 12, 2014

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"Alabama Gal" (Play-Party Song) videos and lyrics

Edited by Azizi Powell

This post provides lyrics & performance instructions for the play party song "Alabama Gal"* (also known as "Alabama Girl" and other titles.) Three videos of this play party song are also showcased in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the unknown original composers of this song, and thanks to those who collected examples of this song. Thanks also to all those who are quoted in this post.

Note: I believe that Alabama Gal is an example of an American play party song that has African American sources/influences. Click for more information and a partial listing of American play party songs with African American sources/influences.

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LYRICS AND PERFORMANCE INSTRUCTIONS: "ALABAMA GAL"
(These two examples are presented in no order of preference or determination as to which version is closest to the "original" way this play party song was played.)

Example #1
From http://www.ecrs.org/ofplayandplayfulness/play_parties.html
1. Come thru in a hurry (3 times), Alabama girl
2. You don't know how, how, (3 times). Alabama girl.
3. I've showed you how, how (3 times). Alabama girl.
4. Ain't I rock candy, (3 times). Alabama girl.

Formation:
To play this game, the men stand in a single line and the women in another, facing each other and about six feet apart, partners opposite. The head of the set is the end of the lines to the left of the men.

Action:
(1) All the players sing. At the first word of the song the head couple steps out and dances down between the lines toward the foot of the set. This advance down between the lines occupies eight steps. During the singing of the remaining two lines of the verse, this couple retraces their steps to the head of lines, reversing position without releasing each other's hands.

(2) Reel: On the last word of the verse, the couple, having reached the head of the lines, release each other's hands and pass each other to the opposite side. The man joins left hands with the woman, who is now head of her line, and the woman joins left hands with the man who is now head of his line. This joining of hands comes exactly on the first accented syllable of the second verse of the song, and is also exactly at the same time that the left foot strikes the floor in a forward swing that turns this new couple entirely around counter-clockwise in four steps, to just one line of the song. They then release, leaving the new member of each couple back in line, and the original couple joins right hands exactly on the first accented beat of the next line, performing another complete turn in the opposite direction, clockwise. Then the left hands are presented to the next in line, and so on until the foot of the set is reached, when the two take their places in their respective lines at the foot of the set. The couple left at the head becomes the leading couple for a fresh performance of the whole game. Not more than eight couples should be used in a set.
- Reprinted from Handy Play Party Book. Copyright 1982, World Around Songs, Inc."

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Example #2
From http://mudcat.org/thread.cfm?threadid=21232 "GO THROUGH AND HURRY" From: Jacob B; Date: 10 May 00 - 12:11 PM

"GO THROUGH AND HURRY

Four couple longways sets

(First couple sashay down) Go through and hurry, go through and hurry
(First couple sashay back) Go through and hurry, my Alabama gal
(1st couple allemande R once and a half) You don't know how, girl. You don't know how, girl.
(1st couple allem. L twice with 2nd couple) You don't know how, girl, my Alabama gal
(1st couple allem. R twice around) I'll show you how, girl. I'll show you how, girl.
(1st couple allem. L twice with 3rd couple) I'll show you how, girl, my Alabama gal
(1st couple allem. R twice around) Ain't I rock candy, ain't I rock candy.
(1st couple allem. L twice with 4th couple) Ain't I rock candy, my Alabama gal
(Original top couple retires to their own side of set,
new top couple starts the dance)

I have also seen this dance described as being done in longways sets for as many as will, with the top couple doing an elbow reel all the way down, and the new top couple starting the dance when "Go through and hurry" comes around in the lyrics, even though there are other couples who are still in the process of doing the elbow reel."

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Explanation of lyrics:
"Ain't I rock candy" = Aren't I as sweet as candy. In the United States, "rock candy" is commonly referred to as "hard candy".

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Explanation of terms:
From http://users.fred.net/tds/contra-the-short.answer/glossary.htm
Contra Dance Terms

"Set: The overall arrangement of couples for a given dance, such as a big circle, square formation, longways, etc.

Longways Set: Two lines, usually made up of partners facing each other in the opposite line. Used for contras and reels."

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FEATURED VIDEOS
These examples are presented in chronological order based on their posting dates or the date of the recording with the oldest examples given first.

Example #1: Alabama Gal



Laurie Rocconi, Uploaded on Mar 27, 2009

school dance
-snip-
Here's a comment from this video's viewer comment thread: http://www.youtube.com/watch?v=29OtTyHZrSM
Shanalikefergie. 2009o
"Aw this is cute! I did this in 4th grade. Ha ha me and one boy were the only ones who understood the dance. Hahaha. Run through the hurry, Run through the hurry. Run through the hurry, Alabama Gal. I dont know how how I dont know how how I dont know how how Alabama Gal. I'll show you how how, I'll show you how how. I'll show you how how Alabama Gal..."

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Example #2: Mountain Folk Festival, 1993 Alabama Gal



John M Ramsay, Uploaded on Feb 12, 2011

Alabama Gal is an American playparty game or dance. It is a traditional dance form which, in the old days, was popular among teenagers. The dancers supply their own music.

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Example #3: Alabama Gal



Vincent Bates, Published on Apr 5, 2012

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A Partial List Of African American Play Party Songs

Edited by Azizi Powell

This post provides a partial listing of 19th century American play party songs that I think may have been originally composed by African Americans or which may have African American variants. This post also includes my comments about why I think it's important to mention that a particular play party song or any other folk song (or rhyme) comes from originated from or was later influenced by African American culture and not just American culture.

The content of this post is presented for historical, cultural, sociological, and educational purposes.

All copyrights remain with their owners.

Thanks to the unknown original composers of play party songs, and thanks to those who collected examples of this song. Thanks also to all those who are quoted in this post.

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INFORMATION ABOUT PLAY PARTY SONGS
"Play party songs" is a reference for singing games from 19th century America that took the place of dancing at social events since dancing & playing musical instruments were prohibited in those communities.

Online articles about play party songs routinely refer to the European sources of those songs and routinely omit any acknowledgement that a number of play party songs are of African American origin or have African American influences. For example, the album notes to "American Play Parties" by Pete Seeger, Mika Seeger, and Rev. Larry Eisenberg FW07604 provides this description of play party songs:
"To evade the religious prohibition against dancing in certain American communities, young people in the 19th century devised an ingenious solution—they adapted children’s games, which were permitted. The result was so-called play parties. Participants sang creative songs to cue movements, and the events were great “mixers.” The only element lacking was instrumental music."
http://www.folkways.si.edu/TrackDetails.aspx?itemid=19300

The author of that album's notes cites "Anglo-American" as the cultural group that is the source of the play party songs which are found on that album. However, I believe that at least three songs of the fourteen songs that are included on that album are of African American origin: "Shake Them 'Simmons Down", "Goodbye Liza Jane", and "Great Big House in New Orleans". Some of the other songs on that album may also be of African American origin or those versions of the song may have been African American influenced. Yet based on its wording, people reading those album notes would believe that all of those songs are only from Anglo-Americans.

Here are other examples of online articles about play party songs that only refer to the European and/or Anglo-American sources of those songs:

http://www.ecrs.org/ofplayandplayfulness/play_parties.html
"The play party is one of America's most important contributions to the world of folk dances and folk games. It is rooted in the customs of the old countries from which the early settlers came. Defined simply, a play party is a kind of country dance done to a singing accompaniment. The songs and figures of our early play parties harken back to Scottish, English, Irish and German folk traditions."

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http://www.upress.state.ms.us/books/792
"Waltz the Hall: The American Play Party" by Alan L. Spurgeon
“The play party was a popular form of American folk entertainment that included songs, dances, and sometimes games. Though based upon European and English antecedents, play parties were truly an American phenomenon, first mentioned in print in 1837.”

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http://en.wikipedia.org/wiki/Play_party
"A play party is a social event in which people gather to sing and dance. Play parties began in the 1830s in the United States as a route around strict religious practices banning dancing and the playing of musical instruments. The areas most influenced by the practice were the Southern and Midwestern parts of the United States. Folk songs, many of European and English origin, were used as means to give the attendants choreographed movements for each phrase. No instruments were played at the events, as they were banned by the religious movements of the area. Singing and clapping were used to convey each song. Because dancing was banned, the movements took on the quality of children's games. Though the performance of play parties dwindled in the 1950s, music educators use them as ways to incorporate music and dance in their classrooms."
-snip-
While I agree with the statement that the "figures [dance formations] of our early play parties harken back to Scottish, English, Irish and German folk traditions", I don't believe that the lyrics of every play party song came from European or Anglo-American sources. I'm also not certain if every tune used for play party songs came from European or Anglo-American sources.

Notice that I use past tenses, since it's my sense that any composition that would have been called a play party song in the 19th century is now called a "singing game". Indeed, "singing game" is commonly used to refer to those 19th century play party songs.

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WHY I BELIEVE THAT PLAY PARTY SONGS THAT HAVE AFRICAN AMERICAN SOURCES SHOULD BE IDENTIFIED AS AFRICAN AMERICAN AS WELL AS AMERICAN PLAY PARTY SONGS*
I strongly believe that it's important to acknowledge that African Americans also contributed to America's play party repertoire for the sake of historical documentation, and for psychological reasons. Providing the information that some American folk songs are of African American origin helps build and reinforce group esteem in a population that is still being maligned and a population that is still experiencing the effects and consequences of personal racism and of institutional racism.

People may think that they are being "color-blind" by not mentioning race (when they are teaching children folk songs and at other times). However, by not mentioning race they are actually reinforcing the viewpoint that only White people are responsible for accomplishments. This is because both online and offline "White" is the default race (just as "male" is the default gender). When no race is mentioned for an individual (unless the discussion is about some criminal act or something that is stereotypically considered to be the purview of a particular race/ethnicity), people automatically assume that that person is White (just as people automatically assume that people posting online are male).

Regardless of their race or ethnicity, children shouldn't be led to believe that White people were the only composers of play party songs or other folk songs.

*This comment also applies to other American folk songs.

UPDATE: February 26, 2014
I want to clarify that the list of songs below is mostly guessing on my part. I'm very interested in learning what songs other folks think should or shouldn't be on this list.

Also, I want to clarify that from my reading, it seems likely that Black folks sung and danced to play-party songs from Anglo-American sources, and White folks sung and danced to play-party songs from African American sources. Furthermore, some (if not many) of these songs may have had both Anglo-American and African American sources/influences, as was the case with many 19th century minstrel songs.

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A PARTIAL LIST OF AMERICAN PLAY PARTY SONGS THAT HAVE AFRICAN AMERICAN SOURCES/INFLUENCES*

"Alabama Gal"

"Buffalo Gals, Won't You Come Out Tonight"

"Charlie Over The Ocean"

"Chicken In The Fence Post"

"Draw Me A Bucket Of Water" (also known as "Frog In The Bucket")

"Goodbye Liza Jane" (and other "Li'l Liza Jane" songs)

"Going 'Round The Assembly" (also known as "Bounce Around") [This may be a singing game and not a play party game.]

"Great Big House in New Orleans"

"Hello Susan Brown"

"Tideo" (also known as "Jingle At The Window")

"Little Johnny Brown" [This may be a game song and not a play party song]

"Old Grandpaw Yet", [updated entry, 2/26/2014]

"Paw Paw Patch"

"Shake Them 'Simmons Down"

"Rabbit In The Pea Patch" [updated entry, 2/26/2014]

"Riding In A Buggy Miss Mary Jane"

"Roxie Anne" [updated entry, 2/26/2014]

"Weevily Wheat" (also known as "Charley He's A Dandy", "Four In The Middle", "Fly Around My Pretty Little Miss”, "Coffee Grows On White Oak Trees", and "Over The River ").

"We're Marching 'Round the Levy"

*This is only a partial listing of play party songs that I believe have African American sources. By "sources" I mean "origins and/or influences". I based this list on information I read from the collectors of those songs, and/or from the song's lyrics. By "song lyrics I particularly mean the following:
-the presence of floating verses which are found in (other) folk songs that are attributed to African Americans

-the presence of geographical references to places where Black people lived during the time the earliest examples of that song was collected

and
- the songs' use of African American Vernacular English (although I'm aware that non-Black Southerners also used that same or similar dialect and grammar
-snip-
Some of these song titles may be variant forms of the a particular play party song. Also, some of these songs have have Black versions and White versions.

I welcome additions & corrections to this list.

Some of these songs are showcased in other pancocojams posts. Links to two of those posts are given in the Related Links section below.

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UPDATE: February 26, 2014
The album notes to the vinyl record Old Mother Hippletoe: Rural & Urban Children's Songs (NW 291 Mono), written by Kate Rinzler include an informative overview of play party songs, as well as lyrics to three play party songs "Rabbit In The Pea Patch", "Old Grandpaw Yet", and "Roxie Anne". I believe those songs are of African American origin.

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RELATED LINKS
http://pancocojams.blogspot.com/2013/08/chicken-in-fence-post-information-lyrics.html

**
http://pancocojams.blogspot.com/2012/03/united-states-play-party-songs-other.html
"Draw Me A Bucket Of Water & Three Other African American Children's Singing Games"

**
http://pancocojams.blogspot.com/2013/09/the-african-american-origins-of-crawdad.html

**
http://www.cocojams.com/content/childrens-singing-game-going-round-assembly-bounce-around

**
http://www.balladofamerica.com/music/indexes/albums/volume2.htm

****
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The Cultural, Regional, & Racial Associations Of Sweet Potato Pie

Edited by Azizi Powell

This is post provides information about the cultural, regional, and racial associations of sweet potato pie (dessert). Three videos of songs that include references to sweet potato pie are also included in this post. Brief excerpts of these song's lyric and links to the complete lyrics of these songs are included in this post. These examples are from non-African American vocalists and from African American artists.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all composers and vocalists who are featured in this posts. Thanks also to all those who are quoted in this post, and thanks to the publishers of these videos on YouTube.

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GENERAL INFORMATION ABOUT SWEET POTATO PIE
http://en.wikipedia.org/wiki/Sweet_potato_pie
"Sweet potato pie" is a traditional side dish in the Southern United States. It is often served during the American holiday season, especially at Thanksgiving, and is similar in many ways to pumpkin pie. Marshmallows are sometimes added as a topping, but this was adopted more in the Northern United States than in the South.

It is usually made as a large tart in an open pie shell without a top crust. The filling consists of mashed sweet potatoes, milk, sugar and eggs, flavored with spices such as nutmeg. Other possible ingredients include vanilla or banana extracts. The baked custard filling may vary from a light and silky to dense, depending on the recipe's ratio of mashed potato, milk and eggs.

Though creamy vegetable pie recipes date back to Medieval Europe, sweet potato pie appears in the southern United States from the early colonial days.[1] Like many sweet potato recipes, sweet potato pie was likely developed by the black slaves from traditional African cuisine, making it a staple of Soul food today.[2] Recipes for sweet potato pie first appeared in printed cookbooks in the 18th century, where it was included with savory vegetable dishes. By the 19th century, sweet potato pie was more commonly classified as a dessert."
-snip-
Here's some information about pumpkin pie, a similar dessert from http://en.wikipedia.org/wiki/Pumpkin_pie
"Pumpkin pie is a traditional sweet dessert, often eaten during the fall and early winter, especially for Thanksgiving and Christmas in the United States and Canada. The pumpkin is a symbol of harvest time and featured also at Halloween.

The pie consists of a pumpkin-based custard, ranging in color from orange to brown, baked in a single pie shell, rarely with a top crust. The pie is generally flavored with nutmeg, cinnamon, cloves, and ginger.

This pie is often made from canned pumpkin or packaged pumpkin pie filling (spices included)."

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CULTURAL, REGIONAL, AND RACIAL ASSOCIATIONS OF SWEET POTATO PIE
First, here's my .02 cents on this subject: I grew up eating sweet potato pie for Thanksgiving and Christmas, and at other times, particularly in the winter months. While I had heard of pumpkin pie, I never tasted it until I attended a predominately White college. Pumpkin pie was on the dessert menu for that college's Thanksgiving menu, and according to my unscientific survey, it seems that few White students I asked had ever heard of sweet potato pie. For the record, I very much prefer sweet potato pie to pumpkin pie whose seasoning seemed bland to me-when I tasted it in college and at other times.

In searching the internet for information on this subject I happened upon http://mysocalledfabulouslife.blogspot.com/2007/11/sweet-potato-vs-pumpkin-debate.html Saturday, November 24, 2007: Sweet Potato vs Pumpkin: A Debate

Background- The blogger, a mixed race (Black/White) woman wrote that she attends two meals for Thanksgiving-one with her White relatives, and one with her Black relatives. "One huge difference at Thanksgiving in particular, is the choice of pie at the end--namely the availability of either pumpkin or sweet potato.". The women didn't specify which family served which dessert, but she asked persons reading her blog to post their preference for sweet potato pie or pumpkin pie. She also asked commenters to post their opinions about whether they thought there racial preferences or lack of familiarity with either of these desserts. Here are a few of those comments:
Janie said...
"I have always only made and eaten potato pies, but I don't think I have ever had a homemade Pumpkin. It never dawned on me that the "orange" pie in black houses was Potato and the "orange" pie in white houses was Pumpkin."

**
Kia said...
"You are right Bri...it's a color thing. Growing up we only had Sweet Potatoe pie the whole time, I never even considered that an orange pie wasn't Sweet Potatoe ...lol. When my sister married a white man and we merged our holiday celebrations, suddenly pumpkin pie started showing up at family dinners, tricking us visually before we tasted it! Sweet potatoe is definitely better, however they are both good."

**
PatricktheRogue said...
"Hi ya'll,
I suggest that the South may give you your answer. In the southern United States, sweet potato pie is much more popular than pumpkin, by both black and white folks. So it is not just a "white" thing. I think you will find most of the whites who eat pumpkin pie have roots in the North and/or East. Southern white folks, who have access to both pumpkin and sweet potato pie, routinely choose Sweet potato as their favorite. "
-snip-
A lengthy comment to that blog by Channon Williams suggests that the reason why sweet potato pie tastes better than pumpkin pie is the use of butter and various seasonings.

Here's a comment from another internet blog post that refers to this topic:
From http://www.city-data.com/forum/food-drink/495788-sweet-potato-vs-pumpkin-pie-regional-3.html "Sweet Potato vs Pumpkin Pie: Regional or Cultural (reheat, preheat, butter)"
11-21-2008, 03:07 AM Location...near Atlanta
Buckhead

"Originally Posted by MarqueseGilmore
I think its a south/north and black/white thing.......but thats me generalizing!!
Well, in The South, I think you will find sweet potato pie to be more common, and that is across racial lines. I know blacks and whites down here that make and enjoy either, but in each case you are more likely to encounter sweet potato. So to that extent I would not say it is a racial divide on that, just a regional culture thing. In The North, you won't see sweet potato pie much, if at all, but the few times I did run across it indeed it WAS more likely among black people...maybe just a case of taking food preferences north with them when family members relocated from states to the south. You cook what you know and prefer even when you move and the base ingredients are not as common in your new locale. Family tradition and custom endure even over great distance and time. There is probably a comparable divide concerning where rice wins out (or at least has an increased preference) over potatoes as being a featured starch in a meal. Southerners DO tend to embrace rice more frequently than Northerners, maybe because we have grown it down here for so long."
-snip-
The country music group Alabama's "Songs Of The South" which mentions sweet potato pie supports the opinion that non-Black people in the South are quite familiar with sweet potato pie. The next section of this post showcases three examples of songs that include some mention of sweet potato pie.

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FEATURED VIDEO EXAMPLES
These examples are presented in chronological order based on their posting date with the oldest examples given first.

Example #1: James Taylor Sweet Potato Pie



kentheguru, Uploaded on Aug 21, 2008

Here's JT and friends doing "Sweet Potato Pie" live, shortly after it was released.......
-snip-
Comment: Sam Sticka, 2009
"On the original version of "Sweet Potato Pie", James sang the song all by himself. Arnold McCuller and Rosemary Butler (the backups here) didn't back him up."

Lyric excerpt:
"Oh Lord I feel fine today
Walking on cloud nine today
I'm over that line today
Happiness is finally mine today

I guess I'm just a lucky guy
Here I'm about to tell you why
It's strictly on account of my
Sweet Potato Pie"

[In this song "sweet potato pie" is a complimentary referent for a female lover.]

Click http://www.sing365.com/music/lyric.nsf/Sweet-Potato-Pie-lyrics-James-Taylor/AF849C4A687878D1482569150025668D for the complete lyrics to this song.

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Example #2: Al Jarreau - Sweet Potato Pie (live, 1976)



musicbox285, Uploaded on Aug 19, 2009

Al Jarreau live in Hamburg, Germany, 1976,
AL JARREAU - voc, TOM CANNING - keyb, JEROME RIMSON- bg, NIGEL WILKINSON - dr
-snip-

Lyrics:
Now it was a hot sticky morning
'Round the Fourth of July
The breeze was standing still
I'm hanging out by myself
And I'm having a good time
With the folk inside my head
And you know, Lord,
how you did a lovely thing
See, times my head is lighter
than it's ever been
And anyone who's ever had
sweet potato pie
Don't want pumpkin again,
no, they don't want

'Cause it don't taste right, no
Look-a-here city boy with your
silks and braided hair
Don't you let nobody fool you
with no imitation nothing
Tell 'em, say, unh, unh, buddy,
I been there
Listen mama, when you
finally walk on in
Don't forget to bring along
Your sweet potato tin
'Cause when you serve him
a slice of your sweet potato

Sin, girl, he won't want pumpkin again,
no, he won't want
Now I took a trip down to Sissy's
She's a friend of mine
She smiled and asked me in
Well, she drew a box and a big,
fancy question mark
Said, "Brother, which one is you in?"
I told her, "Sister, don't worry
'bout the mule going blind
You just sit in the wagon and
hold on to the line
'Cause anyone who's ever had
sweet potato pie
Don't want pumpkin again,
really don't want"...

[In this song "sweet potato pie" refers to the dessert.]

Click http://www.lyricstime.com/al-jarreau-sweet-potato-pie-lyrics.html for the complete lyrics to this song.

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Example #3: ALABAMA - Song Of The South



suttersmith66, Uploaded on Sep 13, 2009
-snip-
Lyric excerpt:
"Sweet potato pie and I shut my mouth
Gone, gone by the wind
There ain't nobody looking back again"

[In this song, "sweet potato pie" refers to the dessert.

Click http://www.metrolyrics.com/song-of-the-south-lyrics-alabama.html to the complete lyrics for this song.

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Videos Of "Great Big House In New Orleans" (Play Party Song)

Edited by Azizi Powell

This post presents showcases three YouTube videos of the play party song "Great Big House In New Orleans" (also known as "Great Big House"). General information about play party songs and lyrics & performance directions for this song are also included in this post. My comments about the reasons why I advocate using racial identifiers for folk songs that have African American sources is included in this post along with my comments about two other songs that I believe are related to "Great Big House In New Orleans".

The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the performers of this song, thanks to all those who are quoted in this post, and thanks to the publishers of these examples on YouTube.

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INFORMATION ABOUT PLAY PARTY SONGS
"Play party songs" is a reference for 19th century American group movement songs that took the place of dancing at social events since dancing was prohibited in those communities. Those movement songs had no instrumental music and touching another person while playing those "singing games" was greatly regimented.

Online articles about play party songs routinely refer to the European sources of those songs and routinely omit any acknowledgement that a number of play party songs are of African American origin or have had African American influence. For example, the album notes to "American Play Parties" by Pete Seeger, Mika Seeger, and Rev. Larry Eisenberg FW07604 provides this description of play party songs:
"To evade the religious prohibition against dancing in certain American communities, young people in the 19th century devised an ingenious solution—they adapted children’s games, which were permitted. The result was so-called play parties. Participants sang creative songs to cue movements, and the events were great “mixers.” The only element lacking was instrumental music."
http://www.folkways.si.edu/TrackDetails.aspx?itemid=19300

The author of that album's notes cites "Anglo-American" as the cultural group that is the source of the play party songs which are found on that album. However, I believe that at least three songs of the fourteen songs that are included on that album are of African American origin: "Shake Them 'Simmons Down", "Goodbye Liza Jane", and "Great Big House in New Orleans". Some of the other songs on that album may also be of African American origin or those versions of the song may have been African American influenced. Yet no one reading those album notes would know that.

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WHY I BELIEVE THAT PLAY PARTY SONGS THAT HAVE AFRICAN AMERICAN SOURCES SHOULD BE IDENTIFIED AS AFRICAN AMERICAN AS WELL AS AMERICAN PLAY PARTY SONGS*
I strongly believe that it's important to acknowledge that African Americans also contributed to America's play party repertoire for the sake of historical documentation, and for psychological reasons. Providing the information that some American folk songs are of African American origin helps build and reinforce group esteem in a population that is still being maligned and a population that is still experiencing the effects and consequences of personal racism and of institutional racism.

People may think that they are being "color-blind" by not mentioning race (when they are teaching children folk songs and at other times). However, by not mentioning race they are actually reinforcing the viewpoint that only White people are responsible for accomplishments. This is because both online and offline "White" is the default race (just as "male" is the default gender). When no race is mentioned for an individual (unless the discussion is about some criminal act or something that is stereotypically considered to be the purview of a particular race/ethnicity), people automatically assume that that person is White (just as people automatically assume that people posting online are male).

Regardless of their race or ethnicity, children shouldn't be led to believe that White people were the only composers of play party songs or other folk songs.

*This comment also applies to other American folk songs.

Click http://pancocojams.blogspot.com/2014/02/african-american-sources-of-various.html for a pancocojams post on this subject.

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LYRICS AND PERFORMANCE INSTRUCTIONS: "GREAT BIG HOUSE IN BALTIMORE"
1. Great big house in New Orleans,
Forty stories high;
Ev'ry room that I been in,
Filled with chicken pie.

2. Went down to the old mill stream,
To fetch a pail of water;
Put one arm around my wife,
The other 'round my daughter.

3. Fare thee well, my darling girl,
Fare thee well, my daughter;
Fare thee well, my darling girl,
With the golden slippers on her.

Movements:
1. First verse: students form a circle, holding hands, walk keeping a steady beat, then stop.
2. Went down to the old mill stream,
(every other student moves to the center, holding hands with arms below waist)
To fetch a pail of water;
(outside circle moves behind inner circle, placing arms over the shoulders of the inner circle and holds hands)
Put one arm around my wife,
(keeping hands held, outside circle raises arms to ceiling, bringing them down behind the back of the inner circle)
The other 'round my daughter.
(keeping hands held, inner circle rises arms to ceiling, bringing them down behind the backs of the outer circle)
3. Third verse: keeping arms around the outer circle, the whole circle walks to a steady beat.

Source: http://musicnotes.net/SONGS/04-GREATB.html

Origin: USA - Louisiana Play Song
-snip-
Other performance instructions are given with the videos below.

Unlike the song "Li'l Liza Jane" ("Little Liza Jane") and many other folk songs, with one interesting exception*, all the lyrics to online versions of "Great Big House In New Orleans" are the same. I'm not sure if this is because each of these websites used the same source or not. I would be very surprised to learn that there weren't any variant forms of this song when it was a naturally occurring part of children's and youth's social play and not as it is taught to students in school as is done nowadays.

*The exception to the lyrics is the substitution of "pumpkin pie" for "chicken pie", giving the lyrics "Ev'ry room that I been in/Filled with chicken pie."

The "chicken pie"** lyric is important because although chicken is a basic part of a meal and not a dessert, among 19th century African Americans, chicken was considered a luxury. And during slavery, when chicken was available, it was served as a pie and not fried as is stereotypically attributed to Black Americans. (Read http://www.cocojams.com/content/food-beverages-mentioned-thomas-w-talley%E2%80%99s-negro-folk-rhymes "Food And Beverages Mentioned In Thomas W. Talley's Negro Folk Rhymes").

As such, the reference in the song "Great Big House In New Orleans" to the each room of a forty story high house being filled with chicken pie is a grandiose image that reflects more than the singer's desire for comfort and good living. To long for chicken pie is important since the singer might have experienced a number of days without adequate food. Chicken pie would have satisfied the singer's hunger much more than a dessert, particularly one he or she might not have been that familiar with.

The change in lyrics from "chicken pie to pumpkin pie" might also have cultural implications as it appears from online discussions (and my experience) that even nowadays pumpkin pie isn't a dessert that African Americans are familiar with, preferring the somewhat similar dessert of sweet potato pie - a dessert which many White Americans apparently aren't that familiar with.

**Nowadays, "chicken pie" is most commonly known in the United States as "chicken pot pie".

Click http://pancocojams.blogspot.com/2014/02/the-cultural-regional-racial.html for a post about the cultural, regional, and racial associations of sweet potato pie.

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FEATURED EXAMPLES
These examples are presented in chronological order based on their posting dates with the oldest dated examples given first.

Multiple versions of a song are presented not to rank which one is best, but to showcase some of the different interpretations artists have given of this song.

Example #1:Great Big House In New Orleans



Anthony Meehl, Published on Oct 9, 2012

3rd Grade students singing and dancing to "Great Big House In New Orleans"

Anthony Meehl, 2014
1st vs [verse]
march to beat around circle

2nd vs
#1's march to middle and join hands (went down to the old mill stream)
#2's march to middle and join hands over the top of #1's. (to fetch a pail of water)
#2's bring hands over the top (put one arm around my wife)
#1's bring hands over the top (the other round my daughter)

3rd vs
keep hands joined and slide feet to the beat around the circle. Hope this helps :)

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Example #2: Great Big House In New Orleans



HelenIn Harmony, Published on Sep 9, 2013

Midwest Play-Party Singing Dance

Filmed November, 2010 - 3rd Grade

Great Big House in New Orleans
Forty stories high
Ev'ry room that I've been in
Filled with pumpkin pie.

Went down to the old mill stream
To fetch a pail of water
Put one arm around my wife
The other round my daughter

Fair thee well, my darling girl
Fair thee well, my daughter
Fair thee well, my darling girl...
With the golden slippers on her

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Example #3: MUSIC TEACHER RESOURCES - Great Big House



Kate Fellin, Published on Oct 18, 2013

TEACHING TIPS: Students stand in a circle alternating between boys and girls. (We used lanyards to differentiate between the groups, which also works). Boys go in four steps and back out; girls go in four steps and back out. Boys go in four and hold hands, then girls go in four steps and hold hands in front of boys. Girls raise arms over the boys' heads and put them behind their backs, then boys raise their arms and put them behind the girls' backs. The interlocked circle moves clockwise (to the left) for eight counts, then they raise their arms and step back to their original positions. For a more advanced version (that we did), the outer circle moves clockwise one window so that they are standing next to a new person for the dance. The words are "Great Big House in New Orleans/Forty stories high/Every room that I've been in/Filled with pumpkin pie./Went down to the old mill stream/To fetch a pail of water./Put one arm around my wife/The other round my daughter./Fare thee well, my darlin' girl/Fare thee well, my daughter/Fare thee well, my darlin' girl/With golden slippers on her."

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RELATED SONGS
The "house in New Orleans/forty stories high/filled with chicken pie" lines in the song "Great Big House In New Orleans" reminds me of the African American old time song "Riding In A Buggy Miss Mary Jane".

Sally got a house in Baltimo',
Baltimo', Baltimo'
Sally got a house in Baltimo'
And it's full of chicken pie.

I got a gal in Baltimo',
Baltimo', Baltimo'
I got a gal in Baltimo',
And she's sixteen stories high.

Click http://pancocojams.blogspot.com/2012/12/riding-in-buggy-miss-mary-jane-video.html for a post about that song.

"Great Big House's" verses also could serve as floaters for versions of "Li'l Liza Jane".

Click http://pancocojams.blogspot.com/2014/02/five-examples-of-song-lyrics-for-lil.html for a post about that song.

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Seven Videos Of "Li'l Liza Jane" (Little Liza Jane)

Edited by Azizi Powell

This is Part II of a two part series on the song "Li'l Liza Jane"(also given as "Little Liza Jane"). This post presents showcases seven YouTube videos of "Li'l Liza Jane".

Click http://pancocojams.blogspot.com/2014/02/five-examples-of-song-lyrics-for-lil.html for Part I of this series. That post provides information about "Li'l Liza Jane" and presents five text examples (lyrics)for that song.

These two posts showcase only a small sample of the renditions of this song as sung by and performed by African Americans since the huge family of "L'l Liza Jane" songs originated with African Americans. Multiple versions of a song are presented not to rank which one is best, but to experience different interpretations of the same song.

There are numerous versions of "Li'l Liza Jane". New two lined rhyming verses for this song are improvised every day and/or floating verses from other old time songs are combined to make new renditions of "Little Liza Jane". Also, additional instrumental renditions of this song are performed and recorded daily.

The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to these featured performers of this song and thanks to the publishers of these examples on YouTube.

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FEATURED EXAMPLES
These examples are presented in chronological order based on their posting dates with the oldest dated examples given first.

Multiple versions of a song are presented not to rank which one is best, but to showcase some of the different interpretations artists have given of this song.

Example #1: Chuck Perkins - Lil Liza Jane



iching64 Uploaded on Oct 27, 2009
More at: http://www.ChuckPerkinsVoices.com
-snip-
This is a New Orleans Mardi Gras Indian version of "Li'l Liza Jane". My partial transcription of the lyrics can be found in Part I of this pancocojams series.

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Example #2: Kermit Ruffins Li'l Liza Jane DEC 29 2009 New Orleans



BiGGMIKE429, Uploaded on Dec 31, 2009

Kermit Ruffins, Li'l Liza Jane ... A visit to New Orleans would not be complete without seeing Kermit. What a Cool Ass Smooth Ass Brother, My Homie ,, He told me Man,,, you got me on video, but I'm gonna let you slide this time,, lol ,, He said you got the whole show,,!! but what I say is You have to see him yourself in person. Google his name to purchase his Music, a must have for your collection.
-snip-
This video is presented without any transcription.

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Example #3: Huey Piano Smith & the Clowns - Little Liza Jane



delwoodjef, Uploaded on Aug 7, 2010

Let's kick the tempo up a lot with Huey Piano Smith & the Clowns and "Little Liza Jane." This one really ROCKS. Enjoy!
-snip-
The lyrics to this song can be found in Part I of this pancocojams series.

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Example #4: Preservation Hall Jazz Band - Little Liza Jane (2004)



postmaster1, Uploaded on Oct 21, 2010

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Example #5: Nina Simone- Little Liza Jane



Achiko Kinkladze, Uploaded on May 5, 2011
-snip-
The lyrics to this song can be found in Part I of this pancocojams series.

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Example #6: White Eagles Mardi Gras Indians: Little Liza Jane, camera A (1982)



AlanLomaxArchive, Uploaded on Nov 15, 2011

Big Chief Jake Millon and the White Eagles Mardi Gras Indians rehearse "Little Liza Jane" at Darrell's Lounge, 7th Ward, New Orleans. Shot by Alan Lomax and crew, May 1982...
-snip-
This video is presented without any transcription.

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Example #7: Wynton Marsalis - Lil Liza Jane



Austin Casey, Published on Jan 6, 2013

Wynton Marsalis Tentet live at Dizzy's Club Coca Cola Dec. 31st 2012
Wynton Marsalis - Trumpet
Jon Erik Kellso - Trumpet
Victor Goines - Clarinet,
Andy Stein - Alto Saxophone, Violin
Chris Crenshaw - Trombone, Vocals
Vince Giordano - Bass Saxophone, Tuba, Tenor Guitar, Vocals
Ken Salvo - Banjo, Tenor Guitar
Dan Nimmer - Piano
Carlos Henriquez - Bass
Ali Jackson - Drums
Ricky "Dirty Red" Gordon - Washboard, Percussion
-snip-
In this version, the only lines that are sung are "Oh Eliza, Little Liza Jane"."

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BONUS VIDEO
Example #8: The Preservation Hall Jazz Band "Little Liza Jane" @ Bonnaroo 2013



steve holmes, Published on Jun 19, 2013

The Preservation Hall Jazz Band "Little Liza Jane" @ That Tent Bonnaroo 2013
http://www.preservationhall.com/band/
-snip-
The lyrics for this version of "Little Liza Jane" are given as part of the video's summary statement http://www.youtube.com/watch?v=LMli70II9F8

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