MUSIC from the ANDES...and nearby regions  Español



Notes by Paul Farren of the performing 
group ACHALAY in London.


MAMA INDIA - Los Yuras - Bolivia
My group Achalay used to do a nice version of this song, which is a prayer to Mama India (Pachamama, the Earth Goddess) to send rain to the parched earth.

CHAYA de la SOLEDAD - Quinteto Tiempo - Argentina (EMI 62916755)
The chaya is a song/dance style from the Province of La Rioja in Argentina.

The villancico is a Christmas song. Sucre is the political capital of Bolivia 

SELECCIÓN de ZAMBAS - Chito Zeballos  - Argentina (Polydor 10070)
This singer had the brilliant idea of putting together four zambas, the national dance of Argentina, linking them with recitations. They are (a) Serenata Riojana (b) Tacita de Plata (c) Bombo Legüero and (d) Canta Zamba.

ALLÁ VIENE el CORAZON - Soledad Bravo - Venezuela (Buda B000001N7S)

DOLENCIAS - Inti-Illimani  Ecuador  

PAJARILLO VERDE - Soledad Bravo - Venezuela (Buda B000001N7S)

LONGUITA - Inti-Illimani  Ecuador  

MI PARTIDA - Las Bellas de Abancay - Peru
Very nice Peruvian huayno sung by a trio who call themselves "The Beauties of Abancay". Abancay, here I come……………

Two songs from Ecuador with some beautiful harp’playing.

BAILECITO - Anastasio Quiroga - Argentina  (Disc Jockey LD 15136)
Field recording made in the Quebrada de Humahuaca, Province of Jujuy in northern Argentina.

BAILE ECUATOREANO - Facio Santillán - Ecuador (MF-137)
A quena solo with accompaniment.

SI ME QUIRES VER MORIR - An. y Lucinda Quiroga - Argentina (Disc Jockey LD 15136)
A cueca recorded in Jujuy, northern Argentina, accompanied on charango

PALOMA - Savia Nueva  Bolivia

LA BANDEÑITA - Facio Santillán - Argentina
This is an instrumental chacarera, a dance from Santiago del Estero in Argentina, played as a solo for quena.

The sanjuanito is a lovely folkdance from Ecuador.

ACO ÑANEYNAMBUMÍ - Los Indios - Paraguay (Philips TFE 17261)
A polca paraguaya sung in the beautiful Guaraní language of the indians of Paraguay.

MI RAZA - Los Yuras - Bolivia
An aymara song beautifully arranged and played with the panpipes much in evidence. These are known in the Andes, both as sikus and zampoñas. Each set of pipes has half the scale, so two players are needed, each contributing the notes he has at the right instant (rather like the old English art of bell-ringing). Nowadays it is common for one player to play both sets of pipes, holding one set behind the other.

JURO AMARTE - Jaime Torres - Bolivia  (Philips 85526 PY)
A bailecito beautifully played and sung by a group led by the great Argentine/Bolivian player of the charango, Jaime Torres. The title means "I Promise To Love You".

ARBOLITO de DURAZNO - Machu Picchu - Bolivia  (TUMI CD 011)
A Bolivian bailecito called "The Plum Tree".

LA HUMILDE/CHACARERA del CAMPO - Adolfo Ábalos - Argentina  (Kerdum 3004 096)
Two Argentine chacareras "The Humble Woman" and "Country Chacarera" played on piano by Señor Ábolos, who seems to be starting a new career as soloist after a lifetim playing in the group Los Ábolos with his four brothers.

ADIÓS PUEBLO de AYACUCHO - Inkhay - Peru  (LAT 50615)
There are many recordings of this Peruvian song, mostly by soloists on harp or guitar. It's a nice change to hear it played here on two quenas.

I've inserted this bit of nonsense by me. I found the words (no music) in a book and they were so outrageous, I felt moved to make up a tune in a style vaguely of the north coast of South America. If you are even slightly "womens lib" you won't want to read this:

"Antonio Retoño mató a su mujer
Con un cuchillito tan grande como él.
Le sacó las tripas, las puso a vender
Y con lo que hizo, compró otra mujer

Antonio Retoño mató a su mujer
Con un cuchillito tan grande como él.
Hizo empanadas y salió a vender
¡Fueron muy sabrosas, siendo de mujer!

¡Hay que tener cuidado con todo de comer!"

"Antonio Retoño killed his woman
With a knife as big as himself.
He cut out her tripes and sold them as meat
And with what he made he bought another woman.

Antonio Retoño killed his woman
With a knife as big as himself.
He made her into meat pies and went out to sell them
They were very tasty, being made of woman!

You{ve got to be so careful with food!"

CORAZÓN-CORAZÓN - Altiplano - Ecuador  (EUCD 1416)
Beautiful arrangement of this old Ecuadorean song.

YERBA SILVESTRE - Martina Portocarrero - Peru
This lady comes from Peru and insists on weraing the costume appropriate to whichever region her song comes from. In between songs she changes hats, shawls, etc. Her accompanists play the full range of Peruvian instruments.

SAN MIGUEL de MORROPÓN - Alpamayo - Peru (EUCD 1220)
This is a tondero from Peru – a rhythmic style which features repeated rising musical phrases.

INTIPAPA - Inkuyo - Ecuador
A lovely song from Ecuador with the rondador given plenty to do.

This is one of the up-and-coming young Bolivian groups

SIMIRUCO - Alpamayo - Ecuador (EUCD 1220)
This is one of those songs which every Ecuadorean group has in its repertoire. The dance style is called capishca. The Quechua spoken in Ecuador has many such "sh" sounds in it.

DESDE AQUELLA MAÑANITA - Los Embajadores - Ecuador  (ALP 1291)
The pasillo is the Ecuadorean equivalent of the Peruvian Waltz. I had liked this record for a long time before I actually went to Ecuador. One evening, having had dinner in the hotel, I was walking down Amazonas and saw a sign outside a tavern "Trio Ecuatorial Here Tonight". I had to hear them, so I went in, sat at a table and was told that one ("one" being me) had to order dinner. So I ordered a dinner I couldn't possibly eat and a bottle of wine I didn't want, but I did hear Trio fact they came and sang a request for me at my table. At that time, I didn't know the Spanish for "rip-off", but the music was worth it!

LA ROSA y LA ESPINA - Los Calchakis - Bolivia
Los Calchakis call this "The Rose and the Thorn", but I've heard it many times under a different name, "Recuerdos de Kalahuyo" The sleeve-notes of the album tell us that "...the South American natives ingeniously used the abundant armadillo shells of their country to build mandolines..." Actually, they are even more ingenious and make a very tasty stew from the armadillo, as well!

CERQUITA del CORAZÓN - Dúo J-M Anguedos - Peru
Very Peruvian song accompanied on charango and guitar.

YARAVI - Achalay - Ecuador
This is my group. Our Colombian member was studying music at London University and brought to a rehearsal a book in which he had found an Ecuadorean theme - just one line of music containing the basic tune, but we liked it and made this arrangement.

DOS ZAMBAS - Los Hermanos Ábalos - Argentina (Camden CAS-227)
Earlier, I mentioned that Adolfo Ábolos used to play in a group with his brothers.  Well, concurrently, this group of 5 or 6 brothers was also making records, mostly of Argentine regional dances. These two zambas are "Siete de Abril" (April 7th) and "La Nana". The second one is a real old fashioned country zamba, the sort of thing you'd hear at a Saturday night dacne in a village in Tucumán or Jujuy. I recently attended an Argentine concert and saw the zamba being danced. It was so beautiful and graceful, it was heartbreaking. When you hear a record of a zamba it is intended to be danced to and the song must contain the right number of bars of intro, first verse, second verse, middle eight and last verse.

EL HUASICAMA - Carlota Jaramillo y conjunto - Ecuador
This woman is the heart and soul of Ecuadorean song.

LOS RUEGOS - Los Morochucos  - Peru Parlophone  (PMC 1217)
This excellent Peruvian group describe this as: triste con fuga de tondero (sad song with fugue in the style of a tondero). You've already heard a sample of tondero in the song San Miguel de Morropón.

VIDALA de la VIDA - Paul Farren  
I love this instrument, the tiple, the national instrument of Colombia. Its very special sound comes from the way it is strung: it has 12 strings strung in four groups of three. Here comes the clever bit: the top set of 3 are metal strings, but the other three sets are arranged with one metal string sandwiched between two nylon strings and the metal ones are always tuned an octave above the nylon ones. I found the words (no music) in a book and decided they fitted nicely into the rhythm of the Argentina vidala and this is the result.

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