Feb 20, 2018

RhoDeo 1807 Roots


Today’s artists are Chico Trujillo one of the most important orchestras in Chile. They are the soundtrack of all parties, from Arica to Punta Arenas. Their mix of classical cumbia, bolero, Latin American, Balkan and reggae music has assured them an audience of all generations and lifestyles.

The group began as a branch of the punk / ska band LaFloripondio in 1999 in Valparaíso. Twelve years and five albums later, they have come to symbolize a unique cocktail that has its roots in the cumbia of the pre-Pinochet days and has managed to incorporate all aspects of Chilean popular culture. They have been able to mix pieces of the past with the global influence of alternative culture and have merged it all under the Pan-American flag of cumbia. The exuberance of the band represents a welcome return to the world of dance party and nocturnal pleasures.......N'Joy

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The New Chilean Cumbia also known as New Chilean Cumbia Rock (Spanish: Nueva cumbia chilena, Nueva cumbia rock chilena) is a subgenre of cumbia music that originated in Chile in the early 2000s and that largely surfaced in mainstream media in 2009 and 2010. In contrast to older cumbias the lyrics of New Chilean Cumbia deals more with urban life and combines aspects of rock, hip hop and a wide variety of Latin American genres like Andean music, salsa, the son, reggae, boleros, ska, Latin-African music, diablada and even folklore from the Balkans, like the Klezmer, and Gipsy music.

While the movement has various influences its roots lie in the Chilean cumbia tradition established by Orquesta Huambaly, Giolito y su Combo, Orquesta Cubanacán, La Sonora Palacios and Sonora de Tommy Rey, but in contrast to these bands the New Chilean Cumbia is aimed towards a younger public. The New Chilean Cumbia public comes often from the middle classes.

The movement have been contrasted to the heavily aired and commercialized Chilean Romantic Cumbia whose commercially most successful acts are La Noche and Américo. The New Chilean Cumbia is also distinct from the Argentine Cumbia Villera a genre that enjoys certain popularity in Chile and relyes on synthesizers and focus on marginal shanty town life.

The most popular New Chilean Cumbia acts include: Chico Trujillo, Juana Fe, La Mano Ajena, Banda Conmoción, Villa Cariño, Combo Ginebra, La María Goyo (psychedelic cumbia), Sonora Barón and Santa Feria.

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La Mano Ajena is a Chilean band founded in 2002 that mixes rhythms from Eastern Europe, Latin America, France and Russia, blending all these sounds in a pastiche that also unites the tendencies of each member of the band: rock, punk, Latin American folklore and theater music. This musical project is unique in Chile, and its hybrid sound has been called "klezmer a la chilena" by press.

Its first references were Jazz manouche, Klezmer, Balkan and Gypsy music, rhythms to which later they would incorporate Latin influences like Cumbia, Mambo, Cha-cha-cha, Tango and Rumba; creating a cosmopolitan sonority. From its beginning, the band was a precursor in spreading the Gypsy, Balkan and Klezmer rhythms in Chilean stages; and today, after almost a decade, they are one of the most important and celebrated bands from the so called “new culture of musical carnival” that has taken place in Chile in the last years.

La Mano Ajena has played in many stages abroad and inside of Chile, in countries as Denmark, Spain, Serbia and Argentina. In Santiago, they have shared stage with bands as Gogol Bordello and Emir Kusturica & The No Smoking Orchestra. In January, 2009, they became the first and only Latin American band to participate in the Küstendorf Film and Music Festival in Serbia, created by the twice Palm d’Or winner in Cannes and world famous filmmaker Emir Kusturica, whose band The No Smoking Orchestra is the main and most important reference concerning Balkan and Gypsy music in the world.

La Mano Ajena incorporates in its work a traditional repertoire sung in diverse languages: Gypsy language, Yiddish, Hebrew, French, English and Spanish. Its members are 8 multi-instrumentalists: Rodrigo Latorre, soprano saxophone, alto saxophone, baritone saxophone, guitar, piccolo flute, keyboard and theremin; María Fernanda Carrasco, vocals, keyboard, melodica and minor percussion; Danka Villanueva, violin and marimba; Gabriel Moyla, accordion, alto saxophone and baritone saxophone; Jair Moreno, clarinet; Álvaro Sáez, drums, darbuka and djembe; and Cristian Aqueveque, electric bass and double bass. Most of them have been part of important Chilean theater companies.

During 2006 they went on their first European Tour, doing shows in several cities of Denmark and Spain. On that same year, their first album was released in Spain by the Fundación Autor record company. In 2008, on their second European tour, they played 19 times in different Danish cities. On November 2009, La Mano Ajena opened the concert of the world famous New York gypsy punk band Gogol Bordello, on their first visit to Chile.

In Chile, they have played in some of the most important stages of the country, and their versatility has led them to create original music and songs for television shows. In 2009, they participated in “Leche para Haití” a charity concert created to raise funds for children in Haití; and they were part of the cultural program “Creando Chile en mi barrio” (“Creating Chile in my neighborhood”), organized by the Chilean Ministry of Culture, where, as a cultural delegation, they travelled around the country playing in different stages, recording new tracks, teaching lessons and sharing their experiences with new musicians and bands from different corners of Chile.

In 2010, they created the Music School Escuela Ajena, in which all the band members shared their musical knowledge with children, teenagers and adults. This idea was related to the band's interest for teaching to younger generations specially, and it was also a result of the musicians' social concerns. La Mano Ajena is currently recording their third album in studio, Raza Quimera was released at the end of 2011.

La Mano Ajena - I   (flac  313mb)

01 Aves Errantes 3:56
02 Behusher Khusid 3:40
03 Ashrenu (Doyna) 4:26
04 Danza Alegre Epoca Cose 4:44
05 Favella 5:48
06 Wewo 4:23
07 Tango A La Django 3:59
08 Joropo 4:17
09 Ot Azoy 4:17
10 Maria Derrumba Mi Rumba 6:25

La Mano Ajena - I (ogg   113mb )

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The origin of one of Chile’s most famous modern bands, Chico Trujillo, is so well known in music circles in Chile it’s entered popular folklore, and can pretty much be described by two words: an accident. Born from sporadic jam sessions between classes, travels and commitments with other groups, the band from Villa Alemana in the Valparaíso Region almost never came to be. If you’re at all familiar with modern Chilean music, you know what a loss that would have been; a decade on and Chico Trujillo has not only carved a name for itself as one of Chile’s most beloved bands, it’s also helped carved out a whole new genre of music, nueva cumbia chilena, or new Chilean cumbia. It’s a sound that brings the classic sounds of cumbia to an urban environment…and mashes it up with influences as diverse as hip-hop and Andean folk, rock and salsa.

The band formed in 1999 in Villa Alemana, Zona Central, Chile, following a tour that lead singer Aldo Enrique Asenjo Cubillos - known as “Macha” - undertook with his then band La Floripondio through the cities of Germany, the Netherlands and Austria. Chico Trujillo’s first songs were born of jamming sessions with Asenjo and his friend Antonio Orellana, and their sound gradually attracted new members to the band. This lineup led to their first album, Chico Trujillo y la Señora Imaginación, in 2001.

Chico Trujillo has performed concerts at universities, musical venues, festivals and various events, including the Cumbre Guachaca Chilena at Estación Mapocho and concerts campaigning for the rights of the indigenous Mapuche. They have also featured on the Lollapalooza music festival lineup in both Santiago and Chicago.

Chico Trujillo mixes original songs with traditional cumbia, exploring styles as diverse as boleros and ska, Andean folk and hip hop, reggae and rock, in a popular live act. A post on the New York Times Artsbeat blog described Chico Trujillo’s signature sound:

    “Every party band needs a rhythm, and Aldo Asenjo, the band’s leader and singer, relies on cumbia, the beat heard in countless variations across Latin America. Cumbia often trots calmly, but Chico Trujillo’s version gallops, bounding along; now and then, the music switches into rumba, equally upbeat. Mr. Asenjo sings lyrics as chattery and percussive as some hip-hop, taking on the ups and downs of love and life, with his voice answered by chortling horns — did he borrow the arranging idea from ska bands? — and a tootling, circusy organ. Syncopation, momentum and a way of romping through pain — a party band needs them all, and Chico Trujillo has them.”

As they themselves explain, Chico Trujillo has “been able to mix pieces of the past with the global influence of alternative culture, bringing it all together under the Pan-American flag of the cumbia.”

Chico Trujillo - Cumbia Chilombiana   (flac  279mb)

01 Medallita 4:31
02 Pollera Amarilla 3:46
03 Conductor 2:50
04 Calentones 2:42
05 Gauraré 3:18
06 No Me Busques 3:16
07 Sombrero 4:51
08 La Escoba 2:48
09 Mira Si No He De Venir 2:13
10 Regresa 4:17
11 Mix Chilombiano 5:12

Chico Trujillo - Cumbia Chilombiana (ogg   96mb)

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Chico Trujillo's  Gran Pecador hits home, comparisons with Argentina's Fabulosos Cadillacs are inevitable--the wonderfully complex horn lines, the irresistible melodies, clever lyrics, and punkish blend of Latin music styles are all similar. They also remind me of Austin's brilliant Grupo Fantasma, another gonzo cumbia outfit. If you've been jonesing for something that will get you off like the Cadillacs in their prime, look no further.

Even the lesser material--like the shamelessly sexist "Linda secretaria"--has such powerful hooks that you'll be hard pressed not to sing along. And instead of being front-loaded, like so many albums, Gran Pecador just gets better and better as it goes, climaxing with the 1-2-3 punch of the rip-roaring "Negra santa," the gorgeous, sad, spare, and completely un-ironic "Fuera de mi vida," and the stunning "Fiesta de San Benito," which incorporates haunting Andean indigenous melodies (think Inti-Illimani) in its powerhouse horn lines. This is an instant classic, required listening for fans of Manu Chao, Sargent Garcia, the Cadillacs, or Grupo Fantasma

 Chico Trujillo ‎- Gran Pecador (great sinner)   (flac  222mb)

01 Caleta Vargas 4:11
02 Asi Es Que Vivo Yo (Sigue La Fiesta) 3:38
03 La Banda De Mi Vecino 3:45
04 Gran Pecador 3:31
05 Calientame La Sopa Con Un Hueso 2:33
06 Se Baila O No Se Baila 2:14
07 Linda Secretaria 3:17
08 Negra Santa 2:32
09 Fuera De Mi Vida 2:53
10 La Fiesta De San Benito 3:46

Chico Trujillo ‎- Gran Pecador   (ogg  78mb)

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After 10 years of playing in Santiago’s cumbia-punk underground, Chico Trujillo has been hailed by The New York Times as a “world-class party band.” Fusing punk rock and classic Latin grooves with a touch of ska, this energetic eight-piece band has been the soundtrack to parties all around the world, including Lollapalooza.

Chico Trujillo play cumbia with a twist. Cumbia is a Colombian rhythm based on the West African groove that gave birth to blue beat and ska in Jamaica. In Colombia it became cumbia, the country's signature sound. In many parts of South America, particularly Chile, cumbia is more popular than salsa. Chico Trujillo started as a side project of the Chilean ska band La Floripondio (The Magnolia), but soon became the main attraction for the musicians involved. Chico de Oro (A Little Gold) is the band's first North American release and includes popular cuts from three of the band's Chilean albums, hence the punny title. Chico Trujillo use cumbia's irresistible pulse as a jumping-off place for their own particular sound, a hybrid that includes salsa, soca, ska, surf music, jazz, chicha, and other Latin and Caribbean flavors. The band's music is relentlessly upbeat, and this album will get any party up and moving. The album opens with the insanely catchy "Varga Varga," an amalgamation of cumbia and salsa driven by a blazing horn section with Michael Magliocchetti adding some twangy spaghetti Western guitar and Camilo Salinas playing a few fine Cuban-style piano fills. "Conductor" showcases "Oso" Tabile's big boozy trombone and a tongue-twisting call and response between vocalist Macha Asenjo and the ensemble; "Loca" is marked by Asenjo's passionate crooning, forceful horn accents, shimmering surf guitar, and Salinas' uncontained Farfisa; while "Pollera Amarilla" is driven by odd staccato guitar playing a Brazilian melodic line that's reminiscent of Carmen Miranda's "Chica Boom Chic." The band pays tribute to its ska roots with "Maria," a quiet skank with acoustic accordion and Magliocchetti adding some jazzy Les Paul-goes-to-Chile electric guitar ornamentation, and the pan-Latin rave up of "Ahora Quien," which blends ska, cumbia, and rhumba. The band only slows down for "Cabildo," a moody bolero with a sultry trumpet solo by Zorra Cabezas that morphs into a percussion jam featuring a long spoken word outro.

Chico Trujillo - Live At California Plaza   (flac  349mb)

01 Intro 1:51
02 Chico Trujillo Live July 27 2013
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04 Chico Trujillo Live July 27 2013
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06 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
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02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
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14 Outro 1:12

Chico Trujillo - Live At California Plaza (ogg  160mb)

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Marca Chancho is the fourth studio album by the Chilean band Chancho en Piedra. Strongly inspired by popular culture and traditional music mixed with rock, it has a wide variety of themes and rhythms ranging from the most traditional rock, through the bossanova, to the cueca. This album includes a theme that would be a great success in the group's career, "Eligiendo una reina", a well-known and well-known subject among Chilean youth that critically criticizes the overvaluation of female physical beauty on television and entertainment. from a local point of view.

The cover and the design of the album take as reference the classic American soup label Campbell popularized by the father of pop art, Andy Warhol.

Chancho en Piedra - Marca Chancho   (flac  392mb)

01 Popular Condimento 0:32
02 Buenos Días A Todos 5:15
03 Eligiendo Una Reina 4:05
04 Lophophora 2:21
05 Historias De Amor Y Condón 4:47
06 Kiltro Virtual 3:38
07 Quiero Comer... 0:08
08 El Curanto 4:19
09 Mampato 6:47
10 Brocacochi 2:42
11 Los Huilles 0:25
12 Hermanos Marranos 3:16
13 El Día En Que Los Gatos Hicieron Las Paces Con Los Ratones 3:28
14 Me Vuelvo Mono 3:59
15 Patá En La Raja 1:52
16 El Durazno Y El Melón 4:01

Chancho en Piedra - Marca Chancho (ogg  128mb)

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