OBRAS DE VIOLETA PARRA

Los JAIVAS struck gold with their 1984 release, "Obras De Violeta Parra". This mature prog album features the band in top shape, and free from any 1980s-related influence. One would think that by 1984, a prog band would have toned down their experimental nature for something more commercial, but Los JAIVAS decided to become even more progressive. F--- off MTV, these guys could have cared less about the cold one-hit wonders that you were promoting at the time. "Obras..." takes elements from Modern classical(Bartok, and Ravel especially), 70s sympho-prog, Andean and Spanish folk, and is light-years away from their well-known classic, "Alturas De Macchu Picchu". At first, I couldn't really hear the Peruvian/Chilean folk influences in the music, but then realized that these influences were naturally combined with the overt prog/modern classical sound featured in the music. The band, of course, still enjoyed to play catchy Andean/Spanish pop-folk, but the overall emphasis here is on seriously complex music. 6 of the tracks here range between 8 to 11 minutes each. The rest of the tracks are between 1-5 minutes, adding up to a double-LP sized album that today fits on one CD. If you've been interested in Los JAIVAS I would recommend "Alturas..." as a great place to start. But if you are ready for some serious prog with modern classical influences, and a friendly South American sound, you will be in for a treat.

I have heard this album just four times , so as it is still new to me , I apply myself the rule of never giving the maximum rating to a discovery as to avoid over-enthusiasm/excitement. This is my third experience with Los Jaivas (after the folksy Juntas and the symphonic Alturas) , again here they manged a completely different sound and music then on those two albums . Steve Heged gives you an acurate description of the music also telling you that there are shorter "mariachi" numbers that have a tendency to annoy me (because I am prophane to that type of music) but those are greatly outnumbered by the longer and much proggier tracks.The opening minutes of the second number is simply stupendous and the crystal clear piano playing is breathtaking. No doubt , it will take many more listening of this album to grasp and understand the entire concept of this album, as they are doing something highly original.

Hats off , guys!!!!

This double album from 1984 sees a remarkable return to form by Los Jaivas. After following-up the brilliant Alturas De Macchu Picchu with a sharp drop in quality for Aconcagua) they rebounded with this equally specatular work. Obras De Violeta Parra is a dramatic re-interpretation of the folk songs of Violeta Parra (a folk singer/socialist activist who was not related to the trio of Parra brothers who formed the backbone of Los Jaivas) and it remains the most exciting progressive album that I've heard that was recorded in the 1980s.

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

Los Jaivas have in "Alturas de Macchu Picchu" song "La Poderosa Muerte" my favorite track by them. However, despite how impressive that album might be, and how beautiful it's transposition into the ruins of Macchu Picchu is, "Obras de Violeta Parra" is just miles away in Prog-Folk superiority.

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.

Sorry guys but not my kind of prog i what to listen. As a whole is not bad, i like the insertions in music of native folklore music, as it is here, but is almost only that. I don't find it a prog album is more folklore with nice choruses. I have to mention the best piece from here En los Jardines Humanos, the rest of the tracks are so so, not bad but less enjoyble. Maybe another album of Los Jaivas make me change my mind about their music, but this one is only 3 stars, hardly 3.

Other reviewers said almost everything about this album and its history, I can't add much. No doubt it is very good and essential LOS JAIVAS album, all band's trademarks are here, though this work takes several spins to get into.

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).

Their web-site mentions that this album was recorded and mixed in France as soon as in 1980. It was released in Latin America some four years later. It is a kind of tribute to Violeta Parra who was an important character in the Chilean folklore. If the band uses the titles of Violeta's songs, lyrics are changed and original songs with lyrics are turned into full instrumental tracks ("Run Run, Se Fue Pa'l Norte"). Maybe they just wanted to recall her that way.

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.

After the lightweight "Aconcagua", Los Jaivas refurbished the prog rock orientation that had started in their '75 album all the way to "Alturas de Machu Picchu" and took it to its ultimate expression in their '84 effort "Obras de Violeta Parra". This is a concept album revolving around the legacy of folk singer Violeta Parra (1917-1967, a songwriter of cuecas and other South American tunes with a strong social-ethical component), and indeed, it is a piece of work that the band had developed even before the "Machu Picchu" days. 5 years after, it was finally taken to vinyl. This is a covers album, formally speaking; yet the arrangements are complex and solid enough as to allow Los Jaivas to appropriate the songs themselves: the original formats of Violeta's tracks are refurbished to fit the melodic adornments and varied moods provided by Los Jaivas. This fresh breath of new life and augmented sounds can be perfectly comparable with the reinstatement of Mussorgsky's "Pictures at an Exhibition" by ELP or Vivaldi's "Four Seasons" by Canarios. 'Arauco Tiene una Pena' is one of Violeta's absolute classics, and Los Jaivas deliver a fantastic Andean prog journey of trutrucas, Moogs, pianos and rocking guitars state a successive endeavor before getting at the cueca itself for the last 4 minutes. A similar strategy is followed for 'El Guillatún', albeit with a more energetic approach: the powerful presence of percussion, Andean horns and strom effects on synth add a sense of grey darkness to the playful original melodic basis. Claudio Parra's effective piano deliveries sure emphasize the track's energy, while the entry of Andean woodwinds helps to bring a lyrical ornament to the overall scheme. 'Mañana Me Voy p'al Norte' is closer to the structure of folk music, since the woodwinds and charango are certainly featured: the guitar solo merely brings an ornament. 'Y Arriba Quemando el Sol' distances itself from the preceding track's naive colors and states a very different mood: mysterious, somewhat somber, with an essential role for the martially-driven rhythmic duo. As constrained as it obviously is, the energy is there. This mysterious vibe is adequately perpetuated in 'El Gavilán' (introduced by a lovely, relaxing classical guitar passage): fully instrumental, this version encapsulates the most dramatic moments in the album. As usual, drummer Gabriel and pianist Claudio are the most relevant forces in the band's endeavor, which states a genuinely prog management of epic moods and well-ordained contrasts. 'Un Río de Sangre' features guest singer and cuatro player Isabel Parra: similar to the "Aconcagua" album regarding the addition of synth and lead guitar, the folk aspect is both enhanced and re- elaborated. 'Run Run Se Fue p'al Norte' and 'Violeta Ausente' are more focused on acoustic folk flavors (including guarani cadences for the latter); between the two, 'En los Jardines Humanos' brings back the prog-folk splendor, although there is a more Spartan approach to the lyrical potential that Los Jaivas work on. The 1'19"-long epilogue is an accordion solo piece whose melancholy feels accurate for the sweet sorrow of farewell. And so ends another Jaivas' beautiful highlight - "Obras de Violeta Parra" should not be missing in any good prog collection.

I have four Los Jaivas albums; their self-titled from the seventies, two (including this one) from the eighties, and ‘Arrebol’ from 2001. I’m amazed how much the band changes from decade to decade, more so than many other groups that span the same timeframe. Sure, Genesis evolved from being the prototype prog band to a schmaltzy pop act, and Jethro Tull grew from basically a blues band to quintessential prog folk to almost a parody of prog and back to folk again. But with Los Jaivas the transitions all still fall well within the realm of very progressive and respectable music, just distinctly different over a nearly forty year period. And at least until Gato Alquinta’s passing, with largely the same lineup.

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

"Obras De Violeta Parra" is a double album that was released in 1984 by the Chilean Folk band LOS JAIVAS. It's a tribute of sorts to Violeta Parra who was a famous Chilean Folk singer and activist who passed away in 1967. That's her on the album cover. They've taken her songs and re-worked them. Dual keyboards and lots of ethnic instruments are used, the vocals take on a prominant role as well.

"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.

Many prog lovers and Chileans count this album among their all-time favorite Los Jaivas releases.

1. "Arauco Tiene una Pena" (11:07) opens with the call of some Chilean brass horn--like a valveless trumpet. Ominous synth combo chords respond to the horn for a bit before piano joins in playing some very complex classical-like solo stuff--eventually supplanting all other instruments until 3:33 when bass drum signals full band's arrival. Descending whole band three-chord romp is repeated while electric guitar boldly claims the lead. Slight shift in weave allows music to feel more integrated--guitar to feel welcomed within the mix, instead of above it. At the six minute mark, everything stops to allow contemplative reevaluation, but then we switch channels to a totally country Spanish motif to take over. Gato starts singing in this part--very Spanish feeling melodies and stylings. A bit too folkorico for me; though I love the infusion of native and traditional melodies and instruments, to go straight to a folk song in its pure form is not the same thing. And this is the entire final five minutes. (17.25/20)

2. "El Guillatún" (8:47) chaotic pounding of piano and multiple percussives precede the formation of a rhythmic base in the second half of the second minute. What forms is a kind of folk takeover of a semi-rock, semi-militaristic motif over which traditional Latin-American folk choral vocals are presented. Occasional forays of impressive classical piano push their way into the music but never enough to take over or turn down a different road. At 4:40 there is a little "taps"-like horn before rejoining the chorus for the next verse. Traditional folk instruments join in the next more-proggy variation on the theme which leads into a bare, almost Leonard Bernstein-like, classical section to close. (17.5/20)

3. "Mañana me Voy Pa'l Norte" (4:40) Andean flutes with synth flutes and militaristic drumming turns into what feels and sounds like a traditional Andean drinking folk song. Banjo- and accordion-like sounds in the mix as well with polka-like bass and drum beat. Pleasant and happy for a folk song. Not so much for a prog song. Electric guitar solo at the end of the third minute--then joined by a second electric guitar. (8.25/10)

4. "Y Arriba Quemando el Sol" (11:03) ominous piano chord, alternated spaciously by acoustic Spanish guitar strum and slow picking. One chord! And then, finally, another--both played and held for long periods. The vocal that ensues is very cool: as if the singer is telling a story of local history importance. Great Native American feel and pacing with many subtle yet beautiful contributions by incidental instruments. When background harmony vocals join in at the three-minute mark it's even more magical. The first electric instrument arrive soon thereafter--then electric bass and more piano inputs as the song morphs into a kind of variation on Ravel's "Bolero". Very cool! Synth horns arrive in the seventh minute. Pure prog perfection. Easily the best song on the album and my favorite. Chorused electric guitars and multiple synths get bigger roles in the ninth minute. (20/20)

5. "El Gavilán" (11:43) part jazz, part classical-influenced prog rock, this has a Spanish KEITH EMERSON feel to it. At 2:45 it launches into a complex classical passage that has a very strong GENESIS, John TOUT, and even GRYPHON feel to it. This one is definitely a study in classical compositional performance--even down to the orchestra-like percussion work. The solo piano turn that starts at the 7:00 mark is, in my opinion, the song's weakest part--except for the way the piano is mirrored by the sparse guitar, bass, and cymbal play. Then it all breaks loose into a very MANNHEIM STEAMROLLER-like full ensemble expression. Then the tenth minute is occupied by yet another variation, this one more centered on the syncopated percussive rhythmic pattern. Reminds me of some DISCIPLINE/Matthew PARMENTER passages. The final section is yet another recapitulation which, in my opinion, is another weaker version. (18/20)

6. "Un Rio de Sangre" (8:28) female singer (Isabel Parra) over bar-hall music. Reminds me of something that you might see and hear in the background in the background of a saloon scene from a Hollywood Western. A GENESIS-like proggy section begins at the 3:00 mark. Piano sweeps in and takes over before gorgeous flute steals it back. The melodic, jazz-rock fusion that ensues is actually quite gorgeous--raising the song quite a bit from the 8/10 of the first three minutes. (17.75/20)

7. "Run-Run se Fue Pa'l Norte" (5:14) piano and orchestra of a Spanish folk combo combine to render this song more palatable to the prog-minded music lover. Nice melodies--almost lullaby-ish.(8.25/10)

8. "En los Jardines Humanos" (9:35) this classically-molded song feels more like the GRYPHON-like anachronistic fare than any of the previous songs--even down to the chamber choir-like vocals. The stop-and-go plodding along gets a little old over the first seven minutes. A pan flute-led military drummed section starts in the eighth minute before celebratory piano play begins with electric guitar and the rest of the band soon joining in to both melody and rhythm. A challenging composition to play, I'm sure, but not as fun to listen to. (17.25/20)

9. "Violeta Ausente" (5:06) for the first 90 seconds, this feels like a saloon-playing pianist's demonstration of his dexterity. Then the full band kicks into the barrel-house rhythm as the solo lead singer launches his limerick-like punchlines. The chorus is multi-voiced with some interesting harmonic structures--all the while the pianist continues his showy showing off. Interesting. (He is a very good piano player!) (8.75/10)

Total Time: 77:04

While there are some amazing progressive rock high points of this album, there are also some more-folk/traditional songs and motifs here that, in my mind, detract from this being a true prog album. While I love the clever synthesis and blending of folk elements into prog music, I''m never sure that purely folk (or purely classical) songs or motifs should be included. I get it that many artists never launch into an album's recording sessions with the expressed purpose or intention of creating a "prog" album, so I can cut these Chilean virtuosi some slack. Plus, I am really, really happy for having been exposed to this album--this music. What a band! And with this album I do think they've progressed and matured well beyond the achievements of Los Alturas de Macchu Picchu.

B+/4.5 stars; an excellent addition to any prog lover's music collection and a near-masterpiece of folk-infused prog.