Pinguecula Do They Go Away?

Folkore, and more folklore Folklore Folklore


I have no doubt that the material sent by Martin to his club and jewels that provide its employees, are worthy of some appreciation.
I think it's the least they deserve ... Why do not I see?
But still, go on and on ...
That enjoyment.

"SANTIAGO TRIO"
"Exponents of a new generation of folklorists, members of SANTIAGO TRIO (Roberto Carabajal - hype and 1 st voice Peteco Carabajal - 1st guitar and 2nd voice Shalo Leguizamón - 2 ª guitar and 3 rd voice) recreate without departing from the traditional, folk themes in a fresh and youthful.
His story begins in a rock from Buenos Aires, where known, from there, the music matches the join begins to bear fruit, visible in his performance at festivals such as the "Wheat", in Fernández (Santiago del Estero), in Goya (Corrientes) in Punta Arenas (Chile), which were awarded in the grade: Intérprete Argentino.
This was accompanied by performances in clubs in several cities, as well as presentations on radio, TV Santiago, and Buenos Aires Goya. Finally edit Ests its first Long Play, where a short summary but mid-career and constant creative impetus. "

" SANTIAGO TRIO "
TONODISC - TON 1114 STEREO
PRODISA edited by SRL

01. SANTIAGO SOUTH (A. Petrocelli - S. Cuti Carabajal)
02. SONG FOR ME CHILD Hachero (H. Guarani - C. Carabajal)
03. SERENADE OF LOVE (O. Testa - S. Cuti Carabajal)
04. THE BARRANQUERAS (God J. Gallo - C. Carabajal)
05. Chacarera OF POLEAR ( C. Juarez - A. Carabajal)
06.
MY DREAMS 07. HAVE FOOT WIND (V. Heredia)
08. THE SWALLOWS (E. Falu - J. Davalos)
09. THE HIDDEN FROM Cachilo (Cachilo Diaz - A. Carabajal)
10. Chacarera OF JUMES (Brothers Simon)
11. THE BLACK Sinforoso (D. Toro - JE Piatelli)
12. FIRST POEM FOR MY WIFE (O. Testa - S. Cuti Carabajal)

Eladio contribution from Asturias


Ariel Ramirez y Jaime Torres
POPULAR
Philips 6447066

01. ROSA - (S. Roncal) - cueca
02. KANTUTITA - (Traditional Folklore Bolivia) - Kaluyo
03. UNDER THE SKIES OF POTOSI - (M. Nunez) - bailecito
04. THE PROCESSION OF Boon - (A. Ramirez) - misachicos
05. The Drones - (P. Blacut) - taquirari
06. SWEAR LOVE - (Traditional Folklore Bolivia) - bailecito
07. THE PILGRIMAGE - (A. Ramirez, F. Luna) - fingerprint
Pampa 08. THE CHARANGUITO - (A. Ramirez) - bailecito air
09. The cacharpaya - (DR) - Bolivian traditional huayno
10. Cursed - (RM de Morales) - Peruvian seafood
11. Taquin - (J. Torres, J. Davalos) - Bolivian cueca
12. RICHIGUAY MANCHA - (DR) (Reason popular) - bailecito


Martin de Rada Tilly


Ariel Ramirez
Folkdance ARGENTINAS
many years ago I wanted to make a record like the present for this debut Phillips.
While that's different from everything I've recorded on other labels, not far from my usual artistic activity. In recent
years, the public in Argentina and other foreign countries has seen me switch piano concert with theatrical presentations in front of my company's folklore. In other such opportunities
went from between boxes, a musical and choreography that is based on Argentine folklore. The dance is a fundamental part in these presentations and dancers whom I consider as representative of the country, worked with me at various times since the inception of the company in Montevideo (1955) Victor Gabriel Nieto, Ana Maria D'Alessandro, José Manuel Moreno, Nelly Ramicone, Alberto Barrientos, Isabel Osuna, are names that I can not ignore. Watching them
dance for many years, I learned that a dance does not need the commands to be interpreted and that the intent and heard enough. WHEREAS, in addition, the disclosure of our dances is such a good dancer that is delivered only to the native choreography, not being essential to the continued use of primitive rhythms and simple melodies.
Based on these arguments were made this Long Playing devoted to the national dance, respecting their choreographic and rhythmic forms, without necessarily lose interest and artistic music without straying at all from my usual style, except that now my way of interpreting folklore also come to to feel love for the native dances.
dancers will notice on a few songs recorded, the music goes beyond the natural rhythms corresponding to the traditional choreography. Is there music, like samba "The dawn" for example, asking these bars to dance "in", imaginatively, and to not break the emotion hit. To solve the problem
rhythm of this record, I committed the help of some "irreplaceable" Arnedo Mario Gallo (bass), Luciano and Julio Arce (guitar) and Jaime Torres (charango). The chamamé "My relic" was attended Raulito guitar Barbosa and John Ferrau, both Corrientes.
Ariel Ramirez Ariel Ramirez


Folkdance ARGENTINAS
Philips P13952 L

01. THE PARTNER - Oscar Valles - samba
02. PURE USHUTA - Lopez Echenique, Arr. Ariel Ramirez - chacarera
03. PURMAMARCA - popular topic, Arr. Ariel Ramirez - bailecito
04. THE CAFAYATE - Alfredo Oliva - cat
05. THE Catamarqueña - traditional Coll. Pacheco, Arr. Ariel Ramirez - samba
06. MY RELIC - Transit Cocomarola - chamamé
07. THE SANJUSTINO - Ariel Ramirez - hidden
08. THE DAWN - Mario Arnedo Gallo - samba
09. FOOTPRINT - traditional dance - Arr. Ariel Ramirez
10. BLOW DRY - Ariel Ramirez - Cat
11. LONG ago and far away - Ariel Ramirez - samba
12. AY MI PALOMITA - Armando Montenegro - Bolivian cueca


Contribution of Ernesto Carmona


ACADEMIC ORCHESTRA YOUTH THEATER LIBERTADOR

Córdoba - Argentina Academic

Youth Orchestra of the Teatro del Libertador emerged in 2005 and is designed as a training orchestra that gives our young musicians a high level of training and experience.
The aim is that these young people to integrate professional symphonic as, for instance, the Cordoba Symphony Orchestra and other similar formations existing across the country.
As you may recall, the closest antecedents to this type of joint training and development of young musicians are chamber orchestras Child and Youth Symphony, founded by the late maestro Carlos Giraudo
"For too long we had in mind to achieve recording with symphony orchestra and popular topics that are in memory of several generations of Argentines. Traveling Disk trays we can find material from all over the world with famous orchestras and conductors who perform popular songs for most ordinary people is not for any consumer of classical music, and thus is able to bring tastes. It is not easy to achieve but what we like? well, we were introduced to a symphony conductor, of Scottish origin, living in the country for 12 years, married with Argentina, delicious popular music. This helped us bridge the gap between the director Finlay Ferguson and 60 musicians of the Academic Orchestra of the Teatro del Libertador Youth, where its main stage, was recorded this excellent live footage. We do not recommend any issue, we should listen, we all remember some point in our lives. "

01. The Airplane
02. The Santa Lucia pulpera
03.
hobo song 04. From the soul
05. My dear mother
06.
white dove 07. The old accordion
08. Travel to arguello
09. Alla en el Rancho Grande
10. Cordoba City
11.
black eyes 12. The bobcat

Luis Saavedra
Contribution (whose niece is the 1st. Violin)

Milena Velb 'pregnant'

: Ariel Ramirez and Tumparenda

Much material and very good.
Another of the many gestures of Martin and a group of collaborators that allow us access to highly sought after and desired material.
That enjoyment to the fullest.

Ariel Ramírez y Jaime Torres
WITH PIANO AND CHARANGO
Volume II - Philips 6347047

01. LA LOCA - (A. Chazarreta) - chacarera
02. OH, COCHABAMBA - (Rio J.) - Taquirari
03. NOSTALGIAS Tucumanas - (A. Yupanqui) - samba
04. RICHIGUAY MANCHA - (Theme traditional) - bailecito
05. FORGET - (E. Jofre) - taquirari
06. SOLITUDE - (S. Roncal) - cueca
07. EL CONDOR PASA - (A. Robles) - Peruvian air
08. THE Telesita - (A. Chazarreta, A. Carbajal) - chacarera
09. Taquin - (J. Torres, J. Davalos) - Bolivian cueca
10. YOU DO NOT WANT TO GO - (A. Amaya) - samba
11. THE HUANCHAQUEÑA - (Traditional Theme) (DR) - cueca

Martin de Rada Tilly


ARIEL RAMIREZ
with Jaime Torres Charango FOLKLORE IN NEW DIMENSION


The content of this album certainly achieves ARIEL RAMIREZ NEW DIMENSION TO THE FOLKLORE SOUND. His piano "surprising rhythms, sometimes magical" as defined by the German critic Geyer, is now attached to the original voice, surly and bright charango. Ariel Ramirez presents for the first time the public discófilo a talented young artist, JAIME TORRES, who has put the popular instrument of some South American countries in an unimaginable until now.
charango, native instrument, is a sounding made with an armadillo shell (armadillo in English), animal which abounds in many parts of America. The string has five double strings separated by one eighth, his pitch MI LA MI DO SOL allows the dangling rope, an inversion of every chord, unknown in other similar instruments. He remained in the role of an accompanying instrument to the appearance of Mauro Nunez, Bolivian musician, creator of a new technique, which allowed the charango solo win a position. Jaime Torres, Argentina, Tucumán born 25 years ago, he learned his technique. The result is obvious in the band 4 on side 2 of the plate containing the theme "carrier" that Mauro Núñez is precisely the author and Jaime Torres is the soloist.
Another novelty in this registry Ariel Ramírez is different rhythmic treatment which gives the folklore, with stamps not used by traditionalists género.El piano, born of European culture and our people charango primitive, supported by the various nuances that produce various percussion instruments, common also to other areas of our continent. The hype legüero únense two congas and bongos. Importantly, such instruments are executed here by the percussionist Domingo Cura, Santiago del Estero home. Santiago del Estero has precisely rhythmic elements unique to the country and its musicians have a natural domain of its secrets.
Rounding out the rhythm group, Alfredo Remus (bass), Alberto Alcala (drums) and Jorge Padin (also on percussion and accessories). With all this equipment
Ariel Ramirez has accomplished what we call, quite justifiably, a new dimension to the folklore. The topics chosen are all very attractive, varied rhythms include Argentina and Bolivia.
Side 1 starts with ROSA, prolific author of Bolivian cueca Simeon Roncal. This is one of the most brilliant compositions Roncal meet in an album of 20 cuecas, edited for many years in Santiago Chile. Follow the Kaluyo THE KANTUTITA, cause of Bolivia's national folklore of unknown author. It was particularly prevalent in time of the Chaco War in 1932. The Kantuta is the national flower of Bolivia.
Then we hear the latest compositions of Ariel Ramírez, HEIGHT 2600, which is the point above sea level where the colorful valley of Cochabamba. It should be noted the initial dialogue between the piano and the charango, and marking very inspired American flavor. The chances of running Jaime Torres instrumentoindígena become evident.
We respect this artist, who analyzed Ramirez's long passages involving the charango seeking or discovering if you will, positions that would achieve the different chords you hear.
The 4 th band gives us the wrong one, chacarera truncated Ariel Ramírez. Legüero hype begins with a 3 / 4 time emphasizing that sets the pace weakest stem chacarera and then join it the other instruments. The piano sings the melody in dosillos, resulting in an original rhythmic contrast. Charango occasional participation gives this page a new color. And do not forget that this instrument was never involved in the implementation of chacareras or other native dances. Follow
SKIES IN POTOSI, bailecito Mauro Núñez. This is one of the most beautiful dances of the Highlands and piano and look charango making dissonant effects. In the "aura" final, a tap duo confronts us with the rhythmic precision of both performers. Ends
the first face of the disc of Calvimontes SANTA CRUZ Moon settlement and Ariel Ramírez. This page was one of the musical events of the IV Festival of Cosquín. Gender Carnaval Santa Cruz was born in a vast region of Bolivia and noted in his character Guarani influences. This contribution, due to the vicinity of Santa Cruz in Paraguay, at this rate gives a great sense American.
few years ago, during a tour of Jujuy, Ariel Ramírez composed BIRTH OF CHARANGO (Side 2, Band 1). Was dedicated to Jaime Torres for now is the sole interpreter and that the technical difficulties of its implementation in charango (spice] mind in two passages where there is a chromatic chord sequence), are insurmountable who has no control over the instrument's heritage Jaime Torres. The composition consists of two parts: a descriptive pentatonic scale and a vigorous, rhythmic (wayno). It is one of the most serious of the composer. 2
The band brings back the pace of the little dance. SWEAR called LOVE and song is full of tenderness Ariel Ramirez translated with remarkable expressiveness. It looks at the second introduction, Alfredo Remus on bass. THE PROCESSION OF Santito
(Band 3) is perhaps the most successful in nuance. His music describes the shift from traditional procession, common to many northern provinces. Formed by a small group of promesantes to carry her image of a saint under a glass dome and decorated with paper flowers, crosses leagues brightening with a pincullo music and rhythm of a drum, replaced in this version by rhythmic piano and ensemble. The nuance of "piano" to "forte" and vice versa, presents us with the passing of one of these processions. Then follows
Pascual taquirari Blacut The Drones, winning a contest held in Bolivia on the occasion of the carnival. Very noble and beautiful melodic line is the and very fast pace. Ends
disc THE SHORES OF CHOQUELLAPO Ariel Ramirez on a theme from a B. Calvimontes Vargas. While studying engineering at the University of Cordova, Vargas Calvimontes met Ariel Ramirez in 1944, this was a great opportunity to raise awareness of the melodies of Bolivian land. In memory of that friend, Ariel Ramirez hits a theme to supply it in a composition Calvimontes brilliantly closes this album, which certainly opens up new horizons for the folk genre.

ARIEL RAMIREZ - JAIME TORRES
FOLKLORE IN NEW DIMENSION


Philips 82029 PL 01. ROSA - (Simeon Roncal) - Cueca
02. LA KANUTITA - (Traditional Folklore Bolivia) - Kaluyo
03. ALTITUDE 2600 - (Ariel Ramírez)
04. THE WRONG - (Ariel Ramirez) - Chacarera
05. UNDER THE SKIES OF POTOSI - (Mauro Nuñez) - Bailecito
06. SANTA CRUZ - (Calvimontes, Luna Arr. A. Ramirez) - Carnaval Santa Cruz
07. THE BIRTH OF CHARANGO - (Ariel Ramírez)
08. SWEAR LOVE - (Traditional Folklore Bolivia) - Bailecito
09. THE PROCESSION OF Boon - (Ariel Ramirez) - Misachicos
10. THE ARRIERO - (Mauro Nuñez)
11. The Drones - (Pascual Blacut) - Taquirari
12. THE SHORES OF CHOQUELLAPO - (Ariel Ramírez, on a traditional theme taken Bolivian Calvimontes B. Vargas) Indian Fantasy

Martin de Rada Tilly

Ariel Ramírez
Waltz
Philips 6347200

01. FROM THE SOUL - H. Manzi, P. Vélez, R.
Melo 02. CATA - Julio De Caro
03. I DO NOT KNOW ME HAVE YOUR EYES - Francisco Canaro
04. SUMMER NIGHT - Roberto Firpo
05. TEARS AND SMILES - T. of Gullo
06. SANTIAGO DEL ESTERO - Andrés Chazarreta
07. THE AIRPLANE - P. Datta
08. OLGA - Francisco Peña
09. France - Octavio Barbero, Carlos Pesce
10. TU OLVIDO - V.

Espina Martín de Rada Tilly

tk As a good album, the sound is bad
FOLKLORE BY ARIEL RAMIREZ
"Pianist sorprentes rhythms, magical times ..."
Geyer-Stuttgart-Germany

ARIEL RAMIREZ - News Bio:
The concern for creating musical forms cultivated by developing original vernacular expressions, is a characteristic shared by many composers of our time. In Argentina, when discussing the issue, it is obligatory mention the name of ARIEL RAMIREZ. This composer, who is both an outstanding instrumental performer of a generation (born in Santa Fe in 1921) that not only considers necessary to meet the creative ways the people they set out to study deeply these expressions born in the solitude of a guitar in some unlikely corner of the desert, and in the simplicity of its structure has elements of communication-intensive and remarkable inspiration.
ARIEL RAMIREZ, since the beginning of his career, showed a serious interest in venture foIkIore knowledge of Argentine and South American musical. He spent these early years, crucial years of training, touring the regions of the country where more clearly preserved the authentic traits of folkIórica music, and spirit can create new forms within the tradition. Along with the academic study of music, ARIEL RAMIREZ was thus introduced into the mechanisms secrets of creating popular, their rhythmic structures, the spirit of melodic language. Equipped also
a natural talent for understanding and capturing these rhythms ARIEL RAMIREZ soon reached maturity of expression necessary to compose his first works, which were accepted immediately, in all environments, with warm interest. Over many years of earnest work, the artist has produced a work weighty for its size and quality. In 1950 began his travels outside the country. appearing as a performer of the music of Argentina in major concert halls in Paris, London, Rome, Milan, Bonn, Hamburg, Prague, Vienna, Madrid, Leningrad, Vatican City, Amsterdam, Antwerp etc. These continued touring, along with their presentations in various South American capitals as Lima, Santiago de Chile, La Paz, Montevideo, Asuncion, have built the international reputation of ARIEL RAMIREZ, that is, at this time, a figure well known and respected in their own country, Argentina.
The works included in the Long Playing, ARIEL RAMIREZ presented in a particularly happy time in his career, and in full possession of the structural elements of their music and an amazing mastery of native folklore. Some of these traditional forms ("The When, for example) transcribed and harmonises genuinely and transfiguring them without losing them, however, not one of their accents and original rhythms. This recording includes some of the latest compositions ARIEL RAMIREZ (like "always come back to San Juan" and "Creole Music box) for the first time putting them within reach of their fans and others of which are original recordings from long ago exhausted. RAMIREZ with the teacher. act in this long playing the charango and the dancer JAIME TORRES JOSE MANUEL MORENO.
JAIME TORRES, despite his youth (born in Tucumán, in 1939) is considered one of the first Argentine artists of the charango, an instrument widely used in popular northwestern Argentina, and that is made, as is known, with the shell of the armadillo and armadillo. The dry sound of the charango metal combines magically with the tessitura piano, producing a musical impression of the quality demonstrated by the recording of "Santa Cruz" and "The Birth of the charango, a work composed it especially for interpret RAMIREZ TORRES. The participation of JOSE MANUEL MORENO, notable Argentine dancer whose art attracted the admiration of audiences and critics in Europe during the tour he did with Ramirez in 1957, can offer first-time recording and music tap the great traditional dance of Argentina, the Malambo. On the captivating malambo transcription achieved by ARIEL RAMIREZ on piano, stomping of MORENO, sometimes strong, sometimes almost a sigh softest soles on the floor, creates a truly frightening sound calligraphy.
For the recording of "Flower chacarera" Ramirez got the musician's rhythmic contribution santiagueño Arnedo Mario Gallo, notable interpreter of bass, percussion instrument popular in northwestern Argentina.

FOLKLORE BY ARIEL RAMIREZ


tk 90-072 LD 01. SANTA CRUZ - Santa Cruz carnival (Calvimonte) piano and charango
02. Always return to SAN JUAN - Zamba (A. Ramirez) piano
03. SPURS DANCE - Dance (Arturo Schianca) piano
04. THE WHEN - Traditional Dance (Version of Ariel Ramírez) piano
05. CREOLE MUSIC BOX - (A. Ramirez) piano
06. Missionettes - Gallop (Lucas Braulio Areco) piano and guitar
07. Four directions - Malambo (A. Ramirez) piano and tap
08. IN THE PARANA ZAMBA - Zamba (A. Ramirez, J. Davalos) piano
09. EL SERENO - Dance Cuyo (Version Alberto Rodriguez) piano
10. Milonga - On an issue of the South (A. Ramirez) piano
11. FLOR Chacarera - chacarera (Diaz Brothers) piano, bass and guitar
12. THE BIRTH OF CHARANGO - (A. Ramirez) piano and charango

ARIEL RAMIREZ, Jaime Torres
piano, charango
Abel Figueroa, Mario Arnedo Gallo
guitar, bass
José Manuel Moreno, tap

Martin de Rada Tilly

Errata
Ariel Ramirez on the album FOLKLORE BY ARIEL RAMIREZ

be "dropped" 2 tracks:
11 -FLOR-chacarera Chacarera
12-THE BIRTH OF CHARANGO

are here

TUMPARENDA - Zambas for you

01. YOU LIKE FLOWERS - (Zamba) - Mario "Tucano" Gutierrez - Roberto Zapiola
02. AT THE FOOT OF A CARDON - (Zamba) - Angel Ariel Petrocelli - Oscar Villagrán
03. ENGAÑERA - (Zamba) - Julio Argentino Jerez
04. THE LOPEZ PEREYRA - (Zamba) - Artidorio
Crescieri 05. REMEMBER Salta - (Zamba) - Mark Tames - Ramón Burgos
06. THE HUANCHAQUEÑA - (Aire de cueca) - Mot.Popular-Rec: Sergio Horacio Villar
07. ZAMBA OF tolderías - (Zamba) - Fernando Portal - Oscar Valles - EJDojorti
08. Are clearly - (Zamba) - Atahualpa Yupanqui - Second Aredes
09. ZAMBA MILLS - (Zamba) - Martín Miguel Dávalos
10. EL INDIO MUERTO - (Zamba) - Gerardo Ramón López O.
11. MAMA VIEJA - (Zamba) - Juan Manuel García Ferrari - Juan Larenza - L. Bayard
12. ZAMBA OF MY HOPE - (Zamba) - Luis H. Morales


Tumparenda
Zambas for you
BO/LIL-30.082
Lauro International Records Emilio Panozo: Recording and Mixing Studios Recorded
"LAURO"
Cochabamba - Bolivia
Industry JOSE MIGUEL BERRIOS
:
First and third voice;
Founder and former member of the famous Argentine folk group "LOS DE SALTA" (25 years) Author of numerous successes.

EDUARDO "Turko" MONTES
First guitar and third voice
folkloric composer.
former member of the group "GAUCHOS RIOJAN" (14 years)

MARIANO ANTONIO COW
Guitar accompaniment.
first and second voice. Composer
Argentine and Latin American folk songs.
Founder and former member of "Los de Salta" (25 years)

RAUL SALAZAR PAUL EICHLER
Low. Harmonizer
second guitar and arrangements
was 10 years of the ensemble of "LOS DE SALTA"
TUMPARENDA

chiriguano dialect: "God's country or place of Heaven"
was formed on 04/16/1984. RCA albums in Argentina 's most popular shows in festivals
Argentina-tours throughout the country.
in Bolivia: Santa Cruz International Fair 1988
Festifront 1988 (Yacuiba)

Palladium Hotel Santa Cruz Plaza (La Paz)
Arawi Peña (Cochabamba) Show
Chaplin (Santa Cruz)
The Horsemen and The Shield (La Paz) Restaurant
Verona (La Paz), among others.

TUMPARENDA: New training, with the aim of a new proposal in the way the song
Argentina, to the brotherhood of peoples.

friends contribution Salta.


TUMPARENDA

01. I'm the Inca - (Huayno) - Ariel Petrocelli - Lito Nieva
02.Cuando'm sad - (Song) - J. Pedroni - D. Sanchez
03. Flagger Cat - (Cat) - Waldo Belloso - Zulema Alcayaga
04. Weep No More - (Vidal) - Arturo Davalos
05. Mamitay - (Zamba) - Popular
Reason 06. Why La Rioja had to be - (Chaya) - Ariel Petrocelli - Enrique Ibarra
07. Your love will not return - (Song) - Blazquez Eladia
08. The COYU and the tortoise - (Escondido) - Trullenque - Carabajal
09. Home - (Song) - Juna Carlos Davalos - Julio Cesar Isella
10. Zamba of the guerrilla - (Zamba) - Arturo Davalos

Art Direction: Adolfo San Martín

TLP-50282 RCA VICTOR
(P) 1985 - RCA Records

One thing is folklore, folk music and song. And another tradition.
The first is knowledge of people and evolve as the town taps into new and changing stimuli.
The second - traditional - attempt to recover at least some features of a past that is at times and places.
For this quartet of Fernando Xamena, Ralo Salazar, Roberto Mariano Marrupe and Vaca,
symbiosis of folk and traditional turns into beautiful songs imbued with the taste and flavor of their land.
Its purpose is evidenced in their own version of the resonances of the land of their birth and humanized their experiences. For this run and interpret - in perspective - A PROJECTION TRADITIONAL FOLK SONG.
There are, of course, a group of musicians improvised thrown into the quest for a record market or as examples of a public spectacle and deafened by bright delusional scenarios. Come from other dispersed groups, other valid experiences. But try to be sober not contained prescriptions that limit the endless slope that encourages and invigorates.
weeded out in the genre so popular have the old arrangements and the primal sap trying, while talking a language according to rules of the time due to them as acting and thinking beings. That is, the mark of current art does not only creation but also a definite feeling.
Nothing better then the name they have given a whole: "TUMPARENDA" God's land. RAUL

ARAOZ ANZOATEGUI
Bs.As. June 1985 Contribution


friends
Tumparenda Salta and The Haravicus
Musicario

Miracle Water Miracle 01-02-

Courtship of reunion 03-March 04-Sores

Esteco Misachicos and baguala 05-06-
reaches God's people
07-Hymn to the Virgin of the Miracle
08-Hymn to the Lord of Miracles
infinite America
09-10-I 11-The Inca

Antigal 12-Alma llanera


CONTRIBUTIONS OF FRIENDS Salta

Labrador Und Boxer Mix

Pantoja, Coria and White Voices ... more?

always say that Martin is giving and giving, so that the clubs of our readers have the best of the best. And this installment, is very special. Popular music of Peru that Peru, which we know little, but we love. Don Antonio Pantoja and his great contribution to world culture. With the mere mention enough to give a touch of passion and affection for their ancestral music. Quique
Coria, with exclusive material and White Voices, putting quality and technology at the service of poetry and music of Don Ata. Thanks to Martin, to his eternal and detached partners.
That enjoyment.


Don Antonio Pantoja
Accepted originated in the Quechua people of southern Peru, the QUENA is perhaps the most important tool musical legacy by them to the wonder and cultural concerns of the generations.
formats and sizes that have been built flutes vary in length, number of holes and materials. Currently used only by exception flutes whose characteristics do not meet the common use of the cane, over thirty or thirty-five centimeters and distributed as six holes of the flute.
Closely linked to the expression of peoples exponents of the instrument, the flute is an important part of legend, whether romantic, happy, sad and even funerals. It is not hard to imagine the charm which transmits the sound of the flute, attract those born in the land where the voice of the instrument champion before the Incas. Few, very few people were listening to his accent dollars beyond the home, perhaps none as Antonio Pantoja. PANTOJA
began playing the flute at an early age and learned to make small his own flute. In his native Ayacucho (Peru) moved to Lima, where he joined the "chamber quartet (ncako), which was broadcast on National Radio and broadcast by the BBC in London. After its successful passage through Europe, came to Buenos PANTOJA Aires in 1941 with the whole acting with Yma Sumac, hired by Radio Belgrano. PANTOJA ANTONIO Since then settled in the River de la Plata, from where he spread the art of his instrument, with unique property, making them feel in their sound, the spirit of his race, his passion, nostalgia for his ancestry, perhaps expressing the message of their ancestors, to unravel the mystery Tahuanti man of his.
artistic and musical dimension that takes the flute played by Pantoja, made it as the best instrument specialist. Along with her deep knowledge of folklore, its innovative spirit and personal style and approach, enhances the inspired creation of songs like "San Santiaguito", "The Sicuri", an issue dedicated to the performers of the instrument called "Sicue", as that a flute North of aerophones Argentino, built with small tubes from largest to smallest size and appearance similar to those used by street sharpeners.
The Labrador, a product of inspiration baguala ANTONIO PANTOJA discovers a surprising and valuable facet of our artist. Pantoja baguala interprets the Jew's harp, a small instrument that consists of a flexible metal tab attached to a bra-shaped metal frame that the player holds in his mouth ajar, which makes a sounding board. This wonderful interpretation birimbao Pantoja is one of the highest representatives of their entire folk music scholarship, which allows you to extract the crude instrument grandiose melody.
In "The CHOFERCITO" cheerful description of a character recognized in the North and "TAPE RESIDENCE" rogues idyllic song yet naive nuances, there is an amazing voice with the whole assembly and identified with the music: it's MARTA INES PANTOJA.
PANTOJA ANTONIO Returning to the recording rooms, opens the possibility to exhibit the fruits of their research concerns and qualities of first and performer in his field.

Antonio Pantoja and a whole TON-1039 Tonodisc


01. THE LABRADOR - (Antonio Pantoja)
02. SAN Santiaguito - (Antonio Pantoja)
03. RESIDENCE TAPE - (I. Argentina) (*)
04. LA HONDA - (Antonio Pantoja)
05. VIRGIN OF THE SUN - (Moises Vivanco)
06. OFELIA - (R. González)
07. THE Sicuri - (Antonio Pantoja)
08. THE Chapaco - (Jorge Montenegro)
09. THE CHOFERCITO - (Pizarro Cerrón) (*)
10. WIND IN THE ANDES - (Jorge Montenegro)
11. DEEP SADNESS - (Tarateños Rojas)
12. RETRETA HOURS - (Antonio Pantoja)

(*) Singing: MARTA INES PANTOJA


Joint Indo-American Antonio Pantoja

COPLAS quebradeño

01. FIESTA AYMARA - Dance
02. THE Rogue - Dance
03. CASPIAN SPOON - Zamba - (wooden spoon)
04. Celebration - carnival
05. CUEQUITA OF Coyas - Cueca
06. THE PATRIOTIC - Escondido
07. Zamba de Vargas - Zamba
08. QUENAS CRYING - Yaraví
09. THE DOUBLE - Chacarera
10. Charanguero - Bailecito
11. COPLAS Quebrada - Baguala
12. THE Llamera - Liturgical Dance
13. PALMS - Polka Bolivian
14. THE HUMAUAQUEÑO - Carnavalito glosses

2 With 4 and 11 chorus sung by Rosita de la Rioja
13 Chorus sung by The brunette.

Martin de Rada Tilly

Latin Touch (1997)


by Enrique Coria Enrique Coria's second single for Acoustic Disc recording is a mixture of solo, duo and trio settings by Variety of South American composers. Producer David Grisman, who earlier hired Coria for his quintet, is a special guest on "Delicado," engaging the guitarist in some terrific interplay in this upbeat piece. Coria arranged Lito Vitale's "Milonga del 71" for a duet with another Grisman sideman, flutist Matt Eakle. But the most compelling pairings feature Coria with bandoneon player Walter Rios, including one by bandoneon master Astor Piazzolla (with whom Rios played), the moving ballad "Adios Nonino," and another by bandoneonist Anibal Trollo, the charming tango waltz "Romance de Barrio." Coria especially shines on the solo track. These exemplary performances by this masterful guitarist deserve a follow-up recording. ~ Ken Dryden, All Music Guide

---------------------------------------

Enrique "Quique" Coria, Argentina, Cordoba and a guitarist really ...
(From the Tunnel Duo page)
On this album, you can find works by notable contemporary composers from South America, citing as an example, Eduardo Falu, of Argentina, Antonio Lauro, Agustin Barrios of Venezuela and Mangoré of Paraguay. In the compositions included on the disc, mixing classic European-style harmonies typical of South America, assembly that is enriched with sensitivity and taste interpretive Enrique Coria. Quique

About Coria ...
"My father gave me a English guitar when I was 12 years old and I went crazy, "says Quique." I was always thinking of the guitar. Forever. "Learned the basic chords of a musician she met in Dique Los Molinos, a town in the province of Cordoba in Argentina, where they spent the first years of life. At age 15, he moved to the city of Cordoba, decided to start his career as a guitarist.
Immediately, he began playing folk music of Argentina in different groups, clubs and festivals in his home province. At age 18 he moved to Buenos Aires, to integrate a large group of that time: The Rundunes.
At age 20, began to play with a singer of great popularity in Argentina at the time: Hernan Figueroa Reyes. Through this, he could meet and come into contact with the great performers of the day. Just one of these, Jorge Martinez Zarate, began studying classical guitar.
Throughout more than 20 years, Enrique Coria has made over 400 recordings with popular groups from Argentina, Chile, Uruguay and Bolivia. He has recorded two solo albums Guitar: Solos from South America "(Acoustic Disc ACD-6), and" Latin Touch "(Acoustic Disc ACD-23).
Today, US-based, activity alternates playing solo guitar in the band of David Grisman, which was incorporated in 1994.
The current Grisman Quintet, Joe Craven (violin), David Grisman (mandolin), Jim Kerwin (bass), Matt Eakle (flute) and Enrique Coria (guitar).


Enrique 'Quique' Coria
LATIN TOUCH
Acoustic Disc ACD-23 (USA)

01. Adios Nonino - Astor Piazzolla - Walter Rios, bandoneon
02. MAMITAI - Gustavo "Cuchi" Leguizamon
03. Milonga del Angel - Astor Piazzolla - Paul Hanson, bassoon
04. REUNION - Enrique Coria - with Nicolas 'Colacho' Brizuela, Ruben Lobo guitar, percussion
05. CHANGES Milonga - Eduardo Falu
06. ROMANCE DE BARRIO - A. Troilo / H. Manzi - with W. Rios, bandoneon
07. TWIG IN Florda Falú / José Ríos - with Carlos Crespo, dulcimer and flute
08. DELICATE - Waldir Azevedo) with David Grisman - mandolin
09. Verano Porteno - Astor Piazzolla - Walter Rios, bandoneon
10. POWER STONE - Nicolas Brizuela) with Nicolas 'Colacho' Brizuela, Ruben Lobo guitar, percussion
11. CHORO not. 1 - Heitor Villa-Lobos
12. Milonga del 71 - Lito Vitale with Matt Eakle, flute
13. THE DAY THAT I WANT - Carlos Gardel / Alfredo Le Pera - with Walter Rios, bandoneon
Produced by David Grisman & Enrique Coria

Contribution "Bocha" Martinez Jr


The White Voices sing

Philips Atahualpa Yupanqui 1972 6347069

01. THE INDIAN WAY OF
02. THE ARRIERO
03. THE FORGOTTEN
04. MEMORIES OF HATCH
05. CRICKET ZAMBA
06. ASLEEP Indiecita
07. THE ALAZAN
08. THE STONES
Chacarera 09. Luna Tucumana
10. MY CART SHAFTS

Contribution of Adrian, from Mexico.

Where To Wear A Pin On A Dress Shirt

need Ayudaaaaaaaaaaa!!

turns out that my machine is half-old woman, poor thing. Which does have some drawbacks to download, I did not know which is worse for subjects up to a server to put in the blog. What
I want to know is:
it my machine?
it my internet connection?
is why I am a pumpkin?
I wanted to raise three issues, a total of 12 MB and I got to take 3 hours 22 minutes 11 seconds, what seemed like sheer madness.
I also do other things, not just the blog address.
Or is that the time taken regularly?
If anyone knows what happens, I ask for advice.
Of course, THANKS.


Alemán56

Best Place To Read Naruto

Alberto Merlo and number of MP A

More, Martin de Rada always Tilly and his collaborators. In this case a series to follow links to the artistic life of Don Alberto Merlo, MPA some of their harvest and two Patagonian a collaborator. There is much information and very clear so that you have everything properly.
That enjoyment. Alberto Merlo


SONG BECAUSE
Gallery Odeon 9059 - 1969

0l. THE PEÑALOZA - Zamba - (A. Merlo, JC Zaraik Goulu)
02. PAMPA - Style - (E. Andrade, R. Lambertucci)
03. THE ALAZAN - Song - (P. del Cerro, A. Yupanqui)
04. BECAUSE SINGING - Cifra - (H. Lima Quintana)
05. LET THE HARVEST - Zamba - (E. Falu, J.Dáva1os)
06. PRAY THE DANCE - Chacarera - (JB Diaz, Ch Rodriguez)
07. TIME I 'MAMA - Zamba - (P. Giménez)
08. NATIVE PONY - Milonga - (E. Andrade, R. Lambertucci)
09. Bordon - Milonga - (A. Yupanqui)
10. Zambito OF BEYOND - Zamba - (JA Jerez)
11. Chacarera THE SAD - Chacarera - (Brothers Simon)
12. THE MOTE - Bailecito - (C. Smith)

Don Alberto Merlo Alberto Merlo



LET THE WINDS
SILBER
If it is true that the song is essentially one-man Surer and if it is true that the Martin Fierro that reveals that it should not matter too much the quality of the singer but the "foundation" of what song would be as logical balance that anyone - regardless of his vocal and musical - can "catch" on guitar with a chance of being heard attentively and applauded with fervor.
And this is - more or less - the essence, the spirit of the meetings Creole cookers, clubs and meetings around blue and white guitars, singing as they arise spontaneously, floreadores and decision makers from all corners ... But, in all ages were singers who joined "the foundation sing" a vocal and expressive conditions unusual.
In our time, the quintessential singer Surer is - without doubt - Don Alberto Merlo who unites the vocal qualities of the great re-creative with good guitar and the compliment and complete gentleman, that is, a good man, the citizen fair . That is why in his voice take on new and unique flavor of old hits Surer, many of whom will find in this LP contains twelve songs, twelve creations Alberto Merlo, who will be taking over, width and depth of our south ... landscape condition found only in the true artists. .
I think this LP its content is a true "missed" not only for Merlo fans, but for all lovers of the usual ways Surer ridge. A plaque to put on the record player, comfortable in the favorite chair and "let the wind whistle." ESTEBAN
DECORAL Toselli

Alberto Merlo
LET THE WINDS
SILBER

Odeon 4316 01. THE LAST JOURNEY - milonga - (F. Gandola and R. Araya)
02. Tusar AL ping - number - (Hnos Rodriguez and Charrúa)
03. THE SAN CARLOS - Win - (F. Chamorro and Villaverde GA)
04. GALLO POOR Bataraz - style song - (C. Gardel and Herschel AC)
05. LET THE WINDS SILBER - milonga - (R. Araya and RR Reparaz)
06. A PEON ... SECOND MOLINA - report - (VA Giménez)
07. FIELD OF PEON MILONGA - milonga (J. Razzano and Atahualpa Yupanqui)
08. BUTTERFLY - Style - (C. Gardel and J. Razzano)
09. SHED TO STAY - figure (C. Ocampo and Charrúa Montbrun)
10. TO YOUR RANCHO - fingerprint - (A. O. Merlo and Andino)
11. RAVE GAUCHO - Waltz - (A. Gobbi)
12. THE THING IS PA'MI ANSI - milonga - (A. O. Merlo and Andino)

2 - 5 - 8 to 11 with Carlos Garcia and his Orchestra

Don Alberto Merlo


Popular Musicians Argentino
BEST
MPA 01-This morning I sing (Song) Jacinto Piedra
02-like birds in the air (Song) 03-
Carabajal Peteco Bridge Road (Chacarera) Music: Peteco Carabajal - Lyrics: Carlos Carabajal
say 04-porridge (Huayno) Poem: Antonio Esteban Agüero - Music: Peteco Carabajal
05-Let me tell you a dream (Air chacarera) Jacinto Piedra
06-A widow (Zamba) Cuchi Leguizamon 07-
brujito The song (song) Peteco Carabajal
08-A Old Song (Song) 09-
Jacinto Piedra field is waiting (Jack) Peteco Carabajal
10-Maturana (Zamba) Manuel J. Castilla - Cuchi Leguizamon
11-The humahuaqueño (carnival) Edmundo Saldivar (h) 12-Don Sixto
Palavecino (Chacarera) León Gieco


Items 1, 2, 3, 4, 5 and 6: Recorded live. 22/23, Teatro Astral November 1985. Topics
7 to 12: Recorded March 1987 in the Panda Research
Item 7-Chango: low / Mono: flute, vocals / Jacinto: ovation guitar, voice / Peteco: electric guitar, voice / Veronica: keyboards, vocals / Luis A. Gurevich: keyboards
Item 8-Chango: guitar ovation / Mono: flute / Peteco: electric guitar / Jacinto: voice / Lito Vitale: bass / Oscar Kreimer: sax / Luis A. Gurevich: keyboards
Item 9-Peteco: ovation guitar, violin / Jacinto: guitar ovation / Chango: bass, drums / Veronica: percussion / Mono: flute
Item 10-Chango: vocals, electric guitar, bass and drum / Mono: flute , chorus / Jacinto: Chorus / Veronica: coro
Tema 11-Chango: batería, bajo, guitarra ovation / Peteco: violín, quena, coro / Mono: flauta, coro / Verónica: teclados, coro / Jacinto: coro, guitarra eléctrica / Luis A. Gurevich: teclados, piano
Tema 12-Chango: bajo, voz, bombo / Peteco: guitarra eléctrica, voz / Jacinto: guitarra ovation, voz / Verónica: voz / Mono: flauta, voz

Martín de Rada Tilly


Aporte de Agustín, otro patagónico de Río Grande, satisfaciendo un pedido:

Hola Martín:

Tal como te prometí te dejé en Rapidshare los dos LP de MPA.

You enjoy. A hug.

Augustine, Rio Grande

Pokemon Soul Silver Vba

If Leonel Hipólito

Banninter case and the perversity of political groups

By Miguel Espaillat.

Intercontinental Bank (Banninter) was created by Mr. Romano Ramon Baez Ramon Baez Figueroa's father in 1986, ie at the time of its bankruptcy in April of 2003 the bank had established 16 years and 9 months . From these data we conclude that the existence of it against the government in power was distributed as follows.

1984 - 1988 Dr. Joaquín Balaguer

-------------------------------- 2 years from 1988 to 1992 Dr. Joaquin Balaguer ---------------------

---------- 4 years from 1992 to 1996 Dr. Joaquín Balaguer ----------------------------- -

4 years from 1996 to 2000 Dr. Leonel Fernández

------------------------------ 4 years from 2000 to 2004 Agronomist Hipólito Mejía -------------------------- 2 years and 9 months.

From these data follows: The existence of Banninter respect to the government in power: 10 years with Joaquin Balaguer, Leonel Fernández to 4 years, Hipólito Mejía 2 years and 9 months, a total of 16 years and 9 months. Reasons

bankruptcy.

Beginning with the license of its owner, Ramón Báez Figueroa, spent on its maintenance a million dollars a month (more than one million Dominican pesos daily). This gentleman was the most expensive and exquisite treats, for example, a yacht of 14 million dollars, luxurious mansions in different parts of the world, the world's most sophisticated cars, expensive works of art, private air transport and so on.
also contributed, with the bankruptcy of this bank, many of Dominican politicians, military leaders, religious, journalists and media owners, among whom were distributed, thousands of millions of pesos and dollars. Verbigracia Dr. Leonel Fernandez, had received 100 million pesos for its institution "Global and Development Foundation (Fungloble) and the time of bankruptcy, he earned a salary of RD $ 150,000.00 monthly as legal advisor of the bank.

At the time of bankruptcy (April 7, 2003) Mr. Baez and owned the Listin Diario, and other influential newspapers and magazines, as well as four television stations, cable service and over 70 radio stations.

gained influence by Mr. Baez in Dominican society, exercised through subtle and effective weight of money, used wasteful to buy consciences and loyalties and to set aside ideology and principles, devenían to incapacitate the individual independence of action of bribes, which for that reason happens to be an accomplice and a subordinate of who pays.

From the standpoint of political sociology, Mr. Figueroa given the power purchased by it and its application in Dominican society constituted a state within a state. His power was so great that their investments in the media were contributing to the limitation of press freedom since the media was manipulated by information for the convenience of their interests. And politically millionaires deliveries political figures, military and religious, they did something similar to be like a godfather mafia-style organization of the "Cosa Nostra." Mr. Baez was so powerful, as the head of the Dominican State.

The failure of bank fraud came brewing for 14 years. In this situation of long standing, the current government and the relevant Bank supervision, evading the responsibility of guardian and watchdog of the functioning of banks. All governments preceded Hippolytus knew about the problem, but none wanted to GET WITH hand, were silent, preferring to pass the package to another. The economic commitments, by bribes of money received, prevented governments and officials have the moral to uncover fraud in question as that of the company, were complicit subordinates.

For example, is that moral Leonel Fernandez had done? years if he had received millions of Baez for his presidential campaign from 1996 to 2000. This pairing was so deep that leaving the power Leonel received 100 million for its "Global and Development Foundation (Funglobe) and earned, RD $ 150. 000. 00 as the legal advisor of the bank. This wedlock to come so far in the trial that followed Baez and bands, Leonel influences brought to power, to be minimum penalties to be imposed on those groups involved in the fraud that has plunged the country economically, with a debt that weighed for 20 years on the shoulders of the most deprived.

When Hippolytus came to power and the bank was broken. Just play it that government postponed the unveiling because it had had enough. The millions who stole Pepe Goico is coconut straw, which in no way going to break that camp. That was only the glass that filled the glass. The millions wasted in the 12 years prior to Hippolytus, Baez's personal expenses and spent millions bribing the politicians, military and religious leaders to buy and other mismanagement of operations and financial lending, were the real reasons for this want.

happens now that shrewdly exploiting the ignorance Leonel the Dominican people in these complicated issues of political economy, banking, he blames this failure on the government of Hipólito terrible, like Pilate washing his hands bypassing, that is one of the major players in the bankruptcy of this bank. Hipólito

What did was a mishandling of the bankruptcy, but it was postponed. The error was Hipólito evil that violated the monetary and financial law requires that deposits be honored up to 500 thousand pesos. But Mr. Mejia in a fit of servility to 45 pay these depositors total deposits. It is known that among them was paid Guaroa Lira 500 million, ie 495 000 000 500 000 pesos more than I remembered the law for these cases. The government, in this case, the Mejia, had to proceed as required by law, liquidate the bank and its assets to pay savers and depositors. The non-application of this law has placed on all Dominicans and Dominican obligation to return the stolen money, posing with it, that we are all co-authors of the scam when Banninter.

Mejía What made so unfortunate as to take? Mejia first plan was re-elected and the media needed to make his reelection campaign that were held by Báez Figueroa and supported the rise of Leonel.

Second, Mejia believed that handing money to those 45 millionaires, conquer for reelection because, as most of them belonged to the stable Leonel policy.

What happened? In this crisis all who received the money he reached the astronomical sum of 55 billion, immediately proceeded to change in the dollar, which resulted in that currency shot up more than 50 by one, which also generated a inflation not seen in the Dominican Republic. That

inflation generated by the rising dollar, but that fell corruption in government, love of the word profane and mocking the holder is reversed against. As we say, the ruling came out el tiro por la culata.

Eso sucedió porque Mejía no tiene formación política, y porque no es un hombre de ideales y convicciones revolucionarias. Recordemos que el se crió en un hogar trujillista. El mismo pregona que su padre fue un gran trujillista. La llegada al poder de esa mentalidad fue por una casualidad, no porque el haya tenido las condiciones de meritos intelectuales y políticos para ello. El no tenia la capacidad para prever una situación, cuyas consecuencias, no necesitaba de mayores análisis. El no tiene el conocimiento del método del materialismo histórico, que lo hubiese llevado o habilitado para interpretar dialécticamente el o los resultados de sus actuaciones políticas. Esas lecturas son beyond their intellect.

In the next block, and was waiting like hungry wolves waiting Leonel Fernandez, who unlike Mejia if you have the intellectual, but unfortunately for our people do not have the moral. Its head of state management and has proven to be fulfilled in his person and succinct maxim that express Simón Bolívar, "Talent without integrity is a scourge"

Leonel came to power in August 2004, supported by a group Banninter that former President Mejia had favored breaking the law, the payment of all deposits them in the bankrupt bank, despite which, could not conquer for re-election cause. Also favored him, Mejia's unpopularity and the crisis unleashed by the collapse in question, as was inflation and the rising dollar, which as I explained in this crisis Leonel Fernandez has more responsibility than Hipólito Mejía. We currently

Leonel in power for two exceptional circumstances. The first because I support Balaguer, (1996 - 2000) and second, because the actual return suitable Hippolytus, (2004 - 2008)
This second period of Dr. Fernandez has been a lot of legal and economic benefit for that group broke Banninter and and the president himself, his ministers and officials.

For the group responsible for the failure of Banninter, its benefits with the government of Leonel are summarized in the low penalties they will receive for their crimes of bank fraud and its reshoring as key bodies in the gears social, political and economic development of the Dominican Republic .

As the reader can deduce, this analysis is not available to most of our people voting. A people, as said Juan Bosch, a political backwardness of hundreds of years, can not figure out about things that are not in politics, which are larger than they look. For these reasons, many people are justifying the train from Villa Mella to the Fair, although many of them, are employment, their children go to school ill-fed, no medical care, suffer blackouts a week, hear from the corruption of government, live off the remittances their relatives send them from abroad, so they say the train is progress, and will say, though they know that this transport system is a burden to the state because to operate the government will have to subsidize it with 11 million pesos a day.

With such a people, and where their political leaders revel in the intellectual tigueraje their political and spiritual guide, and justify the rampant corruption as a means to stay in power, unscrupulous group who have broken a Banniter to Leonel Fernández and his acolytes, and other groups no less perverse, it is easy to campaign with the advertising spot, E'pa'lante we go, because in that town, a large majority can not see, that later, so there is a huge cliff.

Grullon Miguel Espaillat is a lawyer and agronomist

How Can I Get Pokemon On My Mac

Folklore and best

Gordito have to die crotos said one native to a piglet on the coals. Over Martin de Rada Tilly, most of his remarkable generosity. of him and his staff, so great and kind as Martin.
That enjoyment. Alberto Merlo


the mole on my Tropilla

Alberto Merlo is now entering its herd, for its consistent quality I think it is "a flock of hair."
For luxury, nothing more, could not miss "the mole"
Let's be clear: The old Creoles often included in their herds, when animals were Disable ALL the same color or "hair", a different, hence called "the moon." A chrome-aesthetic sense, while differentiation with other herds that have hair.
Personally I think Alberto Merlo, itself, is the "Moon of the troop" of the Southern Singers. Well differentiated by a mature personality, and a serenity that could be called "tame down", but if we press it spurs a confrontation arises instantly singing spirit of freedom. .
With deep respect, very clear Elective concept southerner, took to the album's name from a poem by Omar Menvielle. And just on their own, throwing verija responsibility, not to lengthen the canter, keep cool your pingo deletes the second tenth, that for me it paints a picture Alberto Merlo in the southern ridge.

Dib 'abarajando
brake wear by the priendas
and playing with the reins
was quiet and serene

Bagüalito more than good I can never forget, so

have to provide or criticize, perhaps, that singing
the piebald
wheezing
not let this tenth
wish it were mine. and I would have devoted to this singer without breaking the formation of the herd, by air than is just, "THE LUNAR of the troop." 0svaldo
R. ANDEAN

ALVAREZ Alberto Merlo
the mole on my Tropilla

Odeon 5541 1971

01. THE MOON OF MY Tropilla - Milonga (A. Merlo, OJ Menvielle)
02. LOGGING AND WIND - Footprint (OA Alvarez, A. Merlo)
03. PA 'Who takes the cattle prod - Aire de milonga (R. Risso)
04. SWIRL OF ABSENCE - Style (F. Portal, M. Durán)
05. TIPS OF THE OLD IRALA - Story by milonga (A. Vacarezza)
06. FILLING OF VERSES THE FIELD - Southern Air (A. Merlo, VA Giménez)
07. PULPERIAS THE RED - Milonga (A. Merlo, VA Giménez)
08. THE LANCE AND THE GUITAR - Romance (CM Servetti)
09. OLD BRIDGE - Triumph (Andean O. Alvarez, A. Merlo)
10. A whistle ANYONE - Milonga (E. Velardez)
11. PEOPLE THINK - Poem (R. Risso)
12. THE Regalón DE MI TATA - Milonga (O. Mendiel)

"Recorded at Odeon Argentina"


Alberto Merlo
PROFILE
SOUTHERN SOUTH

Without anyone can post their data, originators or other factors, many years ago called Southern music *, within the Argentine native, to a certain number of beats and versifications which thrives on a wide area of \u200b\u200bthe Republic, without much precision, we might consider consists of the province of Buenos Aires, southern Santa Fe and Entre Ríos, east of La Pampa with some extensions beyond the Black River. This anonymity folkloriza the denomination. Area of \u200b\u200bgreat distances, horizons are always away, at first only men for the ranquel and puma, until Don Pedro de Mendoza germinate freely leave the cattle and horses, giving rise to two other domains: the bull the stallion in a herd of hooves and whinnying between howls of pampas, distant echoes of the brave Arauco were tuning the southern land and air.
This area, plain par excellence its climate, its scope, the long struggle that claimed its conquest and subsequent defense, took a distinctly Argentine rate differential, excellent horseman, skilled in handling his gun-tool, knife, spear hard, caressing the guitar and with the least amount of influence within the Argentine, of the sister republics that surround us.
The Southern man. or Surer as often call themselves, had her singing this song and has chosen four ALBERTO MERLO Milongas, two footprints, three wins, two figures and a style.


ITEMS THE
MILONGAS field laborer. A. Yupanqui, accurate depiction, a little sad perhaps, but full of magic that the author leaves stamped on their work.
of the past. Luna De Gayo, crying for a while and lost customs.
Cachirleando. E. Uzal and Veron, gay theme, a kind of portrait of a peasant from zocarrón and haughty, which calls for a "cheap" and sings.
the car. Evaristo Barrios, sparkling appreciation that a man makes the eponymous field with an unintended but not grotesque grace, and brings us one moment to the indelible memory of Estanislao del Campo.


Two Tracks TRACKS ALBERTO MERLO has chosen this time: I'm from Arbolito. Abel Gimenez, a song to pay home and Pa 'Dolores the same ALBERTO MERLO the author of this note, the theme and form a deep desire to travel the galley and hope is not lost in oblivion the things that made this type of travel.

WINS Brascó
Miguel: La Vuelta de Obligado, historical etched name chronicles the battle between the Navy and Allied forces under General Mansilla. Again Merle
acoyara me in production with Triumph's Corner López, as well as the first evocative, but a fact, a way of life, stay in one of the oldest in the Province of Buenos Aires that there by the year 1750 was dedicated "to the dairy, and slowed down the advancement opportunities of the savages, going strong on the coast of Rio Salado gaucho.
Arnedo Mario Gallo one of the inclusions, as it were extra-Santiago del Estero, is the Men's Triumph.


Del Charrúa FIGURES (Gualberto Marquez) with music by Rene Ruiz, stands a shed to stay, guarding a piece of history stowing jacket with customs, and so I have had my major, it would be difficult would have been to stay Fernandez de Cieza, in the District of Marcos Paz, where he learned to be a steward for the year 1920.
While not exactly a figure, but with the rhythm and strumming such MERLO gives an account of my goddaughter the Regalón, Evaristo Barrios festive theme. STYLE


Only one, but shows enough of a button. Is called Poncho Brown, and synthesizing, is the story of a poncho makes his owner and his delivery as a parting gift to a woman, giving the impression that more than the poncho, gives the soul. Belongs to J. Rial. ALBERTO MERLO

Man
field, basically the two things. Within the song, bagual without troops. Sing what you like. And what I like is that it feels, understands and carries within him, indestructible, like his childhood in the countryside. Her singing is inseparable from its approach to life, so it is authentic. Sereno appearance and shall, without unnecessary extravagance or desperate search for attention. It sings because he came to the world without paltry target of applause or money that the song is in it, intimately linked, such as blood to the wound or the light to the idea. This album
retraces the path of the composer with a win and a footprint, and in both cases the traditional rules are strictly respected, and the musical climate is southern, southern inneglablemente, with the simplicity not without pride, but of bluff, which is the heart and nerve of the Southern man do not need to carry a cross on his chest because it is in heaven. Osvaldo R.
Alberto Alvarez

Andino Merlo
SOUTHERN PROFILE
LDB-84 Odeon

01. CACHIRLEANDO - Milonga
02. RINCON DE LOPEZ - Triumph
03. I AM THE TREE - Footprint
04. THE CAR - Story
Gaucho 05. PONCHO BROWN - Style
06. MEN'S TRIUMPH - Triumph
07. My goddaughter THE Regalón - Story
08. BOUND AROUND - Triumph
09. FIELD OF PEON MILONGA - Milonga
jacket 10. SHED TO STAY - Cifra
11. PA 'DOLORES - Footprint
12. Of the past - Milonga

Martin de Rada Tilly

(*) I beg to differ with that name being more correctly mentioned that after "Surer" to the pampas, it was the South in times of conquest and aside "southern" for the broader context of current country, where including Patagonia. And I tell you, I was born and now I am Surer SOUTHERN ... Martin





Hernán Figueroa Reyes Oscar Cardozo Ocampo and his orchestra 8853 CBS

Enrique (Quique) CORIA: Son of Dora and Raymond Ferreyra Coria, born "Quique" on July 15, 1946 in Rio Tercero, Province Córdoba. From an early age she felt inclined to music, why his father gave him a guitar, to which he devotes many hours of study.
At age 15 and decides to seek other horizons of his native Córdoba in their pilgrimage by various tasks. He joined the folk group "The Randana" with participating in festivals in the country. Until we arrived in Buenos Aires. .. In the rock of Hernán Figueroa Reyes. (Whom he admires so much to draw from their records all the guitar riffs), for it opens a new path.
By then "Bocha" Martinez, lead guitarist of all Hernán, could not continue in their presentations accompanying 'live' as their studies are not allowed. It is a night of guitar "Quique" from the back of the room, takes his guitar and starts to taps when Hernan begins to sing. This, surprise, it will implement immediately a whole, which has been operating for over two years, having traveled all over the U.S., Chile, Uruguay and Brazil. SERGIO
(CAPOTE) PIÑERO: Born in the city of San Isidro on May 18, 1936, son of Dr. George E. Attorney Piñero and Susana Fuentes, third brother of a family of 6 children, close friend of Hernán since they were ten years. Shared primary school and youth raids. Practiced the same sport: rugby, hockey, athletics and football. On his nights guitarfish "Capote" learned to play the bass drum on the family home Gómez Farías. Hernan has traveled throughout the country, Chile, Uruguay and Brazil. It is extremely popular in his pen across the musical geography of Argentina ... and as always the guitar of "Snoopy" Martinez Jr and valued asset ... "brother" in this group

Hernán Figueroa Reyes

01. GIRL OF ORANGE - (Song of the coast) - H. Figueroa Reyes, Argentino Luna
02. THE SANTIAGO - (chacarera) - Figueroa Reyes Robustiano
03. ZAMBA TO SAY GOODBYE - (samba) - Argentino Luna
04. FIRST LOVE - (Paraguayan song) - Mario Clavell
05. TIENTOS - (style) - Max Barbieri, Mario César Arrieta
06. WANTING TO MOURN - (serenade) - Palito Ortega
07. THIS SONG OF LOVE - (song) - R. Anzoategui guillemots, RF Reyes
08. GOOD MOZA - (cueca) - Ernesto Cabeza, José Ríos
09. SAD URUGUAY - (sad) - Eduardo Andrade
10. CORNER TO CAMP - (samba) - Canqui Chazarreta
11. ASI ES EL AMOR - (serenade) - Francis Smith
12. Too late - (samba) - Robustiano

Figueroa Reyes Hernan Figueroa Reyes
with Oscar Cardozo Ocampo and his orchestra


Eduardo Falu Ernesto Sabato
-ROMANCE OF THE DEATH OF JOHN LAVALLE

In the novel On Heroes and Tombs The theme of Lavalle appears at the beginning and end, in a kind of counterpoint that shows how over time the major recurring dilemmas of people: faith in the midst of despair, loyalty comeback from the defeat and betrayal life resisting death. Is useless to clarify that I did not choose a hero unit on the basis of party. There is neither unitary nor federal but human beings with the misery and death.
Moreover, in the sergeant's basic loyalty Sosa wanted to give this feature of the human condition so often revealed in disgrace, redeeming us from our earthly miseries. In the novel
struggled to express these intuitions poetry by weak instrument available to a writer: words. Why did not dream of someday giving the emotional power of music?
I thought at one point to an oratory. Then I thought it would be nice to resume the old tradition of Songs Gesta. Juan Galo de Lavalle descendía de Don Pelayo y otros antiguos guerreros; en su escudo de nobleza, un brazo armado que sostiene una espada dice que no se rendirá nunca ante el Moro. Todo parecía predispuesto para que su desventurada historia permitiese retomar las tradiciones de las epopeyas medievales. Tenía un héroe y tenía un admirable trovero para que lo cantase.
Pero ¿qué forma poética emplear? Después de algunas tentativas con los clásicos versos de dieciséis sílabas, comprendí que de ese modo íbamos a lograr, en el mejor de los casos, una especie de imitación, como si hoy se construyese en estilo gótico. Entonces decidí mantener la prosa épico-lírica de la novel way of introducing the song to the songs, some of those songs I took the popular bitter, sometimes the most, I wrote them myself, trying to respect the spirit that is theirs. Thus I tried to insert our romance in the grand tradition, so, at the same time, accessible to the sensitivity of our days, language that is alive and not archaeological, and you can only move with the language they live. Hence there is no hesitation in using anachronisms as "Tachito."
I have been fortunate to find in the sensitivity, virtuosity and imagination Falú the essential elements for this risky undertaking. And the teacher has enriched Ocampo our intent with his choir. Ernesto Sabato


I had felt a deep emotion while reading the novel On Heroes and Tombs's account of the withdrawal and death of General Lavalle. He could not, therefore, welcome enthusiastically but the project of making a work with poetic musical Sabato, who returned a noble tradition of the race. Do not ignore the difficulties encountered for an attempt of this nature, because although it became a tradition, it was not possible to do an imitation but a prolongation acceptable. It was a risky attempt at novelty. But we were excited that same risk, particularly seduced us the hope of opening a route to our folklore, with more broadly and openly about such a nationalistic fervor.
We have tried to achieve unity between the poetry of the text and music. And although, the tragic nature of the narrative rhythms and nuances of the score, there was no chance of striking contrasts have sought variedación music, work has given us a valuable contribution to the choral conducting master Ocampo. Eduardo Falu


In Memoriam
The recording of this work was initiated and partially directed by Américo Bellotto, with his characteristic fervor. He died tragically in full work, and perhaps by the same intensity they did. We pay our homage here.
Eduardo Falu Ernesto Sabato-


Eduardo Falu Ernesto Sabato-

ROMANCE OF THE DEATH OF JOHN LAVALLE 82055 Philips



Elegy for the death of a soldier mourning

Quebracho Herrado Heaven (cat) March of the defeated

blue poncho (chacarera)
The barracks (traditional samba)
Maria de los Dolores (style)
Palomita
Valley Preserve my tears (song)
Elegy for the death of a warrior
The final withdrawal (up)
ancient Earth ( yaraví air) dove valley

Olmos Celedonio's dream (samba)
keep my crying (vidalita)
mourning Heaven (Cielito)
Aparicio Sosa (tune)
ancient Earth


The text belongs to Ernesto Sabato and is narrated by himself. Also belong to the lyrics of the songs, except for some historical songs.
The music is by Eduardo Falu (with the exception of the traditional samba "The barracks"), played by his guitar and his voice
The choral arrangement is OCAMPO FRANCISCO JAVIER
The vidalita is sung by MERCEDES SOSA Eduardo Falu

- Ernesto Sabato


Eduardo "Negrin" Andrade
integrates From his teenage Argentine folk movement. Settles in the city of Ramos Mejia integrating the Center Traditional Arts and Customs "La Brasa", beginning his study of poetry and music of native roots. - In the decade of the 50 'is part of the joint: The Merry Holidays Gauchos, who ran Montbrun Carlos Ocampo, pastors of Abra Pampa and Mansehra Of The Tulum, creation of the poet Buenaventura San Juan Luna (who had also founded The Tropilla In Huachi Pampa). - As a soloist, or integrating folk groups, acting on the famous rocks My Corner, My Refuge, Trocadero, Achalay Huasi, Cerrito 34 and Harmony. - Creates the trio with the singer's Mandingo Cordoba and poet Abel Figueroa Alvarez Osavldo Andino. Recorded diskettes for the Editorial Panorama April Folklorico Argentino library under the direction of musicologist Araoz Badi .- In the decade of the 60s' is stated as an author and composer, providing her works. These are edited and recorded. - Alternating their artwork with the guitar teacher becomes part of the ensemble of Horacio Guarany. - This artist was recorded several tracks of his own. After two years with the singer returns to his solo hits like Love and appear in Los Manzanares, Responsible for Chacarera, La Chinita San Lorenzo and La rustlers, among others. - In the 70's joined the cast of Luis Landriscina on channel 13, as actor and composer. Also accompanies him on several occasions to compose music Tales from Nosedonde and radio, Don Polka true. - He is the author of the soundtracks for The Marriage of Laucha, Millonarios Force with Luis Landriscina starring under the direction of Henry Dawi. This director for the movie calls him facing the sky, where it acts and sings two songs. - Back in the 80's involved in SADAIC corporate movements. Is appointed as Professor in Examining Committee - Letter to the institution. He also received the Medal Authors' Survey. - Study and disseminates the poetry of his friend the poet Nicomedes Santa Cruz and everything related to South American black folklore. - In 1994 he received the Condor Fire and Honor Diploma through Stamps and Memories Foundation, with support from the Honorable City Council of the City of La Plata, and Vicenta Castro Cambón Award instituted by the Library of the same name on Francisco Alvarez for contribution to national culture. - In those years, began his career as recognized Cosquin Festival Jury, Baradero and Ayacucho, and throughout the Province of Buenos Aires. It also integrates the Center for Folklore Studies "Don Felix Coluccio" exposing issues like "the minstrels", "Couplets Comparative Creole Chant, The Folk Song Current", "Forms and Styles of Creole Song" and "tearing of the Guitar Creole. "- In 2005 the Forum of Argentina Gaucho Tradition gives the Vega Santos Silver as a composer, and a jury partcicipa Festival Song Sadaic - Cosquín, repeating this work in 2006 and 2007. - Eduardo Negrin Andrade continued in the study and dissemination of the values \u200b\u200bof our American folklore India and Hispanic.

Eduardo "Negrin" Andrade
ROOT TRACKER

What fascinates us the singer, which holds his tireless legend through the ages, especially in our country, is basically that its song is coupled life, word and matured in the distances and the vicissitudes of existence and that by participating in their ritual sung to us in every line, every beat, every item, the result of formidable human adventure. The reporter, the prophet, the knower tracker roots of pain and happiness, which went to the depths of himself and things and return from there to give testimony, gives the singer the mythic dimension and paternal holding valid. Of this wood is the guitar sings in this work. Because speaking of Eduardo "Negrin" Andrade, the singer is speaking by definition. The singer, not the singer. The best mode troubadour tradition of Latin America. When we gathered around her singing, all of it: the gesture, the word sung or told, the saying, look, body, part of the same event and magical art, irrefutable, that connects us with past and present time and forever enriched the fleshiness of every song that will surely be ringing in us long after he has returned to the roads and perhaps a verse, a verse Refucilo, the pit of thinking, we dwell forever. A deep authentic country flavor runs through this album. A cool splash of identity. One joy of being and participating in what belongs to us: this country badly hurt cantadaque around, in one of my verses. This work is not a promise, but a result. Here, everything man, landscape, sayings, feelings, are scattered pieces of our national character that the heart meets when "Negrin" sings. Has serious and deeply artey worked with this singer's life. Listen, please: something beautiful and lasting is going to happen to silence ... ARMANDO TEJADA GOMEZ


Eduardo "Negrin" Andrade
ROOT TRACKER
philips 5012

01. WHAT WILL MY NAP? - Waltz
02. LOVE Entrerriano - bypass
03. DE LA RUE MALE - samba
04. THE CHINESE SAN LORENZO - huayno yaraví-drain
05. THE CHAQUIPURA - chacarera
06. A Santiagueña BAR - cat
07. MY FRIEND HAS A HORSE - milonga
08. LAMENT FOR OLLANTAY - huayno
09. THE ÑATUNGUITA - samba - Hnos Peralta Davila, Angel Larrosa
10. PRELUDE BY ESTEFANIA - Song
11. ARGENTINE CHASQUI - Milonga
12. THERE IS A SOUTH Lucerito -

waltz Words and music of all the songs (except the Ñatunguita): Eduardo Andrade

Contribution of El Amigo Invisible

Eduardo "Negrin" Andrade
THE SONG OF MY OLDER AND

then the man fell in love with the word and made a song for a ride the wind. Because that's the only meaning to be optorgarse the song: the breaking of bread.
In this way, the word is almost a password. One way to know, or be recognized in others. That is also how to build the kind.
is known that to meet, essentially, one must travel to the source. Because need to know which steps to locate the coordinates of his own spiritual experience. From there, if one wants to do the job with authenticity., You can build, send your details, pass on a background that is integrated into the true national culture.
All this is necessary to understand in order to measure the full extent and intent of EDUARDO ANDRADE work. Long, long has been the journey of this artist. But for rare circumstances, this is the first LP recorded in the country. It happens that sometimes the artist living document requires a sacrifice in terms of immediate release. AND EDUARDO ANDRADE is it a document with full force in folk music from Argentina.
Nothing is improvised, no attempt is superficial. And now coming to light, a genuine and strong maturity requires the listener to reflect, to stop, rest at the origin and recognized. ANDRADE EDUARDO the song is in some way, the shared word. It is the expression of a man for all men
. In a village for all people. Because
Eduardo Andrade says each word as if it really were a password. Without any remaining doubt: This is from here and always. In each sentence may well discover the source, almost touching her grandparents, understand them better over the earth, generous both to purity. Almost innocent.
And if I had, finally, to draw a balance of this disc (or twenty years of talks with Eduardo Andrade, who is the same) where you send your address, such desperate vocation, could repeat as before: ... And then the man fell in love word and made a song for him to take the wind. HAMLET LIMA QUINTANA


Eduardo "Negrin" Andrade
THE SONG OF MY MAJOR ION
international records
December 11, 1969

01. DECIMAL FOGON
02. Chaco
SAD 03.
EYES THE LAST 04. THE CHINESE
SAN LORENZO 05. NOW THAT MAKES THE AFTERNOON
06. URUGUAY
SAD 07. THE WITCHES OF FIRE
08.
HERE 09. MEMORIES OF GRANDFATHER
10. RESTORING THE LORD
11.
Bailecito

Contribution of El Amigo Invisible

HOPE VICTOR HEREDIA
SHOUTING
(His 1st. Disco)

Today things are certain. Determined by a number of imponderables that make the thing itself. Someone may say, so that there is a designated destination, marking, which pushed us to a form and a background that was specified in advance. Maybe so. Or not. Fortunately, we can not affirm or deny. But the truth is that when something is authentic, ie, when attempting to dialogue with the core values \u200b\u200band with adequate technical (the only way to do this), the result is the work of art with all its aesthetic and human.
This is the case in moving Víctor Heredia, young author, composer and performer of early maturity. If something needed to substantiate the above, come back to hear his famous samba "To charge up" again, ten times, a hundred, enough to discover ever, without end, small lights, crevices, ledges, cliffs, disturbed man. That
constant rediscovery of a work simply means that it is mature work and how difficult it is to speak of maturity in an artist of just over twenty years of age. But in this case, the risk is offset in the result that throws any analytical tool that is used with the work and interpretation of Víctor Heredia.
Here, in this very hard to face all the risks and leave with benefits, the most demanding critic, the most passionate audience, the heart of town.
Just as there are specific cases is also true to say that it is almost a sentence that Victor Heredia had, since ancient minstrel destination. This work of love that only fits in the same love to sing their best to deliver it like a bread and a hope. Victor Heredia


SCREAMING EXPECTATIONS
RCA CAL-3151 - 1968

01. HEIGHT TO COLLECT - Zamba
02. LUNA SUGAR - Song
03. JUANITO LAGUNA TRACING A KEG - Song
04. THE Nochero - Zamba
05. VINTAGE - Song
06. SANTA CRUZ IN THE MARK - Huella
07. SCREAMING EXPECTATIONS - Aire de cueca
08. GIVE ME YOUR HAND GIRL - Song
09. CACHAPECERO - Song
10. SOFTWOOD - Song
11. EAGER - Chacarera
12. SONG FOR A CHILD IN THE STREET
13. BLUE OCTOBER - Song
14. ARENAL - Song

Martin de Rada Tilly

Granite Countertop Slogan

The North Troubadours and more

New contributions of Martin de Rada Tilly for all to enjoy true gems of popular music. Paragraph
apart:
also for working with Martin. They contribute their release, and to reconnect with lost or forgotten wonders.
Enjoy them.

appeared! The long-sought and elusive LD North Los Minstrels: Perfect fit
vocals, guitars and folk styles in the service is synonymous with undisputed North Troubadours, five guys that dumped into our music all the sensitivity of artists and In this new total of his efforts to offer the best appear as it has already set public: UNIQUE
Closely identified with the essence of our Creole heritage provide a brilliant kaleidoscope of notes and verses all the varied shades of feeling native whole immense range of human values \u200b\u200benclosed in every woman, every man of our land . The Troubadours North
tell us of his nobility, his capacity for tenderness in "Corrosion", samba recently lauded in the last festival Cosquín; of their unconditional attachment to their traditions and ancestors "Sargento Cabral"; of healthy happy, mischievous and full of candor in "La Ranchera the Paisano Julio" and "The Chamarrita" of his love, his nostalgia for "I do not want to love you" "The Camp Salada ", all his power of sacrifice, suffering, enthusiasm and courage flow from the interpretations of this group under the leadership of Bernard Rubin (bullet) translate it in warm message for us, your brothers in the city.
So we say and the audience says: The North Troubadours! are UNIQUE!
North

The Troubadours UNICOS
Leader: BERNARD RUBIN (bullet)

01. Corralera - Zamba song - Sergio Souvalle
02. ROSA-RIO - gallops - E. García Páez, E. Truffa
03. MATE COOKED - chamamé - Nelida Zeno
04. MESSAGE TO LIMA - waltz - Hector Sapelli
05. THE Chamarrita - chamarrita - Anibal Sampayo
06. PAISANO RANCHERA OF JULY - ranchera - Chacho Santa Cruz, Rafael Tapia
07. THE WEDDING OF MALEZAL - double strumming - E. Corrales, Odin Fleitas
08. Snail - double strumming - Alegre Musel, Martin Sosa
09. SERGEANT CABRAL - polka - Pedro Sanchez Castellon
10. MALAMBO AT NIGHT - Malambo - R. Zapata, RL Morales
11. WOULD NOT love - double strumming - H. Guarany, J. Piatelli
12. THE SALT CAMP - double strumming Armando Nelli

Contribution of The Invisible Friend "Singer sanjuanina

which is a very pleasant discovery for me: Viviana Castro

FOR MY Cuyana

01. FOR MY Cuyo-cueca
02. THE MAYOR-TESORO
waltz 03. YOU KNOW WHAT IS LOVE-tune
04. SONORA MY PARTNER-milonga
05. LA-chacarera TOTORA
06. WHAT WOULD MY LIFE-vals
07. A MIS AMIGOS-song
08. I loved Peruvian waltz
DUCKLING-09. FERTILE VALLEY IS MY LAND-cueca
10. YOUR FAVORITE-tune tune


Contribution of The Invisible Friend "Duo Socavon


For those not yet done so, you can visit the site of the Tunnel Duo (Emilio" Bocha "Raúl Martínez Junor and Thomas)
http://www.socavon.net

can also download their first three CDs ("From the inside", "Sencillito and sandals" and "Heart of quebracho")
http://www.socavon.net/discos.htm

Seize settlement are!!
And finally, they can communicate with them and buy their latest CD.
In order to save the job of downloading it from there, here is the LD "Projections" (1980)
in matching the two members of the duo:
"... some interpretations of Los Huanca Hua, taken from an old cassette recorded back in the '80s (Seal Cabal-15 009-projections, that if you can get it, you're the Ace of Spades collectors impossible things). As an accompaniment to the topics covered here, only uses an acoustic guitar and drum legüero. The passage of the cassette to the computer has been a home job with little knowledge of proper techniques and using a recorder very, very cheap. In addition, the tape recording itself is not too good. It may be necessary to increase or decrease the sound volume of your player. ... So there is .... Luck ... "The group was composed

:

Pedro Gomez Farias (bass, arranger, director, bombisto and, often, guitar)
Juan Sedge (tenor)
Daniel Guzman (tenor)
Raúl (Rolo) Thomas ( "High baritone or tenor bass?) (now a member of the Tunnel Duo)
Emilio R. (Snoopy) Martínez Junor (bass, sometimes guitar) (now a member of the duo Tunnel).

Topics include:

01. The flower of the cinnamon - waltz - Chabuca Granda

02. Prank on "The Day You Love Me" (tango by Carlos Gardel and Alfredo Lepera) and "If all fossem Iguais a voce" (song by Tom Jobim and Vinicius de Moraes) soloists: Raul (Rolo) Thomas and John Juncales
Guitar : Pedro Gómez Farías

03. Crumb tenderness - Alberto Cortes Voices song solo (in order of appearance): Raul (Rolo) Thomas, John Sedge, Daniel Guzman Guitar: Pedro Farias Gómez

04. Like a sparrow - Joan Manuel Serrat song voice solo: Juan Juncales Guitar: Pedro Gómez Farías

05. The orchestra - song (DAD)

06.Canción to the flag (of the Opera Aurora)-Letter: HCQuesada and L. Illica - Music: Héctor Panizza vocal solo: Juan Juncales Guitar: Pedro Gómez Farías

07. Nostalgia - Chacarera of Julio Argentino Jerez - lead vocals: Juan Daniel Guzman
Sedge and guitar and drum: Pedro Gómez Farías

08. The 180 - popular cat - Compiled by Manuel Gómez Carrillo vocal soloist: Daniel Guzmán Guitar: Pedro Gómez Farías

09. Milonga bugs - milonga - Ariel Ramirez Felix Luna

10. Anta Zamba - Zamba Gustavo (Cuchi) Leguizamon and Manuel J. Caesar Perdiguero Voices Castilla soloists: Peter and John Gomez Farias Juncales guitar and drum: Pedro Gómez Farías

11. Longing - chacarera of the Brothers Simon Voice solo: Juan Juncales Guitar: Emilio Martínez Bombo: Pedro Gómez Farías

12. Te'i want to - popular vidala compiled by Manuel Gómez Carrillo vocal solo: Juan Juncales
guitar and drum: Pedro Gómez Farías

Aforunadamente not look for the cassette because we have the LD: Cabal - 15,009

Material Martin

White Voices
QUALITY
SOWN 1968 82214 Philips

01. WATER ONLY (Edgardo Gustavo) zamba
02. THREE DAYS (José Alejandro Lagos) bailecito
03. SPRING HAS yega (John B. Tiggi) milonga southern
04. Chaco SAD (Eduardo Andrade) song gallops
05. JUANITO LAGUNA TRACING A KEG (I. Cosentino-Lima Quintana) footprint
06. THE SWORD AND THE CROSS (Fernández Pablo Duarte-Melo) zamba
07. BETWEEN YOU AND ME (H. Expósito-Snow White) zamba
08. SAN BALTAZAR (Mauricio Cardozo Ocampo-H. Sanchez Quell) Paraguayan candombe
09. CUNA POBRE (Sánchez-Palombo)
lullaby 10. COMING BLOWING THE ZONDA (O. Zuccoli Vieyra Fidanza-Hermes) song
11. GARDEL Nostalgia: a) FAR LAND MIA (Gardel-Le Pera) b) Arrabal amargo (Gardel-Le Pera)
c) Golondrinas (Gardel-Le Pera) d) Mi Buenos Aires Querido (Gardel-Le Pera)
12. CANTORCITOS (Edgardo Gustavo) carnavalito

White Voices