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Andean music CDs. Reviews
Land of winds > Music > Reviews | Issue 03. Jan.-Feb.2011
By Edgardo Civallero | Sara Plaza

The following musical groups including Ecuador Manta, Quichua Mashis, Conjunto Peguche, Ilumán, Otavalomanta, Peguche Tiu, Pueblo Nuevo, Supay, Quinchuquimanda and Runapaj Shungu, as well as the soloists Enrique Males and Julián Tucumbi have been left out in this issue.

Jatari. Canción ecuatoriana
Jatari
Canción ecuatoriana
(Orfeón - 1977)
1. Peguche tiu – 2. La flor del café – 3. San Juan de Imbaquingo – 4. Añañay – 5. La venadita – 6. El pilche de chicha – 7. Tonada Chimborazo – 8. El chimbalito – 9. Canchano vago – 10. Mi negra guitarrita – 11. Coplas del carnaval de Ligto
Jatari (“Stand up!” in Quechua) was to appear in the 70s as one of the founding musical groups of the Canto Nuevo (New Song) in Ecuador: a socially rooted artistic movement which recovered native and popular musical elements. Born in the Instituto Ecuatoriano de Folklore (Folklore Institute of Ecuador), the group followed the example of ensembles like Agrupación 13 de Noviembre and Pueblo Nuevo, but put more emphasis on native music than the formers, as it is proven in “Canción ecuatoriana, one of their earliest works (out of a total of 17). They recovered such instruments as the ocarina (forbidden by decree in 1920), the dulzaina (double reed instrument), the bocina (horn) and the pingullo (pinkillo). The group split up in the 80s, and reappeared in 2001 featuring only one of the four original members
Most remarkable on this album are the traditional sanjuanito “Peguche tiu”, the rondador performance in songs like “San Juan de Imbaquingo”, “El chimbalito” and “El pilche de chicha”, the albazo “La venadita” and the recovery of “Coplas del carnaval de Ligto”. All the tracks are popular and most of them anonymous, what speaks about the band’s clear purpose of recovering that kind of traditional sound.
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Link CD [Cantonuevo.perrerac.com]
Official website: Not available

Los Huayanay. Sentimiento andino
Los Huayanay
Sentimiento andino
(Famoso LDF - 1979)
1. Ambato, tierra de flores – 2. Llullaringui – 3. Si no puedo olvidarte – 4. De terciopelo negro / Si tú me olvidas – 5. Dos palomitas – 6. La vuelta del chagra – 7. Chaquiñán – 8. Danzante del desterrado – 9. Soy colombiano – 10. Estudio de charango – 11. Naranjita – 12. Costanera
Known as “one of the most representative bands of the Ecuadorian folklore”, Los Huayanay (“swallow” in Quechua, and the name of an ancient princess) were seen to be a very peculiar band that began performing mestizo tunes in the 70s. One of his members, besides playing several wind instruments, is a fantastic whistler. His whistling is featured in almost every track on the album, and it is intimately bound up with the melodies.
This work includes an assortment of rhythms: albazos (“Si no puedo olvidarte”, “De terciopelo negro / Si tú me olvidas”), danzantes (“Danzante del desterrado”), sanjuanitos (“Llullaringui”, “La vuelta del chagra”), huaynos (famous “Dos palomitas” and “Naranjita”) and pasacalles (“Ambato, tierra de flores”). Although none of the tracks is a demonstration of instrumental or choral virtuosity, Los Huayanay display an impeccable folkloric repertoire from the best possible perspective at the time: a carefully assembled traditional band.
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Link CD [Andesnevados.blogspot.com]
Official website: Not available

Ñanda mañachi. Churay churay!
Ñanda Mañachi
¡Churay, churay! (with Boliviamanta)
(Audivis - 1982)
1. Ñuca llacta – 2. Ñanda mañachi – 3. Alzando el pañuelo – 4. Coraza / Armay chischi / Changa marcana – 5. Kimsa puralla huaquicuna – 6. La gran marcha – 7. Camba cusa – 8. Achimamita – 9. Chimbaloma – 10. Carabuela – 11. Misa punlla / San Juan Capilla / Curiquingue – 12. Rabanito
Ñanda Mañachi (“Lend me the path” in Quechua, a traditional way of greeting one another) was formed in 1969 by several musicians coming from different communities (Zuleta, Peguche, Quinchuquí, and Angochagua) of the Imbabura province in Ecuador. Interested in their motherland’s musical roots, the group moved far beyond their geographical boundaries. By 1978 they had launched a couple of LPs and four years later, by means of the help of Boliavamanta (a Bolivan-French musical group settled in Paris), toured widely throughout Europe and published “¡Churay, churay!” (Quechua expression meaning something like “c’mon, you can make it, let’s go”, which is used to encourage musicians and dancers to perform with energy and enthusiasm).
The album is truly an art work including several sanjuanitos, one cachallupi (“Alzando el pañuelo”) and a couple of danzantes (“Coraza” and “Changa marcana”). It is a quite faithful recreation of the original sound associated with peasant ensembles of the Ecuadorian Sierra, showing a rondador solo (“Coraza”), duets of Ecuadorian tundas (“Changa marcana”) and plain and simple traditional sanjuanitos performed with the violin, the mandolin and the rondador, like famous “Carabuela” and “Chimbaloma”.
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Link CD [Programasentimientoandino.blogspot.com]
Official website: Not available

Charijayac
Otavalo y . (Otavalo y punto)
(ECB Records - 1989)
1. – Otavalo y . – 2. Jayac chari – 3. Sueños – 4. Florecerás – 5. Ñaupador – 6. Kori pankarita – 7. Jihua – 8. Tamia – 9. Ricushpa – 10. Orgullosa – 11. Tushuy, caraju
Charijayac appeared in 1979 in Otavalo, province of Imbabura. However, most of their albums were recorded in Barcelona, for they were one of the many groups to leave the country in hopes of a better future.
Although the album “Otavalo y .” has not received as much popularity as other Charijayac works, it successfully combines some of their classics like “Jihua” and “Tamia” with new stuff like the title track. In addition, it includes lively tunes as “Jayac chari”, the huaynos “Florecerás” and “Orgullosa”, and a Bolivian sikureada titled “Kori pankarita” (“Golden little flower”). Last but not least, the track “Tushuy, caraju” is a faithful recreation of a musicians meeting in Otavalo having a conversation in Quechua and with jokes included.
Cover: Not available
Link CD: Not available
Official website;: Not available

Trencito de los Andes. Zig zag
Trencito de los Andes
Zig zag vol.1
(Trencito - 1993)
1. Antesomnium – 2. Zig zag – 3. Bienvenidos a la faccha – 4. En la loma de Zuleta – 5. Azul runas – 6. Camaretes y bandolines – 7. Fahua suriru – 8. Invitación – 9. Nishcan – 10. Presentación I – 11. Taquischcan: (a) Salasacamanda – 12. (b) Taquishcan – 13. (c) Presentación II – 14. La Rosita – 15. En la puerta – 16. Peña pungu
Although this ensemble is not from Ecuador, the Italian group Trencito de los Andes has done several etno-musical researches and run innovative experiments on different sounds, which have allow them to spread authentically Ecuadorian Andean sounds among their audience. Formed by the Clemente brothers and a cohort of collaborators from all over the Andean world, Trencito de los Andes has created pieces which have quickly entered the popular repertoire and, on some occasions, are even considered “traditional” by native performers themselves, as it is the case with the sanjuanito “Latitud cero” (included on “Zig zag vol.2”)
The two volumes of “Zig zag” are simply an essential work for the lovers of the music of Ecuador. The opening track is “Antesomnium”, the already mentioned famous sanjuanito turned into a music box lullaby to get a Quechua baby to go to sleep. “Zig zag” perfectly describes the bus rocking when going around the many sharp bends in any Andean road. “Bienvenidos a la faccha” pays homage to the village of Peguche and its famous waterfall (the “faccha”). “Azul runas” turns a flutes song into a brass band performing for an Andean celebration. “Camaretes y bandolines” begins portraying a “chamarrasca”, typical Andean fireworks. “Fahua suriru” is remarkable by the impressive country violins performance. The rest of the album is the account of what happens at a folkloric club in Peguche, with the village inhabitants talking with one another, the presenter of the festival making a speech in Quechua and the guest groups (Ñanda Manachi, Trencito de los Andes itself and an ensemble of native Salasaca people, among others) playing for the occasion.
At the beginning of 2009, with 21 albums to their name, their thirty-four years of professional and musical career came to a halt, and the group presented their last show in Quito. Today, Trencito de los Andes is working on a new project under the name of “Il Laboratorio delle Uova Quadre” (“The square eggs laboratory”).
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Link CD [Millajta.blogspot.com]
Official website
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