PooshandClusp

I would recommend reading Aníbal Quijano as a starting point to find the answer to your question. But you could go back much further to the 1600s with the writings of “El Inca” Garcilaso, or you could move to more recent times with Alberto Acosta, Esperanza Martínez, and Mignolo. There are just so many though: Fernández Retamar, Galeano, Zapata Olivella, Mariátegui, etc. Even Cien años de soledad by García Márquez (What were the 100 years of silence? “Independence” from Spain and a question of identity in regards to the issue of la decolonialidad del ser.)

This is all to say that this question has been asked for a while. Yet it’s critical to continue asking it --just as you’re doing. It’s also fundamental to learn how it has been asked in the past. I would kindly suggest reading any of the works you study in the original language(s) as much as you can, so that you can be a part of a solution based around the concept of thinking with.

I know I didn’t answer your question directly, but I do hope it contributes some to the conversation.

John Coltrane’s versions of Afro Blue. Very different from Mongo Santamaría’s original. I like both approaches, but Coltrane’s recordings of it were all just so powerful.

Dr. Sergio Krakowsky is a monster pandeirista. Unconventional, but it always feels right at the same time. Kind of like that thing Jack DeJohnette can do.

This is amazing, thank you!!

It also sounds like something Catherine Walsh would write. Great quote!

Green Dolphin Street is such a great tune as well. I’m still hooked on Coltrane’s “One Down, One Up” album.

Agreed! He is a master of notes, but can move beyond notes at the exact same time. He can also sound like two people (or more) at the same time. I’ve got the Sun Bear concerts on vinyl. Might have to give a few a spin tomorrow. Thanks for making this post!

Totally!! They also get me to go back and listen how they fit in with the band’s other recordings and I then I end up listening to everything over and over again. It’s really an infinite well.

“Wise One” immediately comes to mind. Such a powerful band playing gently, but without losing its strength.

Just about any version of “Afro Blue,” but the Birdland take sticks out in my mind, probably because I’ve heard that one the most.

The “My Favorite Things” from the Live at the 1965 Half Note gig goes into some really cool territory, especially during McCoy’s solo.

The “Out of This World” studio recording is also a crucial one for me.

If I recall correctly (and it’s been over a decade since I read that one), Zinn is quite clear from the onset about his stance. (Even the title makes it evident that his perspective isn’t going to follow the traditional USA history narrative.) He sustains his points with empirical evidence, so I would hesitate to call it prejudiced. But there are some issues with some of his sources. (I think Matthew Restall may address some of those.)

How about trying out James Loewen’s Lies My Teachers Told Me? That book explains what I think Zinn was attempting to problematize: the blind acceptance of the biases within historical texts. Loewen aims directly at the USA secondary educational system in particular. You will learn a lot about USA history and why it has been written from a specific angle.

Ardour (on a Mac). Lots of control and it’s open source. It continues to get better as well.