Dec 26, 2017

RhoDeo 1752 Roots


Today's artists are an instrumental and vocal Latin American folk music ensemble from Chile. The group was formed in 1967 by a group of university students and it acquired widespread popularity in Chile for their song Venceremos (We shall win!) which became the anthem of the Popular Unity government of Salvador Allende. During their exile in Europe their music took on a multifarious character, incorporating elements of European baroque and other traditional music forms to their rich and colourful Latin American rhythms - creating a distinctive fusion of modern world music. They are perhaps the best internationally known members of the nueva canción movement. .....N'Joy

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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.

In the past the group was musically led by Horacio Salinas and politically led by Jorge Coulon. However, in 2001 there was a controversial split of the group, which started when three key members left the group (José Seves, Horacio Durán and Horacio Salinas). They were replaced by Manuel Meriño (from Entrama), Cristián González and Juan Flores. Due to the importance of departed members, many called into question the ability of the remainder to carry on the Inti-Illimani name. Meanwhile, the three departed members started their own group they call Inti-Histórico. From 2005 there are two groups:

    Inti-Illimani New (Coulon brothers)
    Inti-Illimani Histórico (José Seves, Horacio Durán and Horacio Salinas)

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Inti-illimani's assortment of wind, string and percussion instruments, in collaboration with the two master guitarists, has now yielded a world music recording which celebrates unity in diversity while managing to communicate the deep-rooted commitment to freedom and human rights at the core of Inti-Illimani's music.

Inti-Illimani - Leyenda   (flac  238mb)

01 Preludio Y Festejo 7:06
02 Sensemayá 3:49
03 Farruca 2:54
04 Huajra 3:32
05 Crónicas De Una Ausencia 7:35
06 Alondras 6:05
07 Juanito Laguna Remonta Un Barrilete 4:46
08 David Of The White Rock 1:59
09 La Fiesta De La Tirana 3:21
10 Cándidos 4:42
11 Tarantela - Canna Austina 6:24

Inti-Illimani - Leyenda   (ogg  120 mb)

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When dictator Augusto Pinochet seized power in Chile in 1973 with the help of the CIA, artists and musicians were often singled out for persecution. The members of Inti-Illimani, an adventurous group that had been formed in 1967, were among those who fled the country, but they continued to record and tour outside of Chile. Inti-Illimani was still going strong when Xenophile released Arriesgare La Piel in 1996, which showed how eclectic and unpredictable the group can be. The music of Chilean and South American Indians is a strong influence on this album, but Spanish influence is equally prominent. Though ballads and slow tempos are a high priority, Inti-Illimani provides a very dancable and invigorating mixture of Afro-Cuban and Peruvian elements on "El Negro Bembon," "Caramba, Yo Soy Dueno Del Baron" and "El Hacha." Inti-Illimani has recorded many memorable albums over the years, and Arriesgare La Piel is certainly up to the Chileans' high standards.

Inti-Illimani - Arriesgare la Piel (I will risk my skin)     (flac  277mb)

01 Medianoche 4:14
02 Maria Canela 2:12
03 El Hacha 5:54
04 Entre Nosotros 4:00
05 Quién Eres Tú 3:24
06 Arriesgaré La Piel (I Will Risk My Skin) 5:30
07 Kalimba 6:09
08 Cumpleaños 80 De Nicanor 3:58
09 Caramba, Yo Soy Dueño Del Barón 4:27
10 El Negro Bembón 4:02
11 Kulliacas 3:10
12 Canto De Las Estrellas 4:50

Inti-Illimani - Arriesgare la Piel   (ogg  119mb)

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Víctor Lidio Jara Martínez was a Chilean teacher, theater director, poet, singer-songwriter, and political activist. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende.

Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs—which focused on love, peace, and social justice—and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the regime of Augusto Pinochet.

The majority of the songs correspond to covers of songs of Víctor Jara. However, «Canción A Víctor» and «Canto de las estrellas» are creations of members of Inti-Illimani.5 The song «Las siete rejas», on the other hand, is performed in conjunction with Víctor Jara. The next two songs are recorded live, and the next, ending the disc, corresponds to an orchestrated version. On the cover of the album there is a black and white photo of Víctor Jara sitting on the sidewalk of a street.

Inti-Illimani - Interpreta A Victor Jara     (flac  283mb)

01 La Partida 3:32
02 El Aparecido 3:35
03 El Arado 4:51
04 Charagua 2:57
05 Vientos Del Pueblo 3:12
06 Cai Cai Vilú 2:58
07 Luchín 3:01
08 A Luis Emilio Recabarren 2:32
09 Angelita Huenumán 3:10
10 Canción A Víctor 3:13
11 Canto De Las Estrellas 4:54
12 Las Siete Rejas 3:26
13 La Partida (en vivo) 3:48
14 El Arado (en vivo) 3:55
15 El Aparecido (con orchestra) 3:53

Inti-Illimani - Interpreta A Victor Jara (ogg  155mb)

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It's a testament to Inti-Illimani's art that they can still sound so inspired this far into their career. In many ways this might be one of their most successful albums to date, seamlessly integrating the Andean sound that's always been at the heart of their music with a view that can be almost classical at times. Both songs and instrumentals fare well, although it's wordless tracks like "Hunting the Nandu" and "Maybe Tomorrow" that come across as the most graceful. As always, the band isn't precious about its own material, happily drawing from Peruvian ("Qapac Chunchu") and Mexican ("Malagueña") traditions. They've learned over the years that less can often be more, so the arrangements never overwhelm the melody, leaving a balance of great beauty and delicacy. Even where they do employ strings, on "Malagueña," they're used sparingly. Apparent on every track is the lovely sense of melody that's always been a hallmark of the group, and an awareness of the region's Andean heritage that colors much of the music. Considered and accomplished, but still suffused with joy, this is a classic.

Inti-Illimani - Lugares Comunes   (flac  242mb)

01 Sobre Tu Playa 4:58
02 A La Caza Del Nandú 5:14
03 El Surco 4:24
04 Salmo De La Rosa Verdadera 3:11
05 Mañana Quizás 2:33
06 Qapac Chunchu 5:10
07 Tú No Te Irás 2:48
08 Malagueña 3:08
09 Vino Del Mar 4:08
10 Caro Nino 4:41

  Inti-Illimani - Lugares Comunes (ogg  93mb )

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