Dec 5, 2017

RhoDeo 1749 Roots


The coming months at Roots will be about the music from Chili, that country with probably the most oddly shape in the world. A 4000km long, narrow strip of land between the Andes to the east and the Pacific Ocean to the west. It borders Peru to the north, Bolivia to the northeast, Argentina to the east, and the Drake Passage in the far south. The arid Atacama Desert in northern Chile contains great mineral wealth, principally copper. The relatively small central area dominates in terms of population and agricultural resources, and is the cultural and political center from which Chile expanded in the late 19th century when it incorporated its northern and southern regions. Southern Chile is rich in forests and grazing lands, and features a string of volcanoes and lakes. The southern coast is a labyrinth of fjords, inlets, canals, twisting peninsulas, and islands.
Chile is today one of South America's most stable and prosperous nations, with a high-income economy and high living standards. It leads Latin American nations in rankings of human development, competitiveness, income per capita, globalization, state of peace, economic freedom, and low perception of corruption. It also ranks high regionally in sustainability of the state, and democratic development.

Today's artist is a Chilean band, highlighted by the combination of progressive rock with folk rhythms , along with the incorporation of Latin American instruments and rhythms , especially Chilean ones . They have often been considered "one of the most important and influential bands in Chile and the rest of South America ." In its 50 years of uninterrupted musical activity, Los Jaivas have been characterized by the exploration and fusion of different styles, from the tropical music of its beginnings, continuing with progressive rock , through improvisation in the style of avant garde and jazz , classic rock and Latin American fusion .  During his career, in addition to composing, arranging and performing a large number of his own songs.....N'Joy

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The origins of Los Jaivas are in the family nucleus formed by the brothers Eduardo, Claudio and Gabriel Parra, from Viña del Mar. Together with their friends and high school classmates at the Liceo Guillermo Rivera Cotapos, located on Calle Montaña (steps away) from Quinta Vergara in Viña del Mar), Eduardo "Gato" Alquinta and Mario Mutis, begin to discover music as a way to express their creativity and permanent restlessness.

This is how on August 15, 1963 , under the name of The High & Bass , which alluded to the differences in stature between the brothers Parra, Gato and Mario, 5 made their first presentation at the Municipal Theater of Viña del Mar, interpreting, among others, the theme "Sueña" by Luis Dimas . The presentation is disastrous and the audience strongly disapproves of them. 8 During the following six years, and with his stable formation (Eduardo on keyboards, Claudio on accordion and piano, Gabriel on drums, Gato on guitar and Mario on bass) the band develops its musical proposal at parties and social gatherings in Viñamarinas , interpreting mainly tropical music, cha cha cha , bossa nova and boleros , with good results.

After these years of testing and learning, the group strongly questions their work, and influenced by the university reform and Americanist ideals, decides to change their musical style, to go from mere performers to creators and make way for full musical improvisation and Vanguard. Between 1969 and 1971 , and with its name already Castilianized to "The Jaivas", 10 the concerts of the group are transformed into absolute improvisations, without scripts or prepared schemes, and with each musical instrument generating their own atmospheres, even with the help of the attending public. Improvisation leads them to the appreciation of Latin American musical roots and to the exploration of sounds from ancestral instruments, which allows them to combine seemingly irreconcilable styles, but which Los Jaivas decides to capture in their later musical creation.

Several concerts of this period, including those held at the Vanguardia Music Festival of Viña del Mar (January 1970),  are recorded in the five-disc collection entitled La Vorágine , which documents the stage known as Los Prehistoria. Jaivas. During this time, in addition, the group participates in the legendary hippie recital of Piedra Roja 6 and records its first official record label, homonymous, but known as El Volantín , for its characteristic cover. The album, published in 1971 , contains improvisations in the line of the avant-garde explored previously, but also includes the first sketches of composition, especially on topics such as "Photo of First Communion" and "That or the Tomb You Will Be". .

In April 1972 the group released the single " Todos Juntos ", which catapults them to fame throughout Chile. The group does not participate in the agitated political speeches of the time. The song, originally thought of as B-side, gains high radial rotation and repercussion in the music market due to the fusion it achieves between the lyrics of the call for unity and peace among human beings and the combined use of Latin American rhythms with rock instruments traditional. The fame of the band is increased in September 1972, with the release of " Mira Niñita " / "Leather and Skin", the second single of the group, whose face A also becomes a classic of Chilean popular music.

With the release of their second self-titled album in February 1973 (known, for its cover, as La Ventana and reissued with the title of Todos Juntos in several Latin American countries), which incorporates both sides A of the 1972 singles, in addition to A face full of totally improvised themes, the success of the group is even greater, in an era characterized by the idealism of the hippie ideology. The Jaivas are seen in Chile as a symbol of the times, and their prestige and popularity increase thanks to their participation in numerous concerts, including the recital Los Caminos that opens in February 1973 and another in August of the same year, in Viña del Mar, in which they present their first approaches with symphonic music.

The coup d'état led by Augusto Pinochet on September 11, 1973 makes the group decide to move to live in community in the city of Zárate, in Argentina . Already consolidated in this country, and in partnership with the Brazilian musician Manduka, in 1974 they recorded a series of songs at the Odeón studios (Buenos Aires), which in 1979 would be released under the Movieplay label in Spain, within the album called Los Sueños de America, it contains formal compositions and improvisations that arise spontaneously between the musicians.

In September of 1974 , Mario Mutis must undertake the return to Chile, for personal reasons. Mario returns to the band at the end of November of that year; However, in May 1975 , after a brief return from Los Jaivas to Chile, Mario Mutis stayed in the country, and was replaced on the bass by Julio Anderson , who debuted at the end of this month. With this bass player, the group records another self-titled album, known as El Indio , and released in December. The album, which becomes a hit in Argentina, contains among others the song " Pregón Para Iluminarse ", the slow cueca " La Conquistada " and the extensive musical production "Tarka y Ocarina" which becomes a key point in the concerts of the group. It is this album that ends up defining the musical identity of Los Jaivas, in terms of the fusion of traditional Latin American sounds, those coming from progressive rock, such as electric guitar, organ and drums, and even elements of classical music, provided for the characteristic sound of the piano played by Claudio Parra.

The departure of Anderson in November 1975, favors the entry into the band of Canzani Bird in bass, guitars and choirs and Alberto Ledo in charango , other stringed instruments, percussion and choirs. With this formation, which allows to enrich the sound of the group in voices and arrangements, they edit the single " Mambo de Machaguay " (first version) / "En tus Horas", in 1976 , and the album Canción del Sur, in 1977. The album incorporates for the first time the minimoog executed by Eduardo Parra, in the theme that gives it title .

During their stay, Los Jaivas are recognized and respected as a group from Argentina. They make tours throughout the country, from the interior to Patagonia. The tours cover the eastern coast of the continent, Uruguay, Paraguay and Brazil. His appearances in television become habitual, and they realize several symphonic concerts, experience unpublished in Argentina, next to the Municipal Symphony Orchestra of Mar del Plata and the Symphonic Orchestra of Buenos Aires . One of these presentations is the farewell of the group of America, which already looked to Europe as its next stage, especially considering the difficult political situation in Argentina, which led, even, the temporary detention of Eduardo Parra.

At the end of 1977 a ship moved Los Jaivas to Europe, who settled in a house in Paris dating from the eighteenth century , to continue their life in community. As soon as they arrive, they begin a series of recitals in Theaters such as Le Palace, Athénee and Cité Universitaire, in Paris. In the Netherlands they perform at various outdoor clubs and parks, such as Vondel Park, at a large popular music festival. In mid- 1978 , a year after their arrival in Europe, they performed at the famous Olympia Theater in Paris, as a result of their work until that date, making trips to Belgium , Germany , Spain and Italy. In 1979 , they make their first tour to England . They make a season at the Shaftesbury Theater , right in the Piccadilly Circus . London receives them with unusual enthusiasm and excellent criticism. The specialized press catalogs Gabriel Parra as one of the three best drummers in the world. This same year, Mario Mutis rejoins the band and Pájaro Canzani abandons her to pursue a solo career. 1980 finds Los Jaivas on an extensive tour of Spain, a short time later, Alberto Ledo leaves the band.

In November of the same year, with its original formation, and as a product of an invitation from Radio France, the group conceives and prepares its own interpretation and arrangements of songs by Chilean singer-songwriter Violeta Parra , which will be released on record in 1984 , under the name of Obras de Violeta Parra , one of his most praised works.

Machu Picchu , located in southern Peru , gives its name to Pablo Neruda's poem belonging to his General Canto , on which the album Alturas de Machu Picchu is based . In this place also Los Jaivas recorded a musical movie. The idea of interpreting poems from Pablo Neruda's General Song , which emerged in 1981 , inspires Los Jaivas to record their most famous and transcendent album, Alturas de Machu Picchu, and enables them to return to Latin America to record the scenes corresponding to the special television that would accompany the album, which is conducted by the Peruvian writer and Nobel Prize for Literature Mario Vargas Llosa . The album features songs as important as " American Love ", " The Mighty Death " and " Come Up to Be Born with Brother ", who, through their complex musical structures, manage to fully interpret Neruda's torrential poetry. Alturas is still one of the best-selling Chilean albums in all of history, and the documentary, filmed in a joint collaboration between Canal 13 of Chile and Canal 7 of Peru , achieves a fusion of the poems, the landscape, the mysterious spirit and the legend of a disappeared civilization, with the natural effects of illumination, in such a way that the achieved images help to deliver a total work of great cultural magnitude, as few have been done in Latin America.

The 1981 tour takes them through Argentina, Chile, Peru and Uruguay , and in 1982 they return to Europe to present Alturas in Germany , Spain , Holland and France , and to register a new album, Aconcagua , which would be released in Chile in the year following. The Chilean version of the album contains a new version of " Mambo de Machaguay ", which becomes a radio hit immediately; the editions of the other countries incorporate a re-recording of the now classic " Todos juntos ".

The group returns to Chile in October 1982, and says goodbye to the country in February 1983 with a great concert at the Quinta Vergara in Viña del Mar, before more than twenty thousand people. They then play for three days at the Sanitary Works stadium in Argentina, concerts that are recorded on the album Los Jaivas in Argentina , which was released that same year. Later, they continue with an extensive tour that takes them through Peru, Ecuador , Colombia , Venezuela , Mexico , Brazil , the Netherlands , and then to the then republics of the Soviet Union : Russia , Lithuania , Kazakhstan and Kyrgyzstan . From these performances the live album Los Jaivas in Moscow is recorded, which is published in all the Soviet territories.

After this Los Jaivas return to Chile in a lightning trip to record a special television in the Chilean Antarctic , and then embark on a new tour, which takes them through France, Switzerland , Belgium, Holland, Germany and Finland . This tour was interrupted by the invitation from Buenos Aires to represent Chile in the Meeting of Chilean-Argentine Fraternity before more than 80,000 people, between Chileans and Argentines, for the final agreement of the two countries on the border issue, which was point to unleash a fratricidal war.

In July and August of 1984 they return to Paris to register the Violeta Parra Works , which finally goes on sale as a double album with the participation of Isabel Parra and Patricio Castillo. In the following year, Mario Mutis returns to leave the band and to be replaced by Pájaro Canzani. With this formation, they realize their first tour by the United States and Canada , appearing in the famous and exclusive Carnegie Hall of New York (next to the legendary band RataJuana); in addition to Washington and Spriengfield. In 1985 the group decides to end their stay in Paris.

1986 and 1987 pass quickly with an uninterrupted activity. The tours follow one another. In addition to their usual circuit of France, Germany, Holland, Spain and Italy, they continue through Switzerland, Sweden , Austria and the Nordic countries. They perform a concert in Piazza San Marco , during the famous Carnival of Venice .In 1988 Los Jaivas, with the reinforcement of the charanguista and bassist Fernando Flores , returned to Latin America on a new tour. The farewell concert of Chile, at the Santa Laura Stadium , would also be the farewell to Gabriel Parra, his drummer, who died in a car accident on a road south of Lima .

The farewell is held in Viña del Mar, hometown of the entire group. More than 100,000 people attend their funerals, including an honor band formed by the drummers of many Chilean groups. Condolences are received from all over the world, and a few weeks later, the album Los Jaivas en Vivo is released: Tour 1988 , which is a tribute to the drummer from its cover.

In August of that same year, the rest of the group decides to go ahead, and meets in Paris to finish, with the help of bassists Pájaro Canzani and Mario Mutis and drummer Marcelo Muñoz , nephew of Gato Alquinta, the album started one year before next to Gabriel, that is published under the title of If You Are not . The plate, published in 1989 , turns out to be the most intimate of the group, and in it they explore sounds coming from electronic and programmable instruments. The album is presented with a great show at the Santa Laura stadium called Los Caminos que Abren II , in which Los Jaivas perform with Marcelo Muñoz on drums, Pájaro Canzani on bass, and Luis Núñez on charango, as a guest musician.

In the tour that takes place in Latin America during the summer of 1991 , a young Juanita Parra , daughter of Gabriel, participated in the group playing the song "Run that I get you". In spite of its youth it denotes exceptional conditions in the battery, that excite the public, who sees in her a natural continuation of the role his father. Upon her return to Europe, she officially joined the group as a drummer, but had to go through a stage of preparation and study that would last five years.

There are some European tours through Toulouse , Paris , Berlin , Munich , Brussels , Antwerp and Oslo , which allow the shooting with the brand new drummer. In 1992 , in addition, the group edits the soundtrack of the postponed film Palomita Blanca , which they had recorded during 1973.

This stage between 1990 and 1995 is the germ of the album Hijos de la Tierra , which means the reunion of Los Jaivas with its roots and with its audience, the consecration of Juanita as heir of the group's battery and the first places of popularity during several weeks.The lyrics of the 1999 album Mamalluca , written by Eduardo Parra , receive a strong inspiration from the Elqui Valley , in the image.

The group returns to settle in Chile and returns to record their classic song "Todos Juntos", with the help of several national musicians. This version, which is used as the official anthem of the VI Ibero-American Summit of Presidents in 1996 , generates the recording of the album Trilogía: El rencuentro , which contains new versions of previous songs by the band, recorded with the collaboration of several Chilean and Latin American artists. , among them Leon Gieco , The Three , Eduardo Gatti , Illapu , Javiera Parra and Congress . This album, in addition, means the definitive return of Mario Mutis to the band, in the bass.

A broad activity will come in the following years, during the reunion with Chile. The Jaivas participate in the collective album Tributo a Víctor Jara ( 1998 ) and also record, by order, songs such as "Todos Americanos", hymn of the Second Summit of the Americas, and "For the Children of the World", commissioned by UNICEF with reason for the signing of the Convention on the Rights of the Child . In addition, they perform, together with Illapu and Los Tres, the massive Made in Chile concert, which brings together more than 60,000 people at the National Stadium.

His next work, Mamalluca ( 1999 ), gathers the group's interaction with a complete symphonic orchestra, through the musicalization of a set of poems that the group's keyboardist, Eduardo Parra, composed inspired by the Elqui Valley , during one of the tours that the band made for the villages of the interior of Chile. Between 2000 and 2002 , the band edited the cuecas compilation In the Bar-Restaurant 'Lo Que Nunca Se Supo' and the album Arrebol , which brings together new compositions with all the songs recorded during their re-encounter with Chile; it also marks the entrance to the Carlos Cabezas band in charango, wind and percussion instruments and choirs; Arrebol would also be the last album of original songs released so far by Los Jaivas.

On that date, the double album " Recopilativos Obras Cumbres ",  was also published. In 2002 they appear in the Festival of the Song of Viña del Mar , appearing on Sunday , February 24 . On December 7, 2002 they performed a concert together with the Argentine singer Fito Páez . Both events were broadcast on the Canal 13 screens. In January of 2003 , the tragedy touches them closely again. Eduardo "Gato" Alquinta, his vocalist, dies unexpectedly on a beach in Coquimbo, northern Chile. His farewell is massive, more than 400,000 people wait up to five hours to say goodbye.

Again, the group decides to continue in spite of everything, incorporating three of Gato's sons, Ankatu (guitar), Eloy (flute, sax and wind instruments) and Aurora (voice), to replace him. With this formation, the group makes a national tour with the title of Gato Presente . Aurora leaves the group and the voice is in charge of Mario and Carlos. With this formation, the group continues its work and its tours throughout the country during 2003, year in which they receive the National Music Award, President of the Republic and the Pablo Neruda Medal.

Unexpectedly and only one year after his father, Eloy suffers a heart attack and dies at the age of 33, returning from a trip to Argentina, and he is replaced by his teammate Francisco Bosco. During 2004 , the band reissued its classic album Alturas de Machu Picchu , on the occasion of the centenary of the birth of the poet Pablo Neruda, accompanying it with a DVD edition of the television special recorded in 1981, in the historic Machu Picchu "(Peru) a joint work between the National Television of Peru and Chile, and a tour around the country presenting this complete work, which is a success in attendance.

In 2005 , the compilation album Song of love is published , which brings together romantic themes edited throughout the discography of the band. Among several other activities, in 2006 the group made a historic concert on Easter Island , in addition to the Orguesta de la Armada de Chile, and in the framework of the celebrations for the month of the sea. On September 20, 2006, Channel 13 broadcasts the television special Los Jaivas in Rapa Nui: Eyes That See the Universe , which collects fragments of the recital, as well as interviews with the group and with inhabitants of the Island. The DVD that includes the event It was finally released to the market in November 2007 with the title of Los Jaivas in Rapa Nui . 17

2007 begins as a year with great activity in terms of presentations. It begins on January 6 , when they are presented at the National Stadium of Chile at the summit of Chilean rock , a historic moment in which they met prominent Chilean artists, among whom were The Three , Saiko , Deceased Correa , The Bunkers , Javiera and Los Imposibles , Chancho in Piedra , Jorge González , Fahrenheit and others. During the same month, they reappeared at the Huaso Festival in Olmué , where they presented excerpts from their show Los Jaivas in Rapa Nui , and where they were chosen as the most popular artist of the event.
The Jaivas during his presentation at the Pichilemina Week of 2009.

They continue their participation in massive events with musicians of the new generations. Stresses the Santiago Rock in 2008, in that they even make versions of songs in conjunction with the group The Three ; a new appearance at the Festival of Huaso de Olmué , in 2009 and, without doubt, the Chilean Rock Summit II , in which time became scarce for its presentation, and which had as final a version of the classic " Todos Juntos " with a good part of the artists that participated during the event, before the crowded public of that day at the Club

During 2009 , Eduardo Parra , one of the founders of the group, announces his departure from the scenarios, as a result of the worsening of polio suffered since childhood. The band was making their presentations without his presence since 2007 , with Francisco Bosco replacing his instrumental parts in saxophone and synthesizer . In this regard, another founder, Mario Mutis, has pointed out that this new change in the composition of the band will not affect its continuity: " We have assumed it as it should, thinking that music should continue." Adapting to changes has been the key to our life as a group ", although within the framework of the Universal Forum of Cultures of Valparaíso 2010, where the group performed a concert mainly focused on the album Alturas de Machu Picchu , Eduardo was the rapporteur of the overture and also He joined the band to take his place in some of the songs. The group has presented together with Eduardo in the framework of the celebrations for the Bicentennial of the Republic of Chile , and in the Telethon 2010 , both events developed in the National Stadium .

The 22 of March of 2011 the Jaivas made a presentation in honor of the President of the United States of America Barack Obama in the courtyard of Canons of the Palace of La Moneda . In January 2013, Ankatu Alquinta is fired from the band, being replaced by guitarist Alan Reale . Ankatu last concert was in Santiago on 15 December 2012. On August 15, 2013, the group held a massive free concert to commemorate his 50 years in the Forest Park of Santiago , opposite the Museum of Fine Arts 22 where they were also showing an exhibition with photos and graphics in its history. The event was attended by over 60 thousand people.

In March 2013 the year of the celebration of 50 years of the band, the Chilean / Dutch filmmaker Erasmo Parra (son of Claudio Parra ), convinced the musicians to make a feature film dramatized based on the creative career of the band, from childhood to the time when they were known as the High Bass in Vina del Mar in the early 60s . The film is titled High Bass , will be released in 2019 and includes the participation of producers Belgian, Dutch and British. The cast is made up of artists Diego Noguera, Marina Mutis Parra and Celine Reymond , among others.

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After the magnanimous Alturas de Machu Picchu, the group in retreat records this album, a mixture of classic versions, touring themes on tours and a couple of originals (Aconcagua and Huairuro). In general, a return to the original sound of Los Jaivas, less Mini-moog and more Andean / folkloric instrumentation
The theme that opens the album and gives it the title is the last one that was recorded of all of the collection, and emerged as the inspiration of the group to see Mount Aconcagua from an airplane to fly over the border between Chile and Argentina . The Andean airs of the song perfectly accompany its content. Other included subjects had been composed much earlier: "Under the Higueras", with its atmosphere of Mexican trumpets, it dated from the stay of the band in Zárate , Argentina, whereas "From a Barrial" and "Takirari del Puerto" were already known in the tours of the group by Europe in the previous years, although they had not been recorded in study. The songs " Mambo de Machaguay " (original from a single from 1978 ) and "Corre Que Te Pillo" (originally recorded with orchestra as side B in 1973 ) are re-recorded for this occasion. The versions found on this album are those that the public remembers as habitual. To this collection was added the brief instrumental "Huairuro" and, in the editions of Argentina and France, a re-recording of the already classic song " Todos Juntos ", which did not appear in the Chilean edition.

Los Jaivas - Aconcagua   (flac  212mb)

01 Todos Juntos 3:58
02 Takirari Del Puerto 3:45
03 Debajo De Las Higueras 3:25
04 Huayruro 2:57
05 Mambo De Machaguay 4:24
06 Aconcagua 3:33
07 Desde Un Barrial 5:24
08 Corre Que Te Pillo 9:47

Los Jaivas - Aconcagua (ogg  85mb)

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Obras de Violeta Parra is an album released as a double LP , which includes ten group arrangements for songs originally written and composed by the outstanding Chilean singer-songwriter and Chilean folklorist Violeta Parra Since its inception, Los Jaivas had the idea of playing tribute to Violeta Parra in some of her record productions. The idea does not materialize, however, until 1980 , the year in which, during his residency in Europe , they are invited by French presenter Eve Grilliquez to prepare a set of creations by the Chilean singer-songwriter, with the aim of paying tribute to her.

Many fans consider that this is the album where the so-called "Jaiva sound" is best preserved: a perfect fusion between all the styles that the group mixed in their creations, between progressive rock and Latin American folklore that they had always appreciated. Following the approach that Violeta herself used to adopt their musical styles, the group made their own interpretations of the themes, modifying them, extending them to long pieces of improvisation where they mix electric guitars with trutrucas , creating passages of great beauty and elaboration.

This is how the songs "El Gavilán" and "Run Run Se Fue Pa'l Norte" are recorded as instrumental, despite having lyrics in their originals, accentuating with the musical arrangements the feelings expressed by the lyrics; "El Guillatún", "Arauco Has a Penalty", "And Arriba Quemando el Sol" and "In the Human Gardens" are long-winded themes, giving rise to improvisations and intricate arrangements, and "Violeta Ausente" and "Un Río de Blood "pass to its maximum expression with a folklore executed in a fine and precise manner.

Two quotes are reproduced that can help to understand the process. In the first place, a Violeta text is extracted that states: " Write as you like, use the rhythms that come out of you, try different instruments, sit on the piano, destroy the meter, scream instead of singing, blow the guitar and play the song is a bird without a flight plan that will never fly in a straight line, it hates mathematics, it loves swirls. "

The Jaivas point out: " The spirit of each song gave us a great geographical landscape and a vast landscape of the soul, which made our instruments paint, describing those gardens, deepening in the heart of the earth, and propelling us towards universal territories " . This is the last studio album in which they participate simultaneously playing the five original Jaivas in all the songs.

Los Jaivas - Obras de Violeta Parra (flac  480mb)

01 Arauco Tiene Una Pena 11:03
02 El Guillatún 8:42
03 Mañana Me Voy P'al Norte 4:39
04 Y Arriba Quemando El Sol 10:58
05 Un Río De Sangre 8:25
06 El Gavilán 11:38
07 Run Run Se Fue P'al Norte 5:10
08 En Los Jardines Humanos 9:32
09 Violeta Ausente 5:04

Los Jaivas - Obras de Violeta Parra (ogg  188mb)

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Hijos de la Tierra (Children of the Earth) is a record released by the Chilean group Los Jaivas in 1995 , the first with Juanita Parra , daughter of the late original percussionist Gabriel Parra , occupying his position on the drums. It constitutes the return of the group to the first places in the popularity rankings, after six years of silence, recovering somewhat the fusion sound between progressive rock and Latin American folklore that had characterized their previous productions. Hijos de la Tierra constitutes, in many aspects, a return of Los Jaivas to its roots. Although there are still certain sound games characteristic of the music of the 1980s , which were widely used in Si Tú No Estás (as the synthesizers of "Arde el Amazonas"), most of the songs explore Latin American sounds, melting them with the instruments Western players who play the band members. Thus, "In the Train to Paysandú" and "Nubecita Blanca" have notorious charango parts, while "Virginal Forests" presents trutrucas . The synthesizers, however, continue to sustain the group musically: the instrumental coordination between the brothers Eduardo and Claudio Parra are the rhythmic basis of the themes " Children of the Earth " and "Tan Lejos del Sol", as well as giving rise to extensive passages of improvisation in "Virgen del Amor", "Litoraleña" and "Virginal Forests". The lyrics of this album come, mostly, from the pen of keyboardist Eduardo Parra, who says that he decided to take refuge in his lyrics, as a way to face the pain caused by the death of his brother Gabriel.

Los Jaivas - Hijos De La Tierra   (flac  311mb)

01 Hijos De La Tierra 4:55
02 Arde El Amazonas 3:54
03 Litoraleña 7:41
04 En El Tren A Paysandú 4:28
05 Tan Lejos Del Sol 6:25
06 Lluvia De Estrellas 7:22
07 Virgen Del Amor 5:08
08 Bosques Virginales 9:45
09 Nubecita Blanca 3:24

 Los Jaivas - Hijos De La Tierra (ogg  121mb )

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Los Jaivas had a very long and productive run as a band, and their lineup remained the same on their fourteenth studio album after more than thirty years with the exception of Juanita Parra replacing Gabriel on drums. This would unfortunately be the final recording for Gato Alquinta, who passed away from a heart attack while swimming not long after this record was released. Signs where there as Gato's vocals do appear a bit strained at times on this record, not quite as strong and resonant as in the group’s younger days. .

Much of the Chilean percussion and ethnic acoustic instrumentation is gone by 2001, replaced with a lot of keyboards including moog and plenty of strident piano. The better songs are those that feature piano over the synthesized keyboards, such as with the energetic “Milonga Carcelaria”, “Libre Albedrio” and the title track. Elsewhere the band still manages to insert some trademark flute sounds from time to time, likely most of that is synthesized as well. The band has long had a tendency to include at least one song with multi-part vocals, and this album is no exception with the choral and spoken-word passages courtesy of a children’s choir on “Por los Niños del Mundo”, a feel-good anthem for kids everywhere that reminds me just a bit of their debut album. Bassist Mario Mutis delivers vocals here and there as well, although as in past albums where he’s sung the mood is more subdued and less grand than that of Alquinta.

The second half of this record is quite a bit more modern and fast-tempo than the first few songs, beginning with the torrid “Chile” and not really winding down until near the end with “Que Suerte Tengo”. The closing “El Residente Nacional” is a slow, jazzy song that in retrospect almost sounds like a requiem for the group’s longstanding leader, Gato Alquinta.

Los Jaivas - Arrebol (flac  382mb)

01 Arrebol 6:45
02 Milonga Carcelaria 7:19
03 Alegría De Mi Amor 3:17
04 Todos Americanos 4:53
05 Por Los Niños Del Mundo 3:11
06 Libre Albedrío 5:18
07 Vamos Por Ancho Camino 3:13
08 Chile 6:20
09 Me Encontré Al Diablo 2:59
10 Pololeo Por Computer 2:35
11 Amores De Antes 2:09
12 Que Suerte Tengo 3:33
13 El Residente Nacional 4:07

Los Jaivas - Arrebol (ogg  135mb)

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