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)
: 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
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
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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.
