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LOS JAIVAS

Prog Folk • Chile


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Los Jaivas biography
This band from Chile is one of the most interesting blends of folk and symphonic rock. The band featured Claudio Parra, Gabriel Parra, Gato Alquinta, Eduardo Parra and Mario Mutis (this line-up is from the LP "Cancion Del Sur"), they are playing many instruments including the ethnic tutruka, charanjo, tarka, tumbadore, bongo and maracas. In '73 the legal government was overthrown very bloody by a new, 'CIA sponsored' militarian dictatorship and Los JAIVAS had to flight. They first went to Argentina and then to France. In the Seventies en Eighties Los JAIVAS made a serie of LP's, recorded in all aforementioned countries. They gradually incorporated more progressive elements into their rock and folk based sound. Eventually Los JAIVAS developped a very unique sound that is hard to compare with known progrock bands. Perhaps you could say "Los Incas meet Mike OLDFIELD"? On their own site I read that Los JAIVAS released the live-CD "Los Jaivas: en vivo Chile" '88 and in '97 they made a record with many friends (like the band Congreso) entitled "Trilogia: El Reencuentro".

In general the album "Cancion Del Sur" from '77 is considered as a great effort. It sounds very progressive (native South-American instruments and flute along electric guitar and synthesizers) but I prefer the more mature and symphonic album "Alturas de Machu Picchu" from '81, featuring Nobel prize winning poet Pablo Neruda, responsible for the lyrics. Highlight is "La Poderosa Muerte", a melodic and harmonic composition (around 12 minutes) that starts with the typical sound of the panflute and melancholic piano notes, very beautiful and moving, followed by emotional Spanish vocals. The build up is magnificent with propulsive drums and sparkling piano play, soon accompanied by a fat sounding synthesizer and fiery electric guitar. The dramatic atmosphere is emphasized by pathetic vocal harmonies. The moods keep on shifting with lots of (ethnic) instruments, a very emotional experience and a fine proove that progrock has emotion!

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

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Alturas De Macchu PicchuAlturas De Macchu Picchu
Import
Sony Import 1997
Audio CD$5.58
$4.95 (used)
Serie De Oro: Grandes ExitosSerie De Oro: Grandes Exitos
Import
EMI Argentina 2004
Audio CD$12.20
Alturas De Macchu PicchuAlturas De Macchu Picchu
Import
Sony Import 2011
Audio CD$6.63
$17.47 (used)
La Vorágine 4 Mucha InmensidadLa Vorágine 4 Mucha Inmensidad
Import
Sony Music
Audio CD$19.24
$128.00 (used)
Alturas De Machu PichuAlturas De Machu Pichu
Multiple Formats · Import
Imports 2005
DVD$23.49
$32.95 (used)
EN EL BAR-RESTAURANTEN EL BAR-RESTAURANT
Audio CD$28.00
La Voragine 2 La ReformaLa Voragine 2 La Reforma
Import
Columbia
Audio CD$19.99
La Voragine 3 El TotemLa Voragine 3 El Totem
Import
Columbia
Audio CD$19.99
JaivasJaivas
Import
EMI Import 2005
Audio CD$69.97 (used)
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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)

2.48 | 27 ratings
El Volantin
1971
3.24 | 28 ratings
Todos Juntos
1972
2.56 | 16 ratings
Palomita Blanca
1973
2.30 | 21 ratings
Los Sueños de América [Manduka - Los Jaivas]
1974
3.69 | 59 ratings
Los Jaivas
1975
3.49 | 48 ratings
Canción Del Sur
1977
4.18 | 249 ratings
Alturas de Macchu Picchu
1981
3.06 | 34 ratings
Aconcagua
1982
4.07 | 80 ratings
Obras De Violeta Parra
1984
2.42 | 17 ratings
Si Tu No Estás
1989
2.38 | 18 ratings
Hijos De La Tierra
1995
3.10 | 11 ratings
Trilogía: El Reencuentro
1997
3.29 | 22 ratings
Mamalluca
1999
2.58 | 15 ratings
Arrebol
2001

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

3.50 | 2 ratings
Los Jaivas en Argentina
1983
3.93 | 5 ratings
Los Jaivas Ensemble (aka En Vivo En Moscu)
1984
3.96 | 8 ratings
Alturas de Macchu Picchu en Concierto
1999
3.96 | 5 ratings
Los Jaivas En Concierto: Gira Chile 2000
2000
2.04 | 5 ratings
La Voragine II, La Reforma
2003
2.04 | 5 ratings
La Voragine III, El Tótem
2003
2.33 | 3 ratings
La Voragine IV, Mucha Intensidad
2003

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

4.70 | 40 ratings
Alturas de Macchu Picchu
2005
5.00 | 3 ratings
Los Jaivas en Rapa Nui
2007
5.00 | 3 ratings
Los Jaivas - Ballet Nacional Chileno. Paris - Santiago
2008
0.00 | 0 ratings
Obras Cumbres
2013

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

4.00 | 1 ratings
Mambo de Machaguay
1978
3.60 | 5 ratings
En El Bar - Restaurant Lo Que Nunca Se Supo
2000
3.47 | 6 ratings
Obras Cumbres
2003
2.16 | 6 ratings
La Vorágine I, Pan Negro
2003
2.33 | 3 ratings
La Voragine V, ¿Qué Hacer?
2004
3.55 | 4 ratings
Serie de Oro: Grandes Exitos
2004
0.00 | 0 ratings
Canción de amor
2005
4.80 | 5 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
 Los Sueños de América [Manduka - Los Jaivas] by JAIVAS, LOS album cover Studio Album, 1974
2.30 | 21 ratings

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Los Sueños de América [Manduka - Los Jaivas]
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.

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 Todos Juntos by JAIVAS, LOS album cover Studio Album, 1972
3.24 | 28 ratings

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Todos Juntos
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.

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 El Volantin by JAIVAS, LOS album cover Studio Album, 1971
2.48 | 27 ratings

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El Volantin
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.

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 Alturas de Macchu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.18 | 249 ratings

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Alturas de Macchu Picchu
Los Jaivas Prog Folk

Review by siLLy puPPy
Collaborator PSIKE Team

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.

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 Canción Del Sur by JAIVAS, LOS album cover Studio Album, 1977
3.49 | 48 ratings

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Canción Del Sur
Los Jaivas Prog Folk

Review by Memo_anathemo

4 stars The first time I listened to Los Jaivas was with the album "Todos Juntos" and I really liked the blend of folk music with progressive. Then I heard "Alturas de Macchu Picchu" and gosh, was it an excellent album! My interest in the band grew more and then I heard "Obras de Violeta Parra", another extraordinary album. Then, they came to Mexico and I went to see them and it has been one of the most wonderful shows I've ever experienced, so I decided to look for more music and discovered "Canción del Sur", which I consider a beautiful album with excellent folk passages and symphonic prog spread all around the songs. some of these songs were played live in the concert I attended such as "La Vida Mágica, Ay Sí". The title track "Canción del Sur" is one of the most beautiful songs Los Jaivas have in their repertoire. Excellent album.

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 Alturas de Macchu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.18 | 249 ratings

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Alturas de Macchu Picchu
Los Jaivas Prog Folk

Review by DrömmarenAdrian

4 stars Today's piece of prog will be "Alturas de Macchu Picchu" by the Chilean band Los Jaivas from 1981. It seems t be their most famous and appreciated album and their highest ranked one. It was a really pleasant listening which combined originallity and tradition. The cover picture is fascinating with a monster with beautiful clothes sitting on a rocky landscape holding a glass ball in its hand. The album is an addaption of Pablo Neruda's poems and it is the band's seventh record.

It contains a lot to like on these seven tracks. "Del Aire al Aire" is an instrumental beautiful introduction with indian flutes that builds up the feeling good (8/10). Next track: "La Poderosa Muerte" is the longest and also the best on this album. It shows pure love for music in form of dramatic almost opera singing, different flutes and later drums with keyboards och then electric guitar in a wonderful way. In the end I get some feelings of Ange and the final in symphonic and great. A very living track (10/10). "Amor Americano" has a very traditional South American melody, known for you who have heard South American indian folk musik. But this is also inspired of Classical European music. I find a very playful time here(9/10). "Aguila Sideral" is musicaly nice with a lot of instruments but hasn't an easy achieved melody but more of a modal feeling(7/10). "Antigua América" is the album's second best track. I find it symphonic and the melody almost Asiatic and it is very smart built up like someone climbing up a mountain(10/10). "Sube A Nacer Conmigo Hermano" takes a totally different shape, traditional perhaps but not for European ears. It sounds like a carnival or Brazilian stuff. The singer sings fast and frenetic(7/10). The record ends with "Final", a pretty surrounding of everything with pure piano and lyrical vocals(7/10).

Over all, this is good qualitative music that lightens up your world for a time. I wouldn't consider it a masterpiece but they did some wonderful experiments or musical expressions on this album. Four stars!

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 Los Jaivas by JAIVAS, LOS album cover Studio Album, 1975
3.69 | 59 ratings

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Los Jaivas
Los Jaivas Prog Folk

Review by apps79
Special Collaborator Honorary Collaborator

3 stars One of the most succesful Folk/Rock bands from Chile and definitely the most famous among Prog fans, Los Jaivas were established by brothers Claudio Parra (multi-instrumentalist), Eduardo Parra (keyboards) and Gabriel Parra (drums) in Vina del Mar around 1963, featuring also two more multi-instrumentalists, Mario Mutis and Eduardo "Gato" Alquinta.At the beginning their sound was quite immature, developing eventually a personal style during late-60's with many improvised influences, including Rock, Folk and Psychedelic Music.By early-70's the group had become very popular, releasing two albums, mostly known with the titles of their covers, but in 1973 they decided to move to Argentina due to the rising dictatorship in the country.Even worse, Mutis had to depart from his duties due to personal issues and he was replaced by Julio Anderson, while Alberto Ledo also joined in traditional instruments.In 1975 a third album with the ''Los Jaivas'' trademark was released on EMI Argentina, mostly known as ''El indio''.

''Pregon para iluminarse'' shows a very interesting mix of Andean Folk Music with Rock aesthetics, featuring delicate Spanish vocals and traditional flutes next to a jazzy piano and the nice electric guitars, but the following ''Guajira cosmica'' contains maybe too many Folk elements, led by multi-vocal tunes and a rather indifferent atmosphere, closer to traditional Andean Folk.''La conquistada'' is simply great, very much in a Latin Prog/Fusion mood, with great electric solos and beautiful piano lines mixed with acoustic strings, while for the first time the vocals are fantastic with a very sensitive color.The two short opening tracks of the flipside follow again a Chilean Folk path with a romantic atmosphere, led by plenty of vocals, dominant percussions and flutes as well as traditional acoustic instruments, like the charango and the mandolin.A very long composition will close the album, the 13-min. ''Tarka y ocarina'', which every Latin band would be proud if creating it.Here the multiple influences come in evidence, starting in a typical folky enviroment, soon bursting into an instrumental Prog Rock amalgam of Classical and Folk influences with tremendous piano work by Claudio Parra and incredible complex textures with the rhythm section along the lines of PREMIATA FORNERIA MARCONI, leading this into an atmospheric outro with acoustic strings and smooth piano interludes.

Rather uneven album, containing though quite a few amazing moments.''El indio'' deserves to be listened by every Prog fan, showcasing the early steps of Los Jaivas into more adventurous musical forms.Warmly recommended.

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 Obras De Violeta Parra by JAIVAS, LOS album cover Studio Album, 1984
4.07 | 80 ratings

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Obras De Violeta Parra
Los Jaivas Prog Folk

Review by Zeuhl Glikowski II

5 stars Los Jaivas (an amazing group of South America) playing the songs of Violeta Parra (an amazing composer of South America), the whole album it's a tribute to VIoleta, and the songs included on it, have the touch of progressive that only Los Jaivas could to give. my favourite track is "El Guillatún", the version of Violeta Parra, is very quiet, and slow, with only acoustic arreglements (the style of the 60's south american music), but Los Jaivas make it too much long with electric instruments but without lose the andine style. and all the songs in the album have that combination. three years earlier, Los Jaivas have published "Alturas De Macchu Picchu" with the poems of the poet Pablo Neruda, that's an amazing album too, but i think "Obras de Violeta Parra" was the biggest work in the career of Los Jaivas.

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 Alturas de Macchu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.18 | 249 ratings

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Alturas de Macchu Picchu
Los Jaivas Prog Folk

Review by sinslice

5 stars In Argentina's bicentennial celebrations in 2010, the Jaivas were invited to participate. It was especially exciting to hear the song play La Poderosa Muerte (The Mighty Death). This work is a classic South American progressive music, rhythms and sounds imbued native. Among the latter we find zampoña, quena, ocarina, trutucas, tarka. Alturas de Machu Pichu (At heights of Machu Pichu), the group's most progressive album, it achieved a unique fusion, incomparable. Andean folk, rock, psychedelic folk. The lyrics are by Pablo Neruda, thoughtful and intimate. Excels neat and virtuoso work of Claudio Parra in grand and electric piano. Variety is perceived in the nostalgia of The Mighty Death, Joy of Amor Americano and Sube a Nacer Conmigo Hermano, melancholy of Aguila Sideral melancholy and Antigua America. Great legacy left by this Chilean band.

And if we talk about this part of the world, Astor Piazzolla think should be included in ProgArchives, like Vox Dei.

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 Alturas de Macchu Picchu by JAIVAS, LOS album cover Studio Album, 1981
4.18 | 249 ratings

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Alturas de Macchu Picchu
Los Jaivas Prog Folk

Review by Warthur
Prog Reviewer

3 stars This intriguing blend of Andean folk music with progressive rock from Los Jaivas is a true original. Smartly, Los Jaivas choose the pastoral, acoustic-friendly textures of Italian progressive rock of the 1970s for this fusion; the styles of bands such as Banco Del Mutuo Soccorso, Premiata Forneria Marconi and Locanda Delle Fate prove fertile ground for the group to weave their magic in. If truth be told, there's more than a few points on the album where the prog rock side of the group's sound threatens to overwhelm their folk interests entirely, but even then there's still intriguing pan-pipe textures to add a distinct flavour to the mix. An interesting experiment, but not one I find especially compelling for repeated listens.

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