Iko Iko

Composed by
James “Sugar Boy” Crawford
Arranged by
Jock McKenzie
Price
£ 25.00 

Iko Iko is a much covered New Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians. The song under the original title "Jock-A-Mo", was written and released in 1953 as a single by Sugar Boy and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by girl group The Dixie Cups, who scored an international hit with it.

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  • For Conductors, Teachers and/or Students
  • Percussion Backing Tracks to accompany Superbrass Educational Material
  • Backing Tracks are Free to Download
  • We always use 4 bars of Introduction before each tune starts (unless otherwise stated)
  • Turn your Practice into a Performance and have fun !
  • 4 Trumpets
  • 1 Horn in F
  • 3 Trombones
  • 1 Euphonium (or Trombone)
  • 1 Tuba
  • 1 Drum Kit
  • All Alternative Brass Parts Included

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Description

Dr.John also had a hit with his version of Iko Iko. The most successful version in the UK was recorded by Scottish singer Natasha England. The Grateful Dead and Cyndi Lauper also recorded it. The original single release was by James "Sugar Boy” Crawford and his Cane Cutters. Crawford (1934–2012) was an American R&B musician based in New Orleans. Starting out on trombone, Crawford formed a band which local DJ, Doctor Daddy-O. The group was signed by Chess Records and was renamed Sugar Boy and his Cane Cutters. His song Iko Iko became a standard at the New Orleans Mardi Gras, although Crawford's original version did not make the charts. In an interview Crawford said the words came from Indian chants that he put music to which he made a song out of. Linguist Geoffrey Kimball derives the lyrics of the song came in part from Mobilian Jargon, an extinct American Indian trade language consisting mostly of Choctaw and Chickasaw words and used by Indians, Blacks, and European settlers and their descendants in the Gulf Coast Region of the USA. In another article, the Ghanaian social linguist Dr. Evershed Amuzu said the chorus was "definitely West African", reflecting the tonal patterns of the region. Haitian and Louisiana Voodoo practitioners would recognise many aspects of the song as being about spirit possession and credit it with bringing West African cultural influences to Haiti and New Orleans.

“The end result, is a resounding success. This is not a commercial CD, this is education, passion and self belief written in the sleeve notes”

Richard Walker
British Trombone Society

“Wow! What a great CD. The playing is superb”

Dr. Robert Childs
Musical Director, Cory Band

“The entire programme can be likened to a sumptuous feast, with each track having its own highly delectable and thoroughly satisfying flavour. The CD is surely compulsive listening for all brass and percussion enthusiasts.”

C Brian Buckley
Brass Band World

It is scintillatingly good. Superbrass more than live up to their name.”


Peter Bale
4barsrest.com

“The entire programme can be likened to a sumptuous feast, with each track having its own highly delectable and thoroughly satisfying flavour. The CD is surely compulsive listening for all brass and percussion enthusiasts.”

C Brian Buckley
Brass Band World

"WOW !!!!! all of you should be locked up !!!! What great stuff - the compositions/arrangements, the playing (OUTRAGEOUS !!! ), everything is simply fantastic. (actually - i couldn't have expected anything less ! ) Many, many thanks to you and all for your superb contributions. yet again, you've managed to raise the bar! (an inch or two is ok but a few yards is really unfair !!!!!!!!!! )"

Jiggs Whigham
International Jazz Trombone Soloist, Musical Director, BBC Big Band, President International Trombone Association and Professor Hanns Eisler College of Music, Berlin
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