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OBRAS DE VIOLETA PARRALos JaivasProg Folk |
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Hats off , guys!!!!


The compositions belong to the chilean genius Violeta Parra. Los Jaivas arranged this 10 songs in their very own style. And the result is fantastic. I keep "discovering" new things every time I listen to this album, not so known and maybe not so successful (at least here in Chile), but full of good music... first level music.

Highlights: Arauco tiene una pena, El Guillatún, El Gavilán, Un Rio de Sangre, En los Jardines humanos.
Trivia: the song "Arauco tiene una pena" was also covered by Robert Wyatt.

This is no ordinary tribute album, for while Los Jaivas is occassionally faithful to the Parra original, their tendency is to use her material to drape their own extended compostions around. Indeed 6 of the 10 tracks here clock are in the 8-12 minute range. While most of the band are at the top of their game, it is pianist Claudio Parra and drummer Gabriel Parra who shine the brightest here.
As soon as the opening synth brass sounds of Arauco Tiena Una Pena hit you, you know you're in for something special. Mock horror synth and the trademark rippling piano of Claudio Parra introduce a brilliant Arabic-tinged guitar lead segment which is backed by some notable playing from basisst Mario Mutis, and a pretty fiery display from Gabriel Parra before, nearly 7 minutes into the song, the actual folky original tune of Violeta Parra emerges ... delivered with panache by Gato Alquinta, with Claudio's piano providing most of the backing.
Numerous highlights abound on this delicious offering. El Guillatun has a dark surrounding atmosphere with extraodinary piano flourishes from Claudio Parra ... this despite the fact that the "main song" is actually quite a light piece. Arriba Quemando El Sol is downright pagan with sombre backing from a traditional drum, flute and piano ... and by the time the piece has built to a crescendo in true Bolero style, Eduardo Parra has joined the party with some ballsy synth leads. Un Rio De Sangre is a blistering piano led progressive epic with a lot of dynamic changes (even if I keep thinking that the band is going to burst into Jethro Tull's Locomotive Breath, because one of the recurring piano lines is pretty similar to a line in that song!).
El Gavilan has an uncredited guest female lead vocalist, and evolves superbly, with the flute and piano playing an important part in the song's progress from acoustic folk gem to progressive monster. There's even room for a Mutis bass solo on this one and its conclusion with massed vocals is quite stunning. The beautiful Run Run Se Fue Pa'l Norte is presented here as a delicate instrumental with piano, charango and flute carrying the melody along. En Los Jardines Humanos is another fascinating "dark" excursion with a mid-section that will have PFM fans squealing with delight and an exciting explosive finish to boot. I've mentioned Claudio Parra's rippling piano before, but I dare say it never gets quite as much exposure on the wonderful opening to Violeta Ausente!
Perhaps due to a lack of genuine diversity in terms of style from piece to piece, it isn't always easy to absorb the whole 77 minute double album at a single sitting, but unlike every other double album I've ever encountered, Obras De Violeta Parra does not really have too many filler moments. The mock-militaristic Manana Me Voy Pa'l Norte and the brief accordion instrumental Que Pena Sienta El Alma may not be to my taste musically, but as the shortest pieces on this album of monster tracks, it scarcely affects my immersion in this wonderful world that Los Jaivas created. ... 91% on the MPV scale

We get that idea from the first notes of the album: "Arauco Tiene Una Pena" starts just like "La Poderosa Muerte". Ah, but then you hear the piano keys pound just before the guitar enters the scene, and you know this will be much more than "Alturas...".
In fact, when comparing both, "more" is the expression that comes to mind. It's not just because the album is a double with half an hour more music. It has more epics, all of which more symphonic, more climatic, with greater shifts from rock to folk, and better done.
The "mariachi" bits that our own demanding prog-folk maniac Hugues Chantraine (I tip my hat in humble reverence) can't get past, in my view, only add to general briliance of the album, as they provide a great interlude between the symphonic bits, leaving wanting more and more without getting fed up in an album of this lenght. Trotsky gives a very good description of the main arrangements and effects in the songs, but while he praises the excelent drumming and piano, I have to praise the fantastic quality of the electric guitars, that in no way take a lot of protagonism in the album, but completlety steal the show during their brief apearences: be it by complementing the symphonic keyboarding or driving the folkier parts forward.
It's really hard to point highlights and draw comparissons when all is very good and unique. The whole 77 minutes just seem to pass while you are in this kind of numbness, and are transported into the dreamy-then-nightmare-then-sweet-dreaming-again experience that is listening to "Obras de Violeta Parra".
By the way, this small review took me almost two hours to write. All because I had the "brilliant" idea of putting the album on while writing, which made me loose my concentration every 5 seconds... When a music album playing in the background calls for so much of your atention, then you know it is REALLY good.


The track list shows 10 songs of Violeta Parra, but what lies inside this album is an incredible work of Los Jaivas based on the original songs.
It was in the beginning of the 80's when Los Jaivas started to work over Violetas' songs, and they played some ones live in Paris. It was the 80's, but Los Jaivas kept complete apart of the current stream and all the metamorphosis in several groups. "Obras de Violeta Parra" is a perfect mix of Chilean roots with rock elements. For instance, the first instrument that is heard is a trutruca, in the wonderful intro of 'Arauco Tiene una Pena', and then is followed with a synthesizer, showing from the beginning the collage of cultures and sounds to be heard. The first half of the song is pure prog, among pianos, electric guitars, basses, trutrucas and synths. But then appears Violeta, it starts the folk rhythms and the lyrics about the Araucanians (Mapuches) and all his suffering through the centuries, first under the Spanish gun, and now under the Chileans itself.
This is what "Obras de Violeta Parra" is, not just covers but further arrangements allowing Los Jaivas making one of their best jobs.
There are also a couple of instrumental songs, the 11+ minutes 'El Gavilán', and the well known 'Run Run Se Fue Pa'l Norte'. Maybe this last one is not all the good it could be, maybe because 'El Gavilán' is a great song.
The lyrics are all so familiar to this land, talking about the araucanians in 'Arauco Tiene una Pena' and 'El Guillatún', about miners working in infra-human conditions (which still is true in one way or another) in 'Y Arriba Quemando el Sol', or simply about Chile and our culture, in 'Violeta Ausente', including that break with purely Chileans voices ("salió el ultimo Condorito.").
About 'Violeta Ausente', one of the highlights, it's amazing to hear Claudio Parra, in the intro of the song, playing the piano as if it were a harp. If you don't pay attention you simply think it's a harp (in fact, my mother and brother thought that until I told them).
'Un Río de Sangre' is sung by Isabel Parra, Violeta's daughter, and sings about the injustice in the history of Latin America, from Manuel Rodriguez to Emiliano Zapata.
Also is present the trademark on the drums of Gabriel Parra, his unique style, particularly on 'Mañana Me Voy Pa'l Norte', where is found the same drumming and the same sequence of 'Mambo de Machaguay', first in 4/4 and then in 4/5.
The album closes with a short accordion version of 'Que Pena Siente el Alma', one of the most popular songs of Violeta. The album is over, but not the music, which remains in my mind until I hear it again.
I think if you know Los Jaivas but you haven't heard this album yet, you'll get a good surprise, because "Obras de Violeta Parra" might be their best and purest work. And if you don't have any album of Los Jaivas, this is a great opportunity to get into, very progressive, sounding similar at moments to PREMIATA FORNERIA MARCONI. In fact, I highly recommend this one to PFM fans (and I consider myself a PFM fan).
Five stars for one of the bests albums of the most important rock band in Chile. These 77 minutes are nothing but a masterpiece.

If 'Alturas de Macchu Picchu' instantly grabs your attention and doesn't release it till the end of the last song, this album is slightly uneven and less accessible. Personally I found some tracks ('El Guillatún', 'Y Arriba Quemando el Sol' and 'El Gavilán') too long and repetative. I also feel that 'Obras De Violeta Parra' is darker than most of LOS JAIVAS albums. If you speak Spanish (unfortunately I don't and can judge only by some translations) you can appreciate the quality of Violeta Parra's poetry.
Highly recommended, but if you are new to LOS JAIVAS, better start with 'Alturas de Macchu Picchu' (CD or, even better, DVD) or 'Los Jaivas' (1975).

Let's be honest : "Los Jaivas" produce a much more ethnic and folkloric music than a really prog one. But when you listen to the long opening track of this album "Arauco Tiene Una Pena" one has to recognize that the opening instrumental part is truly great. Very much in the Wakeman style. Things get more complicated when the trumpet enters the scene and get worse when vocals start even if lyrics are interesting and depicts the arrival of the Spaniards in South America and all the misery they brought to the native people. A good song. The best one from "Obras".
But songs as "El Guillatún" (featuring weak vocals) and "Mañana Me Voy Pa'l Norte" (the worst by far here - press next type of song) can hardly be taken into consideration on this site.
Lyrics from Y Arriba Quemando El Sol are describing the difficult situation of small villages from the Chilean Pampa. They are the most interesting part of this song, but if you're not into Spanish, there are little to retain in terms of music and melody I'm afraid. These vocals really sound uninspired and as if their lead singer was completely bored while interpreting these. Come on, you're talking about your homeland, man! This long song is fully "Bolero" oriented and has the same and repetitive mood from start to finish. Dull.
The structure of "El Guillatún" is more complex. Truly progressive this time and influenced by some pleasant Spanish sounds. Fully instrumental (thanks guys) it features nice fluting and delicate piano. The whole number is played in a tranquil mood, and it sounds almost as a classical piece of music for most of it. Still, a very pleasant track.
"El Gavilán" features some female vocals (Isabel Parra, maybe a relative of Violeta) and even if there is a very good guitar part in there, I can't be overwhelmed with enthusiasm while listening to it. The last good moment from this average album is the beautiful "Run Run, Se Fue Pa'l Norte". Superb melody and sweet guitar. My second fave from this offering.
Violeta Ausente (originally Paloma Ausente) is also a weak track. Mariachi oriented! Not really expected on a prog album. And the short accordeon closing number doesn't hold anything great to my ears.
This album is totally overrated (at least from a prog point of view). Two stars.


I never have listened to a tribute album like this, I only can say that this is similar to what YES do to Paul Simon's America, the final result is miles away from the source, as Violeta's Songs are mainly instrumented only with Spanish guitar and occasionaly with Bombo (a basic bass drum made out of cow skin and wood).
The arrangements to four songs: Mañana me voy pa'l Norte, Un Rio de Sangre, Violeta Ausente, Que pena siente el Alma, are pure Chilean Folk Music, the rest is only prog Rock in different format, like the symphonic beginning of Arauco, to the neo cassicaly driven Gavilan.
Gato Alquinta is not a great singer nor a great guitar player, but the rest of the band is top class.
I could probably write like like Tarzan (in English) but I can assure you that this band is miles away of being a Mariachi Rock, because they came from Mexico, And this is a Chilean Band and if you think there's not difference, please pick a map give this album a try, and then listen to Pedro Fernandez a real Mexican Mariachi.

While the band’s earliest work is pretty earthy folk steeped in Chilean tradition, the latter stuff is quite modern-sounding and features more than a little keyboard and synthesized sounds. ‘Obras de Violeta Parra’ falls somewhere in between, with glimmers of modernity while still clinging like hopeless romantics to their national roots. And sure, there are Moogs and electric pianos and a celeste and electric guitars; but the band has managed to retain the authenticity and unique sounds of the charango, the Mapuchean trutrucas and even some mandolin. One thing that seems to remain constant with Los Jaivas is their love and skillfull employment of exotic and rich-sounding instruments and percussion, something they do with abundance here.
Its also a good thing CDs came out when they did, since this thing runs on for nearly seventy-seven minutes including three songs clocking in at over ten minutes each. The first (“Arauco Tiene una Pena”) is rich with keyboards, lush percussion and various stringed instruments, and pretty sparse on vocals. At times it almost wanders into symphonic rock territory. The follow-up “Ell Guillatun” is undeniably symphonic, with a sprightly piano chord progression that builds and evolves the entire length of the song as guitar, xylophone and a wispy recorder dance around the basic arrangement. Toward the end the drums and other percussion build to a sort of multifaceted climax before ending abruptly. “Run Run se Fue pal Norte” is another symphonic piece, as is “En los Jardones Humanos”; both are a little shorter and with what sounds like some synthesized keyboards mixed with piano and celeste, but a nice songs overall.
On the other hand, “Y Arriba Quemando el Sol” is the other long song, but this one has multiple vocals track, more of a folk piano line, and an almost martial tempo. I can’t say as this one adds much to the overall appeal of the album, and frankly the record would have been complete even without it.
One thing that comes out in “Y Arriba Quemando el Sol” though is the presence of some brass, something that is more prevalent on the second half of the disc. Those songs are shorter (though a few are still around 8-9 minutes); there are also more vocals on most of the latter tracks.
There are also a couple of more modern-sounding, pop-folk numbers stuck on the album for some reason (“Manana me voy pal Norte” and “Violeta Ausente”). Nothing wrong with these, they just don’t quite fit the mood of the rest of the work.
The band wraps recorder around piano on the closing “Que Pena Siente el Alma” and sprinkles in a little taste of vocals for the closest they come to their seventies sound. I really like this one as a closing number; it is upbeat, has a kind of playful piano sequence, and seems to be designed to leave the listener feeling good as the music winds to a close. Well played and something I expect the band performed in concert regularly (although regrettably I never had the opportunity to see them live).
I won’t say this is my favorite Los Jaivas album, and it’s just a slight bit uneven considering the two or three short non-folksy songs. But in whole the music is nearly as appealing as some of their earlier work, even if it is quite a bit more formal and with a symphonic structure. Four stars I think, and well recommended to symphonic and prog folk fans alike, as well as anyone who finds acts like Triana, Amenophis or maybe even Ekseption appealing.
peace

"Arauco Tiene Una Pena" sounds amazing for the first 6 minutes then it settles right down and well they lose me completely. Especially when the vocals arrive 7 1/2 minutes in. "El Guillatun" opens with explosive sounds and intricate ones as well. Vocals 2 minutes in as drums continue. Not a fan here either. I do like the dreamy sound 6 1/2 minutes in though. "Manana Me Voy Pa'l Norte" is a complete write off for me (haha). Again it's the vocals and circus-like melody. "Y Arriba Quemando El Sol" opens with laid back piano as reserved vocals come in with drums. It does get more energetic but is mostly piano, drums and vocals.
"El Gavilan" is good with all these intricate sounds. It picks up before 8 minutes and sounds even better. It settles but the tempo shifts a lot the rest of the way. "Un Rio De Sangre" is very folky with female vocals. "Run-Run Se Fue Pa'l Norte" eventually features a strummed instrument with vocal melodies. Other sounds come and go but the vocal melodies don't last long. "En Los Jardines Humanos" is slow going with almost spoken vocals early. It picks up before 4 minutes. Vocals return later. The guitar is great after 8 minutes. "Violeta Ausente" opens with piano and strummed guitar I think. Vocals 1 1/2 minutes in lead the rest of the way. "Que Pena Siente El Alma" is led by what sounds like accordion.
The picture that kept coming to my mind is this band back in the old west sitting around a camp fire playing this Folk music. Something from a Western movie you know ? Anyway I simply dislike this, and it's a double albums worth at that.

in a few words, she was raised in a bohemian family, where everyone became a poet, a musician or sth like that. she achieved great success with her folk and expressionist art, but when tried to bring back that success to chile she met indiference. that summed up with her boyfriend leaving her led her to commit suicide.
now, her songs are about all of that. run run se fue pal norte is about her swiss boyfriend leaving her, writing letters promising to come back but never doing it.(''He'll come for the anniversary of our solitude")
Gavilan is also related to that story: So many times told me the people Sparrow Hawk, Sparrow Hawk, it has claws and I, deaf kept walking uphills Sparrow Hawk, it took my entrils out in the hill I was left alone the seven elements confound me oh me, oh me, oh me the birds are scared of my crying my mouning confounds th wind
an example of her other side, more social concerned and activists an be found in Arauco tiene una pen
"one day he came from afar, devilish conqueror, looking for mountains of gold which the indian never looked for. the indian has enough with the gold that shines down from the sun''
In Arriba quemando el sol we hear a complaint for the lousy conditions of the miners: "When I saw the miners inside their rooms, I said to myself 'It lies better the snail on it's shell or in the shades of the law the refined thief, and upwards the scorching skies"
I could translate all the lyrics but I think this is a help already to submerge in the world that Violeta and Los Jaivas convey.

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