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<v Speaker 1>Hey, their Latino USA listener, here's a show from our vault.

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<v Speaker 2>The festival, the Sinegua is like the woolstock of Palo music.

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<v Speaker 2>Sin I was in San Cristole and people from all

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<v Speaker 2>the regions of Dominican Republic goes there to perform with

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<v Speaker 2>their Pala group. When I saw the first time and

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<v Speaker 2>the dancing and everything together, I was like super impressed, like,

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<v Speaker 2>oh my god, how I don't know about this? So

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<v Speaker 2>that's why I started experimenting with the Dominican roots music.

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<v Speaker 2>And that's why I say this is kind of the

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<v Speaker 2>real Dominican music.

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<v Speaker 1>From Futro media and PRX. It's Latino usay. I'm Maria

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<v Speaker 1>in Novosa today. One of our how I needed with

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<v Speaker 1>Dominican fusion band Yva and Palotre around the globe. People

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<v Speaker 1>often think of Dominican music as being either merengi or bachata,

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<v Speaker 1>but there's another side of Dominican music that doesn't get

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<v Speaker 1>as much airtime. It's known as Afro Dominican roots music.

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<v Speaker 1>The group Yes te Heva and Palotre are hoping to

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<v Speaker 1>change that. They combine local traditional folkloric sounds like barlo

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<v Speaker 1>and sarandunga with jazz and rock to create fusions that

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<v Speaker 1>celebrate the island's heritage. They're adding a new spin to

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<v Speaker 1>local sounds and hoping to reimagine what it means to

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<v Speaker 1>be Dominican one beat at a time. One of the

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<v Speaker 1>singles from their recent album is titled Amooro, and it's

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<v Speaker 1>about a cross border love story between a Haitian man

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<v Speaker 1>and a Dominican woman. In this edition of How I

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<v Speaker 1>Need It, the band leader and guitarist Jaseta tells us

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<v Speaker 1>about his personal journey of learning about his country's diverse

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<v Speaker 1>musical landscape and about his band's collaboration with Grammy winning

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<v Speaker 1>artist Vicente Garcia for the song Amor.

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<v Speaker 2>The music that I make with my group is a

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<v Speaker 2>fusion of Dominican roots music with jazz, funk, rock, and

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<v Speaker 2>all of my influences together.

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<v Speaker 3>Guess the isla blosi when they flita.

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<v Speaker 2>In this album, we call it ki Hoombo because we

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<v Speaker 2>want to celebrate Dominican heritage and Dominican culture. Key Hombo

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<v Speaker 2>means a gathering and a celebration in the countryside of

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<v Speaker 2>the Dominican Republic. Is a gathering where people get together

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<v Speaker 2>play drums, they drink, they dance, and It can be

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<v Speaker 2>for multiple reasons. It can be for religious reasons. It

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<v Speaker 2>can be mostly for a party. It can be for

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<v Speaker 2>when somebody dies, for funerary events. Dominican Republic and Haiti

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<v Speaker 2>share culture together. Every place of Dominican Republic that has

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<v Speaker 2>sugarcane fields around known as abbattages, they celebrate Gaga at

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<v Speaker 2>the same time it's celebrated in Haiti in Semana Santa

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<v Speaker 2>in the Holy Week. This music is being marginalized in

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<v Speaker 2>Dominican republics, being hidden for a while because some people

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<v Speaker 2>they don't accept this type of music, like the music

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<v Speaker 2>we make in that is mixing with Palo music or

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<v Speaker 2>congos de Yamadia or Gaga or Sarandunga. So that's why

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<v Speaker 2>I say it's like a hidden treasure because in Domnican Republic,

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<v Speaker 2>in every region, you have different styles, different celebrations and

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<v Speaker 2>different way of playing dancing, and it's so rich culturally.

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<v Speaker 2>The connection that I feel with the music is excitement

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<v Speaker 2>and that's what made me learn more about this music.

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<v Speaker 2>It's a connection that I can't explain. It could be

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<v Speaker 2>even like a little bit spiritual. It can be something

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<v Speaker 2>that lights inside my body that it's like wow, like

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<v Speaker 2>exciting every time I hear it. And that can be

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<v Speaker 2>because maybe part of my family used to celebrate read this,

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<v Speaker 2>But I didn't knew about this till I put my

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<v Speaker 2>first album together and I put it out and I

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<v Speaker 2>play it to my family from my mother's side, and

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<v Speaker 2>I saw all my dias dancing the way you dance Palow,

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<v Speaker 2>and I was like, how you guys know about this?

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<v Speaker 2>He was like, yeah, your grandfather used to do fiestas

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<v Speaker 2>de Palo for the Holy Spirit, So I think there's

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<v Speaker 2>like a connection there. Ama is a song in the

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<v Speaker 2>album Kimbo, and it's a collaboration that I did with

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<v Speaker 2>Vicente Gasia. Mis means the people that live close to

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<v Speaker 2>the border between Haiti and Dominican Republic, and means that

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<v Speaker 2>people that come from ancestry of Haitian and Dominican. You

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<v Speaker 2>have parents that are Haitian and Dominican, they are called Arajianos.

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<v Speaker 2>And the story of this song is this guy that

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<v Speaker 2>lives in Haiti and has his partner that she's Dominican

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<v Speaker 2>and she has to go to Dominican Republic, but he

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<v Speaker 2>can't go because he doesn't have the right papers to

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<v Speaker 2>cross the border and stay with her. We make this

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<v Speaker 2>love song putting the border conflict, and mostly the conflict

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<v Speaker 2>is politic and people from the elite, they don't want

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<v Speaker 2>to know about that. And that's why sometimes the Afric

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<v Speaker 2>Dominican rhythms or Dominican roots rhythms, some of the people

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<v Speaker 2>in the Dominican Republic they rejected because they say, oh no,

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<v Speaker 2>that music is Haitian. Our music is Mednga and bachata.

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<v Speaker 2>And that's why we're trying to include Haiti and the

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<v Speaker 2>border and Aajianos because not that many people talk about

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<v Speaker 2>this community of Arajianos. So I decided, okay, I'm going

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<v Speaker 2>to write like a super slow song and I started

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<v Speaker 2>playing the chords that you can hear and I'm are Araiano.

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<v Speaker 2>They came all together like like at once. After I

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<v Speaker 2>have the course and the harmony, I was like, the

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<v Speaker 2>perfect rhythm that goes with this is media. This rhythm

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<v Speaker 2>is actually patrimonio that the laon esco and it's been

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<v Speaker 2>around the Dominican Republic three hundred years. And this rhythm

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<v Speaker 2>because of the universal cloud, is that that that the

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<v Speaker 2>cloud goes with everything. I was like, okay, I'm gonna

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<v Speaker 2>put the cloud and then make the congito coms. It's

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<v Speaker 2>a small percussion that does the big comping COMPI COMPI compete,

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<v Speaker 2>pump and then the congo marior, so that the conguito

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<v Speaker 2>and then the congo marior put it all together and

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<v Speaker 2>it will be a congo after added the drums, then guitars, bass.

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<v Speaker 2>So I had this song already recorded and I was like,

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<v Speaker 2>I think I want to hear melody and somebody singing

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<v Speaker 2>like a male singer.

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<v Speaker 3>But I don't know.

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<v Speaker 2>I don't want to sing it. I want somebody that

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<v Speaker 2>comes write the lyrics with me and like figure it out.

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<v Speaker 4>Assume timbo, your yell lens see them.

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<v Speaker 2>Give me pech be Sente is a friend from a

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<v Speaker 2>long time. We actually made our first band together. We

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<v Speaker 2>had like fourteen years old, fifteen, playing hardcore and brock music.

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<v Speaker 2>And I was like, be Sent, I had this song.

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<v Speaker 2>What do you think you want to put lyrics and melody?

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<v Speaker 2>He was like, yo, I love it. So the collaboration

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<v Speaker 2>started there and it's now what it is, A.

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<v Speaker 3>More pagandera this lyric.

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<v Speaker 2>Be Center wrote it and basically when he said a

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<v Speaker 2>more can peg not Evandera's love that in my chest

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<v Speaker 2>doesn't have a flag. Love doesn't have color, doesn't have religion.

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<v Speaker 3>Nothing color. Ready hearn me from tea.

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<v Speaker 2>And then he said, no tena color. Really he only frontera.

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<v Speaker 2>It doesn't have color, religion or borders. There's no limits

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<v Speaker 2>for love. And that's a good way to put like

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<v Speaker 2>the border situation as a love song. The chorus are

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<v Speaker 2>saying Papa so mentioning papal Egba as a deity that

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<v Speaker 2>is shared in Haiti and in Dominican Republic, in a

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<v Speaker 2>popular religion, the religion that is practiced in the country

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<v Speaker 2>side of Dominican Republic. This song Amo they break up

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<v Speaker 2>because she has to go to Dominican Republic. So he's

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<v Speaker 2>asking Papa to open the path so he can cross

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<v Speaker 2>to Dominican Republic and be with the love of his life.

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<v Speaker 2>Everywhere in the world they're having problems with borders and

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<v Speaker 2>the love make it a little bit sweeter in a way,

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<v Speaker 2>but then bitter in the way that they can see

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<v Speaker 2>each other again because of a border, because of paper,

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<v Speaker 2>because of rules, politics, and that's why we're trying to

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<v Speaker 2>bring it together. In this song, I'm Moraiano to express

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<v Speaker 2>it to the world that in Dominican Republic Haitians and

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<v Speaker 2>Dominican are living this the same as people in the

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<v Speaker 2>world are struggling with borders.

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<v Speaker 3>And more not anyone.

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<v Speaker 2>We in the end are sharing the same world in

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<v Speaker 2>Haitian Dominican Republic. They're sharing the same island. All these

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<v Speaker 2>things that happened because of race, because of religion. We

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<v Speaker 2>are human beings, not that.

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<v Speaker 4>Gonn already hum from the Sano.

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<v Speaker 1>The words of the band leader and guitarist for the

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<v Speaker 1>Dominican Infusion band. Yes and palore and dear listener, we

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<v Speaker 1>have a special treat. Yesnal tre came by our office.

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<v Speaker 1>Here's Yesnalre singing their songstresses live from our offices in Harlem, USA.

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<v Speaker 3>Oh yes, they hasten it more.

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<v Speaker 5>Use they were Riesla by Don's garry vague when they Benita,

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<v Speaker 5>who's gotten riess?

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<v Speaker 3>Casn't Labla is west from island now Young said, oh

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<v Speaker 3>where a.

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<v Speaker 5>Yes second mensaha s them me ladies, ye ladie ramsay.

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<v Speaker 3>Jam bras been thought when si lamas.

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<v Speaker 6>Who back.

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<v Speaker 5>Who.

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<v Speaker 1>If you'd like to see more of ya Tejeda and Palotre,

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<v Speaker 1>head over to our website Latinousa dot org for the

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<v Speaker 1>full performance at our offices This episode was produced by

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<v Speaker 1>Amandel Cant and Gini Montalgo. It was edited by Sophia

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<v Speaker 1>Palissa car and mixed by Julia Caruso. The Latino USA

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<v Speaker 1>team includes Andrea Lopez Gruzsado, Marta Martinez, Mike Sargent, Victoria Estrada,

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<v Speaker 1>Patricia Sulbaran, Julieta Martinelli, Alejandra Salassard, Renaldo Leanos Junior and

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<v Speaker 1>Julia Rocha, with help from ra Ulpes. Our editorial director

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<v Speaker 1>is Julio Ricardo Barela. Our supervising senior engineer is Stephane Lebau.

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<v Speaker 1>Our associate engineers are Gabriel Abiez and jj Carubin additional

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<v Speaker 1>help this week by Lea Shan. Our digital editor is

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<v Speaker 1>Luis Luna. Our fellows are Elisa Mayna, Monica Morales and

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<v Speaker 1>Andrew Vignalis. Our theme music was composed by Zegye Robinos.

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<v Speaker 1>If you like the music you heard on this episode,

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<v Speaker 1>stop by Latinousa dot org and check out our weekly

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<v Speaker 1>Spotify playlist. I'm your host and executive producer Marie noo Fosa.

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<v Speaker 1>Join us again on our next episode, and in the meantime,

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<v Speaker 1>I'll see you on all of our social Media Hilo's

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<v Speaker 1>watcha Bye.

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<v Speaker 7>Funding for Latino USA is Coverage of a culture of

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<v Speaker 7>health is made possible in part by a grant from

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<v Speaker 7>the Robert Wood Johnson Foundation. Latino USA is made possible

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<v Speaker 7>in part by New York Women's Foundation. The New York

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<v Speaker 7>Women's Foundation funding women leaders that build solutions in their

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<v Speaker 7>communities and celebrating thirty years of radical generosity, and the

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<v Speaker 7>Chan Zuckerberg initiative.

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<v Speaker 5>Godoy Then Oh Go Go No five four.

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<v Speaker 3>I can't get out my lae and jump of Blue,

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<v Speaker 3>but