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andina Digest         Tuesday, October 7 1997         Volume 01 : Number 010



In this issue:

    (andina) sorry list!!!
    (andina) problem in the xmission backbone
    Re: (andina) Moving
    (andina) andina(only test)(co.uk)
    FW: (andina) Charango Instruction Books
    Re: FW: (andina) Charango Instruction Books
    (andina) music videos?????
    Re: (andina) music videos?????
    Re: FW: (andina) Charango Instruction Books
    (andina) maintain instruments
    Re: (andina) maintain instruments
    (andina) ForSome of you may have heard that the group that spun off of Los Kjarkas,
    (andina) For Los Kjarkas Fans

See the end of the digest for information on subscribing to the andina
or andina-digest mailing lists and on how to retrieve back issues.

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

Date: Fri, 3 Oct 1997 14:54:22 -0600
From: [e-mail]
Subject: (andina) sorry list!!!

Sorry for this mail from Bruce.
I sent the total cost to him,and never heard from him again.
More than one month later he sent the check to me,at that moment
I sold some cd's,so now I am waiting for cd's from Bolivia to
complete his order.Some times take longer than I think.
Sorry again.
Manuel.



From: Bruce Mannheim <[e-mail]>
To: "'[e-mail]'" <[e-mail]>
Subject:
Date: Fri, 3 Oct 1997 14:45:39 -0400
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: quoted-printable

At the end of August I ordered several CDs of Bolivian music from you, =
for which I enclosed a check that you cashed.  I have not yet received =
the CDs.  What's up?

Bruce Mannheim
1204 Henry Street
Ann Arbor MI 48104

(alt. address: Dept. of Anthropology
University of Michigan
1020 LSA
500 South State Street
Ann Arbor MI 48109-1382)


   ======================================================================
   ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO
   http://www.xmission.com/~mnavarro
   MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA.
   801-627-5613
   ======================================================================

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

Date: Fri, 3 Oct 1997 15:07:03 -0600
From: [e-mail]
Subject: (andina) problem in the xmission backbone

Xmission had some temporary problems,but I think
not anymore.
Let me know is the list have problems.
Manuel.
   ======================================================================
   ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO
   http://www.xmission.com/~mnavarro
   MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA.
   801-627-5613
   ======================================================================

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

Date: Fri, 3 Oct 97 11:45 PDT
From: Joel Fentin <[e-mail]>
Subject: Re: (andina) Moving

Good luck! If you need help moving, I'll send Marcelo.
  -----------------------------------------------------
  Joel Fentin    tel: [phone]    FAX: [phone]

  email: [e-mail]     web: http://efm.simplenet.com

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

Date: Sat, 4 Oct 1997 11:48:18 -0600
From: [e-mail]
Subject: (andina) andina(only test)(co.uk)

123456789
   ======================================================================
   ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO
   http://www.xmission.com/~mnavarro
   MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA.
   801-627-5613
   ======================================================================

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

Date: Sat, 04 Oct 1997 20:38:44 +0100
From: jglow <[e-mail]>
Subject: FW: (andina) Charango Instruction Books

> From: [e-mail]
> To: [e-mail]
> Subject: Re: (andina) Charango Instruction Books
> Date: Fri, 3 Oct 1997 08:25:41 -0600
>
> I sent this yesterday too
>
> I have a charango Method from Pedro Mar,(spanish and english)
> Pedro Mar is from La Paz,he is artist,teacher,craftman,etc
> The book have 34 pages with exercises for :
> cueca,guayno,takirari,saya,bailecito,etc,etc
> The cost for this method is 15.00 plus shipping.

I have been teaching myself the charango which I bought a few years ago in
Bolivia together with audiovisual methods by Alejandro Camara and Ernesto
Cavour.  The limitations of my Spanish linguistic abilities may have
coloured my comments below and even led to misunderstandings - comments
welcomed.

The Camara Method I found much easier to follow in the begining although it
does teach a rather untypical strumming pattern I believe.  In all the
pieces in the book the downwards rasgueos are performed with all four
fingers and upwards rasgueos with the thumb.  He also uses a golpe, tapping
the fretboard just above the sound hole with the back of the right hand
fingers - far less dramatic than the flamenco golpe.  I am not sure that he
actually uses this method of playing himself other than on the demonstratio=
n
tape.  Judging from a tape I have of him with a group, he sounds to use the
more common way of playing predominantly using the first finger of the righ=
t
hand for strumming.  The six pieces of music presented in the Method are
mainly traditional, are all fun to play for an amateur playing solo charang=
o
and are reasonable in lenght for beginners pieces.  ("En el socavon" - only
if you play it twice as well as the repeats suggested)

Cavour may be a more renowned and brilliant player but I found his Method
frustratingly difficult to follow as an absolute beginner.  (I used to play
classical guitar - from written music - but I have a poor ear for picking u=
p
pieces.)  He introduces you to what I believe to be the more usual way of
strumming, also to the tremelo and repique (very rapid combination of four
strokes, down, up, down up) which seem to me to be fundamental to the
playing of the instrument.  Some of the pieces in the book are good fun to
play but some are really boring as presented.  They are also mainly very
short even for beginners pieces.  Most fun to play are Cueca Chapaca by
Cavour himself and the traditional Diablada.

In both cases the quality of playing the pieces on the demonstration tapes
with the methods is uninspired and belies the brilliant musical ability of
both players.  It would surely give students much more enthusiasm for
learning the pieces if they had put a little heart into the demostrations.

I understood that Jorge Laura was hoping to find a sponsor for an English
translation of his method a year or so ago.  I am still trying to track him
down about this.

My problem and that of others like me, in making any further advancement is
finding easy =ADintermediate standard music written in notation or tablature
which gives good instruction on rhythm and which last more than 30 seconds
when performed.  I am of course aware that for public performance, amateur
or professional, it is not normal for the charango to be played as a
completely solo instument.

I hope that the above comments may be of use to anyone just beginning to
play the charango and also that they may stimulate comments from all you
experienced players on the List on technique, music etc.  We need your help=
!
 Things which may seem so obvious to experienced players can be real
mysteries to someone struggling to teach themselves in isolation.  Have YOU
thought about publishing an arrangement of a piece you play?  Please
consider it all you professionals out there!

Manuel,

Returning to your quotation above, does Pedro Mar's book have any actual
pieces of music which might be fun for some one like me to play (as opposed
to just exercises in the various rhythms)?  If so, can you tell me how much
p&p to England would be and how payment can be made

Best wishes,

Jim (Low)

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

Date: Sun, 05 Oct 1997 10:17:42 -0500
From: Nick Hemmesch <[e-mail]>
Subject: Re: FW: (andina) Charango Instruction Books

Hello to all . . .

It is my understanding that Alejandro Camara's charango method will be
available in english next spring and will include a well mastered cassette
or CD (optional).

Alejandro Camara should be on-line with e-mail in about ten days.  His
e-mail address will be "[e-mail]".

I will be in La Paz and Cochabamba for 15 days shooting some music video.  I
will have some time to shop if there is anything special any of you would
like me to look for. I leave Tuesday, Oct 7th.

Sincerely,

Nick Hemmesch
On Track Productions
1308 14th Ave SW
Minot, ND  58701 USA
Tel: [phone]

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

Date: Sun, 5 Oct 1997 10:53:09 -0600
From: [e-mail]
Subject: (andina) music videos?????

>I will be in La Paz and Cochabamba for 15 days shooting some music video.

Hi,how can I get some of those music videos???they will be
andean music videos??,how much??
thanks.
Manuel.

   ======================================================================
   ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO
   http://www.xmission.com/~mnavarro
   MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA.
   801-627-5613
   ======================================================================

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

Date: Sun, 05 Oct 1997 13:05:56 -0500
From: Nick Hemmesch <[e-mail]>
Subject: Re: (andina) music videos?????

At 10:53 AM 10/5/97 -0600, you wrote:
>>I will be in La Paz and Cochabamba for 15 days shooting some music video.
>
>Hi,how can I get some of those music videos???they will be
>andean music videos??,how much??
>thanks.
>Manuel.
>

Manuel,

The videos will be all andean music and will be the property of the "Music
of the Americas Partnership", of which Alejandro Camara is a partner.  Most
of the first set of videos will be of Alejandro Camara and his group, plus
some instructional videos.

I will have Alejandro on-line at [e-mail] on the 15th of October.
You may want to contact him directly.

I will have some video of the International Charango Festival in La Paz, but
I'm not sure what the setup will be until I get there.  It's hard to say at
this point if the video will be good enough to edit and distribute.

I will post more when I return.

Nick Hemmesch
On Track Productions
1308 14th Ave SW
Minot, ND 58701 USA
Tel: [phone]

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

Date: Mon, 6 Oct 1997 08:12:07 -0700
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: FW: (andina) Charango Instruction Books

Talking about Cavour's charango method we must remember this, it is over
25 years old, and as far as I know, it was the first to incorporate the
audio-visual high-tech of those days. Also, as brilliant of a player
Cavour is, he does not read/write music notation. Camara's method came
out later, and so it may have used Cavour's to overcome some weaknesses.

As far as Camara teaching a strumming using the four fingers on the
downward stroke and the thumb on the upward stroke, that is what is=20
generally taught to absolute beginners so they get the idea of the
sound pattern, which can later be achieved with the more complex strum
of a single finger.

The problem with instructional material for the charango (as well as all
other Andean instruments) is that always, and till this day, people have
learned to play solely by ear and by example. There are many subtle
variations in playing because of this (not mentioning regional =
variations),
and so putting a standard way of playing on paper is difficult. For =
example,
I learned to move my hand in a certain loose way and I used to apply it =
to
all rhythms. Jorge Laura corrected me by saying, for example, that the
wayno uses the very loose wide hand motion, where as the carnavalito and
bailecito use a narrower motion that does not extend beyond the width of
the sound box. For what I have seen, 99% of charango players do not seem =
=20
to know this. Take the tundiqui (badly a.k.a saya), none of the methods
I have seen say that the charango is reproducing the sound of the drums
and the regue-regue, in opposing pattern. Same with the repique =
variations=20
used in wayno-sikuris, they reproduce the variations done by the snare=20
drum in sikuriadas. It took me years of playing to figure that out on my =
=20
own. Careful listening to the better groups will show that the charango=20
often interplays with the percussion, and though it is a string =
instrument=20
it borrows much from the percussion section. None of the methos will =
tell=20
you this.

I still believe that Jorge Laura's method is the best around, for it=20
offers exercises more challenging than other books. Besides, they are
all covered in tablature as well as music notation. For those looking
for music notation... well, sadly there is not much. The only other book
that offers music notation I know is the method by Profesor Celestino=20
Campos. It is an old book as well so I don't know if it can be easily
found.

Given the lack of methods and instructors I would advise to carefully
listen to recorded music, and if possible get videos. Now that some of
Cavour's and Savia Andina's CDs are available in the States, I would=20
recommend to start there.

Marcelo

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

Date: Tue, 7 Oct 1997 12:33:48 -0600
From: [e-mail]
Subject: (andina) maintain instruments

WELCOME YVES!!!!!

Okay,I beleive your own saliba and moist do the best maintain
to your quena,the panpipes maybe you can put some oil that you can
buy in any Musical Instrument store,I got one call Bore Oil.
Also I beleive that moist(saliba) you put in each pipe when you blow is
perfect.
Maybe the list can tell us other ideas.
Sonntag,other member of this list,toll me about some oil call Lenzi(I don't
know the spell)
Thanks.
Manuel.



>
>On Tue, 7 Oct 1997 [e-mail] wrote:
>
>Manuel,
>
>Thanks a lot for the email !
>
>> I play andean music too,but I don't know about cleaning Quenas,we never
>> clean them(ji ji).
>
>Ok, not cleaning, but how to maintain it ?
>I've heard of people playing (other) wind wood instrument putting some
>oil in it, to prevent it from breaking etc...
>
>I live in western Canada where the climat is extremely dry...
>
>> Let me know if you need help subcribing to the list.
>That should be ok !
>
>
>
>
>Yves.
>----
>Yves Dorfsman                                        [e-mail]
>                                    http://www.cuug.ab.ca:8001/~dorfsmay
>
>
   ======================================================================
   ANDEAN WIND INSTRUMENTS FROM RUMILLAJTA AND PANOZO
   http://www.xmission.com/~mnavarro
   MANUEL NAVARRO 960.E 4200.S OGDEN.UTAH.84403 USA.
   801-627-5613
   ======================================================================

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

Date: Tue, 7 Oct 1997 11:51:16 -0700
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) maintain instruments

Oiling bamboo instruments is a good idea, and a must if the bamboo is
of the thin kind; this will keep them from cracking due to humidity
and temperature changes.=20

I've used regular cooking oil in the past but that turns rancid and=20
smells awful after a while. Linseed oil is a good one to use, though=20
it too turns a bit rancid too. I use lemon oil now, the kind used for=20
furniture. I have to let the instrument sit for a couple of weeks=20
before I can use it though, until the strong lemony scent goes away.=20
I know some people who use a baking method, that is oiling the bamboo=20
and putting in an oven at some low temperature. That may help lock the=20
oil in the fibers but at the same may alter the pitch a bit. This=20
process may be better suited for bamboo prior to making the instrument.

Marcelo

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

Date: Tue, 7 Oct 1997 12:03:19 -0700
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: (andina) ForSome of you may have heard that the group that spun off of Los Kjarkas,

"Pacha," was short lived. After one recording project Pacha disbanded.
Gaston Guardia (wind player) and Elmer Hermosa (1st voice) went back
to play with Los Kjarkas, where as Fernando Torrico (charango) and
Edwin Castellanos (guitar) went off to continue the work started with
Pacha. They now call themselves "Tupay" and have released a new album
that again intends to project Bolivian music to the rest of Latin America
in a more "pop" style by using the backdrop of orchestral arrangements,
as are typical in latin pop music.

BTW, Alcides Mejia, the wind player from Savia Andina has rejoined Los
Kjarkas (that is where he started back in the 70's). It appears that the
only person left of the original Savia Andina line up is Oscar Castro,
the percussionist.

Back to "Tupay"... I just got the CD so I am inlcuding my first impressions.
Again this album is co-produced with Bebu Silvetti, who also did the
orchestral arrangements and played piano. Most of the compositions are
by Fernando and Edwin, and only a few of those were recorded with Los
Kjarkas.

1. LA SAYA (M: F. Torrico - L: E. Castellanos)

El amor de las morenas es fuego,    The love of black women is fire,
quema, quema, quema,            it burns, it burns, it burns,
como la arena del desierto,        like desert sand,
quema, quema, quema.            it burns, it burns, it burns,

Interesting piece. It starts with the basic "tundiqui" percussion with
voices gliding over in the call and response style of afro music. The
last couple of pseudo sayas Los Kjarkas released were approximating this
style, almost as if they were starting to go back to the roots of the
real afro saya. This is a bit closer. The winds come in with the well
known Andean sound in the dialogando style. I keep waiting for someone
to compose a "tundiqui" that has winds sounding more afro... The lyrics
start sounding nice, until the desert is mentioned... a diservice to
the Afro-Bolivian people, Los Yungas should have been mentioned, let
the world know more about Bolivia!

If you are not so hung up on calling white what is white and black what
is black (as I am), this is a great piece, with a very catchy melody.

2. ME HACE FALTA (L&M: F. Torrico)

Me hace falta tu sonrisa        I miss your smile,
me hace falta tu mirada,        I miss seeing your eyes,
sin ti yo no soy nada,            without you I am nothing,
sin ti no soy feliz.            without you I am not happy.

The opening guitar arpegio sounds like Gypsy Kings. The zampon~as over
the strings are sweet and Fernando's voice proves it can stand all on
its own. This definitely Latin pop music, complete with the silly love
lyrics, no traces of Bolivian music here, none what so ever. A great song
for the teenagers at heart.

3. DESDE QUE TE FUISTE (M: Bebu Silvetti, L: Riera Iban~ez)

Desde que tu te fuiste            Since you left
yo tengo tus fotos            I have your pictures
por toda mi habitacion.            all over my room.

This piece has more Bolivian flavor than the previous one, it sounds a bit
like the chuntunquis turned into love songs (before Los Kjarkas chuntunquis
used to be strictly Christmas carols). Again, a silly pop love song, sweet
enough to lay awake all night think of the person who broke one's heart.

4. AY NO SE QUE TIENES (L&M: E Castellanos)

Ay no se que tienes            Oh, I don't know what you have
para que te quiera tanto,        that makes me love you so,
sera tu perfume             parhaps it is your perfume,
o esos ojos claros.            or your light colored eyes.

It starts as another Gypsy King's influenced rumba, towards the end it shifts
for a few bars into a salsa rhythm and returns to rumba. I am fan of songs
with poetic lyrics, like the ones Ulises Hermosa wrote, like some of the great
pop songs that Roberto Carlos and others have written, so I won't comment
anymore on the quality of Tupay's lyrics.

5. LUZ DE MI CAMINO (L&M: F. Torrico)

Eres tu la luz de mi camino,        You are the light on my path.
eres alegria en mi penar,        you are the joy in my suffering,
eres sabia luz,                you are wise light,
eres la vida.                you are life.

The influence of Ulises Hermosa is quite apparent here. A chuntunqui very
reminiscent of "Por un suen~o de Amor." Too bad the lyrics are not of the same
caliber.... oops, I said I would not comment on the lyrics again.

6. YA NO QUIERO SER TU AMOR (M: F. Torrico & E. Castellanos - L: E. Castellanos)

Ya no quiero ser tu amor,        I don't want to be your love any more,
no me pidas por favor,            do not beg that of me,
ya no quiero ser el sol,        I don't want to be the sun
que siempre te dio calor.        that always gave you warmth.

The only piece that is noted as a Bolivian rhythm, a "taquirari." Edwin shows
that he play according quite nicely. The melody is nice and catchy, eventhough
the drums and bass are flat, only the bongos rescue some of the cadence that
is so characteristic of taquiraris.

7. VIVAMOS EL AMOR (L&M: E. Castellanos)

Vivamos el amor                Let's live our love
para que crezca el sentimiento,        so it the feelings will grow,
para regar nuestro jardin        to water our garden
con la vertiente del deseo.        from the fountain of desire.

The fountain of desire... hmmm... we are aproaching poetry here. Another
mellow piece that those who are fond of slow dancing will love.

8. AMERICA LATINA (L&M: F. Torrico)

America Latina                Latin America
fluye mi canto en tus venas,        your song flows through my veins,
America Latina                Latin America
tu eres mi canto de esperanza.        you are my song of hope.

There is hope yet... This title piece actually has a message, eventhough it
is one that has been run through the mills by a thousand and one song writers.
An upbeat piece that is good to even shake the dust of some tired old
bones.

9. NO ME PERTENECES (L&M: E. Castellanos)

Te tengo, te amo            I have you, I love you
y no me perteneces,            yet you do not belong to me,
como la noche no            like the night does
le pertenece al dia.            not belong to the day.

There goes to prove that Bolivians can compose nice boleros... where is
my dance partner?

Is there really hope for latin people? We are still looking at people as
property... gee...

10. PARA PODER HABLAR DE AMOR (L&M: E. Castellanos)

Para poder hablar de amor        To talk about love
ya que vivir,                one has to live,
hay que querer intensamente        one has to intensely love
cada dia,                every day,
hay que desear con gran pasion        one has to desire with great passion
porque la piel tiene que        because the flesh=3D20
ver con el amor.            has to do with love.

No kidding! OK, OK, I won't say anymore about the lyrics.

More for the lovers of slow dancing.

11. DUELE (L&M: E. Castellanos)

Duele                    It hurts
aceptar que te fuiste,            accept that you are gone,
duele                    it hurts,
despertar sin tu amor,            to wake up without you,
duele                    it hurts
no tenerte a mi lado.            to have you with me.

This was recorded with Los Kjarkas and it is at least an equally good version.

12. PROHIBIDO AMARTE (M: Bebu Silvetti - L: Riera Iban~ez)

Prohibido amarte            It is foribidden to love you
una ley lo decidio,            a las has decided so,
se que tu sientes            I know you feel
el deseo como yo.            the desire as I do.

Silvetti's piano starts a sweet piece... sounds like Richard Clayderman...
Another one for slow dancing.

13. NO TEMAS ENAMORARTE (L&M: E. Castellanos)

No temas enamorarte            Do not fear to fall in love
que lo mas bello es el amor,        for love is the most beautiful thing,
no temas enamorarte            do not fear to fall in love
aunque te dan~e otra vez.        eventhough it may hurt you.

Didn't Kahlil Gibran say that? Ah yes... but his words were so eloquent, so
beautiful, so powerful. This another piece that was recorded by Los Kjarkas
and again it is just as good.

That is it... thirteen pieces that definitely capture the spirit of latin
commercial pop music. Both Edwin and Fernando have proven that they can
compose such music and do it quite well. The melodies are sweet, the
arrangements are nice, and Fernando proves to be a good singer, almost as good
as a charango player. I think that this album will be a better commercial
success than Pacha's for it is my impressions that the masses want catchy
music they can dance to, with easy to understand and easy to relate lyrics,
they do not want muFor Los Kjarkas fans
Mime-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: quoted-printable
Content-MD5: T956uot/Le8UWOZ/LeeOpA==

I was cleaning my mail box and I found a message I had tried to post to
the list back in April. The list was down then and so it bounced. I =
think
some of you may still want to read it (and reply to it) so here it goes.

- -------------------------------------------------------------------------=
- ---

Some of you may have heard that the group that spun off of Los Kjarkas,
"Pacha," was short lived. After one recording project Pacha disbanded.
Gaston Guardia (wind player) and Elmer Hermosa (1st voice) went back
to play with Los Kjarkas, where as Fernando Torrico (charango) and
Edwin Castellanos (guitar) went off to continue the work started with
Pacha. They now call themselves "Tupay" and have released a new album
that again intends to project Bolivian music to the rest of Latin =
America
in a more "pop" style by using the backdrop of orchestral arrangements,
as are typical in latin pop music.

I just got the CD so I am inlcuding my first impressions. As with Pacha,
this album is co-produced with Bebu Silvetti, who also did the =
orchestral=20
arrangements and played piano. Most of the compositions are by Fernando=20
and Edwin, and only a few of those were recorded with Los Kjarkas.

1. LA SAYA (M: F. Torrico - L: E. Castellanos)

El amor de las morenas es fuego,    The love of black women is fire,
quema, quema, quema,            it burns, it burns, it burns,
como la arena del desierto,        like desert sand,
quema, quema, quema.            it burns, it burns, it burns,

Interesting piece. It starts with the basic "tundiqui" percussion with
voices gliding over in the call and response style of afro music. The
last couple of pseudo sayas Los Kjarkas released were approximating this
style, almost as if they were starting to go back to the roots of the
real afro saya. This is a bit closer. The winds come in with the well
known Andean sound in the dialogando style. I keep waiting for someone
to compose a "tundiqui" that has winds sounding more afro... The lyrics
start sounding nice, until the desert is mentioned... a diservice to
the Afro-Bolivian people IMHO. Los Yungas should have been mentioned, =
let
the world know more about Bolivia!

If you are not so hung up on calling white what is white and black what
is black, this is a great piece, with a very catchy melody.

2. ME HACE FALTA (L&M: F. Torrico)

Me hace falta tu sonrisa        I miss your smile,
me hace falta tu mirada,        I miss seeing your eyes,
sin ti yo no soy nada,            without you I am nothing,
sin ti no soy feliz.            without you I am not happy.

The opening guitar arpegio sounds like Gypsy Kings. The zampon~as over
the strings are sweet and Fernando's voice proves it can stand all on
its own. This definitely Latin pop music, complete with the silly love
lyrics, no traces of Bolivian music here, none what so ever. A great =
song
for the teenagers at heart.

3. DESDE QUE TE FUISTE (M: Bebu Silvetti, L: Riera Iban~ez)

Desde que tu te fuiste            Since you left
yo tengo tus fotos            I have your pictures
por toda mi habitacion.            all over my room.

This piece has more Bolivian flavor than the previous one, it sounds a =
bit
like the chuntunquis turned into love songs (before Los Kjarkas =
chuntunquis
used to be strictly Christmas music). Again, a silly pop love song, =
sweet
enough to lay awake all night think of the person who broke one's heart.

4. AY NO SE QUE TIENES (L&M: E Castellanos)

Ay no se que tienes            Oh, I don't know what you have
para que te quiera tanto,        that makes me love you so,
sera tu perfume             parhaps it is your perfume,
o esos ojos claros.            or your light colored eyes.

It starts as another Gypsy King's influenced rumba, towards the end it =
shifts
for a few bars into a salsa rhythm and returns to rumba. I am fan of =
songs
with poetic lyrics, like the ones Ulises Hermosa wrote, like some of the =
great
pop songs that Roberto Carlos and others have written, so I won't =
comment
anymore on the quality of Tupay's lyrics.

5. LUZ DE MI CAMINO (L&M: F. Torrico)

Eres tu la luz de mi camino,        You are the light on my path.
eres alegria en mi penar,        you are the joy in my suffering,
eres sabia luz,                you are wise light,
eres la vida.                you are life.

The influence of Ulises Hermosa is quite apparent here. A chuntunqui =
very
reminiscent of "Por un suen~o de Amor." Too bad the lyrics are not of =
the same
caliber.... oops, I said I would not comment on the lyrics again.

6. YA NO QUIERO SER TU AMOR (M: F. Torrico & E. Castellanos - L: E. =
Castellanos)

Ya no quiero ser tu amor,        I don't want to be your love any more,
no me pidas por favor,            do not beg that of me,
ya no quiero ser el sol,        I don't want to be the sun
que siempre te dio calor.        that always gave you warmth.

The only piece that is noted as a Bolivian rhythm, a "taquirari." Edwin =
shows
that he plays according quite nicely. The melody is nice and catchy, =
eventhough
the drums and bass are flat, only the bongos rescue some of the cadence =
that
is so characteristic of taquiraris.

7. VIVAMOS EL AMOR (L&M: E. Castellanos)

Vivamos el amor                Let's live our love
para que crezca el sentimiento,        so it the feelings will grow,
para regar nuestro jardin        to water our garden
con la vertiente del deseo.        from the fountain of desire.

The fountain of desire... hmmm... we are aproaching poetry here. Another
mellow piece that those who are fond of slow dancing will love.

8. AMERICA LATINA (L&M: F. Torrico)

America Latina                Latin America
fluye mi canto en tus venas,        your song flows through my veins,
America Latina                Latin America
tu eres mi canto de esperanza.        you are my song of hope.

There is hope yet... This title piece actually has a message, eventhough =
it
is one that has been run through the mills by a thousand and one song =
writers.
An upbeat piece that is good to even shake the dust of some tired old=20
bones.

9. NO ME PERTENECES (L&M: E. Castellanos)

Te tengo, te amo            I have you, I love you
y no me perteneces,            yet you do not belong to me,
como la noche no            like the night does
le pertenece al dia.            not belong to the day.

There goes to prove that Bolivians can compose nice boleros... where is
my dance partner?

Is there really hope for latin people? We are still looking at people as
property... gee...

10. PARA PODER HABLAR DE AMOR (L&M: E. Castellanos)

Para poder hablar de amor        To talk about love
ya que vivir,                one has to live,
hay que querer intensamente        one has to intensely love
cada dia,                every day,
hay que desear con gran pasion        one has to desire with great passion
porque la piel tiene que        because the flesh
ver con el amor.            has to do with love.

No kidding! OK, OK, I won't say anymore about the lyrics.

More for the lovers of slow dancing.

11. DUELE (L&M: E. Castellanos)

Duele                    It hurts
aceptar que te fuiste,            accept that you are gone,
duele                    it hurts,
despertar sin tu amor,            to wake up without you,
duele                    it hurts
no tenerte a mi lado.            to have you with me.

This was recorded with Los Kjarkas and it is at least an equally good =
version.

12. PROHIBIDO AMARTE (M: Bebu Silvetti - L: Riera Iban~ez)

Prohibido amarte            It is foribidden to love you
una ley lo decidio,            a las has decided so,
se que tu sientes            I know you feel
el deseo como yo.            the desire as I do.

Silvetti's piano starts a sweet piece... sounds like Richard =
Clayderman...
Another one for slow dancing.

13. NO TEMAS ENAMORARTE (L&M: E. Castellanos)

No temas enamorarte            Do not fear to fall in love
que lo mas bello es el amor,        for love is the most beautiful thing,
no temas enamorarte            do not fear to fall in love
aunque te dan~e otra vez.        eventhough it may hurt you.

Didn't Kahlil Gibran say that? Ah yes... but his words were so eloquent, =
so
beautiful, so powerful. This another piece that was recorded by Los =
Kjarkas
and again it is just as good.

That is it... thirteen pieces that definitely capture the spirit of =
latin
commercial pop music. Both Edwin and Fernando have proven that they can
compose such music and do it quite well. The melodies are sweet, the
arrangements are nice, and Fernando proves to be a good singer, almost =
as good
as a charango player. I think that this album will be a better =
commercial
success than Pacha's for it is my impressions that the masses want =
catchy
music they can dance to, with easy to understand and easy to relate =
lyrics,
they do not want music that is deeply rooted in tradition nor deep =
lyrics.

Marcelo

- -------------------------------------------------------------------------=
- ---

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

Date: Tue, 7 Oct 1997 12:09:21 -0700
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: (andina) For Los Kjarkas Fans

Ignore my previous posting... it got all messed up for some reason...


I was cleaning my mail box and I found a message I had tried to post to
the list back in April. The list was down then and so it bounced. I =
think
some of you may still want to read it (and reply to it) so here it goes.

- -------------------------------------------------------------------------=
- ---

Some of you may have heard that the group that spun off of Los Kjarkas,
"Pacha," was short lived. After one recording project Pacha disbanded.
Gaston Guardia (wind player) and Elmer Hermosa (1st voice) went back
to play with Los Kjarkas, where as Fernando Torrico (charango) and
Edwin Castellanos (guitar) went off to continue the work started with
Pacha. They now call themselves "Tupay" and have released a new album
that again intends to project Bolivian music to the rest of Latin =
America
in a more "pop" style by using the backdrop of orchestral arrangements,
as are typical in latin pop music.

I just got the CD so I am inlcuding my first impressions. As with Pacha,
this album is co-produced with Bebu Silvetti, who also did the =
orchestral
arrangements and played piano. Most of the compositions are by Fernando
and Edwin, and only a few of those were recorded with Los Kjarkas.

1. LA SAYA (M: F. Torrico - L: E. Castellanos)

El amor de las morenas es fuego,    The love of black women is fire,
quema, quema, quema,            it burns, it burns, it burns,
como la arena del desierto,        like desert sand,
quema, quema, quema.            it burns, it burns, it burns,

Interesting piece. It starts with the basic "tundiqui" percussion with
voices gliding over in the call and response style of afro music. The
last couple of pseudo sayas Los Kjarkas released were approximating this
style, almost as if they were starting to go back to the roots of the
real afro saya. This is a bit closer. The winds come in with the well
known Andean sound in the dialogando style. I keep waiting for someone
to compose a "tundiqui" that has winds sounding more afro... The lyrics
start sounding nice, until the desert is mentioned... a diservice to
the Afro-Bolivian people IMHO. Los Yungas should have been mentioned, =
let
the world know more about Bolivia!

If you are not so hung up on calling white what is white and black what
is black, this is a great piece, with a very catchy melody.

2. ME HACE FALTA (L&M: F. Torrico)

Me hace falta tu sonrisa        I miss your smile,
me hace falta tu mirada,        I miss seeing your eyes,
sin ti yo no soy nada,            without you I am nothing,
sin ti no soy feliz.            without you I am not happy.

The opening guitar arpegio sounds like Gypsy Kings. The zampon~as over
the strings are sweet and Fernando's voice proves it can stand all on
its own. This definitely Latin pop music, complete with the silly love
lyrics, no traces of Bolivian music here, none what so ever. A great =
song
for the teenagers at heart.

3. DESDE QUE TE FUISTE (M: Bebu Silvetti, L: Riera Iban~ez)

Desde que tu te fuiste            Since you left
yo tengo tus fotos            I have your pictures
por toda mi habitacion.            all over my room.

This piece has more Bolivian flavor than the previous one, it sounds a =
bit
like the chuntunquis turned into love songs (before Los Kjarkas =
chuntunquis
used to be strictly Christmas music). Again, a silly pop love song, =
sweet
enough to lay awake all night think of the person who broke one's heart.

4. AY NO SE QUE TIENES (L&M: E Castellanos)

Ay no se que tienes            Oh, I don't know what you have
para que te quiera tanto,        that makes me love you so,
sera tu perfume             parhaps it is your perfume,
o esos ojos claros.            or your light colored eyes.

It starts as another Gypsy King's influenced rumba, towards the end it =
shifts
for a few bars into a salsa rhythm and returns to rumba. I am fan of =
songs
with poetic lyrics, like the ones Ulises Hermosa wrote, like some of the =
great
pop songs that Roberto Carlos and others have written, so I won't =
comment
anymore on the quality of Tupay's lyrics.

5. LUZ DE MI CAMINO (L&M: F. Torrico)

Eres tu la luz de mi camino,        You are the light on my path.
eres alegria en mi penar,        you are the joy in my suffering,
eres sabia luz,                you are wise light,
eres la vida.                you are life.

The influence of Ulises Hermosa is quite apparent here. A chuntunqui =
very
reminiscent of "Por un suen~o de Amor." Too bad the lyrics are not of =
the same
caliber.... oops, I said I would not comment on the lyrics again.

6. YA NO QUIERO SER TU AMOR (M: F. Torrico & E. Castellanos - L: E. =
Castellanos)

Ya no quiero ser tu amor,        I don't want to be your love any more,
no me pidas por favor,            do not beg that of me,
ya no quiero ser el sol,        I don't want to be the sun
que siempre te dio calor.        that always gave you warmth.

The only piece that is noted as a Bolivian rhythm, a "taquirari." Edwin =
shows
that he plays according quite nicely. The melody is nice and catchy, =
eventhough
the drums and bass are flat, only the bongos rescue some of the cadence =
that
is so characteristic of taquiraris.

7. VIVAMOS EL AMOR (L&M: E. Castellanos)

Vivamos el amor                Let's live our love
para que crezca el sentimiento,        so it the feelings will grow,
para regar nuestro jardin        to water our garden
con la vertiente del deseo.        from the fountain of desire.

The fountain of desire... hmmm... we are aproaching poetry here. Another
mellow piece that those who are fond of slow dancing will love.

8. AMERICA LATINA (L&M: F. Torrico)

America Latina                Latin America
fluye mi canto en tus venas,        your song flows through my veins,
America Latina                Latin America
tu eres mi canto de esperanza.        you are my song of hope.

There is hope yet... This title piece actually has a message, eventhough =
it
is one that has been run through the mills by a thousand and one song =
writers.
An upbeat piece that is good to even shake the dust of some tired old =
bones.

9. NO ME PERTENECES (L&M: E. Castellanos)

Te tengo, te amo            I have you, I love you
y no me perteneces,            yet you do not belong to me,
como la noche no            like the night does
le pertenece al dia.            not belong to the day.

There goes to prove that Bolivians can compose nice boleros... where is
my dance partner?

Is there really hope for latin people? We are still looking at people as
property... gee...

10. PARA PODER HABLAR DE AMOR (L&M: E. Castellanos)

Para poder hablar de amor        To talk about love
ya que vivir,                one has to live,
hay que querer intensamente        one has to intensely love
cada dia,                every day,
hay que desear con gran pasion        one has to desire with great passion
porque la piel tiene que        because the flesh
ver con el amor.            has to do with love.

No kidding! OK, OK, I won't say anymore about the lyrics.

More for the lovers of slow dancing.

11. DUELE (L&M: E. Castellanos)

Duele                    It hurts
aceptar que te fuiste,            accept that you are gone,
duele                    it hurts,
despertar sin tu amor,            to wake up without you,
duele                    it hurts
no tenerte a mi lado.            to have you with me.

This was recorded with Los Kjarkas and it is at least an equally good =
version.

12. PROHIBIDO AMARTE (M: Bebu Silvetti - L: Riera Iban~ez)

Prohibido amarte            It is foribidden to love you
una ley lo decidio,            a las has decided so,
se que tu sientes            I know you feel
el deseo como yo.            the desire as I do.

Silvetti's piano starts a sweet piece... sounds like Richard =3D
Clayderman...
Another one for slow dancing.

13. NO TEMAS ENAMORARTE (L&M: E. Castellanos)

No temas enamorarte            Do not fear to fall in love
que lo mas bello es el amor,        for love is the most beautiful thing,
no temas enamorarte            do not fear to fall in love
aunque te dan~e otra vez.        eventhough it may hurt you.

Didn't Kahlil Gibran say that? Ah yes... but his words were so eloquent, =
so
beautiful, so powerful. This another piece that was recorded by Los =
Kjarkas
and again it is just as good.

That is it... thirteen pieces that definitely capture the spirit of =
latin
commercial pop music. Both Edwin and Fernando have proven that they can
compose such music and do it quite well. The melodies are sweet, the
arrangements are nice, and Fernando proves to be a good singer, almost =
as good
as a charango player. I think that this album will be a better =
commercial
success than Pacha's for it is my impressions that the masses want =
catchy
music they can dance to, with easy to understand and easy to relate =
lyrics,
they do not want music that is deeply rooted in tradition nor deep =
lyrics.

Marcelo

- -------------------------------------------------------------------------=
- ---

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

End of andina Digest V1 #10
***************************

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