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Mento is a style of Jamaican that predates and has greatly influenced and music. It is a fusion of African rhythmic elements and European elements, which reached peak popularity in the 1940s and 1950s. Mento typically features acoustic instruments, such as , , , and the —a large in the shape of a box that can be sat on while played. The rhumba box carries the bass part of the music.

Mento is often confused with , a musical form from Trinidad and Tobago. Although the two share many similarities, they are separate and distinct musical forms. During the mid-20th century, mento was conflated with calypso, and mento was frequently to as calypso, kalypso and mento calypso. Mento singers frequently used calypso songs and techniques. As in calypso, mento uses topical lyrics with a humorous slant, commenting on poverty and other social issues. Sexual innuendo is also common.


History
Mento draws on musical traditions brought by enslaved people." Shaping Freedom, Finding Unity – The Power Of Music Displayed In Early Mento", , 11 August 2013. Retrieved 11 August 2013 Enslaved musicians were often required to play music for their masters and often rewarded for such skills. The Africans created a creole music, incorporating such elements of these traditions, including , into their own ." Mento Purely Home-Grown", , 6 July 2014. Retrieved 6 July 2014

The Jamaican mento style has a long history of conflation with Trinidadian . The lyrics of mento songs often deal with aspects of everyday life in a light-hearted and humorous way. Many comment on poverty, poor housing, and other social issues. Thinly veiled sexual references and are also common. Mento can be seen as a precursor of some of the movement motifs and themes dealing with such social issues found in modern . It became more popular in the late 1940s, with mento performances becoming a common aspect of dances, parties and other events in Jamaica.

The word mento is of uncertain ; it may be from an African language or ; said the term was brought back from by Jamaicans returning from work there. Supposedly, it derives from the Spanish verb mentar, "to mention, call out, name", because of the subtle ways that lyrics criticised people (whether fellow blacks, or the whites who were in charge).

(1998). 9780697340559, McGraw Hill. .

Major 1950s mento recording artists include , , , Harold Richardson, , , with Chin's Calypso Sextet, , , , , , , and , a New Yorker of Jamaican origin. His wildly popular hit records in 1956–1958, including "Day-O (The Banana Boat Song)" and "", were mento songs sold as calypso. Previously recorded Jamaican versions of many Belafonte's classic "calypso" hits can be heard on the Jamaica – Mento 1951–1958 CD released by Frémeaux & Associés in 2009.

Due in part to Belafonte's popularity, mento became widely conflated with calypso in the 1950s. In a 1957 interview for Calypso Star magazine, said:

In Jamaica, we call our music 'mento' until very recently. Today, 'calypso' is beginning to be used for . This is because it's become so commercialized there. Some people like to think of West Indians as carefree natives who work and sing and play and laugh their lives away. But this isn't so. Most of the people there are hard working folks, and many of them are smart business men. If the tourists want 'calypso', that's what we sell them.

This was the golden age of mento, as records pressed by , , and others brought the music to a new audience. In the 1960s it became overshadowed by and reggae. Mento is still played in Jamaica, especially in areas frequented by tourists. , reggae historian and author of the seminal reggae book, Bass Culture, said that Lee "Scratch" Perry's seminal 1976 album, , contained some of the purest mento influences he knew. This style of music was revived in popularity by the in the late 1980s and early 1990s with the release of four recordings on First Warning Records/ and a tour that included the . and Gilzene and the Blue Light Mento Band also revived rural mento in the 2000s. The mento dance is a Jamaican folk-form dance with acoustic guitar, banjo, hand drums and rhumba box.


Selected recordings
  • Blu-Lu-Lup – Lord Fly
  • Healin' in the Balmyard – Harold Richardson & The Ticklers
  • Me Dog Can't Bark – Monty Reynolds & The Shaw Park Calypso Band
  • Take Her to Jamaica – Lord Messam & His Calypsonians
  • Gal a Gully Matilda – Lord Composer & The Silver Seas Hotel Orchestra
  • Bargie – Hubert Porter


Films
  • 1984: Caribbean Crucible. From Repercussions: A Celebration of African-American Music series, program 6. Directed by Dennis Marks and Geoffrey Haydon


Sources


Further reading


External links
  • Jamaica-Mento 1951-1958—CD booklet online (English version at the bottom of the page)
  • —In Calypso: A World Music, a site created by Historical Museum of Southern Florida about calypso and mento
  • Jamaican Mento Music—Site created by Michael Garnice (comprehensive information on the history and the musicians who made the music)
  • Ivan Chin—Mento music's pages on mento pioneer Ivan Chin. The Mento dance is a Jamaican folk form dance with the instruments acoustic guitar, banjo, hand drums and the rhumba box
  • Solid Treat: Mento in Jamaica ca. 1951–57—A sampling of mento music originally released on small record labels, restored and collected by Canary Records.

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