MusicRatty: JAIVAS, LOS - Obras De Violeta Parra (1984)

This is cache of http://feeds.feedburner.com/~r/progarchives/reviews/~3/322658228/Review.asp. Cache is the snapshot of article that we took when we index feed.
To see original page click here.
We are not affiliated with the authors of this article and not responsible for its content.

JAIVAS, LOS - Obras De Violeta Parra (1984)

2008-06-29 11:46:48 by Editor in Progarchives.com (Progressive rock and related latest reviews)

After the lightweight Aconcagua, Los Jaivas refurbished the prog rock orientation that had started in their 75 album all the way to Alturas de Machu Picchu and took it to its ultimate expression in their 84 effort Obras de Violeta Parra. This is a concept album revolving around the legacy of folk singer Violeta Parra (1917-1967, a songwriter of cuecas and other South American tunes with a strong social-ethical component), and indeed, it is a piece of work that the band had developed even before the Machu Picchu days. 5 years after, it was finally taken to vinyl. This is a covers album, formally speaking; yet the arrangements are complex and solid enough as to allow Los Jaivas to appropriate the songs themselves: the original formats of Violetas tracks are refurbished to fit the melodic adornments and varied moods provided by Los Jaivas. This fresh breath of new life and augmented sounds can be perfectly comparable with the reinstatement of Mussorgskys Pictures at an Exhibition by ELP or Vivaldis Four Seasons by Canarios. Arauco Tiene una Pena is one of Violetas absolute classics, and Los Jaivas deliver a fantastic Andean prog journey of trutrucas, Moogs, pianos and rocking guitars state a successive endeavor before getting at the cueca itself for the last 4 minutes. A similar strategy is followed for El Guillatún, albeit with a more energetic approach: the powerful presence of percussion, Andean horns and strom effects on synth add a sense of grey darkness to the playful original melodic basis. Claudio Parras effective piano deliveries sure emphasize the tracks energy, while the entry of Andean woodwinds helps to bring a lyrical ornament to the overall scheme. Mañana Me Voy pal Norte is closer to the structure of folk music, since the woodwinds and charango are certainly featured: the guitar solo merely brings an ornament. Y Arriba Quemando el Sol distances itself from the preceding tracks naive colors and states a very different mood: mysterious, somewhat somber, with an essential role for the martially-driven rhythmic duo. As constrained as it obviously is, the energy is there. This mysterious vibe is adequately perpetuated in El Gavilán (introduced by a lovely, relaxing classical guitar passage): fully instrumental, this version encapsulates the most dramatic moments in the album. As usual, drummer Gabriel and pianist Claudio are the most relevant forces in the bands endeavor, which states a genuinely prog management of epic moods and well-ordained contrasts. Un Río de Sangre features guest singer and cuatro player Isabel Parra: similar to the Aconcagua album regarding the addition of synth and lead guitar, the folk aspect is both enhanced and re- elaborated. Run Run Se Fue pal Norte and Violeta Ausente are more focused on acoustic folk flavors (including guarani cadences for the latter); between the two, En los Jardines Humanos brings back the prog-folk splendor, although there is a more Spartan approach to the lyrical potential that Los Jaivas work on. The 119-long epilogue is an accordion solo piece whose melancholy feels accurate for the sweet sorrow of farewell. And so ends another Jaivas beautiful highlight Obras de Violeta Parra should not be missing in any good prog collection.

by Cesar Inca

JAIVAS, LOS Music Online:
recommended progarchives.com worldwide prog rock stores