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.
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.
0 comments:
Post a Comment