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URUBAMBA - ALBUM
NOTES
Urubamba - Produced by Paul Simon
Urubamba is the name of the river which winds at the
foot of Machu Picchu, the last stronghold of the Incas against European
conquest. So it is altogether fitting this river should have lent its name
to a quartet of Peruvian musicians who are devoted to the preservation of
the music of Inca culture ~ Like a river, Urubamba flows with a natural
ease and strength which suggests an indomitable culture. It is among the
most soothing and inspiring sounds I know, a source of continual
fascination with its alternately stately and martial rhythms, its
sometimes festive, somtimes wistful, sometimes absolutely mournful air.
Hearing it, for the first time or the hundredth, one feels restored and
uplifted. ~ Urubamba is best known in Europe and North America for its
contributions to a pair of Paul Simon recordings. Simon first met the band
(then know as Los Incas) when they were co-billed at the Theatre del L'Est
Parisienne in Paris in 1965. They gave him one of their albums, and it so
intrigued him that he wrote the lyrics to one of their melodies which
became Simon and Garfunkel's "El Condor Pasa." Later, they
accompanied him on "Duncan" from this first solo album, and on
his 1973 concert tour (where "Kacharpari," which opens side two
of this album, was recorded). It was during this time that Urubamba was
recorded, using the traditional Inca Instruments: la quena, flutes of
varying length and pitch; la antara, the panpipe; la charango, the
guitar-like stringed instrument; and la bombo leguero, the massive willow
and goat-skin drum. ~ It's ironic that Urubamba should have made a name
for itself as a part of contemporary pop music, but it's also testimony to
the enduring vitality of this music. After all, the point of Urubamba is
that such sounds transcend their era, a point established in the opening
track, with its flamenco-like accents and propulsive rhythm, and sustained
throughout the record, through the fife-and-drum inflections of
"Singers" and the achingly lovely "Death In Santa
Cruz" and "Heart Of The Inca King." Listening to it, one
feels that he has penetrated to the heart of a lost culture - and to one's
own lost heart as well, which perhaps explains the singularly meditative
and inspiring feellings it provokes. Like the music of the Appalachian
mountains, these Inca melodies are a high, lonesome sound which reach out
beyond the time and place of their creation - whether seven or seven
hundred years ago - to speak to everyone who hears them today - Dave Marsh
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