Just follow the river...

Music Of Peru
Vol. 1


01. Río de Paria - Jilguero Del HuascaraN - 3:03
02. Chonginada - Los Romanticos De Sicay - 2:55
03. Quisiera Olvídarte - Pastorita Huaracina - 2:33
04. Señor Diputado - El Cholo Chanka - 2:28
05. Carnaval Cristalchay - Conjunto Musical Amauta - 3:09
06. Neblina Blanca - La Huaricinita - 2:48
07. Misti Gallo - El Cholo Chanka - 2:04
08. Señor Diputado 2 - La Pallasquinita - 3:07
09. Cholo Orgulloso - La Pallasquinita - 2:40
10. Vengo del Prado - Rio Lira Paucina - 2:42
11. Vaca Ratay - Duo Las Perlas De Huancavalica - 3:07
12. Urpichalláy - Conjunto Los Chankas Apurimac - 2:09
13. Mis Quejas - Conjunto Los Chankas Apurimac - 3:06
14. Chall Huaschalláy - Conjunto Condemayta De Alcomayo - 2:42
15. Perlas Challáy - Perlas Challay - 3:26
16. Tostando Cancha - FabiaN Ochoa - 2:50
17. Engaños del Mundo - Enganos Del Mundo - 2:35
18. Pio, Pio - Amanda Portales - 3:29
19. Inti Sol - Manuel Silva - 3:38
20. Adiós Caminito - Julia Illanes - 4:02
21. El Hombre - Manuel Silva - 3:43
22. Licor Maldito - Julia Illanes - 4:05




 Music from the Peruvian Andean heritage by popular commercial recording artists who came from the high mountains to Lima in search of better economic opportunities. 

Edited by John Cohen

Originally released on 45s by Discos IEMPSA 1948-89.


 “Except for a few cuts on anthologies, this is the first U.S. release of what album editor John Cohen calls the `popular music of the Andean people,' played by the region's `hillbilly musicians.' Like American `country' music, Huayno (pronounced `wino') is the result of the meeting of traditional mountain music with its high-pitched vocals, insistent beat, and breathy flutes - and more commercial, urban sounds, including those of Colonial music from Spain. Like contemporary North American musical hybrids, moreover, the kinds and combinations of instruments are often surprising: harps and harmonicas, mandolins and saxophones, panpipes and accordions, as well as guitars, violins and charangas. While many of the album's twenty-two cuts are highly arranged, none exhibits the self-conscious eclecticism of much of today's `new' music. Nor, though the sound is often ethereal and spacey, does this music display the directionlessness of the New Agers. What it does reveal is an emotional intensity, most clearly evident in the high sometimes strident, femaIe vocals and slippery violins, and an exuberence bordering in places on the boisterous, with lots of whooping, clapping and shouting. In short, it is both weird and wonderful. John Cohen's notes place the music in its cultural-social context and point out the distinctions among the various regional Huayno styles. Translations for most of the songs are also included.”

-Mark Greenberg — Sing Out!

Huayno (pronounced `wino' ) is the everyday music of the Peruvian Andean people. Dating back to the Incas, Huaynos have evolved but keep a particular rhythm (a stressed 1st beat followed by two short beats) tunes cover a broad canvas, instrumentals and songs instruments include fiddle, harp, mandolin, accordion, saxophone, guitar, and lute. Even when the playing is exuberant and accompanied by cries of joys, there remains the profound sadness that is such a distinctive feature of Andean music.

-Paul Lashmar — Folk Roots


(Wayñu in Aymara and Quechua) is a genre of popular Andean Music and dance originally from Serrania, Peru. It is especially common in Peru, but also present in Chile, Bolivia, Argentina and Ecuador, and is practiced by a variety of ethnic groups, including the Quechua and Aymara people. The history of huayno dates back to the colonial Peru as a combination of traditional rural folk music and popular urban dance music. High-pitched vocals are accompanied by a variety of instruments, including quena (flute), harp, siku (panpipe), accordion, saxophone, charango, lute, violin, guitar, and mandolin. Some elements of huayno originate in the music of the pre-Columbian Andes, especially on the territory of former Inca Empire. Huayno utilizes a distinctive rhythm in which the first beat is stressed and followed by two short beats.


The dance begins with the man offering his right arm to the women as an invitation for her to dance (there is even a special word for this action, Quechua: wayñukuy "to invite woman to dance a wayñu"). Alternatively, he puts his handkerchief on the shoulder of the woman. Next, the partners walk along an enclosure, and finally they dance. The dance consists of an agile and vigorous stamping of the feet during which the man follows the woman, opposite to front, touching her with his shoulders after having turned around, and only occasionally he touches his right arm to the left hand of his partner while both swing to the rhythm of the music. His movements are happy and roguish.

- wiki

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