The music of the Andean Mountain region is combined with influences of poetry and rock and roll by Los Angeles-based trio, Inkuyo. The inspiration of Gonzolo Vargas, a Bolivia-born composer, arranger and pan pipes and South American flute player, Inkuyo is a leading force in the growing popularity of traditional Andean music in North America.... [+] Read More

The music of the Andean Mountain region is combined with influences of poetry and rock and roll by Los Angeles-based trio, Inkuyo. The inspiration of Gonzolo Vargas, a Bolivia-born composer, arranger and pan pipes and South American flute player, Inkuyo is a leading force in the growing popularity of traditional Andean music in North America. Taking their name from a remote mountain village where music is an essential part of daily life, Inkuyo initially performed as a quartet. Since the early-1990s, the band has worked as a trio featuring Argentina-born guitarist Enrique Coria and Bolivia-born charango, bandurria and tipple player Jose Luis Reynolds. Vargas was a founding member of Andean folk group, Sukay. ~ Craig Harris, All Music Guide [-] Hide

The history of Los Madrugadores is somewhat confusing when approached via standard family-tree discographical spectacles, in which a group is expected to have a cut-and-dried evolutionary pattern, with members joining and dropping out and so forth. Los Madrugadores were less a group with a core of stable members than they were a concept, in... [+] Read More

The history of Los Madrugadores is somewhat confusing when approached via standard family-tree discographical spectacles, in which a group is expected to have a cut-and-dried evolutionary pattern, with members joining and dropping out and so forth. Los Madrugadores were less a group with a core of stable members than they were a concept, in which various musicians assumed the name for the purpose of playing Mexican-American folk music. Whoever were in Los Madrugadores at any given time or on any given record, they were the most popular Depression-era Mexican-American group, performing emotional cancions and corridos that emphasized close harmonies and accomplished guitars.

Los Madrugadores came into being through the efforts of Mexican-born Pedro J. Gonzalez, who in the late 1920s started one of the first Spanish-language radio shows on the West Coast. At the beginning of the 1930s he made his first records, and in 1931 started to play with guitarist-singers Jesus Sanchez and Victor Sanchez. Gonzalez named the group Los Madrugadores, which recorded in various combinations, not always including the Sanchez brothers. Singer Fernando Linares joined the group in their early days, and the personnel expanded to include other singers and guitarists, such as Narciso Farfan, Crescencio Cuevas, Ismael Hernandez, and Josefine Caldera.

Sometimes their singles were performed by the Sanchez brothers and Gonzales; sometimes they were performed by the Sanchez brothers, Linares, and Hernandez; sometimes they were done by the Sanchez brothers with just Linares; and on and on. There were also singles credited to Los Hermanos Sanchez, or Pedro J. Gonzales and Victor Sanchez, or Pedro J. Gonzales and Jesus Sanchez, or Pedro Gonzales and Fernando Sanchez. To make matters more confusing, Narciso Farfan and Crescencio Cuevas, who became known as Chico and Chencho, also made recordings under the Los Madrugadores name that did not feature any of the other musicians that participated in other Los Madrugadores tracks. Do we even have to add that Chico & Chencho also did some discs on which other Los Madrugadores musicians, such as the Sanchez Brothers and Fernando Linares, did participate?

The important thing to remember is that whatever the configuration of personnel, Los Madrugadores issued numerous singles in the 1930s with good harmonies on simple, direct Mexican songs. Although guitar was usually the instrumental accompaniment, some of the early discs in which Gonzales was involved have piano too. A couple dozen of the discs issued by Los Madrugadores or musicians in Los Madrugadores are compiled on the Arhoolie CD 1931-1937.

Los Madrugadores' career was impeded in 1934 when Pedro J. Gonzalez was sentenced to one-to-fifty years in San Quentin prison on rape charges. Although the woman he was accused of raping admitted after the trial that she had been coerced by authorities to lie under oath, this admission was not considered as new evidence, and Gonzales ended up serving six years. Deaths of Narciso Farfan in 1939 and Jesus Sanchez in 1941 forced changes in the Los Madrugadores lineup, although they continued until the 1960s. Gonzalez, in the meantime, formed a second Los Madrugadores group in Mexico that also had a fluid membership. ~ Richie Unterberger, All Music Guide [-] Hide

The full spectrum of Latin American music -- from traditional to contemporary -- has been explored by Los Angeles-based band, Huayucaltia. Blending Andean folk music, jazz, classical and nueva cancion (new song), Huayucaltia continuously stretch the limits of their repertoire. The recipients of a NAIRD (National Association of Independant Record... [+] Read More

The full spectrum of Latin American music -- from traditional to contemporary -- has been explored by Los Angeles-based band, Huayucaltia. Blending Andean folk music, jazz, classical and nueva cancion (new song), Huayucaltia continuously stretch the limits of their repertoire. The recipients of a NAIRD (National Association of Independant Record Distributors And Manufacturers) award for "Best Latin MUsic Album" for their 1989 album, Horizontes, Huayucaltia has been hailed by the press for their unique approach to Latin music. The Nashville Banner called the group, "passionate, sensual and exotic. They mesh various traditional Latin American and melodies into a distinct modern sound unlike the music of any particular culture or time". In a review of their 1988 album, Caminos, CD Review wrote, "If you heard (this album) without first listening to Incan traditional music, you may not realize how polished, how virtuosic, how cosmoplitan, this updated expression of South American culture has become." The musicians of Huayucaltia are as varied as their repertoire. The group, which takes its name from the Nahuatl word meaning both unity and brotherhood, includes musicians and vocalists from Argentina, Colombia, Peru, Mexico and the United States. Musical director, producer and guitarist, Ciro Hurtado hails from Peru. A former member of Strunz And Farah, Hurtado has balanced his innvolvement with Huayucaltia with solo performances and recordings. His Veracruz, Mexico-born wife, Cindy Harding, who plays requinto Jarocho, Venezuelan cuatro,quenas, zamponas and flutes and sings, was a founding member of Sabia and recently recorded an album, Conjunto JArdin, with her sister, Libby.. Antonio Ezkaurilza, who hold a degree in classical guitar performance, is concurrently a member of several Andean music bands including Ollantay and Nazca. Drummer Julio "Jimmy" Ledezma, who studied at the Scolas Do Sambo in Brazil and Argentina, have been performing in the United States since 1979. In addition to holding down the rhythm section for Huayucaltia, Ledezma plays with Arco Iris and has performed with Lalo Shifrin and the Glendale Philharmonic Orchestra. Hernan Pinilla, who plays mohocenos, tarkas, sikus, quena-quenas, jula-julas, pinquillo, zampona, quena, quenacho, bombo, charango and other percussion instruments, was a founding member of Grupo Tumbaga and also plays with Taller Experimental De Musica Bitagui. ~ Craig Harris, All Music Guide [-] Hide

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the... [+] Read More

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music -- something few did back then -- and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically -- enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they've continued to be outspoken. While they've remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a Best Of disc in Italy (not to be confused with the 2000 Best Of on Xenophile, which collected tracks from their last four releases only). Instead of replacing him, they've continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they've continued to release albums and tour, they've cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999's Amar de Nuevo looked at the complete spectrum of Latin roots music and its Creole heritage. ~ Chris Nickson, All Music Guide [-] Hide

The facts of Victor Jara's tragic death are well documented. Arrested in the aftermath of a military coup d'etat, Jara was one of many political prisoners and to the National Football Stadium where many were tortured, beaten and executed. Although his hands were broken, or, as many have claimed, amputated, Jara continued to sing a song... [+] Read More

The facts of Victor Jara's tragic death are well documented. Arrested in the aftermath of a military coup d'etat, Jara was one of many political prisoners and to the National Football Stadium where many were tortured, beaten and executed. Although his hands were broken, or, as many have claimed, amputated, Jara continued to sing a song supporting the ousted Popular Unity Party. After receiving many brutal blows, Jara stopped singing only when a machine gun fired by a military officer took his life. In the nearly three decades since, Jara's songs and spirit have been celebrated by numerous politically-minded folksingers including Pete Seeger and Tom Paxton. Arlo Guthrie set Adrian Mitchell's ballad, "Victor Jara," and recorded it on his album, Amigo. Jara's heart may have been forcefully stilled but his music has lived on. The youngest of four children born to a ploughman, Manuel, and a semi-professional folk singer, Amanda, Jara grew up in severe poverty. Raised on a feudel-like farm, he lived on the bags of flour and occassional fruit which his father earned from his labors. By the age of six or seven, he was already accompanying his father to work in the fields. Family life was extremely difficulty as his father increasingly began drinking to escape his woes. When a pot of boiling water fell on his sister, he joined his mother and moved to Santiago, the site of the only hospital equipped to treat his sister's burns. While in Santiago, his mother took a job at a food stand at an open market. In March 1950, Jara received word that his mother had died from a stroke suffered while she was at work. For the next three years, he struggled through school while sleeping at the homes of friends. Leaving school, at the age of fifteen, Jara entered the Redemptist Order in San Bernardo, a small village south of Santiago. His quest to become a priest, however, lasted only a year. In 1952, he left the seminary and enlisted in the Chilean army. The following year, he was dismissed with honors. Jara's interests in theater and music soon became the dominant force in his life. Enrolling in the school of theater at the University Of Chile, he studied acting. After completing his degree, he continued on to begin studies in theatrical directing. While at the school, he met his wife, Joan Turner, a teacher from Great Britain. A turning point in Jara's musical career came when he met Violeta Parra, a traditional folk singer and artist and the owner of a small cafe in Santiago. Taken under Parra's wing, Jara began to sing more and moe in the cafe. In 1966, he released his debut self-titled album. Four years later, he left the theater to devote his full-time attention to music. From the beginning, Jara used his songwriting skills to supply a voice for Chile's working class and peasantry. Strongly supportive of the Communist Party, he was thrilled when Dr. Salvador Allende, the head of the Popular Unity Coalition, became the first Socialist to be elected president of a Latin American country. Under Allende's leadership, the Popular Unity Coalition planned to strengthen educational support, increase low-income and furnish free socialized medical care. Jara's dreams began to crumble, on September 11, 1973, when a military junta headed by Admiral Toribio Merino and Army General Augusto Pinochet, assisted by the United States via the Central Intelligence Agency, overthrew Allende and launched a brutal coup. Thousands of Popular Unity Coalition leaders and supporters were imprisoned with hundreds being subsequently executed. Jara was working at the State Technical University when it was surrounded by the military. Taken prisoner, he spent five days in a chilled, dirty, cell without adequate food or water, before being taken to the National Football Stadium. Although he was initially buried in a mass grave, his wife was permitted to provide him with a decent funeral and burial. She later left Chile in secret, taking many unreleased tapes of Jara's songs. ~ Craig Harris, All Music Guide [-] Hide

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This group is made up of musicians from all over Mexico, South America, and the U.S. The blending of styles and influences is quite pleasing. Flamenco guitar melts with lovely flute and subtle percussion, all the while avoiding new age camp. A nice record. ~ Tim Sheridan, All Music Guide

This group is made up of musicians from all over Mexico, South America, and the U.S. The blending of styles and influences is quite pleasing. Flamenco guitar melts with lovely flute and subtle percussion, all the while avoiding new age camp. A nice record. ~ Tim Sheridan, All Music Guide [-] Hide

Andean folkloric instrumental music; 14 tracks with the emphasis on joy and light. ~ Michael G. Nastos, All Music Guide

Andean folkloric instrumental music; 14 tracks with the emphasis on joy and light. ~ Michael G. Nastos, All Music Guide [-] Hide

Inkuyo's fourth release combines traditional Andean music with original Incan-influenced material. Inkuyo is an American-based trio consisting of American multi-instrumentalist Pamela Darington on strings, flute, and percussion, Bolivian composer Gonzalo Vargas on wind instruments and drums, and Daniel Zamalloa from Peru on strings and bass... [+] Read More

Inkuyo's fourth release combines traditional Andean music with original Incan-influenced material. Inkuyo is an American-based trio consisting of American multi-instrumentalist Pamela Darington on strings, flute, and percussion, Bolivian composer Gonzalo Vargas on wind instruments and drums, and Daniel Zamalloa from Peru on strings and bass guitar. Together they dedicate themselves to creating spirited Andean music, both ancient and contemporary featuring traditional flutes, whistles, pipes, percussion, and strings. The album's two vocal tracks are sung in Quechua, the language of the Incas which is still spoken in some remote areas of the Andes. ~ MusD, All Music Guide [-] Hide

Although both of Inkuyo's albums are equal in artistic merit, this is perhaps the best place to start. This festive collage of tradition and innovation features a wide variety of intriguing South American instruments: cane flutes, panpipes of all sizes, and traditional drums and percussion, as well as acoustic guitar, violin, and harp. ~ Linda...

Although both of Inkuyo's albums are equal in artistic merit, this is perhaps the best place to start. This festive collage of tradition and innovation features a wide variety of intriguing South American instruments: cane flutes, panpipes of all sizes, and traditional drums and percussion, as well as acoustic guitar, violin, and harp. ~ Linda Kohanov, All Music Guide [-] Hide