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
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
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