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

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Speaker 2: The festival, the Sinegua is like the woolstock of Palo music.

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Speaker 2: Sin I was in San Cristole and people from all

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Speaker 2: the regions of Dominican Republic goes there to perform with

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Speaker 2: their Pala group. When I saw the first time and

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Speaker 2: the dancing and everything together, I was like super impressed, like,

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

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Speaker 2: that's why I started experimenting with the Dominican roots music.

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Speaker 2: And that's why I say this is kind of the

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Speaker 2: real Dominican music.

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

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Speaker 1: in Novosa today. One of our how I needed with

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Speaker 1: Dominican fusion band Yva and Palotre around the globe. People

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Speaker 1: often think of Dominican music as being either merengi or bachata,

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Speaker 1: but there's another side of Dominican music that doesn't get

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Speaker 1: as much airtime. It's known as Afro Dominican roots music.

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Speaker 1: The group Yes te Heva and Palotre are hoping to

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Speaker 1: change that. They combine local traditional folkloric sounds like barlo

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Speaker 1: and sarandunga with jazz and rock to create fusions that

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

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Speaker 1: local sounds and hoping to reimagine what it means to

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Speaker 1: be Dominican one beat at a time. One of the

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Speaker 1: singles from their recent album is titled Amooro, and it's

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Speaker 1: about a cross border love story between a Haitian man

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Speaker 1: and a Dominican woman. In this edition of How I

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Speaker 1: Need It, the band leader and guitarist Jaseta tells us

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Speaker 1: about his personal journey of learning about his country's diverse

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Speaker 1: musical landscape and about his band's collaboration with Grammy winning

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Speaker 1: artist Vicente Garcia for the song Amor.

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Speaker 2: The music that I make with my group is a

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Speaker 2: fusion of Dominican roots music with jazz, funk, rock, and

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Speaker 2: all of my influences together.

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Speaker 3: Guess the isla blosi when they flita.

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Speaker 2: In this album, we call it ki Hoombo because we

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Speaker 2: want to celebrate Dominican heritage and Dominican culture. Key Hombo

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Speaker 2: means a gathering and a celebration in the countryside of

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Speaker 2: the Dominican Republic. Is a gathering where people get together

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Speaker 2: play drums, they drink, they dance, and It can be

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Speaker 2: for multiple reasons. It can be for religious reasons. It

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Speaker 2: can be mostly for a party. It can be for

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Speaker 2: when somebody dies, for funerary events. Dominican Republic and Haiti

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Speaker 2: share culture together. Every place of Dominican Republic that has

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Speaker 2: sugarcane fields around known as abbattages, they celebrate Gaga at

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Speaker 2: the same time it's celebrated in Haiti in Semana Santa

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Speaker 2: in the Holy Week. This music is being marginalized in

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Speaker 2: Dominican republics, being hidden for a while because some people

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Speaker 2: they don't accept this type of music, like the music

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Speaker 2: we make in that is mixing with Palo music or

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Speaker 2: congos de Yamadia or Gaga or Sarandunga. So that's why

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

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Speaker 2: in every region, you have different styles, different celebrations and

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

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Speaker 2: The connection that I feel with the music is excitement

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Speaker 2: and that's what made me learn more about this music.

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Speaker 2: It's a connection that I can't explain. It could be

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Speaker 2: even like a little bit spiritual. It can be something

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Speaker 2: that lights inside my body that it's like wow, like

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Speaker 2: exciting every time I hear it. And that can be

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Speaker 2: because maybe part of my family used to celebrate read this,

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Speaker 2: But I didn't knew about this till I put my

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Speaker 2: first album together and I put it out and I

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Speaker 2: play it to my family from my mother's side, and

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Speaker 2: I saw all my dias dancing the way you dance Palow,

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Speaker 2: and I was like, how you guys know about this?

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Speaker 2: He was like, yeah, your grandfather used to do fiestas

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Speaker 2: de Palo for the Holy Spirit, So I think there's

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Speaker 2: like a connection there. Ama is a song in the

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Speaker 2: album Kimbo, and it's a collaboration that I did with

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Speaker 2: Vicente Gasia. Mis means the people that live close to

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Speaker 2: the border between Haiti and Dominican Republic, and means that

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Speaker 2: people that come from ancestry of Haitian and Dominican. You

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Speaker 2: have parents that are Haitian and Dominican, they are called Arajianos.

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Speaker 2: And the story of this song is this guy that

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Speaker 2: lives in Haiti and has his partner that she's Dominican

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Speaker 2: and she has to go to Dominican Republic, but he

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Speaker 2: can't go because he doesn't have the right papers to

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Speaker 2: cross the border and stay with her. We make this

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Speaker 2: love song putting the border conflict, and mostly the conflict

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Speaker 2: is politic and people from the elite, they don't want

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Speaker 2: to know about that. And that's why sometimes the Afric

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Speaker 2: Dominican rhythms or Dominican roots rhythms, some of the people

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Speaker 2: in the Dominican Republic they rejected because they say, oh no,

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Speaker 2: that music is Haitian. Our music is Mednga and bachata.

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Speaker 2: And that's why we're trying to include Haiti and the

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Speaker 2: border and Aajianos because not that many people talk about

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Speaker 2: this community of Arajianos. So I decided, okay, I'm going

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Speaker 2: to write like a super slow song and I started

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

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Speaker 2: They came all together like like at once. After I

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Speaker 2: have the course and the harmony, I was like, the

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Speaker 2: perfect rhythm that goes with this is media. This rhythm

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Speaker 2: is actually patrimonio that the laon esco and it's been

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Speaker 2: around the Dominican Republic three hundred years. And this rhythm

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Speaker 2: because of the universal cloud, is that that that the

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Speaker 2: cloud goes with everything. I was like, okay, I'm gonna

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Speaker 2: put the cloud and then make the congito coms. It's

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Speaker 2: a small percussion that does the big comping COMPI COMPI compete,

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Speaker 2: pump and then the congo marior, so that the conguito

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Speaker 2: and then the congo marior put it all together and

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

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Speaker 2: So I had this song already recorded and I was like,

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Speaker 2: I think I want to hear melody and somebody singing

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Speaker 2: like a male singer.

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Speaker 3: But I don't know.

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Speaker 2: I don't want to sing it. I want somebody that

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Speaker 2: comes write the lyrics with me and like figure it out.

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Speaker 4: Assume timbo, your yell lens see them.

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Speaker 2: Give me pech be Sente is a friend from a

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Speaker 2: long time. We actually made our first band together. We

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Speaker 2: had like fourteen years old, fifteen, playing hardcore and brock music.

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Speaker 2: And I was like, be Sent, I had this song.

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Speaker 2: What do you think you want to put lyrics and melody?

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Speaker 2: He was like, yo, I love it. So the collaboration

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Speaker 2: started there and it's now what it is, A.

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Speaker 3: More pagandera this lyric.

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Speaker 2: Be Center wrote it and basically when he said a

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Speaker 2: more can peg not Evandera's love that in my chest

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Speaker 2: doesn't have a flag. Love doesn't have color, doesn't have religion.

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Speaker 3: Nothing color. Ready hearn me from tea.

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Speaker 2: And then he said, no tena color. Really he only frontera.

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

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Speaker 2: for love. And that's a good way to put like

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Speaker 2: the border situation as a love song. The chorus are

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Speaker 2: saying Papa so mentioning papal Egba as a deity that

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Speaker 2: is shared in Haiti and in Dominican Republic, in a

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Speaker 2: popular religion, the religion that is practiced in the country

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Speaker 2: side of Dominican Republic. This song Amo they break up

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Speaker 2: because she has to go to Dominican Republic. So he's

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Speaker 2: asking Papa to open the path so he can cross

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Speaker 2: to Dominican Republic and be with the love of his life.

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Speaker 2: Everywhere in the world they're having problems with borders and

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Speaker 2: the love make it a little bit sweeter in a way,

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Speaker 2: but then bitter in the way that they can see

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Speaker 2: each other again because of a border, because of paper,

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

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

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Speaker 2: it to the world that in Dominican Republic Haitians and

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Speaker 2: Dominican are living this the same as people in the

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Speaker 2: world are struggling with borders.

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Speaker 3: And more not anyone.

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Speaker 2: We in the end are sharing the same world in

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Speaker 2: Haitian Dominican Republic. They're sharing the same island. All these

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Speaker 2: things that happened because of race, because of religion. We

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Speaker 2: are human beings, not that.

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Speaker 4: Gonn already hum from the Sano.

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Speaker 1: The words of the band leader and guitarist for the

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Speaker 1: Dominican Infusion band. Yes and palore and dear listener, we

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Speaker 1: have a special treat. Yesnal tre came by our office.

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

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Speaker 3: Oh yes, they hasten it more.

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Speaker 5: Use they were Riesla by Don's garry vague when they Benita,

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Speaker 5: who's gotten riess?

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Speaker 3: Casn't Labla is west from island now Young said, oh

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Speaker 3: where a.

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Speaker 5: Yes second mensaha s them me ladies, ye ladie ramsay.

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Speaker 3: Jam bras been thought when si lamas.

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Speaker 6: Who back.

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Speaker 5: Who.

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

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Speaker 1: head over to our website Latinousa dot org for the

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Speaker 1: full performance at our offices This episode was produced by

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Speaker 1: Amandel Cant and Gini Montalgo. It was edited by Sophia

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Speaker 1: Palissa car and mixed by Julia Caruso. The Latino USA

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Speaker 1: team includes Andrea Lopez Gruzsado, Marta Martinez, Mike Sargent, Victoria Estrada,

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Speaker 1: Patricia Sulbaran, Julieta Martinelli, Alejandra Salassard, Renaldo Leanos Junior and

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Speaker 1: Julia Rocha, with help from ra Ulpes. Our editorial director

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Speaker 1: is Julio Ricardo Barela. Our supervising senior engineer is Stephane Lebau.

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Speaker 1: Our associate engineers are Gabriel Abiez and jj Carubin additional

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Speaker 1: help this week by Lea Shan. Our digital editor is

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Speaker 1: Luis Luna. Our fellows are Elisa Mayna, Monica Morales and

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Speaker 1: Andrew Vignalis. Our theme music was composed by Zegye Robinos.

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Speaker 1: If you like the music you heard on this episode,

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Speaker 1: stop by Latinousa dot org and check out our weekly

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

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Speaker 1: Join us again on our next episode, and in the meantime,

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Speaker 1: I'll see you on all of our social Media Hilo's

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Speaker 1: watcha Bye.

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Speaker 7: Funding for Latino USA is Coverage of a culture of

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Speaker 7: health is made possible in part by a grant from

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Speaker 7: the Robert Wood Johnson Foundation. Latino USA is made possible

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Speaker 7: in part by New York Women's Foundation. The New York

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Speaker 7: Women's Foundation funding women leaders that build solutions in their

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Speaker 7: communities and celebrating thirty years of radical generosity, and the

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Speaker 7: Chan Zuckerberg initiative.

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Speaker 5: Godoy Then Oh Go Go No five four.

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Speaker 3: I can't get out my lae and jump of Blue,

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Speaker 3: but