From: andina-owner@xmission.com (andina Digest) To: andina-digest@xmission.com Subject: andina Digest V1 #10 Reply-To: andina@xmission.com Sender: andina-owner@xmission.com Errors-To: andina-owner@xmission.com Precedence: andina Digest Tuesday, October 7 1997 Volume 01 : Number 010 In this issue: (andina) sorry list!!! (andina) problem in the xmission backbone Re: (andina) Moving (andina) andina(only test)(co.uk) FW: (andina) Charango Instruction Books Re: FW: (andina) Charango Instruction Books (andina) music videos????? Re: (andina) music videos????? Re: FW: (andina) Charango Instruction Books (andina) maintain instruments Re: (andina) maintain instruments (andina) ForSome of you may have heard that the group that spun off of Los Kjarkas, (andina) For Los Kjarkas Fans See the end of the digest for information on subscribing to the andina or andina-digest mailing lists and on how to retrieve back issues. ---------------------------------------------------------------------- Date: Fri, 3 Oct 1997 14:54:22 -0600 From: mnavarro@mail.xmission.com Subject: (andina) sorry list!!! Sorry for this mail from Bruce. I sent the total cost to him,and never heard from him again. More than one month later he sent the check to me,at that moment I sold some cd's,so now I am waiting for cd's from Bolivia to complete his order.Some times take longer than I think. Sorry again. Manuel. From: Bruce Mannheim To: "'andina@mail.xmission.com'" Subject: Date: Fri, 3 Oct 1997 14:45:39 -0400 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable At the end of August I ordered several CDs of Bolivian music from you, = for which I enclosed a check that you cashed. I have not yet received = the CDs. What's up? Bruce Mannheim 1204 Henry Street Ann Arbor MI 48104 (alt. address: Dept. of Anthropology University of Michigan 1020 LSA 500 South State Street Ann Arbor MI 48109-1382) ====================================================================== ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO http://www.xmission.com/~mnavarro MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA. 801-627-5613 ====================================================================== ------------------------------ Date: Fri, 3 Oct 1997 15:07:03 -0600 From: mnavarro@mail.xmission.com Subject: (andina) problem in the xmission backbone Xmission had some temporary problems,but I think not anymore. Let me know is the list have problems. Manuel. ====================================================================== ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO http://www.xmission.com/~mnavarro MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA. 801-627-5613 ====================================================================== ------------------------------ Date: Fri, 3 Oct 97 11:45 PDT From: Joel Fentin Subject: Re: (andina) Moving Good luck! If you need help moving, I'll send Marcelo. ----------------------------------------------------- Joel Fentin tel: 760-749-8863 FAX: 760-749-8864 email: joel@cts.com web: http://efm.simplenet.com ------------------------------ Date: Sat, 4 Oct 1997 11:48:18 -0600 From: mnavarro@mail.xmission.com Subject: (andina) andina(only test)(co.uk) 123456789 ====================================================================== ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO http://www.xmission.com/~mnavarro MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA. 801-627-5613 ====================================================================== ------------------------------ Date: Sat, 04 Oct 1997 20:38:44 +0100 From: jglow Subject: FW: (andina) Charango Instruction Books > From: mnavarro@mail.xmission.com > To: andina@mail.xmission.com > Subject: Re: (andina) Charango Instruction Books > Date: Fri, 3 Oct 1997 08:25:41 -0600 > > I sent this yesterday too > > I have a charango Method from Pedro Mar,(spanish and english) > Pedro Mar is from La Paz,he is artist,teacher,craftman,etc > The book have 34 pages with exercises for : > cueca,guayno,takirari,saya,bailecito,etc,etc > The cost for this method is 15.00 plus shipping. I have been teaching myself the charango which I bought a few years ago in Bolivia together with audiovisual methods by Alejandro Camara and Ernesto Cavour. The limitations of my Spanish linguistic abilities may have coloured my comments below and even led to misunderstandings - comments welcomed. The Camara Method I found much easier to follow in the begining although it does teach a rather untypical strumming pattern I believe. In all the pieces in the book the downwards rasgueos are performed with all four fingers and upwards rasgueos with the thumb. He also uses a golpe, tapping the fretboard just above the sound hole with the back of the right hand fingers - far less dramatic than the flamenco golpe. I am not sure that he actually uses this method of playing himself other than on the demonstratio= n tape. Judging from a tape I have of him with a group, he sounds to use the more common way of playing predominantly using the first finger of the righ= t hand for strumming. The six pieces of music presented in the Method are mainly traditional, are all fun to play for an amateur playing solo charang= o and are reasonable in lenght for beginners pieces. ("En el socavon" - only if you play it twice as well as the repeats suggested) Cavour may be a more renowned and brilliant player but I found his Method frustratingly difficult to follow as an absolute beginner. (I used to play classical guitar - from written music - but I have a poor ear for picking u= p pieces.) He introduces you to what I believe to be the more usual way of strumming, also to the tremelo and repique (very rapid combination of four strokes, down, up, down up) which seem to me to be fundamental to the playing of the instrument. Some of the pieces in the book are good fun to play but some are really boring as presented. They are also mainly very short even for beginners pieces. Most fun to play are Cueca Chapaca by Cavour himself and the traditional Diablada. In both cases the quality of playing the pieces on the demonstration tapes with the methods is uninspired and belies the brilliant musical ability of both players. It would surely give students much more enthusiasm for learning the pieces if they had put a little heart into the demostrations. I understood that Jorge Laura was hoping to find a sponsor for an English translation of his method a year or so ago. I am still trying to track him down about this. My problem and that of others like me, in making any further advancement is finding easy =ADintermediate standard music written in notation or tablature which gives good instruction on rhythm and which last more than 30 seconds when performed. I am of course aware that for public performance, amateur or professional, it is not normal for the charango to be played as a completely solo instument. I hope that the above comments may be of use to anyone just beginning to play the charango and also that they may stimulate comments from all you experienced players on the List on technique, music etc. We need your help= ! Things which may seem so obvious to experienced players can be real mysteries to someone struggling to teach themselves in isolation. Have YOU thought about publishing an arrangement of a piece you play? Please consider it all you professionals out there! Manuel, Returning to your quotation above, does Pedro Mar's book have any actual pieces of music which might be fun for some one like me to play (as opposed to just exercises in the various rhythms)? If so, can you tell me how much p&p to England would be and how payment can be made Best wishes, Jim (Low) ------------------------------ Date: Sun, 05 Oct 1997 10:17:42 -0500 From: Nick Hemmesch Subject: Re: FW: (andina) Charango Instruction Books Hello to all . . . It is my understanding that Alejandro Camara's charango method will be available in english next spring and will include a well mastered cassette or CD (optional). Alejandro Camara should be on-line with e-mail in about ten days. His e-mail address will be "charango@aol.com". I will be in La Paz and Cochabamba for 15 days shooting some music video. I will have some time to shop if there is anything special any of you would like me to look for. I leave Tuesday, Oct 7th. Sincerely, Nick Hemmesch On Track Productions 1308 14th Ave SW Minot, ND 58701 USA Tel: 701-839-8488 ------------------------------ Date: Sun, 5 Oct 1997 10:53:09 -0600 From: mnavarro@mail.xmission.com Subject: (andina) music videos????? >I will be in La Paz and Cochabamba for 15 days shooting some music video. Hi,how can I get some of those music videos???they will be andean music videos??,how much?? thanks. Manuel. ====================================================================== ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO http://www.xmission.com/~mnavarro MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA. 801-627-5613 ====================================================================== ------------------------------ Date: Sun, 05 Oct 1997 13:05:56 -0500 From: Nick Hemmesch Subject: Re: (andina) music videos????? At 10:53 AM 10/5/97 -0600, you wrote: >>I will be in La Paz and Cochabamba for 15 days shooting some music video. > >Hi,how can I get some of those music videos???they will be >andean music videos??,how much?? >thanks. >Manuel. > Manuel, The videos will be all andean music and will be the property of the "Music of the Americas Partnership", of which Alejandro Camara is a partner. Most of the first set of videos will be of Alejandro Camara and his group, plus some instructional videos. I will have Alejandro on-line at charango@aol.com on the 15th of October. You may want to contact him directly. I will have some video of the International Charango Festival in La Paz, but I'm not sure what the setup will be until I get there. It's hard to say at this point if the video will be good enough to edit and distribute. I will post more when I return. Nick Hemmesch On Track Productions 1308 14th Ave SW Minot, ND 58701 USA Tel: 701-839-8488 ------------------------------ Date: Mon, 6 Oct 1997 08:12:07 -0700 From: mvillacres@esri.com (Marcelo Villacres [ESRI-Redlands]) Subject: Re: FW: (andina) Charango Instruction Books Talking about Cavour's charango method we must remember this, it is over 25 years old, and as far as I know, it was the first to incorporate the audio-visual high-tech of those days. Also, as brilliant of a player Cavour is, he does not read/write music notation. Camara's method came out later, and so it may have used Cavour's to overcome some weaknesses. As far as Camara teaching a strumming using the four fingers on the downward stroke and the thumb on the upward stroke, that is what is=20 generally taught to absolute beginners so they get the idea of the sound pattern, which can later be achieved with the more complex strum of a single finger. The problem with instructional material for the charango (as well as all other Andean instruments) is that always, and till this day, people have learned to play solely by ear and by example. There are many subtle variations in playing because of this (not mentioning regional = variations), and so putting a standard way of playing on paper is difficult. For = example, I learned to move my hand in a certain loose way and I used to apply it = to all rhythms. Jorge Laura corrected me by saying, for example, that the wayno uses the very loose wide hand motion, where as the carnavalito and bailecito use a narrower motion that does not extend beyond the width of the sound box. For what I have seen, 99% of charango players do not seem = =20 to know this. Take the tundiqui (badly a.k.a saya), none of the methods I have seen say that the charango is reproducing the sound of the drums and the regue-regue, in opposing pattern. Same with the repique = variations=20 used in wayno-sikuris, they reproduce the variations done by the snare=20 drum in sikuriadas. It took me years of playing to figure that out on my = =20 own. Careful listening to the better groups will show that the charango=20 often interplays with the percussion, and though it is a string = instrument=20 it borrows much from the percussion section. None of the methos will = tell=20 you this. I still believe that Jorge Laura's method is the best around, for it=20 offers exercises more challenging than other books. Besides, they are all covered in tablature as well as music notation. For those looking for music notation... well, sadly there is not much. The only other book that offers music notation I know is the method by Profesor Celestino=20 Campos. It is an old book as well so I don't know if it can be easily found. Given the lack of methods and instructors I would advise to carefully listen to recorded music, and if possible get videos. Now that some of Cavour's and Savia Andina's CDs are available in the States, I would=20 recommend to start there. Marcelo ------------------------------ Date: Tue, 7 Oct 1997 12:33:48 -0600 From: mnavarro@mail.xmission.com Subject: (andina) maintain instruments WELCOME YVES!!!!! Okay,I beleive your own saliba and moist do the best maintain to your quena,the panpipes maybe you can put some oil that you can buy in any Musical Instrument store,I got one call Bore Oil. Also I beleive that moist(saliba) you put in each pipe when you blow is perfect. Maybe the list can tell us other ideas. Sonntag,other member of this list,toll me about some oil call Lenzi(I don't know the spell) Thanks. Manuel. > >On Tue, 7 Oct 1997 mnavarro@mail.xmission.com wrote: > >Manuel, > >Thanks a lot for the email ! > >> I play andean music too,but I don't know about cleaning Quenas,we never >> clean them(ji ji). > >Ok, not cleaning, but how to maintain it ? >I've heard of people playing (other) wind wood instrument putting some >oil in it, to prevent it from breaking etc... > >I live in western Canada where the climat is extremely dry... > >> Let me know if you need help subcribing to the list. >That should be ok ! > > > > >Yves. >---- >Yves Dorfsman dorfsmay@cuug.ab.ca > http://www.cuug.ab.ca:8001/~dorfsmay > > ====================================================================== ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO http://www.xmission.com/~mnavarro MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA. 801-627-5613 ====================================================================== ------------------------------ Date: Tue, 7 Oct 1997 11:51:16 -0700 From: mvillacres@esri.com (Marcelo Villacres [ESRI-Redlands]) Subject: Re: (andina) maintain instruments Oiling bamboo instruments is a good idea, and a must if the bamboo is of the thin kind; this will keep them from cracking due to humidity and temperature changes.=20 I've used regular cooking oil in the past but that turns rancid and=20 smells awful after a while. Linseed oil is a good one to use, though=20 it too turns a bit rancid too. I use lemon oil now, the kind used for=20 furniture. I have to let the instrument sit for a couple of weeks=20 before I can use it though, until the strong lemony scent goes away.=20 I know some people who use a baking method, that is oiling the bamboo=20 and putting in an oven at some low temperature. That may help lock the=20 oil in the fibers but at the same may alter the pitch a bit. This=20 process may be better suited for bamboo prior to making the instrument. Marcelo ------------------------------ Date: Tue, 7 Oct 1997 12:03:19 -0700 From: mvillacres@esri.com (Marcelo Villacres [ESRI-Redlands]) Subject: (andina) ForSome of you may have heard that the group that spun off of Los Kjarkas, "Pacha," was short lived. After one recording project Pacha disbanded. Gaston Guardia (wind player) and Elmer Hermosa (1st voice) went back to play with Los Kjarkas, where as Fernando Torrico (charango) and Edwin Castellanos (guitar) went off to continue the work started with Pacha. They now call themselves "Tupay" and have released a new album that again intends to project Bolivian music to the rest of Latin America in a more "pop" style by using the backdrop of orchestral arrangements, as are typical in latin pop music. BTW, Alcides Mejia, the wind player from Savia Andina has rejoined Los Kjarkas (that is where he started back in the 70's). It appears that the only person left of the original Savia Andina line up is Oscar Castro, the percussionist. Back to "Tupay"... I just got the CD so I am inlcuding my first impressions. Again this album is co-produced with Bebu Silvetti, who also did the orchestral arrangements and played piano. Most of the compositions are by Fernando and Edwin, and only a few of those were recorded with Los Kjarkas. 1. LA SAYA (M: F. Torrico - L: E. Castellanos) El amor de las morenas es fuego, The love of black women is fire, quema, quema, quema, it burns, it burns, it burns, como la arena del desierto, like desert sand, quema, quema, quema. it burns, it burns, it burns, Interesting piece. It starts with the basic "tundiqui" percussion with voices gliding over in the call and response style of afro music. The last couple of pseudo sayas Los Kjarkas released were approximating this style, almost as if they were starting to go back to the roots of the real afro saya. This is a bit closer. The winds come in with the well known Andean sound in the dialogando style. I keep waiting for someone to compose a "tundiqui" that has winds sounding more afro... The lyrics start sounding nice, until the desert is mentioned... a diservice to the Afro-Bolivian people, Los Yungas should have been mentioned, let the world know more about Bolivia! If you are not so hung up on calling white what is white and black what is black (as I am), this is a great piece, with a very catchy melody. 2. ME HACE FALTA (L&M: F. Torrico) Me hace falta tu sonrisa I miss your smile, me hace falta tu mirada, I miss seeing your eyes, sin ti yo no soy nada, without you I am nothing, sin ti no soy feliz. without you I am not happy. The opening guitar arpegio sounds like Gypsy Kings. The zampon~as over the strings are sweet and Fernando's voice proves it can stand all on its own. This definitely Latin pop music, complete with the silly love lyrics, no traces of Bolivian music here, none what so ever. A great song for the teenagers at heart. 3. DESDE QUE TE FUISTE (M: Bebu Silvetti, L: Riera Iban~ez) Desde que tu te fuiste Since you left yo tengo tus fotos I have your pictures por toda mi habitacion. all over my room. This piece has more Bolivian flavor than the previous one, it sounds a bit like the chuntunquis turned into love songs (before Los Kjarkas chuntunquis used to be strictly Christmas carols). Again, a silly pop love song, sweet enough to lay awake all night think of the person who broke one's heart. 4. AY NO SE QUE TIENES (L&M: E Castellanos) Ay no se que tienes Oh, I don't know what you have para que te quiera tanto, that makes me love you so, sera tu perfume parhaps it is your perfume, o esos ojos claros. or your light colored eyes. It starts as another Gypsy King's influenced rumba, towards the end it shifts for a few bars into a salsa rhythm and returns to rumba. I am fan of songs with poetic lyrics, like the ones Ulises Hermosa wrote, like some of the great pop songs that Roberto Carlos and others have written, so I won't comment anymore on the quality of Tupay's lyrics. 5. LUZ DE MI CAMINO (L&M: F. Torrico) Eres tu la luz de mi camino, You are the light on my path. eres alegria en mi penar, you are the joy in my suffering, eres sabia luz, you are wise light, eres la vida. you are life. The influence of Ulises Hermosa is quite apparent here. A chuntunqui very reminiscent of "Por un suen~o de Amor." Too bad the lyrics are not of the same caliber.... oops, I said I would not comment on the lyrics again. 6. YA NO QUIERO SER TU AMOR (M: F. Torrico & E. Castellanos - L: E. Castellanos) Ya no quiero ser tu amor, I don't want to be your love any more, no me pidas por favor, do not beg that of me, ya no quiero ser el sol, I don't want to be the sun que siempre te dio calor. that always gave you warmth. The only piece that is noted as a Bolivian rhythm, a "taquirari." Edwin shows that he play according quite nicely. The melody is nice and catchy, eventhough the drums and bass are flat, only the bongos rescue some of the cadence that is so characteristic of taquiraris. 7. VIVAMOS EL AMOR (L&M: E. Castellanos) Vivamos el amor Let's live our love para que crezca el sentimiento, so it the feelings will grow, para regar nuestro jardin to water our garden con la vertiente del deseo. from the fountain of desire. The fountain of desire... hmmm... we are aproaching poetry here. Another mellow piece that those who are fond of slow dancing will love. 8. AMERICA LATINA (L&M: F. Torrico) America Latina Latin America fluye mi canto en tus venas, your song flows through my veins, America Latina Latin America tu eres mi canto de esperanza. you are my song of hope. There is hope yet... This title piece actually has a message, eventhough it is one that has been run through the mills by a thousand and one song writers. An upbeat piece that is good to even shake the dust of some tired old bones. 9. NO ME PERTENECES (L&M: E. Castellanos) Te tengo, te amo I have you, I love you y no me perteneces, yet you do not belong to me, como la noche no like the night does le pertenece al dia. not belong to the day. There goes to prove that Bolivians can compose nice boleros... where is my dance partner? Is there really hope for latin people? We are still looking at people as property... gee... 10. PARA PODER HABLAR DE AMOR (L&M: E. Castellanos) Para poder hablar de amor To talk about love ya que vivir, one has to live, hay que querer intensamente one has to intensely love cada dia, every day, hay que desear con gran pasion one has to desire with great passion porque la piel tiene que because the flesh=3D20 ver con el amor. has to do with love. No kidding! OK, OK, I won't say anymore about the lyrics. More for the lovers of slow dancing. 11. DUELE (L&M: E. Castellanos) Duele It hurts aceptar que te fuiste, accept that you are gone, duele it hurts, despertar sin tu amor, to wake up without you, duele it hurts no tenerte a mi lado. to have you with me. This was recorded with Los Kjarkas and it is at least an equally good version. 12. PROHIBIDO AMARTE (M: Bebu Silvetti - L: Riera Iban~ez) Prohibido amarte It is foribidden to love you una ley lo decidio, a las has decided so, se que tu sientes I know you feel el deseo como yo. the desire as I do. Silvetti's piano starts a sweet piece... sounds like Richard Clayderman... Another one for slow dancing. 13. NO TEMAS ENAMORARTE (L&M: E. Castellanos) No temas enamorarte Do not fear to fall in love que lo mas bello es el amor, for love is the most beautiful thing, no temas enamorarte do not fear to fall in love aunque te dan~e otra vez. eventhough it may hurt you. Didn't Kahlil Gibran say that? Ah yes... but his words were so eloquent, so beautiful, so powerful. This another piece that was recorded by Los Kjarkas and again it is just as good. That is it... thirteen pieces that definitely capture the spirit of latin commercial pop music. Both Edwin and Fernando have proven that they can compose such music and do it quite well. The melodies are sweet, the arrangements are nice, and Fernando proves to be a good singer, almost as good as a charango player. I think that this album will be a better commercial success than Pacha's for it is my impressions that the masses want catchy music they can dance to, with easy to understand and easy to relate lyrics, they do not want muFor Los Kjarkas fans Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Content-MD5: T956uot/Le8UWOZ/LeeOpA== I was cleaning my mail box and I found a message I had tried to post to the list back in April. The list was down then and so it bounced. I = think some of you may still want to read it (and reply to it) so here it goes. - -------------------------------------------------------------------------= - --- Some of you may have heard that the group that spun off of Los Kjarkas, "Pacha," was short lived. After one recording project Pacha disbanded. Gaston Guardia (wind player) and Elmer Hermosa (1st voice) went back to play with Los Kjarkas, where as Fernando Torrico (charango) and Edwin Castellanos (guitar) went off to continue the work started with Pacha. They now call themselves "Tupay" and have released a new album that again intends to project Bolivian music to the rest of Latin = America in a more "pop" style by using the backdrop of orchestral arrangements, as are typical in latin pop music. I just got the CD so I am inlcuding my first impressions. As with Pacha, this album is co-produced with Bebu Silvetti, who also did the = orchestral=20 arrangements and played piano. Most of the compositions are by Fernando=20 and Edwin, and only a few of those were recorded with Los Kjarkas. 1. LA SAYA (M: F. Torrico - L: E. Castellanos) El amor de las morenas es fuego, The love of black women is fire, quema, quema, quema, it burns, it burns, it burns, como la arena del desierto, like desert sand, quema, quema, quema. it burns, it burns, it burns, Interesting piece. It starts with the basic "tundiqui" percussion with voices gliding over in the call and response style of afro music. The last couple of pseudo sayas Los Kjarkas released were approximating this style, almost as if they were starting to go back to the roots of the real afro saya. This is a bit closer. The winds come in with the well known Andean sound in the dialogando style. I keep waiting for someone to compose a "tundiqui" that has winds sounding more afro... The lyrics start sounding nice, until the desert is mentioned... a diservice to the Afro-Bolivian people IMHO. Los Yungas should have been mentioned, = let the world know more about Bolivia! If you are not so hung up on calling white what is white and black what is black, this is a great piece, with a very catchy melody. 2. ME HACE FALTA (L&M: F. Torrico) Me hace falta tu sonrisa I miss your smile, me hace falta tu mirada, I miss seeing your eyes, sin ti yo no soy nada, without you I am nothing, sin ti no soy feliz. without you I am not happy. The opening guitar arpegio sounds like Gypsy Kings. The zampon~as over the strings are sweet and Fernando's voice proves it can stand all on its own. This definitely Latin pop music, complete with the silly love lyrics, no traces of Bolivian music here, none what so ever. A great = song for the teenagers at heart. 3. DESDE QUE TE FUISTE (M: Bebu Silvetti, L: Riera Iban~ez) Desde que tu te fuiste Since you left yo tengo tus fotos I have your pictures por toda mi habitacion. all over my room. This piece has more Bolivian flavor than the previous one, it sounds a = bit like the chuntunquis turned into love songs (before Los Kjarkas = chuntunquis used to be strictly Christmas music). Again, a silly pop love song, = sweet enough to lay awake all night think of the person who broke one's heart. 4. AY NO SE QUE TIENES (L&M: E Castellanos) Ay no se que tienes Oh, I don't know what you have para que te quiera tanto, that makes me love you so, sera tu perfume parhaps it is your perfume, o esos ojos claros. or your light colored eyes. It starts as another Gypsy King's influenced rumba, towards the end it = shifts for a few bars into a salsa rhythm and returns to rumba. I am fan of = songs with poetic lyrics, like the ones Ulises Hermosa wrote, like some of the = great pop songs that Roberto Carlos and others have written, so I won't = comment anymore on the quality of Tupay's lyrics. 5. LUZ DE MI CAMINO (L&M: F. Torrico) Eres tu la luz de mi camino, You are the light on my path. eres alegria en mi penar, you are the joy in my suffering, eres sabia luz, you are wise light, eres la vida. you are life. The influence of Ulises Hermosa is quite apparent here. A chuntunqui = very reminiscent of "Por un suen~o de Amor." Too bad the lyrics are not of = the same caliber.... oops, I said I would not comment on the lyrics again. 6. YA NO QUIERO SER TU AMOR (M: F. Torrico & E. Castellanos - L: E. = Castellanos) Ya no quiero ser tu amor, I don't want to be your love any more, no me pidas por favor, do not beg that of me, ya no quiero ser el sol, I don't want to be the sun que siempre te dio calor. that always gave you warmth. The only piece that is noted as a Bolivian rhythm, a "taquirari." Edwin = shows that he plays according quite nicely. The melody is nice and catchy, = eventhough the drums and bass are flat, only the bongos rescue some of the cadence = that is so characteristic of taquiraris. 7. VIVAMOS EL AMOR (L&M: E. Castellanos) Vivamos el amor Let's live our love para que crezca el sentimiento, so it the feelings will grow, para regar nuestro jardin to water our garden con la vertiente del deseo. from the fountain of desire. The fountain of desire... hmmm... we are aproaching poetry here. Another mellow piece that those who are fond of slow dancing will love. 8. AMERICA LATINA (L&M: F. Torrico) America Latina Latin America fluye mi canto en tus venas, your song flows through my veins, America Latina Latin America tu eres mi canto de esperanza. you are my song of hope. There is hope yet... This title piece actually has a message, eventhough = it is one that has been run through the mills by a thousand and one song = writers. An upbeat piece that is good to even shake the dust of some tired old=20 bones. 9. NO ME PERTENECES (L&M: E. Castellanos) Te tengo, te amo I have you, I love you y no me perteneces, yet you do not belong to me, como la noche no like the night does le pertenece al dia. not belong to the day. There goes to prove that Bolivians can compose nice boleros... where is my dance partner? Is there really hope for latin people? We are still looking at people as property... gee... 10. PARA PODER HABLAR DE AMOR (L&M: E. Castellanos) Para poder hablar de amor To talk about love ya que vivir, one has to live, hay que querer intensamente one has to intensely love cada dia, every day, hay que desear con gran pasion one has to desire with great passion porque la piel tiene que because the flesh ver con el amor. has to do with love. No kidding! OK, OK, I won't say anymore about the lyrics. More for the lovers of slow dancing. 11. DUELE (L&M: E. Castellanos) Duele It hurts aceptar que te fuiste, accept that you are gone, duele it hurts, despertar sin tu amor, to wake up without you, duele it hurts no tenerte a mi lado. to have you with me. This was recorded with Los Kjarkas and it is at least an equally good = version. 12. PROHIBIDO AMARTE (M: Bebu Silvetti - L: Riera Iban~ez) Prohibido amarte It is foribidden to love you una ley lo decidio, a las has decided so, se que tu sientes I know you feel el deseo como yo. the desire as I do. Silvetti's piano starts a sweet piece... sounds like Richard = Clayderman... Another one for slow dancing. 13. NO TEMAS ENAMORARTE (L&M: E. Castellanos) No temas enamorarte Do not fear to fall in love que lo mas bello es el amor, for love is the most beautiful thing, no temas enamorarte do not fear to fall in love aunque te dan~e otra vez. eventhough it may hurt you. Didn't Kahlil Gibran say that? Ah yes... but his words were so eloquent, = so beautiful, so powerful. This another piece that was recorded by Los = Kjarkas and again it is just as good. That is it... thirteen pieces that definitely capture the spirit of = latin commercial pop music. Both Edwin and Fernando have proven that they can compose such music and do it quite well. The melodies are sweet, the arrangements are nice, and Fernando proves to be a good singer, almost = as good as a charango player. I think that this album will be a better = commercial success than Pacha's for it is my impressions that the masses want = catchy music they can dance to, with easy to understand and easy to relate = lyrics, they do not want music that is deeply rooted in tradition nor deep = lyrics. Marcelo - -------------------------------------------------------------------------= - --- ------------------------------ Date: Tue, 7 Oct 1997 12:09:21 -0700 From: mvillacres@esri.com (Marcelo Villacres [ESRI-Redlands]) Subject: (andina) For Los Kjarkas Fans Ignore my previous posting... it got all messed up for some reason... I was cleaning my mail box and I found a message I had tried to post to the list back in April. The list was down then and so it bounced. I = think some of you may still want to read it (and reply to it) so here it goes. - -------------------------------------------------------------------------= - --- Some of you may have heard that the group that spun off of Los Kjarkas, "Pacha," was short lived. After one recording project Pacha disbanded. Gaston Guardia (wind player) and Elmer Hermosa (1st voice) went back to play with Los Kjarkas, where as Fernando Torrico (charango) and Edwin Castellanos (guitar) went off to continue the work started with Pacha. They now call themselves "Tupay" and have released a new album that again intends to project Bolivian music to the rest of Latin = America in a more "pop" style by using the backdrop of orchestral arrangements, as are typical in latin pop music. I just got the CD so I am inlcuding my first impressions. As with Pacha, this album is co-produced with Bebu Silvetti, who also did the = orchestral arrangements and played piano. Most of the compositions are by Fernando and Edwin, and only a few of those were recorded with Los Kjarkas. 1. LA SAYA (M: F. Torrico - L: E. Castellanos) El amor de las morenas es fuego, The love of black women is fire, quema, quema, quema, it burns, it burns, it burns, como la arena del desierto, like desert sand, quema, quema, quema. it burns, it burns, it burns, Interesting piece. It starts with the basic "tundiqui" percussion with voices gliding over in the call and response style of afro music. The last couple of pseudo sayas Los Kjarkas released were approximating this style, almost as if they were starting to go back to the roots of the real afro saya. This is a bit closer. The winds come in with the well known Andean sound in the dialogando style. I keep waiting for someone to compose a "tundiqui" that has winds sounding more afro... The lyrics start sounding nice, until the desert is mentioned... a diservice to the Afro-Bolivian people IMHO. Los Yungas should have been mentioned, = let the world know more about Bolivia! If you are not so hung up on calling white what is white and black what is black, this is a great piece, with a very catchy melody. 2. ME HACE FALTA (L&M: F. Torrico) Me hace falta tu sonrisa I miss your smile, me hace falta tu mirada, I miss seeing your eyes, sin ti yo no soy nada, without you I am nothing, sin ti no soy feliz. without you I am not happy. The opening guitar arpegio sounds like Gypsy Kings. The zampon~as over the strings are sweet and Fernando's voice proves it can stand all on its own. This definitely Latin pop music, complete with the silly love lyrics, no traces of Bolivian music here, none what so ever. A great = song for the teenagers at heart. 3. DESDE QUE TE FUISTE (M: Bebu Silvetti, L: Riera Iban~ez) Desde que tu te fuiste Since you left yo tengo tus fotos I have your pictures por toda mi habitacion. all over my room. This piece has more Bolivian flavor than the previous one, it sounds a = bit like the chuntunquis turned into love songs (before Los Kjarkas = chuntunquis used to be strictly Christmas music). Again, a silly pop love song, = sweet enough to lay awake all night think of the person who broke one's heart. 4. AY NO SE QUE TIENES (L&M: E Castellanos) Ay no se que tienes Oh, I don't know what you have para que te quiera tanto, that makes me love you so, sera tu perfume parhaps it is your perfume, o esos ojos claros. or your light colored eyes. It starts as another Gypsy King's influenced rumba, towards the end it = shifts for a few bars into a salsa rhythm and returns to rumba. I am fan of = songs with poetic lyrics, like the ones Ulises Hermosa wrote, like some of the = great pop songs that Roberto Carlos and others have written, so I won't = comment anymore on the quality of Tupay's lyrics. 5. LUZ DE MI CAMINO (L&M: F. Torrico) Eres tu la luz de mi camino, You are the light on my path. eres alegria en mi penar, you are the joy in my suffering, eres sabia luz, you are wise light, eres la vida. you are life. The influence of Ulises Hermosa is quite apparent here. A chuntunqui = very reminiscent of "Por un suen~o de Amor." Too bad the lyrics are not of = the same caliber.... oops, I said I would not comment on the lyrics again. 6. YA NO QUIERO SER TU AMOR (M: F. Torrico & E. Castellanos - L: E. = Castellanos) Ya no quiero ser tu amor, I don't want to be your love any more, no me pidas por favor, do not beg that of me, ya no quiero ser el sol, I don't want to be the sun que siempre te dio calor. that always gave you warmth. The only piece that is noted as a Bolivian rhythm, a "taquirari." Edwin = shows that he plays according quite nicely. The melody is nice and catchy, = eventhough the drums and bass are flat, only the bongos rescue some of the cadence = that is so characteristic of taquiraris. 7. VIVAMOS EL AMOR (L&M: E. Castellanos) Vivamos el amor Let's live our love para que crezca el sentimiento, so it the feelings will grow, para regar nuestro jardin to water our garden con la vertiente del deseo. from the fountain of desire. The fountain of desire... hmmm... we are aproaching poetry here. Another mellow piece that those who are fond of slow dancing will love. 8. AMERICA LATINA (L&M: F. Torrico) America Latina Latin America fluye mi canto en tus venas, your song flows through my veins, America Latina Latin America tu eres mi canto de esperanza. you are my song of hope. There is hope yet... This title piece actually has a message, eventhough = it is one that has been run through the mills by a thousand and one song = writers. An upbeat piece that is good to even shake the dust of some tired old = bones. 9. NO ME PERTENECES (L&M: E. Castellanos) Te tengo, te amo I have you, I love you y no me perteneces, yet you do not belong to me, como la noche no like the night does le pertenece al dia. not belong to the day. There goes to prove that Bolivians can compose nice boleros... where is my dance partner? Is there really hope for latin people? We are still looking at people as property... gee... 10. PARA PODER HABLAR DE AMOR (L&M: E. Castellanos) Para poder hablar de amor To talk about love ya que vivir, one has to live, hay que querer intensamente one has to intensely love cada dia, every day, hay que desear con gran pasion one has to desire with great passion porque la piel tiene que because the flesh ver con el amor. has to do with love. No kidding! OK, OK, I won't say anymore about the lyrics. More for the lovers of slow dancing. 11. DUELE (L&M: E. Castellanos) Duele It hurts aceptar que te fuiste, accept that you are gone, duele it hurts, despertar sin tu amor, to wake up without you, duele it hurts no tenerte a mi lado. to have you with me. This was recorded with Los Kjarkas and it is at least an equally good = version. 12. PROHIBIDO AMARTE (M: Bebu Silvetti - L: Riera Iban~ez) Prohibido amarte It is foribidden to love you una ley lo decidio, a las has decided so, se que tu sientes I know you feel el deseo como yo. the desire as I do. Silvetti's piano starts a sweet piece... sounds like Richard =3D Clayderman... Another one for slow dancing. 13. NO TEMAS ENAMORARTE (L&M: E. Castellanos) No temas enamorarte Do not fear to fall in love que lo mas bello es el amor, for love is the most beautiful thing, no temas enamorarte do not fear to fall in love aunque te dan~e otra vez. eventhough it may hurt you. Didn't Kahlil Gibran say that? Ah yes... but his words were so eloquent, = so beautiful, so powerful. This another piece that was recorded by Los = Kjarkas and again it is just as good. That is it... thirteen pieces that definitely capture the spirit of = latin commercial pop music. Both Edwin and Fernando have proven that they can compose such music and do it quite well. The melodies are sweet, the arrangements are nice, and Fernando proves to be a good singer, almost = as good as a charango player. I think that this album will be a better = commercial success than Pacha's for it is my impressions that the masses want = catchy music they can dance to, with easy to understand and easy to relate = lyrics, they do not want music that is deeply rooted in tradition nor deep = lyrics. Marcelo - -------------------------------------------------------------------------= - --- ------------------------------ End of andina Digest V1 #10 *************************** To subscribe to andina Digest, send the command: subscribe andina-digest in the body of a message to "majordomo@xmission.com". 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