From: "JORGE H. MEDINA" Subject: (andina) Chabuca Granda Date: 10 Sep 1997 00:25:27 -0400 Joel Fentin wrote: > 2. Peruvian singer/songwriter Chabuca Granda has two CDs out > that I know of: One is La Voz Del Peru. The other is a rip- > off. It think its name is Flor De La Canela. She also sings > one or two songs on other CDs. Does she have any other CDs > of her own? Yes. There is a Two in One CD from RCA VICTOR ( CDC 743213223025) with the title "Estrellas del Fonografo". Is a 22 songs CD, 12 by a great mexican folk singer Chavela Vargas and other 10 by Chabuca. GREAT!!! Record in Mexico with the participation of Mariachi Vargas de Tecalitlan. ------------------------------------------------------------------------------- From: jsimmons@KUHUB.CC.UKANS.EDU Subject: (andina) Recent Items from Ecuador Date: 10 Sep 1997 00:15:26 -0500 (UTC -05:00) I spent a month in Ecuador in July-August on vacation, and thought I would pass on a few items of interest from there for the list. First, Quito is awash in charangos. Just a few years ago, you could occasionally find one imported from Bolivia for very high prices, but now, they seem to be sold on every corner. Prices range from $40 on up. Charangos made in Ecuador are mostly of wood, though there are a few being made with armadillo shells. The quality varies with the price, and there seems to be a lucrative market for cheap-o toursit charangos with fancy carvings, etc. I resisted the temptation to buy another one, mainly out of memory of what happened to my Ecuadorian guitar during one cold, dry Kansas winter night (the wood cracked as the guitar shrank, and the guitar shark badly enought that the ends of the frets stick out!). You could probably nurse a charango through a North American winter with a humidifier. Recordings of Andino music and near-Andino music are also everywhere. There are still some groups doing pretty traditional stuff, but the temptation is to shorten the songs down and punch up the melodies for the toursist trade. CDs ran from $10-25 each. There are a few subsidized CDs of non-Andino music that are worth buying. I picked up one of 14 wonderful songs by the famed duo Benetiz-Valencia in the "Ecuador Canta al Mundo" series for a mere $4 or $5. Also found a Charijayac "Sus Mejores Exitos" (Greatest Hits) and a CD of semi- traditional music by a band from Salasaca (Salasacamanda, Vol 1) worth buying. I say semi-traditional, because several of the cuts have a snare drum added, and of course they include a very new-age version of "El Condor Pasa." I recently acquired an excellent and fascinating article by Lynn Meisch from Stanford University, "We Sell More Tapes When We Play 'El Condor Pasa': Otavalo Musicians on the World Stage" that is from the 95th Annual Meeting of the American Anthropological Association. She laments the death of the traditional sanjuanito, as market forces seem to be shortening the songs down for gringo ears. In discussing the conflict between traditional music and "Western musical ideas" she says "When listening to Sanjuanes in a folk music club in Otavalo an American friend asked me, 'Where's the rest of it?'" While traveling this time, I took along a travel guitar, and would like to put in a plug for it in case any of you are thinking of traveling with a guitar. I have NO connection to this company other than having purchased a guitar from them, so this is not a commercial (!!). I tried the Baby Taylor and Tacoma Papoose, but they were really too big and I didn't like the sound. I then tried a Martin Backpacker, which I thought was a horrible waste of wood. The I found the Vagabond Travel Guitar, handmade in upstate New York, and its a wonderful instrument. It is small, light, with a good soft case, and very durable, GREAT sound, good bass. $349 from Vagabond Travel Guitar, P.O. Box 845, Albany, NY 12202, phone 1-800-801-1341. The web page is www.stringsmith.com/index.html Also, toured the Museo de Instrumentos Musicales in the Casa de la Cultura in Quito, which I had never seen before. My wife, who had seen the museum a few years ago, said it used to be in better shape. The labels are a bit ragged and the cases faded, but they have some pretty interesting instruments, including some charangos, and a variety of quenas, rondadors, etc. Well worth going to see. BUT, in the same building, but in a different museum, if you are in Quito, DO NOT MISS the Banco Central del Ecuador's fantastic "Instrumentos Musicales Precolombinos." Its a marvel. I have the guidebook (in Spanish only, sorry) and if people are interested, I will post some selections from it in a few days. I will leave you with this quote from the guidebook: "La musica, que es una combinacion y un matrimonio alquimico entre las vibraciones sonoras y los intervalos de silencio, se convirtio en un pilar de la aspiracion y busqueda espiritual del hombre. --Valentin Erigene" John Simmons Natural History Museum University of Kansas jsimmons@kuhub.cc.ukans.edu ------------------------------------------------------------------------------- From: "JORGE H. MEDINA" Subject: (andina) Arhoolie Records Catalog Date: 10 Sep 1997 08:35:05 -0400 This is a multi-part message in MIME format. --------------CBDA06B33664F4899DFACC3A Content-Type: text/plain; charset=us-ascii Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Transfer-Encoding: 7bit Please find an excellent Huayno Music anthology (Vol 1 & 2) available in US. http://www.arhoolie.com/catalog/titles/320.shtml --------------CBDA06B33664F4899DFACC3A Content-Type: text/html; charset=us-ascii; name="320.shtml" Content-Transfer-Encoding: 7bit Content-Disposition: inline; filename="320.shtml" Content-Base: "http://www.arhoolie.com/catalog/titles /320.shtml" Arhoolie Records Catalog
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Huayno Music of Peru,
Vol. 1:

(Discos IEMPSA Recordings

1948-1989)

CD 320 or CASS 320

Various artists. 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.

Jilguero Del Huascarán: RÍO DE PARIA · Los Románticos De Sicay: CHONGINADA · Pastorita Huaracina: QUISIERA OLVIDARTE · El Cholo Chanka: SEÑOR CARNAVAL MISTI GALLO · Conjunto Musical Amauta: CARNAVAL CRIST-ALCHAY · La Huaricinta: NEBLINA BLANCA · La Pallasquinita: SEÑOR DIPUTADO · CHOLO ORGULLOSO · Trio Lira Paucina: VENGO DEL PRADO · Duo Las Perlas De Huancavalica: VACA RATAY · Conjunto Los Chankas Apurimac: URPICHALLAY · MIS QUEJAS · Conjunto Condemayta De Alcomayo: CHALL HUASCHALLAY · Trio Amanecer: PERLAS CHALLAY · Fabián Ochoa: TOSTANDO CANCHA · Nelly Munguía: ENGAÑOS DEL MUNDO · Amanda Portales: PÍO, PÍO · Manuel Silva: INTI SOL · EL HOMBRE · Julia Illanes: ADIOS CAMINITO · LICOR MALDITO ·

Total time: 66:30

"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)

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--------------CBDA06B33664F4899DFACC3A-- ------------------------------------------------------------------------------- From: "JORGE H. MEDINA" Subject: (andina) Arhoolie Records Catalog Date: 10 Sep 1997 08:36:34 -0400 This is a multi-part message in MIME format. --------------3961221B906316B0EB93A370 Content-Type: text/plain; charset=us-ascii Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Transfer-Encoding: 7bit More Huayno Music. http://www.arhoolie.com/catalog/titles/338.shtml --------------3961221B906316B0EB93A370 Content-Type: text/html; charset=us-ascii; name="338.shtml" Content-Transfer-Encoding: 7bit Content-Disposition: inline; filename="338.shtml" Content-Base: "http://www.arhoolie.com/catalog/titles /338.shtml" Arhoolie Records Catalog
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HUAYNO MUSIC of Peru,
Vol. 2:

(The Discos Smith Recordings)

CD 338

Various artists. Re-issues of 45 rpm records originally recorded between 1957-69 by Discos Smith, re-mastered from the original tapes and edited by John Cohen.

Conjunto Los Amigos del Ande: MANANA ME VOY · Capricho Huanca: Huancayo Cotupchacka · Banda Filarmonica Andajina: Aquel MOlalecito · Conjunto Perlas Del Huascarán: TUCTU PILLINCITO, YO SOY LA INDIECITA · Los Chasquis de Cajamarca: VALORES DE MI TIERRA · Juan Rosales: LOS OBREROS DE HUANCAYO, A LAS ORILLAS DEL CONOCOCHA · Típica Fausto Dolorier: BESOS BRUJOS, HUAN-CAVALICANA · Conjunto Perla Andina: PALABRAS DE MADRE · Orquesta Tipica Ayaviri: LLONGOTE · Conjunto Luci Luci: Luci Luci, VERDE HINCHU · Conjunto San Agustín de Punin: Rodeo · Conjunto Los Reales de Cuzco: PARA TI CHOLITA, MIS RECUERDOS · Conjunto Los Luceros Del Cuzco: INTENDENTE POLICIA · Conjunto Los Palomillas De Huanca: COMPADRE BAILA · Los Principes Del Mantaro: FORASTERITO, NOCHES SICAINAS · Orquesta Huanca: Capricho del 64 · Los Ases del Ande: TE FUISTES SIN DESPERDIRME · Banda Sinfonica Provincial Anchucaya: MI SANTIAGO · Conjunto de Cacho Hermogenes Romero: ENTRADA SALIDA DE PAMPA CRUZ · Total time: 70:13

"This re-release of historic ethnic recordings contains music from the Andean regions of Peru. Represented most strongly here are the Ancash and Huancayo styles, brought by migrants from these regions to Lima. From the solo harpist to the brass band, from the high-pitched duets of the the women to the gruff, throaty sound of the men, there is a little bit of everything on this recording. The glue that holds it all together is the rhythm of the Huayno and other related dance forms.

"Many of the string based groups (especially from the Ancash region) consist of one or more women singing against a backdrop of violins, mandolin and diatonic harp. There is a great deal of subtle interplay between the melody and the backing instruments. The harp uses its rich bass notes to provide both a harmonic and rhythmic anchor to the highly ornamented and heavily syncopated melodic line. The other treble instruments weave in and out at the beginnings and ends of phrases and generally embroider the melody. This technique carries over into the band music, where the clarinet or saxophone substitute for the voices and the lower brasses hold things together with a spirited oom-pah.

"The words, often in a hodge-podge of Quechua, Aymara and Spanish, speak of the beauty of the land, love, and the hardships of leaving one's home and family. The audio quality is quite vibrant. The Andean's nonchalance towards western tuning may disturb the uninitiated, but it is well worth the effort to listen past this and enjoy the wonderful complex textures of the ensembles."

(Elaine Bradtke _ Sing Out! )

"Sung in both Spanish and Quechua, Huayno is a music as rich and spirited as the peoples who perform it. The notes accompanying this disc give the dossier on the Discos Smith label and some insight into the music. Seldom is the pairing of music and information so successful."

(John Bobey_Dirty Linen)

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--------------3961221B906316B0EB93A370-- ------------------------------------------------------------------------------- From: arauco@ix.netcom.com (Juan Tamayo) Subject: Re: (andina) Replacement Strings Date: 10 Sep 1997 08:09:01 -0500 (CDT) Please change my e-mail from ARAUCO@IX.NETCOM.COM to ARAUCO@ARAUCO.COM Thanks ------------------------------------------------------------------------------- From: mvillacres@esri.com (Marcelo Villacres [ESRI-Redlands]) Subject: Re: (andina) repertoire Date: 10 Sep 1997 08:16:24 -0700 > From my experience playing jazz and Celtic folk music, I have found = that there > were "standards", that is to say, a body of tunes that everyone knows. = = I=20 > wonder, is there a "tune list" or "book" that I should know about so = that I=20 would be able to function in a general andean music ensemble setting? >=20 > Any input would be more than helpful! >=20 > Karl Wohlwend > kwohlwen@capital.edu There are standards when it comes to Andean music, though the standards = can be put into two groups. The "old" standards and the "new" standards that = street bands cover. A good book that contains old standards is Raymond Thevenot's method for quena. It has a number of tunes from Ecuador, Peru and Bolivia, all = written in music notation for quena along with the chords for string = accompaniment. The book was published in Peru many years ago, but you may be able to = find it abroad. Can anyone verify this? There is also a series of books published in Mexico: Charango Facil, = Quena Facil, etc. These also have a number of old standards. Other methods, = like Cavour's charango method, will have old standards as well, but they = maybe=20 from one country only. Here are some of the old standards, the ones just about everyone plays: - El Condor Pasa (Peru) - Virgenes del Sol (Peru) - Sonkoyman (Peru) - Ojos Azules (Bolivia) - Sen~ora Chichera (Bolivia) - Sikuriada tradicional (Bolivia) - Dolencias (Ecuador) - Vasija de Barro (Ecuador) - Pajaro Campana (Paraguay) - Pajaro Chogui (Paraguay) - El Humahuaquen~o --aka Carnavalito-- (Argentina) The street band standards are not in books yet (that I know of). They may include some old standards (e.g. El Condor Pasa), some old tunes = that have become popular in recent yeards, and tunes that have altered forms = of traditional rhythms. Here are some: - Suen~os (Bolivia) - Taquirari de Jain~a (Bolivia) - Sariri (Bolivia) - Llorando Se Fue (Bolivia) - Phuru Runas (Bolivia) - Encuentros (Bolivia) - El Pituco (Bolivia) - N~uca Llajta (Ecuador) - Carabuela (Ecuador) - Iluman Tio (Ecuador) - Piedrecita En El Camino (Ecuador) Note that there are no "new" Peruvian standards. For some reason street = bands and the new generation of Andean musicians are focusing on Bolivia and = Ecuador. The narrow vision approach is even more acute when it comes to = Ecuadorian music, as sanjuanitos seem to be the only rhythm being promoted. Also, = some of the new standards tend to change names, so it is not unusual to find = the same song under different names in two or more recordings. I hope this helps. Marcelo (V) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~= ~~~~~~ El vuelo del condor abre de par en par = ////// las puertas del Tihawanacu por donde pasa la tempestad, = /<<<<< despierta mi pueblo andino y al despertar, /<<<<<< conmueve la luz del siglo su grito macho de libertad ___ /<<<<<<< A.T. Gomez __/ o = -||-///////////////<<< = (--------||-\\\\\\\\\\\\\\\<<< aruskipasipxan~anakasakipunirakispawa \/ (estamos obligados a comunicarnos porque somos seres humanos) ^^^ ------------------------------------------------------------------------------- From: mvillacres@esri.com (Marcelo Villacres [ESRI-Redlands]) Subject: Re: (andina) Recent Items from Ecuador Date: 10 Sep 1997 08:22:35 -0700 > First, Quito is awash in charangos. Just a few years ago, you could > occasionally find one imported from Bolivia for very high prices, but > now, they seem to be sold on every corner... To anyone visiting Ecuador I would advice the following. If you are going to purchase a charango, make sure the top is braced under the bridge. Stick a finger through the sound hole and feel under the top, if no signs of bracing appear, do not buy the charango. The string tension on a charango is very high, and if the top is not properly braced it will warp in a few years (if not months). I questioned=20 several charango makers in Quito about this. Their charangos were beautifully finished and had a nice balanced sound. They argued that it was not needed, and once I explained why it was needed the agreed and said they had braced models for a higher price, but were out of them at the moment... a typical Ecuadorian response (I am Ecuadorian so I know that very well). Marcelo (V) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~= ~~~~~~ El vuelo del condor abre de par en par = ////// las puertas del Tihawanacu por donde pasa la tempestad, = /<<<<< despierta mi pueblo andino y al despertar, /<<<<<< conmueve la luz del siglo su grito macho de libertad ___ /<<<<<<< A.T. Gomez __/ o = -||-///////////////<<< = (--------||-\\\\\\\\\\\\\\\<<< aruskipasipxan~anakasakipunirakispawa \/ (estamos obligados a comunicarnos porque somos seres humanos) ^^^ ------------------------------------------------------------------------------- From: kwohlwen@capital.edu (Karl Wohlwen) Subject: Re: (andina) repertoire Date: 10 Sep 1997 13:30:58 -0400 Thanks, Marcelo! I now have some places to start....Does anyone know how to get ahold of the methods mentioned in this post? > From my experience playing jazz and Celtic folk music, I have found = that there > were "standards", that is to say, a body of tunes that everyone knows. = = I=20 > wonder, is there a "tune list" or "book" that I should know about so = that I=20 would be able to function in a general andean music ensemble setting? >=20 > Any input would be more than helpful! >=20 > Karl Wohlwend > kwohlwen@capital.edu There are standards when it comes to Andean music, though the standards = can be put into two groups. The "old" standards and the "new" standards that = street bands cover. A good book that contains old standards is Raymond Thevenot's method for quena. It has a number of tunes from Ecuador, Peru and Bolivia, all = written in music notation for quena along with the chords for string = accompaniment. The book was published in Peru many years ago, but you may be able to = find it abroad. Can anyone verify this? There is also a series of books published in Mexico: Charango Facil, = Quena Facil, etc. These also have a number of old standards. Other methods, = like Cavour's charango method, will have old standards as well, but they = maybe=20 from one country only. Here are some of the old standards, the ones just about everyone plays: - El Condor Pasa (Peru) - Virgenes del Sol (Peru) - Sonkoyman (Peru) - Ojos Azules (Bolivia) - Sen~ora Chichera (Bolivia) - Sikuriada tradicional (Bolivia) - Dolencias (Ecuador) - Vasija de Barro (Ecuador) - Pajaro Campana (Paraguay) - Pajaro Chogui (Paraguay) - El Humahuaquen~o --aka Carnavalito-- (Argentina) The street band standards are not in books yet (that I know of). They may include some old standards (e.g. El Condor Pasa), some old tunes = that have become popular in recent yeards, and tunes that have altered forms = of traditional rhythms. Here are some: - Suen~os (Bolivia) - Taquirari de Jain~a (Bolivia) - Sariri (Bolivia) - Llorando Se Fue (Bolivia) - Phuru Runas (Bolivia) - Encuentros (Bolivia) - El Pituco (Bolivia) - N~uca Llajta (Ecuador) - Carabuela (Ecuador) - Iluman Tio (Ecuador) - Piedrecita En El Camino (Ecuador) Note that there are no "new" Peruvian standards. For some reason street = bands and the new generation of Andean musicians are focusing on Bolivia and = Ecuador. The narrow vision approach is even more acute when it comes to = Ecuadorian music, as sanjuanitos seem to be the only rhythm being promoted. Also, = some of the new standards tend to change names, so it is not unusual to find = the same song under different names in two or more recordings. I hope this helps. Marcelo (V) ------------------------------------------------------------------------------- From: Richard I Levine Subject: (andina) Article by Lynn Meisch Date: 10 Sep 1997 10:53:01 +0000 jsimmons@KUHUB.CC.UKANS.EDU wrote: > > I recently acquired an excellent and fascinating article by Lynn > Meisch from Stanford University, "We Sell More Tapes When We Play > 'El Condor Pasa': Otavalo Musicians on the World Stage" that is > from the 95th Annual Meeting of the American Anthropological > Association. She laments the death of the traditional sanjuanito, > as market forces seem to be shortening the songs down for gringo > ears. In discussing the conflict between traditional music and > "Western musical ideas" she says "When listening to Sanjuanes in > a folk music club in Otavalo an American friend asked me, 'Where's > the rest of it?'" > Dear John Thanks for your very interesting post. Can you please tell me where to get the article by Lynn Meisch? Regards Richard Levine ------------------------------------------------------------------------------- From: jsimmons@KUHUB.CC.UKANS.EDU Subject: Re: (andina) Article by Lynn Meisch Date: 10 Sep 1997 23:34:27 -0500 (UTC -05:00) > > I recently acquired an excellent and fascinating article by Lynn > > Meisch from Stanford University, "We Sell More Tapes When We Play > > 'El Condor Pasa': Otavalo Musicians on the World Stage" that is > > from the 95th Annual Meeting of the American Anthropological > > Association. > Can you please tell me where to > get the article by Lynn Meisch? > Regards > Richard Levine I got my copy from a colleague who had attended the meeting where the paper was presented. You might try to find the proceedings of the conference at a library. The Meisch article is 12 pages long. I could make you a copy if you send me your mailing address. John jsimmons@kuhub.cc.ukans.edu ------------------------------------------------------------------------------- From: Joel Fentin Subject: (andina) Tape identification Date: 12 Sep 1997 12:29 PDT A few days ago I mentioned I have a tape of old Bolivian music I am trying to identify. Three people answered me and said they thought they could or knew someone who could. Three tapes have been prepared. They went in to today's mail. I am most interested in the results. Another question: Is this current version of this list server group being archived? ----------------------------------------------------- Joel Fentin tel: 760-749-8863 FAX: 760-749-8864 email: joel@cts.com web: http://efm.simplenet.com ------------------------------------------------------------------------------- From: "Jean-Pierre Pellerin" Subject: (andina) information needed Date: 13 Sep 1997 19:48:42 -0400 A Brasilian friend of mine send me 2 cds of andean music but there is no liner notes with them. Could someone give me information on these groups: Grupo Tarancon:Gracias a la vida Los Laikas & Marili Machado:self title Thank you, Jean-Pierre Pellerin jpelerin@aei.ca ------------------------------------------------------------------------------- From: Joel Flores Subject: Re: (andina) CDs Date: 16 Sep 1997 18:38:24 -0400 >8. I have a tape of a tape of a tape...etc. of a Bolivian >group from the mid 1960s. Charango, quena, etc. This was >recorded just before this type of music took off. If I sent >a copy, can anybody out there identify the group? Dear Joel, I have received today your tape. My opinion is that this group was formed by Lucho Cavour, quena, Alfredo Dominguez, guitar and percussions, Ernesto Cavour, charango, the way they play the instruments is unique, I mean it was easy for me to recognize this famous artists by the way they played the instruments. I think it was recorded for the Campos Label under the name Ernesto Cavour or Alfredo Dominguez. That is my first impression I will e-mail you more details later Regards, Joel Flores =89=F0 LC MANAGEMENT & CONSULTING =D0=89 rue des Pr=EAtres St-S=E9verin, 4 F-75005 PARIS (FRANCE) phone : + 33 1 432 581 46 =9Facsimile : +33 1 432 504 37 lcmgmt@geocities.com joel.flores@hol.fr ------------------------------------------------------------------------------- From: jfreire@ix.netcom.com Subject: Re: (andina) Article by Lynn Meisch Date: 19 Sep 1997 00:13:01 -0700 jsimmons@KUHUB.CC.UKANS.EDU wrote: > > > > I recently acquired an excellent and fascinating article by Lynn > > > Meisch from Stanford University, "We Sell More Tapes When We Play > > > 'El Condor Pasa': Otavalo Musicians on the World Stage" that is > > > from the 95th Annual Meeting of the American Anthropological > > > Association. > > > Can you please tell me where to > > get the article by Lynn Meisch? > > Regards > > Richard Levine > > I got my copy from a colleague who had attended the meeting where the > paper was presented. You might try to find the proceedings of the > conference at a library. The Meisch article is 12 pages long. I > could make you a copy if you send me your mailing address. > > John > jsimmons@kuhub.cc.ukans.edu John, I am a member of Tahuantinsuyo- music of the Andes based in nyc. Our aim is to research and perform traditional music from the area. Is it possible for you to send me a copy of this report? My mailing address is: John Freire 47-52 98th place Corona, N.Y. 11368 Please let me Know what costs are involved. Regards, John ------------------------------------------------------------------------------- From: Joel Fentin Subject: (andina) Tape identification Date: 21 Sep 1997 10:08 PDT A few days ago I mentioned I have a tape of old Bolivian music I am trying to identify. Three people answered me and said they thought they could or knew someone who could. Three tapes have been prepared. They went in to today's mail. I am most interested in the results. Another question: Is this current version of this list server group being archived? The three people who got the tape answered. Marcelo Villacres told me the name of the group is Los Jairas. He gave me a song list and a biography of the performers. Alfredo Vallejo told me the album name "Folklore", the name of group and the performers' names. Joel Flores recognized two of the performers and suspected that the album was recorded for the Campos Label. Thank you all. I have been sending out copies of this tape for decades but this is the first time I ever got an answer. I had long suspected the charango player was Ernesto Cavour, but that is as far as I had gotten. The hardest question of them all was never answered: Is this current version of this list server group being archived? ----------------------------------------------------- Joel Fentin tel: 760-749-8863 FAX: 760-749-8864 email: joel@cts.com web: http://efm.simplenet.com ------------------------------------------------------------------------------- From: Dave Sonntag Subject: Re: (andina) Tape identification Date: 21 Sep 1997 14:30:50 -0400 >A few days ago I mentioned I have a tape of old Bolivian music I am trying >to identify. Three people answered me and said they thought they could or >knew someone who could. > >Three tapes have been prepared. They went in to today's mail. I am most >interested in the results. > >Another question: Is this current version of this list server group being >archived? Being archived only in the sense that I've saved every message since Manuel resurrected the list to my hard-drive. Does anybody have a permanent space they'd like to make available for on-line storage and access? Dave 5' DAVE SONNTAG (513)751-8047 Capt, USAF Bioenvironmental Engr: AFIT/CIMI |||||||||||| Fax 558-0925 PhD Program, Toxicology. U of Cincinnati GATNNOS EVAD 5' Home web page: http://w3.one.net/~sonntag PGP Key: /~sonntag/davekey.asc