Miguel, Miguel, Miguel,

  
Jatun Cayambe
Ecuador
1989

Tracks:

Nº Titulo - AUTORES - Ritmo - Region

01 Toros de pueblo - Folk.-ÑANDA MAÑACHI - sanjuanito - Cotacachi
02 Los dos hermanitos - Folk.- JUAN CAYAMBE - bomba - Chimborazo
03 Punto de Guaranga - CARLOS ET JULIO ARGUEDAS
04 Amenazas - Folk.- ÑANDA MAÑACHI - sanjuanito - Zuleta
05 Ñuca casaray - FolK.- BANDA DE ANDRADE MARÍN - cumbia - Imbabura
06 Cachiyaco, Aloburo, Caboyal - Folk.- JUAN CAYAMBE - bomba - Ambuqui
07 Jatun cayambe - Folk.- BOLIVIA MANTA - san juan - Imbabura
08 Negra muele caña - Folk.- JUAN CAYAMBE - bomba - Valle del Chota
09 Yana urcu - Folk.- ÑANDA MAÑACHI - sanjuanito - Imbacocha
10 Avecillas - Folk.- BANDA DE ANDRADE MARÍN - albazo - Atuntaqui
11 Por arriba corre el agua - Folk.- JUAN CAYAMBE - sanjuanito - Yoguin
12 Huicucha - Folk.- CARLOS PERUGACHI - Imbabura
13 Cuchara de palo - Folk.- ÑANDA MAÑACHI - sanjuanito - Angochahua
14 Miguel, Miguel - Folk.- JUAN CAYAMBE - bomba - Manzana Huarangui
15 Pimampiro - CARLOS ET JULIO ARGUEDAS

  

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Músico Ecuatoriano que desde niño supo lo que era la música autóctona del ecuador. Jatun Cayambe, de familia muy humilde, sin estudios y una vida llevadera en el campo comenzó a darse cuenta que le gustaba frecuentar cualquier lugar donde hubiera música. Con su arpa, poco a poco,  aprendió a tocar a su propia manera.

   

Laurent Aubert, director de los talleres de etnomusicología de Ginebra, comentaba en marzo de 1989, refiriéndose al disco Jatún Cayambe —que reunía las grabaciones que había realizado con este arpista desde 1973 y que tuve el privilegio de conocer, mientras tocaba en medio de la indiferencia general, en la plaza del mercado de Ibarra, Ecuador—:  “Más afín a lo que esperamos está la propuesta del grupo Ñanda Mañachi,  liberada de las escorias del folclorismo, su música reúne el respeto del repertorio tradicional con una interpretación viva y calurosa. En cuanto a Juan Cayambe, el viejo arpista, encarna él solo toda el alma de la música popular ecuatoriana”. 

The Origins, Influences and Development of Ecuadorian Music

Ecuador is home to a number of cultures, including the Mestizo culture and a unique blend of Afro-Ecuadorian culture. Afro-Ecuadorians are the descendants of African slaves who worked on the coastal sugar plantations in the sixteenth century. The Afro-Ecuadorians that are present in Ecuador today are famous for their marimba music as well as their many music and dance festivals. Long before the Spanish had conquered Ecuador, and even before the rise of the Inca civilization, the diverse native cultures of the region had rich musical traditions. It is clear that music has always played an important role in the ancient Andean people’s lives as archaeologists have found some very old instruments, such as drums, flutes, trumpets and other musical artifacts, in ancient tombs.

When the Spanish, with their Catholic missionaries and their African slaves, conquered Ecuador in the 16th century, many other musical styles were introduced. The mixture of the indigenous, Spanish and African music and sounds have formed very distinctive music styles that are present today.

Ecuador is well-known for marimba, a unique form of music that was introduced by the Esmeraldas. It is a direct and virtually unchanged import from the Western Africa region. Marimba is played on a musical instrument of the same name. The instrument features wooden bars tuned to produce a chromatic scale and with resonators, and these bars are played with small mallets.

Pasillo, pasacalle and yarabi are also very popular forms of music in Ecuador. El pasillo is played with an instrument that usually has six strings which are either strummed or plucked like the strings of a guitar, and the rondin, which is similar to a flute. The musical style is usually down tempo and it is descended from the waltz. Pasacalle is a form of dance music, while the sentimental yarabi is probably the most popular form in Ecuador.

The inhabitants of the Chota River Valley have also invented a form of music called the bomba, which has achieved a bit of a reputation outside the region.

source
 

Son Jarocho

 

Tlen-Huicani - Jarocho

Tracks:

01. El Jarocho
02. La Bruja
03. La Sarna
04. El Balaju
05. El Toro Requeson
06. Tlacotalpan
07. El Colas
08. El Gavilancito
09. Nicolasa
10. El Jarabe Loco
11. La Tuza
12. El Guapo
13. La Bamba
14. El Aguanieve
15. El Jaqueton
16. El Borracho
17. La Vieja
18. El Fandanguito
19. El Zacamandu-Toro Abajeño
20. La Risa
21. El Buscapies
22. El Trompo
23. El Huapanguito
24. Arpista Veracruzano

  

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From the capital city of Veracruz, Jalapa, Tlen-Huicani (pronounced wee-KAH-ne) is one of the most faithful interpreters of the traditional folk music of that state and also that of much of Latin America.

Tlen-Huicani, which means "the singers" in the indigenous Indian language of Nahuatl, has taken the beautiful "harpa jarocha" or folk harp, and has made it the centerpiece of their music.

Founded in 1973, the group was named best folk group in Mexico by the union of music and theater critics. Group director, Alberto de la Rosa, is one of the most respected musicians in all of Mexico, and is considered among the most outstanding folk harpists in the world.  In 2003 the group celebrated another landmark, when they completed 30 years of unforgettable music.

***

What is the current state of the son jarocho? While the roots of the son jarocho are in southern Veracruz, those who have decided to earn a living as jarocho musicians have for the past sixty years found it more profitable to leave Veracruz for Mexico city  or other tourist areas. Ensembles such as "Conjunto Tierra Blanca" , founded in the 1950's and directed by Marios Barradas Murcia,  have earned a living playing their native music and many of these urban jarocho ensembles have not only traveled throughout the world and recorded various albums but have also taught hundreds of students abroad how to play the son jarocho in University workshops and in school's such as Mexico city's "Escuela de la Muscia Mexicana". Although the  traditional manner of transmitting the son jarocho from generation to generation is common, the aspect of  teaching  the son jarocho to students in an academic setting is new and  a vibrant new part of the son jarocho tradition.

In Xalapa, Veracruz the Universidad Veracruzana is the home of Grupo Tlen-Huicani and its director, Prof. Alberto de la Rosa, who has had a great influence in promoting the  preservation of the son jarocho and Latin American folk music. For over 35 years, Tlen-Huicani has remained one of the most faithful interpreters of the traditional folk music of Veracruz, Mexico and most of Latin America. Since 1973, their music and international achievements have earned them the honor of 'Best Folk Group in Mexico' by the Union of Music and Theater Critics.

Another wave of preservation called the "Movimiento Jaranero" began in the late 1970's which saw contemporary ensembles who had developed a style from the more commercial urban ensembles in the 1940's as steering away too much from its roots. These "renovadores" have concentrated on preserving the fandango setting (the traditional celebratory environment of the son jarocho) such as at the annual "Encuentro de Jaraneros" in Tlacotalpan, Veracruz. The movimiento stresses the Afro-caribbean aspects of the son jarocho and at the head of this movement is grupo Mono Blanco who since 1978 has recorded various albums, traveled throughout the world, and conducted various workshops and conferences concentrating on their unique style of the son jarocho. Although commercialization and the birth of the professional musician has had an effect on the son jarocho tradition in Veracruz , the age old folk tradition of playing the son jarocho as a pastime is still alive and well. While we will always have the commercial recordings of professional groups such as Medellin, Tlalixcoyan, Tlen-huicani and others, there are hundreds of musicians throughout southern Veracruz who are unknown and continue a tradition which is over two hundred years old.

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casa

Thanks Ana for the music!
  

The Queen of Los Portales

  

La Negra Graciana

Sones Jarochos con el Trío Silva
1994

Tracks:

01. La guacamaya
02. El pájaro cú
03. El torito
04. El siquisirí
05. La bamba
06. El pájaro carpintero
07. La tienda
08. La iguana
09. La tuza
10. El butaquito
11. El jarabe loco
12. La vieja
13. El canelo
14. El ahualulco
15. La María Chuchena
16. El balajú
17. El cascabel
18. La morena

  

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 The Queen of Los Portales 

  

Now in her late sixties, Graciana is the first lady of son jarocho, the traditional music of the state Veracruz. This music, together with the mariarchi music and the sones from Jalisco, is the most popular in Mexico. Graciana, who plays the harp and sings, comes from a small village near Medellin de Bravo in Veracruz and made her album-debut ´Sones Jarochos´ with Trio Silva in 1994. Till then she had never left her own region; but she then toured Europe and the USA often and appeared for the first time in Mexico City. In 1999 she issued ´La Graciana En Vivo´, a live recording of a concert in the renowned Theatre de la Ville in Paris.

  

The fairytale curriculum vitae of the singing harpist who rose from rags to riches in her sixties recalls that of Cesaria Evoria from Cape Verde and that of the blind singer Dona Rosa from Portugal. La Negra Graciana spent half a century in lugging her harp along streets and performing there. As a child she had begun by playing with her father and brothers at family and folk festivals in the locality then had later played mostly as a soloist in Los Portales, a borough with many terraces in Veracruz harbour, where street musicians play nearly all day.

One day Eduardo Lleranas, very fond of traditional Mexican music and owner of the label Corason, pricked up his ears. Greatly impressed by Graciana´s archaic yet fresh way of playing the harp and her energetic singing, he decided to make a recording and soon came back from Mexico City to Veracruz, to set to work with La Negra Graciana, her younger brother, Pino Silva, who sings and plays the little Jarana guitar, and her sister-in-law Elena Huerta. Elena is likewise a harpist and owns, outside the city, a small turkey-farm which they used as an improvised studio. In this country idyll they recorded 18 pieces - many traditional and sometimes very old sones jarochos, which Graciana´s father had loved in his own day, like ´El siquisin´ or ´El balaju´. This first recording also included the piece ´La bamba´, which is known in many versions, like one from the rock-band Los Lobos.

But not only Graciana´s interpretation of these widely known evergreens won her the hearing of listeners outside Mexico. It was her special way of playing the harp ´a lo antigüito´, as she herself says. Her way is slower and less ornate than that of several of her colleagues, who since the 50s have been trying to make the son jarocho prettier and more commercial. Yet though the special colour of the harp´s sounds may be the most notable feature of Graciana´s music, she seldom uses the harp as a solo instrument. Rather it accompanies the décimas, the improvised song verses, in which the singer and her brother Pino reflect on anything and everything.

On hearing Graciana in 1997 in Mexico City, Ry Cooder was as delighted for her sones - the combination of the harp with cheeky and shrill singing. By then Graciana Silva was already used to presenting her music to an alien public, be it in other parts of Mexico or even abroad. As soon as her debut album appeared in 1994 she was invited to various festivals in Europe and the USA.

For her performances, La Negra Graciana appears with a typical son-jarocho ensemble. Besides her arpa jarocha there are two smaller percussive guitars, known as jarana, and also a requinto, a four-stringed guitar, which is plucked in a rhythm counter to the harp´s. Mexican sones have always been associated with certain dance-traditions, so Graciana´s concerts include dancers whenever possible, who contribute to the rhythms with their huapangos and zapateos.

The concept ´son´ stands in Mexico for a wide and various repertoire of traditional music with regional differences. The sones from Veracruz are called jarochos like the town´s residents. If La Negra Graciana is asked about her style of playing, she calls it ´very jarocho and veracruzano, since the whole area round the coastal town Veracruz is simply a place where jarochos have come together´.

Veracruz, the ´harbour of the New World´, in the Gulf of Mexico is where Cortés troops landed to found the first Mexican town. Its music´s rhythmic accents and echoes of call and response recall the African extraction of part of its population. And even the dark-haired Graciana Silva has this mixture in her own blood, which has brought her the affectionate nickname ´La Negra de Veracruz´.

Author: Katrin Wilke 

  

  

Graciana Silva, La Negra Graciana, is a unique artist in Mexican popular music: a harpist and singer from Veracruz who plays the classic repertoire of sones jarochos in a style that is difficult to hear in Mexico today. Her direct, impassioned vocals and the complex counter-rhythms that she plays so effortlessly on the harp suggest the West African influence in this music. Graciana, who's been playing professionally since she was 10 years old, is accompanied by her brother on jarana guitar and by Elena Huerta on the second harp and chorus although on several tracks she plays, as she prefers, alone.

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Yo no soy marinero, soy capitan...

  

La Bamba

1. José Gutiérrez y Los Hermanos Ochoa - La Bamba
2. La Negra Graciana - La Bamba
3. Lila Downs - La Bamba
4. La Negra Graciana With Trio Silva - La Bamba
5. Conjunto de Santiago Tuxtla  - La Bamba
6. Pedro Ruiz, Salterio - La Bamba
7. Mariachis Mexico - La Bamba
8. Orquesta Sinfónica de de Xalapa - La Bamba
9. Grupo Mono Blanco - La Bamba
10. Grupo Chicontepec - La Bamba
11. Chucho Gil y los Copleros - La Bamba
12. Alegrías De A Peso - La Bamba
13. Son de Mar - La Bamba
14. Conjunto Rio Blanco - La Bamba
15. Conjunto Jardin - La Bamba
16. Conjunto Jarocho Lindo Veracruz - La Bamba
17. Conjunto Jarocho Villa del Mar - La Bamba
18. Conjunto Villa del Mar - La Bamba
19. Son de Tres Zapotes - La Bamba
20. Los nacionales de Jacinto Gatica - La Bamba
21. Los Negritos - La Bamba
22. Los Rogacianos - La Bamba
23. Tlen Huicani y Lino Chavez - La Bamba
24. Son de Madera - La Bamba
25. Villa Cardel - La Bamba
26. VA - La Bamba
27. Los Vega - La Bamba
28. Mariachi Miguel Diaz - La Bamba
29. Tlen Huicani - La Bamba
30. La Negra Graciana - La Bamba
 

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"La Bamba" is a Mexican folk song, originally from the state of Veracruz.

Influenced by Spanish flamenco and a traditional mambo latin rhythm, the song uses jarana jarocha, guitar, and harp. Lyrics to the song greatly vary, as performers often improvise verses while performing. However, versions such as those by musical groups Mariachi Vargas de Tecalitlan and Los Pregoneros del Puerto have survived because of the artists' popularity. The traditional aspect of "La Bamba" lies in the tune itself, which remains the almost the same through most versions.The name of the dance, which has no direct English translation, is presumably connected with the Spanish verb bambolear, meaning "to shake" or perhaps "to stomp".

The traditional "La Bamba" is often played during weddings in Veracruz, where the bride and groom perform the accompanying dance. Today this wedding tradition is not done as frequently as in the past, but the dance is still popular, perhaps through the popularity of ballet folklórico. The dance is performed displaying the newly-wed couple’s unity through the performance of complicated, delicate steps in unison as well as through creation of a bow from a listón, a long red ribbon, using only their feet.

The "arriba" (literally "up") part of the song suggests the nature of the dance, in which the footwork, called "zapateado", is done faster and faster as the music tempo accelerates. The repeated lyric, "Yo no soy marinero, soy capitán" (lit: "I am not a sailor, I am a captain"), refers to Veracruz's marine locale and perhaps the husband's promise that he will remain faithful to his wife.
 

Para bailar la bamba
para bailar la bamba, se necesita
una copa di gracia,
una copa di gracia para mi, para ti.

Y arriba, y arriba,
y arriba, y arriba, por ti sere,
por ti sere, por ti sere.

Yo no soy marinero,
yo no soy marinero, soy capitán,
soy capitan, soy capitán.

Bamba la bamba.
Bamba la bamba.
Bamba la bamba.

  

The Son Jarocho is the result of a mixture of Spanish Seguidillas (For some reason this word has been deformed into "Seguiriyas") and Fandangos, with Cuban "Zapateados and Guajiras".

A unique 39 string harp is the very soul of "Jarocho music", does not only carry the melody, but the also the harmony, the speed and the ambiance of the "Son". Accompaniment is provided by other string instruments and the most commanding selection is "La Bamba". Regarded as the Veracruz anthem, La Bamba is just as popular as the famous Hat Dance for Mexicans. The song was definitely composed in Veracruz, but a strong Cuban accent can be perceived in the rhythm. Dancing is Spanish in essence, it is a courtship dance where partners take turns to execute an intricate foot stomping routine while tying a ribbon into a bow.
 

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Música Llanera 5

  

Juan Vicente Torrealba
Concierto En La Llanura

Tracks:

Disc 1:

1. Concierto En La Llanura 3:22
2. Campesina 2:26
3. Muchacha De Ojazos Negros 3:04
4. Barquisimeto 2:50
5. Secretos De Amor 3:43
6. Llano Apureño 2:22
7. Chaparralito Llanero 2:44
8. Rosario 2:33
9. Camino De La Esperanza 2:26
10. El Carnaval 2:59
11. El Cigarrón 2:23
12. El Gabán 2:55
13. Adiós A Madrid 2:29
14. Solo Con Las Estrellas 2:48
15. Romance En El Caney 2:22

Disc 2:

1. La Potranca Zaina 2:35
2. Noches De Porlamar 2:18
3. Madrugada Llanera 2:33
4. El Caminante 2:35
5. Rosa Angelina 2:39
6. Aquella Noche 2:30
7. Sabaneando 2:28
8. Soy Feliz 2:29
9. Venezuela Habla Cantando 2:11
10. Seis Numerado 2:22
11. Sinfonía Del Palmar 3:13
12. Caraqueña 3:15
13. La Paraulata 2:25
14. Alma Llanera 2:37
15. La Guayaba 2:44 

 

Harp: Juan Vicente Torrealba
Group: Los Torrealberos

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♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

Juan Vicente Torrealba is a timeless icon in the world of Venezuelan-Columbian/South American folk music in the true "joropo" style. This two-disc digital version of the best original vinyl record albums brings true delight to those who love this wonderful music.

Juan Vicente Torrealba Pérez (born February 20, 1917) in Caracas, Venezuela, is a Venezuelan harpist and composer of popular music.

Although born on the outskirts of Caracas, the family moved while he was very young to a ranch in Camaguán, Guárico. The poverty of the family and the region were such that he worked as a sharecropper, and did not complete his primary education. Restless, he took up the guitar, and by the age of 18 was giving public recitals, his style showing a strong Cuban influence. Feeling that he would never reach the standard to which he aspired, particularly after hearing Rodrigo Riera, he moved to Caracas and took employment as a bookkeeper in a newspaper.

It was in Caracas that he took up the arpa llanera, (i.e. the plains, or Venezuelan, harp), under the tutelage of Ignacio Figueredo. In 1947 he formed his own group, The Torrealberos, along with his brother Arturo, his nephew Santana Torrealba Leon, and vocalist Ángel Custodio Loyola. With this band, he was able to earn a living playing at social functions. He began writing music the following year, among his earliest compositions being Las Caricias de Cristina (Cristina's Caresses) and Concierto en la Llanura (Concert in the Plain) (1948). With the help of pianist María Luisa Escobar the band started recording, but sometime later (apparently over a dispute as to whether tips were for the singer or the band leader) Loyola left the group, and since then a number of vocalists have been contracted by the Torrealberos. The reputation of the group, and its traditional repertoire, spread beyond Venezuela, and by the 1960s they were touring in Europe and the U.S., as well as throughout Latin America.

His first collaboration with a full orchestra came with the 1971 album Rapsodia Llanera, and he continued to adapt his music, with the addition of keyboards and electronic amplification, and collaboration with musicians from Italy and Japan, as well as other Latin American countries, his music diversified. He disbanded Los Torrealberos temporarily in 1978 to form a dance orchestra, Juan Vicente Torrealba and his Super Beat 80, but this project only released one eponymous album. Thereafter, his band work took second place behind his solo career and playing alongside symphony orchestras, until he retired, complaining that his record company was not doing enough to promote his work, in 1986.

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recordings

one more :)

  

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