LOS JAIVAS [AKA: TODOS JUNTOS; LA VENTANA]

With this album the Jaivas defines their style that in the musical will be dominated by the forceful rythmical base that Gabriel Parra in their drums and Claudio Parra in acoustic piano imposes; this plus the peculiar vocalization of Gato Alquinta will be the mark "jaivas". As far as lirics, now more direct and in clear vindication of "flower to power" that in that time it was in his fullness in his country, gave to a great push and popularity to emblematic songs like "Todos Juntos", "En la Quebrá del ají" and the hofmaniana illumination of " Ayer Caché" all which became true hymns. The use of native instruments, specially flutes far better is worked that in its previous disc. Without doubt it is a disc that can be enjoyed and that has like added merit the espontaneidad of a music that escaped of conventional styles stablished by the market, but that nevertheless it had very good welcome in the public; with this base soon their great works would come. Recommendable, 3,5 stars. Note. - The titles above indicated correspond to the sum of two editions: "Todos Juntos" ("EMI), and IRT/ALBA version also known like" the Window ". The song "Indio Hermano" was a single recorded in 1973.

Very interesting second try both for the band album #2 and for my second pick both in Los Jaivas and in Latin American Prog.This album , however in almost 100 % acoustic folk music with slight touches of electric instruments and the will to make interseting music reaching out of the realm of folk music. In a way this album might be a cross between a Chilean MALICORNE and acoustic SANTANA (Oye Como Va etc.....) sometimes impressive. The prog contents of this album is mostly in the musical adventures especially for us, occidental and english-rock minded progheads.

Please note that there is another version of this album, the one I heard was borrowed from the Belgian Mediatheque, that the one presented here. The copy I have here only holds nine tracks (Cuero & Ciclo are missing ) and the tracks are presented in a different order and finally it has a different dark blue cover. I strongly suggest you to hunt down the version presented on this site.

In 1971 there were few clear things in Chile: one of them is that we were divided. Of there the greatness of the debut of the Jaivas: from a sound that rock combined, pychedelc and Andean music they seted out to sing a hymn that reunited to us again.

In terms of prog-rock sophistication, this wonderful 1972 album is not the best place to start investigating Los Jaivas, but it is the most important album of Los Jaivas' earliest and folkiest phase. Here we see the early fusion of psychedelic rock with bona fide Andean music. While some songs are merely good, and others intriguing, it is the brilliant title track that happens to be my all time favourite Spanish language song.

I can't tell you the emotions that run through me as I hear Gato Alquinta intonate the opening words of this majestic call for peace and unity, this song gets me right the way through to the passionate conclusion ... "Para qué vivir tan separados, si la tierra nos quiere juntar, si este mundo es uno y para todos, todos juntos vamos a vivir" which doesn't translate quite as poetically (roughly "Why do we live so far apart, if the world wants to unite us, if this world is one and for all for us, we will all live together). To me it is breath-taking ... and heart-breaking. Especially when one considers the unique time of this record, made in 1972 in Salvador Allende's socialist Chile, a world that would be destroyed a year earlier by the Pinochet/CIA coup. Musically the Todos Juntos track is a pleasing, albeit pretty basic fusion of quena, ocarina and charango (Andean flutes and mandolin respectively), fiery acidic lead guitar and Latin percussion, but lyrically, melodically, spirtually, this track is an unforgetable anthem.

The song itself is the greatest highlight of an engaging albeit simplistic album. The opening song is a hymnal chant of peace, Mira Ninita is a delicate sweet tune that takes its out sweet time to evolve beyond its languid, marimba-dominated opening into a joyous celebration. The same description can be applied to Indio Hermano which if anything, is even more beautiful, starting off in pure traditonal Andean vein (and what a great melody it boasts) before evolving into something more. The lilting Ayer Cache is another one, although it is "Spanish-influenced) where Indio Hermano was so obviously the music of South America's true natives.

Another thing that defines this album are the extravagant percussion interludes (bombo, bongo, you name it, they play it!). Los Caminos Que Se Abren is probably the most interesting track from a progressive point of view (probably the best realisation of the sort of improvisational psychedelic music that the band played on its debut ... the limited edition En Volantin ) and it too is full of traditional percussion as well as hypnotic Eastern sounding themes, vibrant violin and out of tune psych guitar ... although it definitely goes on too long. The urgent call that is La Quebra Del Aji contains many of the same ingredients but is better-paced, while Cuerro Y Piel contains the best percussive work of all (not sure how much of it is just drummer Gabriel Parra!)

There are a few different versions of this album (which I believe was initially released as La Ventana and retitled when Todos Juntos became a hit) and unfortunately mine omits Ciclo Vital ... do get the full one if you can! I must repeat my earlier statement that this album is not about progressive sophistication ... that will come later with Cancion Del Sur, La Alturas De Macchu Picchu and Obras De Violetta Parra. This album has immense passion, an almost fiery hope and in retrospect, a sense of historical importance (that goes way beyond music) that makes it an esssential purchase in my opinion. ... 70% on the MPV scale

This is the most classic album by Los Jaivas. Hear you find the classics, and I even say anthems, of the band, "Todos Juntos" y "Mira Niñita". In fact, in Chile children know the song "Todos Juntos" first, and then come to know the band Los Jaivas. Is one of those songs that's part of the culture of the country. But, maybe you are wondering how a progressive rock song could do this. Well, the song doesn't sound quite progressive, at least the first part (the sung part), but like a folklore song. But then comes the guitar solo, an instrumental part, and finally a percussion solo in the way of Santana.

About "Mira Niñita", something similar happens. Here, the first part is very mellow, and then starts the instrumental/experimental part. Well, partially experimental, because that word is reserved for the 10-minute "Los Caminos que se Abren", song which is clearly inspired in "Revolution 9". Gato Alquinta said once that, when he heard "Revolution 9", he said, wow, it's possible to include something like that in an album.

These are the guidelines of the album: a merge of different styles, sounds, and instruments. In fact, with the first minute of "Marcha al Interior del Espíritu" you already have an idea of what are you going to listen, nothing usual for the date, not even 35 years later (although we are more used to).

Songs like "Indio Hermano", "Todos Juntos" and "Corre que te Pillo" have a sound very andean, very folk. Songs like "Los Caminos que se Abren", "Ayer caché", "Corre que te Pillo" (again) and "Cuero y Piel" show the experimental side of the band. "La Quebrá del Ají" has the rhythm and the signature of the cueca (Chilean traditional dance), 6/8, but is far from being a cueca.

And the final. great final. One of the best songs of the album, and only in 25 seconds. Rhythm, flute, charango and. it's over.

You should really go a step further than the opening track which is absolutely boring and which features very poor lyrics to discover an enthusiastic music. Rather different in its essence of course, because of its origin. There are very few bands with some aura in Chile, and they started their career ages ago (even several years before releasing their first album).

The band is playing a joyful ethnic music which will later on be combined with pleasant prog sounds. Nevertheless, the title track is rather pleasant. Percussion work is great, but this characteristic was already noticeable on their debut album.

Spanish lyrics are in my case an integrated fact in my life but I don't think that it shouldn't halt you in the discovery of this band. Not all the tracks featured here are good (Mira Niñita, Los Caminos Que Se Abren) but some very pleasant native Andean sounds are worth your attention (Indio Hermano). But of course, you would need to be ready for such a South American trip.

This band fully belong to the prog folk genre (a lot more than several other bands included in this category on PA). Be prepared for a special adventure while listening to Los Jaivas. This album is far from being essential. It is a rather different music than the classic one catalogued for review. It is not their best work and it also holds some weak numbers (Ayer Cache, La Quebrá Del Aji).

As one could experienced during their debut album, some Santana sounds are features here as well. Corre Que Te Pillo holds both guitar and percussions which will remind you of this great band. Cuero Y Piel is another attempt of this filiation, but only percussion are on par. At the end of the day, this is not a great track.

Several songs are quite long on this album. But to be honest, such an extended piece as Ciclo Vital is not vital at all. One of the weakest number from this work.

I can't really rate this album higher than two stars. The band will release better albums, so watch out for Los Jaivas later work.

This early LOS JAIVAS offering is lighter on the prog and heavier on the folk, particularly on the style stereotypically known to North Americans and Europeans, with plenty of flutes, shouted vocals, and percussion. While these qualities make the album of limited interest for progressive fans, there are a few standout tracks that might make "Todos Juntos" worth an extra look.

The title cut combines lively Latin folk with the rock music of the day. Not particularly progressive, and actually a hit in their homeland, its appeal is nonetheless off the charts. The acidic lead guitar is particularly noteworthy. "Indio Hermano" is in the same vein if not quite as strong. "Mira Niñita" and "Ayer Cache" are other highlights, the latter like a Chilean version of what the Moody Blues were doing at the time, mellow and trippy, and while the longest cut "Los Caminos..." sports some interesting progressive themes, it does tend to drag.

Elsewhere, the material drags with its traditional fabric and few updates. "Corre Que Te Pillo" could come from any buskers anywhere, and "Cuero Y Piel" is mostly just a drumming exercise, probably best experienced on a street corner for 30 seconds before reaching for your change purse.

For an early 70s album from one of Latin America's foremost prog groups, one might expect a little more adventurousness, but remembering that most of us come from backgrounds with limited exposure to music from that part of the world, an appreciation of "Todos Juntos" becomes an "all together" worthwhile achievement in cultural competency.

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.

The year 1973 marked the 10th anniversary of the Chilean band LOS JAIVAS' existence but the band only was releasing its second album at this time. Starting out as a traditional Latin American folk music band under the name The High & Bass, the band changed its moniker and ventured into the world of experimental and improvisational folk music which found no two concerts alike where music was totally crafted on the spot with the help of audience participation. In 1971 the band released its first self-titled LP (nicknamed "El Volantín" to distinguish from the following eponymous albums) which began the process of creating actual compositions but was based on impromptu recordings that were put down to tape in the years 1969 - 70.

The band's second eponymous album which has been nicknamed and then renamed LA VENTANA emerged two years later and found the band shifting into more recognizable song structures that deemphasized the spontaneous improvisations and rather crafted a tighter blend of sounds where indigenous Andean musical flavors blended seamlessly with the Northern hemisphere sounds of psychedelic and progressive folk. LA VENTANA emerged early in 1973 before the brutal military coup that installed the dictator Pinochet into power forcing LOS JAIVAS to flee to Argentina before eventually making their way to France. Due to the album's successful hit "Todos Juntos," the album has been officially released over the years under that title as well but still is primarily referred to as LA VENTANA. Likewise the album has been released with a varying number of tracks over its series of reissues with the first pressing featuring seven and subsequent releases with eleven.

Focusing on a much more accessible sound (mostly), LA VENTANA showcased a variety of styles throughout its 40 minute run but incorporated a number of commercial sounding singles that allowed the band to experience its first taste of success. The single "Todos Juntos" showcased Chile's indigenous Andean folk music as the primary melody but also implemented a martial drumming style that gave it a Western sort of rock and roll flavoring. The anthemic themes of freedom and liberty propelled the single to become a huge radio hit and one of the best selling singles that has ever been recorded in Chile. A very catchy tune with somewhat of a Santana-esque guitar presence, the single was followed by more singles including "Mira Niñita" and "Indio Hermano," the latter of which featured an almost military march style of busy percussion but fortified with catchy folk melodies (courtesy of those distinct pan flutes) and hefty guitar workouts.

The most experimental track comes towards the end with the near 10-minute "Ciclo Vital" which takes on a darker impending doomy vibe that almost sounds like some sort of ritualistic musical affair but what makes it even weirder is it takes on a tone of modern classical music with schizoid piano rolls. The incessant drum roll throughout the entire track provides a monotony and dread that allows the improvisational parts to play upon. This track is more in line with the debut album as it lacks a distinct melody and is characterized by a tribal drumming style that allows bizarre experimentation to dance around. Likewise the other long near 10-minute track "Los Caminos Que Se Abren" follows a similar path but more upbeat and is accompanied by a full chamber orchestra. The album ends as the debut did with a short snippet of unadulterated Andean folk music.

To my ears this earliest stage of LOS JAIVAS is every bit as interesting as the 80s releases that wove in more robust aspects of progressive rock. While at this stage the indigenous folk flavors were much more dominant, these compositions were highly experimental in their approach and featured aspects of Latin rock, European folk and psychedelic rock as well as moments of improvisation freeform moments reminiscent of the debut. This album sounds more cohesive though and the tracks flow together quite well as the martial percussion remains the predominant skeletal system for the entire experimental folk and rock sounds to coalesce around. This second release is actually quite brilliant as it offers a variety of both accessible melodic tunes and crafty experimental surprises. LOS JAIVAS truly was one of the most talented bands ever to have emerged from Chile and these early albums are not to be missed.