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LOS JAIVAS

Prog Folk • Chile


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Los Jaivas picture
Los Jaivas biography
Formed: 1963, Vina del Mar, Chile
Status as of December, 2017: still active for touring

This Chilean band offers one of the most interesting blends of folk and symphonic rock. Their first album, from 1971, featured Claudio Parra, Gabriel Parra, Gato Alquinta, Eduardo Parra and Mario Mutis, playing many instruments including the ethnic tutruka, charanjo, tarka, tumbadore, bongo and maracas. Their 1972 album "Todos Juntos" met with considerable chart success.

In 1973 the Chilean government was overthrown by a 'CIA sponsored' military dictatorship and Los JAIVAS took flight. They first went to Argentina, and released several popular albums in that country between 1974 and 1977. They then moved to France and spent a few years touring Europe as Chilean hippies living the communal life. They gradually incorporated more progressive elements into their folk rock blend. Eventually Los JAIVAS developed a very unique sound that is hard to compare with any well known progrock bands. Perhaps you could say "Los Incas meet Mike OLDFIELD"?

LOS JAIVAS incorporated native South-American instruments and flute along with electric guitar and synthesizers. To many, their progressive tour de force is the more mature and symphonic album "Alturas de Machu Picchu" from 1981, setting the lyrics of prize winning poet Pablo Neruda's "Canto General" to a compelling soundscape of the modern and ancient. Like so much by this group, the music connects with the listener as much emotionally as intellectually. It also marked the band's return to Chile.

The group continued to release studio albums throughout the 1980s and 1990s. In 1988 they suffered a tragedy in the death of Gabriel Parra in a car accident in Peru, replaced by his daughter Juanita. In 2003 Eduardo Alquinta died and was replaced by 3 of his sons, one of whom died only about a year later.

While the band has not produced any new studio work in many years, they continue to tour with some regularity, their status cemented as one of Chile's most venerable folk rock bands.

: : : Erik Neuteboom, The NETHERLANDS : : :
Fan & official Prog Archives collaborator


Revised, expanded and updated by Ken Levine (kenethlevine) December 2017

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LOS JAIVAS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LOS JAIVAS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.65 | 41 ratings
Los Jaivas [Aka: El Volantín]
1971
3.28 | 51 ratings
Los Jaivas [Aka: Todos Juntos; La Ventana]
1972
3.76 | 90 ratings
Los Jaivas [Aka: El Indio]
1975
3.54 | 70 ratings
Canción Del Sur
1977
2.53 | 31 ratings
Manduka + Los Jaivas: Los Sueños De América
1979
4.22 | 356 ratings
Alturas de Machu Picchu
1981
3.15 | 53 ratings
Aconcagua
1982
4.10 | 114 ratings
Obras De Violeta Parra
1984
2.56 | 26 ratings
Si Tú No Estás
1989
2.69 | 27 ratings
Palomita Blanca
1992
2.54 | 27 ratings
Hijos De La Tierra
1995
3.22 | 17 ratings
Trilogia - El Rencuentro
1997
3.33 | 29 ratings
Mamalluca - Obras Sinfónicas Vol. 1
1999
2.69 | 21 ratings
Arrebol
2001

LOS JAIVAS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 5 ratings
Los Jaivas en Argentina
1983
4.19 | 7 ratings
Los Jaivas Ensemble (aka En Vivo En Moscu)
1984
3.97 | 13 ratings
Alturas de Macchu Picchu en Concierto
1999
3.92 | 7 ratings
Los Jaivas en Concierto: Gira Chile 2000
2000
2.31 | 13 ratings
La Voragine II, La Reforma
2003
2.23 | 12 ratings
La Voragine III, El Tótem
2003
2.70 | 10 ratings
La Voragine IV, Mucha Intensidad
2003

LOS JAIVAS Videos (DVD, Blu-ray, VHS etc)

4.79 | 49 ratings
Alturas De Macchu Picchu
2005
5.00 | 4 ratings
Los Jaivas en Rapa Nui
2007
5.00 | 4 ratings
Los Jaivas - Ballet Nacional Chileno. Paris - Santiago
2008
4.00 | 2 ratings
Obras Cumbres
2013

LOS JAIVAS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.33 | 3 ratings
Mambo de Machaguay
1978
3.83 | 6 ratings
En El Bar - Restaurant Lo Que Nunca Se Supo
2000
3.41 | 8 ratings
Obras Cumbres
2003
2.30 | 11 ratings
La Vorágine I, Pan Negro
2003
2.75 | 8 ratings
La Voragine V, ¿Qué Hacer?
2004
3.68 | 9 ratings
Serie de Oro: Grandes Exitos
2004
5.00 | 1 ratings
Canción de amor
2005
4.91 | 11 ratings
Alturas de Macchu Picchu 30 años (CD + DVD)
2011

LOS JAIVAS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

LOS JAIVAS Reviews


Showing last 10 reviews only
 Obras De Violeta Parra by JAIVAS, LOS album cover Studio Album, 1984
4.10 | 114 ratings

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Obras De Violeta Parra
Los Jaivas Prog Folk

Review by CEMM1973

5 stars This is a great work by Los Jaivas, for many people perhaps the best of all. In each of the songs, not only is the essence of Violeta Parra's work embodied, the prodigy is also developed in the composition and interpretation of each of the members of the band. It's strange and somewhat ridiculous that some people make negative comments about this work, because it is simply because this music does not fit within their pre-established categories. In that case, they would have to ask themselves, regarding the narrowness of the categories with which they appreciate art. I don't know if this music fits completely into what is called "progressive rock" (which doesn't really concern me), but I do know that very few progressive rock bands could have even imagined music of the complexity and beauty that in "Obras de Violeta Parra" we can listen.
 Alturas de Machu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.22 | 356 ratings

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Alturas de Machu Picchu
Los Jaivas Prog Folk

Review by Antonio Giacomin

5 stars Best progressive rock album from south America; paired only by Bubu "Anabelas".

If you read my review of Bubu´s "Anabelas", you will see that I consider this one slightly better. But "Alturas de Machu Picchu" is second only to this one, I consider it even better than my beloved "Influências" from Marco Antonio Araujo. Let´s discuss reasons for it.

First, the listener must consider historical context around "Los Jaivas"; very important the reading of its biography here in progarchives or in any other source. It has a directly relation with Parra´s family, which has in Violeta Parra some of the most important artist in Chilean history. Until today the band has Parra as surname of their members. The other issue about them is the political problems they faced with authoritarian governments in Chile and in Argentina; only finding peace in France. Being under political pressure makes artist to decrease or to increase A LOT their muse, and in my perception "Los Jaivas" was able to align their musical skills with desire of freedom; yielding us with an excellent artistic achievement.

Talking about the music itself, one point I would like to comment is the strong amount of folk contend in this album. We can hear clearly music with roots in the Andean mountains, as long as we see that insertion of it throughout this album in a very proper way. Several typical instruments were used, including that famous kind of flute that was presented to common knowledge by Simon&Garfunkel in in the song "El Condor Pasa".

This is a must have album. Not only because of artistic quality presented here, but also because of the importance this band has to Chilean culture. If you have to have an album from Chile, it must be "Alturas de Machu Picchu". And you should also have "Anabelas" and "Influências". I strongly recommend you this three five stars albums.

 Alturas de Machu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.22 | 356 ratings

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Alturas de Machu Picchu
Los Jaivas Prog Folk

Review by Argentinfonico

5 stars This must be the highest work ever created in Chile, and that is one of the reasons why the album almost certainly deserves 5 stars. Surely a few Chileans feel represented with this wonder that has such an indigenous sound. Each piece is a great and beautiful song, but by far the icing on the cake is the magnificent La Poderosa Muerte. It has great ups and downs, with instruments and melodies that represent Chilean culture very well and thus also the southern lands of South America (Chile, Bolivia, Paraguay, northern Argentina ...). I will always recommend this album to anyone who has not heard it. It is one of the most authentic progressive pieces to come out of this continent.
 Obras De Violeta Parra by JAIVAS, LOS album cover Studio Album, 1984
4.10 | 114 ratings

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Obras De Violeta Parra
Los Jaivas Prog Folk

Review by koresea

4 stars Here we have a nice record. as many people pointed out this album is sort of a tribute to the works of Violeta Parra, using her music as a base to insert a progressive feel and create something unique of theirs and at the same time paying their respect to the composer. I should note that I not familiar with the "source" material of the album and I will try to review the work only by what is stated by it.

And what I must mention about this work? Well is pretty good, the songs are in majority large and epic compositions with long instrumental sections. I believe that the general sounding of the album can be split into 2 focal points, at one side you have the "folk" aspect of the band, which I must say is a VERY strong trait and can be a downside to some people, but once you get yourself comfortable with it will perceive this is very nicely done.

On the other side is the prog-rock, which is more oriented to classic prog, with piano and guitar solos and all that stuff (think in early progressive common records).

I know that normally these two aspects will be in every "prog-folk" band, but here I feel we are in front of a more Folk then Prog album, in opposition of other bands of the sub-genre like Jethro Tull, which is mostly a Hard Rock band with some elements of Folk.

Anyway, both the two aspects of the band are used in a very solid way, some pieces are more oriented to one or other side but most of the time is a nice mixture of the two. For example the album opener "Arauco Tiene una Pena" starts full progressive until the middle where the claps starts and the song become folk-oriented. "El Guillatún", the follow-up is almost entirely folk. In the middle of the album, we have "Un rio de sangre", most oriented to progressive and experimentation.

The musicians here show that are good songwriters most of the time and can compose tracks with variations but maintaining the overall idea, most of the time...

One of the problems that I have had with this record is duration, it has 77 minutes and I feel very tired after the middle of it, even if they had plenty of material I think is very hard to maintain a work of this extension consistent, something that the band fails in my opinion.

This could be easily fixed by removing songs or at least reducing the duration of some. "Rio de sangre" have 13 minutes with only instruments, and become very tiring near the end, some tracks after some time start to sound repetitive and made me feel the desire to skip it.

In summary, I considerer this to be a great record that could have been a legendary one with some simplification, it is still, something that you should listen to if want to dig more into prog-folk and hear something that truly makes use of the traditional music of his origin country. 4 Stars

 Obras De Violeta Parra by JAIVAS, LOS album cover Studio Album, 1984
4.10 | 114 ratings

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Obras De Violeta Parra
Los Jaivas Prog Folk

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars 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.

 Alturas de Machu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.22 | 356 ratings

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Alturas de Machu Picchu
Los Jaivas Prog Folk

Review by Hannibal_20

5 stars "Alturas de machu pichu" is one of the most important south american musical Works, the musicalization of the same name poem by Pablo Neruda, one of the most important poets in every language, carried out without losing mysticism or magic by this great band that combines southamerican folk with progressive rock. Which achieves between emotion, virtuosism and magic, give us one of the most beautiful ever composed and exciting musical works.

"Del aire al aire", (from air to air) pretend to introduce us in an ancestral time and place, creating an ethereal atmosphere trought the use of instruments like the digeridoo, panpipes and trutrukas.

"La poderosa muerte" (the powerful death): a 12 minutes litany that has it all, is a compilation of several episodes of the poem heights of Machu Pichu, all related to the theme of death, the death of man every day in their suffering that was necessary to raise the mathematical perfection of Machu Picchu; the musicalization combines elements of southamerican folk, rock and classical music, achieving to keep a perfect fussion and conceptuality.

"Amor americano" (american love): its an "electric Huayno", that tell us about the life, the love, the beauty and majestic of the andean landscapes with a cheerful rhythm and melodies, that are at the time incredibly experimental and progressive, the entire theme is charged of originality, just like all the other themes of the álbum, and it is one of my favorite themes of Los Jaivas.

"Águila sideral"(sidereal Eagle): a theme that planes, it has an ethéreal nature, allusive to the flight of the Andean condor, this song is full of subtleties, the same jaivas almost do not interpret this song today, because it is a theme of great technical complexity in terms of atmospheric effects on the voice, guitar and snare drum. In the words of Mario Mutis a single wrong note can make the theme "fall" cause the volatile nature of it.

Antigua América (ancient america): is an instrumental track, that delights us with beautiful harmononies, it contains andean winds like panpipes and quena, the complex lines of piano by Claudio parra, the perfect harmonies between piano, drums, bass, guitar makes an beautifull and magic sensation. all this, crownd by a great electric guitar solo by "gato" alquinta, this theme, in just five minutes shows the entire potential of the sinfonic fussion of the rock and folklore.

"Sube a nacer conmigo hermano" (Rise up in birth with me, my brother): composed in a venezolan rithm called "joropo" is a song that the poet dedicated to humanity that suffered and died to build an empire, it is also a painful and empathic song in which the poet himself feels part of that suffering. This is one of the more intense and known songs of Los Jaivas.

"Final" its a cry that asks to the man that died in machu pichu to inherit to the poet, to the hearer and reader, their strength, their silence, their struggle and hope.

Truly, each theme of contained in this álbum, full of magic, virtuosism, and originality, is unique and incomparable, it doesnt exist nothing similar in any dischography of any band that i had listened, and everyone of it achieves to muzicalize perfectly the words that it contains. "Alturas de machu pichu is the higher point in Los Jaivas career and a hit in latin-american music, also is considered the best rock álbum of Chile and one of most influential. Whith no doubt, a masterpiece that might be enjoyed by all.

 Manduka + Los Jaivas: Los Sueños De América by JAIVAS, LOS album cover Studio Album, 1979
2.53 | 31 ratings

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Manduka + Los Jaivas: Los Sueños De América
Los Jaivas Prog Folk

Review by Hannibal_20

2 stars Manduka was a Young brazilian composer, his style was acoustic, heavily inspired in Brazilian folklore and lightly influenced by the latest currents of the bossa nova, all this with a strong social message, which made necessary to him to flee from his country after the dictatorship established in brazil in 1970, Then, in Chile, he made some important works, including his first album: Manduka (1972) in which collaborated, among others artists, the brothers Gabriel and Eduardo Parra from Los Jaivas, later, after the coup d''tat in Chile in 1973, again he was forced to flee, this time to Argentina. In 1974 with the jaivas makes this album: "Los sueños de America".

The Album follows the same structure of the original version of "Todos Juntos" (La ventana) album, his A side contains formal compositions, and his B side has improvisations. The first song "Don juan de la suerte", althought not prog, is a good Brazilian folk song, full of warm; just guitar and poetry by Manduka, just with light accompaining of piano and güira (metalic scratch percussion).

"la centinela" is another good composition in this album, not really prog but still a very beautiful and valuable folk piece.

The song: "date una vuelta en el aire", its a cueca by los jaivas, played on piano, charango and trutrucas, honestly it is not one of their best cuecas, besides lacking participation of manduka.

"Ta bom ta que ta" is the first theme in the Album when we really see the style of both artists fuzzed effectively, the singing and guitar folk of Manduka with the rich instrumentation of Los Jaivas in a melodic piece with bossa nova flavor, combining great jazzy drumming lines with piano and sweet flute, disemboguing in an good experimental rock demostration.

The second part of the Album seems like an extension of the more experimental period of Los Jaivas.

Traguito de ron, is very psicodelic becoming weird, "el Volantín" album comes to my mind listening this, but this time is not so funny, three years and two albums since that.

"Los sue'os de america" its the longest recording; about 12 minutes, tipically of los jaivas it contains a great variety of instruments, folk and rock ones, trutrucas, sweet flute, charango, tumbadoras, bongoes, rasca de metal, electric guitar, and finally piano and drums, quite boring at first, becoming more interesting later. I think that 12 minutes lenght theme might had more to offer.

The last theme, "encuentro latinoamericano de la soledad"... I really prefer to talk about another songs of Los Jaivas.

I regret to say, I feel that this album could be a masterpiece of bossa nova/experimental folk rock, however, I think that was not carried out in the best way, the first composition is very little Los Jaivas and much Manduka and "date una vuelta en el aire" is much Los Jaivas and nothing Manduka, also "date una vuelta en el aire" is in my opinion one of the least remarkable compositions in the band's career. Just with La centinela and especially in "Ta Bom Ta Que Tà" we see the real potential of the partnership Manduka-Los jaivas, I would wish that this quality would be maintained in the rest of the album, nevertheless the B side of the album contains only improvisations with some good moments, wich are not so significant as the improvisations in the side B of "La ventana" (todos juntos) album.

This Album contain some important songs for Los Jaivas career, "La centinela" would be reedited in in the album "Trilogía: el reencuentro" with the Chilean Andean folk band "Illapu". But as an album, "Los sueños de America" doesn't hold a very good quality. This album is in my opinion just for loyal fans of Los Jaivas.

 Los Jaivas [Aka: Todos Juntos; La Ventana] by JAIVAS, LOS album cover Studio Album, 1972
3.28 | 51 ratings

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Los Jaivas [Aka: Todos Juntos; La Ventana]
Los Jaivas Prog Folk

Review by Hannibal_20

3 stars First of all I want to clarify that this version in ProgArchives is not the original version of the album, whose original name is "La ventana" (the window), the original Chilean version included only the following tracks. Lado A 1. "Marcha al Interior del Espíritu" ? 2:16 2. "Mira Niñita" ? 6:57 3. "Todos Juntos" ? 5:52 4. "La Quebrá del Ají" ? 4:43 Lado B 1. "Ciclo Vital" ? 10:03 2. "Los Caminos que se Abren" ? 9:40 3. "El Pasillo del Cóndor" ? 0:25

Many different versions was made, for Chile, Argentina, and for the rest of the countries, which were edited in different years, adding themes from singles, the PA version is the most complete of all.

Clariefied this, lets start. (considering the order of the PA version)

"Todos juntos" (La Ventana) it`s a very important work in Los Jaivas career, of course they musically improved very much from their experimental first work "El volantín", but not just that, in this album we can found very emblematic songs to Chilean music, this album is the one that made this band known in Chile.

Despite having a real advance in musicality about their previous job, I think that the real merit of this album is that it came to trying to appease a political, and social division among many Chileans, THIS MEANS THAT, IF WE LOOK THIS ALBUM ONLY WITH PROGFANS EYES WE WILL NEVER DISCOVER ITS TRUE VALUE.

For example, the first theme: "Marcha al interior del espíritu" repeated constantly and insistently the phrase "seamos amigos, seamos hermanos" (lets be friends, lets be brothers) is a very simple song, but it is full of the joy of Los Jaivas. An almost childlike joy, this song gives way to a more serious composition, "Todos juntos" (All together) musically is a huayno (Andean folk rhythm), and, a curious thing, this huayno is the first one played with a battery of drums ever registered). It has a short flute introduction and begins the song, that includes many short electric guitar solos, flute solos, and many percussion at the end. The lyrics constitutes the statement of principles of Los Jaivas: unity, brotherhood, tolerance, this statement of principles is what they have supported from the beginning to the present day, also this song is more than just a song, it has become an anthem, known by all Chileans ("Todos juntos" is taught in schools from an early age).

"Mira niñita" is a very well known Los Jaivas song in Chile, it's very emotional, starts with acoustic guitar and xylophone, the voice of Gato Alquinta is tender, then comes an instrumental development that increases the intensity of the song including electric guitar, charango (Andean string instrument) excellent piano lines and a very good flute solo. Then, after 2-3 minutes restarts the vocals being accompannied for all the last elements but this time also with epic kettledrums to reach the final.

"Los caminos que se abren" is the first incursion of the band in the symphonic sound, the result was not brilliant but it is at least decent. This theme is fully instrumental, the flutes that sounds accompaining the piano are "tarkas"(Andean flutes present on several festivals in Peru, Bolivia and northern Chile) fuzed with electric guitars, al this things provides a psychedelic atmosphere to the theme, but it is and somewhat monotonous and repetitive, especially during the first half. the theme becomes more interesting with the entry of the symphonic instruments: cellos and a bassoon, also a violin solo. this piece tries to be dramatic and spooky, I'm not very sensitive to such sensations, so I couldn't tell if the objective of the theme was met.

"Indio hermano" (Brother Indian), is a song that doesn`t belong to the original "La ventana" album, it is taken from 1973 single "Indio hermano / Corre que te pillo". Despite not being a progressive song, it is an excellent fusion between rock and folk sounds, in this theme, we note again the indigenious sense of the band.

"Ayer caché" were taken from the side A of the single "Ayer Caché"/"Todos Juntos", it's a bolero (not the classical music bolero, but a Cuban romantic rithm) it's a`nice song but I don't think does not seem to be musically very interesting, specially for progfans.

"Ciclo vital" is very experimental, the percussion its constituted mainly by kettledrums, also has several flutes (ocarines, sweet flutes, quenas) dramatic piano lines, I think this theme but its very monotonous, and the the constant sound of the kettledrums can be annoying.

"La Quebrá del ají" is one of my favorite tracks on this album, is a cueca (cueca: a type of Chilean music characterized by a particular rhythm and melodic structure), but in this case Los Jaivas were innovative, it is the first cueca-rock of the band (I don´t know if it is the first cueca-rock ever, but I think probably it is), I found this song very original the first time I heard it, its lyrics, its rhythm and fusion, and currently it is a song that I have much affection, although it may be out of progressive rock fans' interest.

"Corre que te pillo" taken from the single "Indio hermano / Corre que te pillo" is the second symphonic theme of the band, an instrumental malambo (malambo: Argentine folk dance with a particular rhythm), this theme was republished in 1983 on the album "Aconcagua". Non-symphonic version of 1982 is considered by the fans of Los Jaivas as the usual version. The original version is very good, very good melody, good percussion, the accompaniment of violins, piano lines and an excellent electric guitar solo in the end, however, it has a very aged sound and eventually we discovered it was far outweighed by its reedition, which includes an amazing drum solo by Gabriel Parra.

"Cuero y piel" is another track that does not belong to the original "La ventana" LP, originally Side B of "Mira niñita" single of 1972, it´s just pure percussion, I think this theme will not have any interest to prog fans, including me. Finally "Pasillo del condor" it's a 25 seconds farewell, it is just a pure folk nice short piece.

This album, musically has good and bad moments, but it is one of the most significant albums in Los Jaivas career because of its history and its meaning, A curious fact: Chilean government approved a project that would provide technical and monetary support for the transcipcion of this album and "Alturas de Machu Pichu" album to official sheet music, each drum, each plate, each music note with the aim of preserving the national musical heritage. regards.

 Los Jaivas [Aka: El Volantín] by JAIVAS, LOS album cover Studio Album, 1971
2.65 | 41 ratings

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Los Jaivas [Aka: El Volantín]
Los Jaivas Prog Folk

Review by Hannibal_20

2 stars I would like to begin by reviewing the best works of this band, as 'Alturas de Machu Picchu' and 'Obras de Violeta Parra', but if I review only the most important works I`d not ensure me having analyzed and reviewed all the work of Los Jaivas, so I will start by the beginning, it is preferable to go understanding each review as part of a story, so, I begin telling how it all began.

Los Jaivas formed in 1963 at a school in Viña del Mar, Chile, the Parra brothers ; Claudio (piano), Eduardo (keyboard) and Gabriel (drums) and the friends Eduardo "Gato' Alquinta (voice electric guitar, flutes) and Mario Mutis (bass), they were just children when they played for a first time in the Municipal theater of viña del mar, in that show they played with many another college mates of the their school; Guillermo Rivera Cotapos school and the result was a horrible attempt of music, which was answered by the public with throwing tomatoes and coins.

Although all they weren`t brothers, they lived in the same home (with many other boys and families, they were around 15 boys and girls), where they formed together, the music for them was one more game, when they grew formed a band called "High bass", referring to the difference in height between Gato, Mario and the Parra brothers, this name was later hispanicized to "jaivas" (also jaivas is like jaibas, That in spanish Means crabs), High bass played popular songs in marriages and partys. In 1969 They decided to create Their own music and started an improvisation period (1969-1971), looking for an identity They changed the name "high bass" to "los jaivas".They became in some kind of 'hippies' and played in concerts which young public came with their own instruments and participated in improvisations, it was a time where the public did not want to receive, it wanted to express, on that shows they known another musicians like Congreso and Los blops'

their improvisation works is compilated in 'La vorágine' collection (published in 2003) but I don't want to review it, at least not for now.

LETS START WITH THE REVIEW of the first studio album by Los Jaivas: 'El volant'n' (the kyte).

This album sounds really weird.

The first theme; cacho, starts with a Little piano introduction, then starts to sound a kultrún (an ethnic percussion instrument), in this song, gato, impersonating a Mapuche Indian, utters cries and insults against the Spaniards accompanied by the melancholy sound of organ and kultrun.

'la vaquita' is a very original song, but it continues being very weird (it makes me think they were in drugs where composed it), there is much percussion and beautiful melodies of flute, they make a lot of strange screams and sounds mainly emphasizing the phrase ... la vaquita que compré en la feria me salió sin cola (the cow I bought in the market came tailless), also a strange sound cames from behind

"Por Veinticinco Empaná'" is still more weird, is very similar to the previous track, this time the main phrase is 'Por Veinticinco Empaná yo le bailo lo que quiera usté' 'for twenty five pattys' I dance what you want.

"Tamborcito de Milagro" lets consider this theme and instrumental cause the vocals has not any meaning.

"Que o la Tumba Serás" is the first song in this album wich is not weird, it is a very changed version of the national hymn of Chile, only conserving the lyrics and the melody on the phrase 'que o la tumba serás de los libres' the rest are original, this song have a good acoustic piano melody, many percussion and very well flute solos and the new lyrics are good.

"Foto De Primera Comunion" its the first song i heared an electric guitar' it's a very cheerful song but it isn't great.

'Ultimo dia' : psichodelic and weird, the main phrase is 'ultimo dia, nadie se enoja' (last day, nobody gets anger').

Bolerito it's a short bolero it lasts just 25 seconds.

I think this album retains much of the improvisation period of Los Laivas, its very experimental, becoming very weird, the best compositions here are "Que o la Tumba Serás", 'Foto de primera comunión' and 'La vaquita'

After hearing such a weird record like this you will not be eager to follow this band, so it is not a good album to start, but if you like Los jaivas, you might be curious to know how they got started, if you understand the lyrics you'll laugh a lot, if you do not understand it you`ll think "what the hell i have listened?" (also if you Understand the lyrics you will think it a little).

Nobody borns being a master, this album represents just that, the beginning, Los Jaivas already decided to tribute to latin american folk sounds, their music wasn`t much rock yet but it was already experimental, AHHH AND AN IMPORTANT THING: I readed many reviews of many members, even collaborators, telling los jaivas oriented his music to Santana, or to Italian progressive rock or many other bands or styles I don't even remember, these statements could not be more wrong, PLEASE LEARN, not because something sounds like something more it means that are inspired in it, Los Jaivas tries to not sound like nobody but themselves, they created a very original musical language that is considered unique.

Finally I want to invite you to follow this wonderful band that fuzzed latin American folklore with progressive rock sounds, and it is considered one of the most important and influential bands of Chile and the rest of South America. Also I want to mention that Los Jaivas represent an example of unity and collaboration rarely seen in any other band, They lived in a same home, grown toghether, musically formed together, but also were formed as people together, sharing likes and way of seeing life, any member of the jaivas has been in any other band than los jaivas, that seems to be the reason of the longevity of the group.

 Alturas de Machu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.22 | 356 ratings

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Alturas de Machu Picchu
Los Jaivas Prog Folk

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Although LOS JAIVAS (a misspelling of "jaibas" which is Spanish for "crabs") formed all the way back in 1963 in central Chile they are best known for their 7th and most popular album ALTURAS OF MACCHU PICCHU (The Heights Of Macchu Picchu) which came out in 1981. While most South American bands who ventured into the progressive rock world eschewed the homegrown folklore styles of their respective nations, LOS JAIVAS took the exact opposite approach and fully integrated the homegrown traditional beats and rhythms of their native Chile while incorporating the symphonic bombast of progressive rock. The result is a strange hybrid that seems like a logical experiment that should have been attempted by countless bands, yet as far as I know most bands emulated their European idols and only LOS JAIVAS found success down this road. Although the band began in Chile they were uprooted during the tumultuous 70s in a volatile Chile and relocated in France for several years. It was during those years when they released some of their most celebrated albums such as ALTURAS. The music is more of a trade-off of styles for the most part rather than a complete fusion but there is plenty of fusion parts to be found.

Unless you are a speaker of the Spanish language you will not realize that ALTURAS DE MACCHU PICCHU is in fact a poem by Pablo Neruda which appeared in his book "Canto General (General Song)" from the year 1950. The Canto is actually a book of 15 poems in which "The Heights Of Macchu Picchu" is the second. The poem is a tale of the creation of humanity and how it can be witnessed in the ruins of Macchu Picchu and a celebration of the history of the indigenous inhabitants of the Andes Mountains. The poem has actually found its way into other musical formats including by the Chilean folk band Aparcoa and by the Greek composer Mikis Theodorakis. LOS JAIVAS are famous for not only marrying the traditional Chilean folklore music with progressive rock but also for reciting the poem in near entirety in musical form. This is also perhaps one of the rare cases where progressive music can be danceable. The blending of the 4/4 steady beats of the folk music with the more symphonic bombast of the prog is done quite seamlessly. They make it sound easy but in fact it is quite a feat to accomplish. A unique album for a captivating blend of worldly musical styles.

Thanks to ProgLucky Fitzcarraldo NotAProghead and kenethlevine for the artist addition.

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