LOS JAIVAS [AKA: TODOS JUNTOS; LA VENTANA]

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 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

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.

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.