We are back! After 8 years #ListenRecoveryWP

Photo: Susana Baca

by: @renzdemadrugada

Los Jharis De Naña “Los Creadores del Sonido de la Carretera Central” directed by Teo Laura, LP released by Masstropicas Records.

During my youth in the early 80’s in Lima I remember walking to the farmers market across from my grandmas home and observed all the “carretillas” (produce carts) playing their small radios am/fm listening to Huayno (Andes Music) or Chicha (Peruvian Cumbia).  In those times, Chicha wasn’t my cup of tea but I was able to listen to it almost everyday, coming out of fruit vendors, emoliente carts, bodegas and the small rooms in every home that housed a maid.  Most of the citizens of Lima are now families that migrated from the Andes region.  Huayno is their main musical inclination since the day they are born.  It’s a tradition in every Andean city to have music roots and continue the tradition.  As this families relocated to the capital, so does their music and traditions, norms and values.  The changes are uplifted with new instruments and modern sounds which the capital shares with it’s population.  Chicha is born from the people, the artist are part of the general people that migrated to the capital there is no higher status within the population and the artist in the Chicha community.  That is why its sounds is so true and pure, with no gimmicks nor false stories.

Los Jharis are that product of the migration to Lima.  Their sounds and lyrics are part of the everyday life, about the families that left their lands and homes to live in the capital and seek a better future and work.

Guitarist Teo Laura who played with Peruvian bands, Los Blue King de Ñaña and Los Sander’s, now plays with Los Jharis De Naña, is one of the rawest Chicha artist in the industry he is a product of that migration to Lima.

His guitar sounds are distinguish in the streets of Lima as “Cumbia Carretera” he is proclaimed to be the king of that Chicha style.  And this LP confirms that title to Maestro Laura to us.  Starting his musical career in 1973, with the band Los Blukins De Naña with the hit song “El Rey Loco” (The crazy king), then in 1975 he formed part of the band Los Sander De Naña with the songs “Si ya te vas” & “Quiero Emborracharme”, then in 1982 he formed part of the band Costa Azul followed by Los Jharis De Naña during the same year.

The Carretera Cumbia or Carretera Style comes from Rock, Balada and Guaracha, it was born in 1972 during the years of Los Blukins De Naña (1st band), this style is born also the city of Naña carried by Pascualito and Teodoro Arellano which are singers from born in Naña.

Masstropicas continues its mission in preserving the roots of Peruvian dance artist from the genre that transcends feeling with its rhythmic power… It just gets in you, Cumbia, Chicha whatever we want to call it.

This LP was released in the 80’s on cassette and now is pressed onto vinyl for your collection and listening pleasure.  A sound that you’ll need to experience sometime in your life.  Mike P’s vision of choosing the right releases, pushes us to continue to support an independent record label that strives to create awareness for a better overstanding a culture and it’s people, which in some way has been forgotten, unappreciated and uncompensated by the new promoters of the “cumbia movement”.

Learn your roots of Chicha with Masstropicas and listen to this LP by Los Jharis De Naña.

LP FOR SALE @ Light In The Attic Records Distribution   <

Renz De Madrugada

LONG LIVE BOOGALOO by Secret Stash Records / Clothing by Listen

http://www.listenclothing.com/boogaloo.html

Our first of many collaborations with like minds record label SECRET STASH.  We are very excited and proud to present LONG LIVE BOOGALOO t-shirt.  Designed by Izzy Sanabria during the Boogaloo years in New York.   Secret Stash comes correct again maintaining the preservation of international sounds and genres that will not be forgotten.  Secret Stash is saying with this amazing compilation, that “vintage” Latin Music is here to stay!. Long Live this music.

Renz De Madrugada

In the mid 1960s Latin teenagers in New York’s Spanish Harlem neighborhood created a new style of music called Latin boogaloo. The sound was a mix of the Cuban music they grew up with and American R&B like James Brown and Hank Ballard. It quickly caught on and before long the young purveyors of this new sound were taking business from the likes of Tito Puente, Tito Rodriguez, and Eddie Palmieri. Soon the established acts reluctantly joined the craze and recorded a smattering of Boogloos. However, many of them were not happy about it. In general they felt it was beneath them. Eventually a small group of the most powerful people in the Latin music business conspired to kill off the Boogaloo and make way for the burgeoning Salsa craze. Concert promoters, DJs, and venues were bribed to turn away any and all Boogaloo business. As soon as it came, it left.

Secret Stash Records is proud to present this double LP compilation of rare and hard to find Boogaloos. Each track has been selected with the help of veteran Boogaloo producer Bobby Marin. To help tell the story of the untimely demise of the genre, Secret Stash enlisted the services of legendary concert promoter and illustrator Izzy Sanabria (the man responsible for the artwork on most of Fania’s releases) to write liner notes. Additionally, all of the artwork for the album is comprised of rehashed versions of Sanabria’s now famous Boogaloo concert posters of the 60s. As always, each hand numbered, hand assembled double LP set includes a free download of the entire album and a re-sealable dust bag.

The first 250 limited edition copies of Long Live Boogaloo come with orange and yellow colored vinyl, plus a bonus 7″ on transparent green vinyl. Once the first 250 are gone, the standard version of Long Live Boogaloo will have black vinyl and NO Bonus 7″.

SUN RA, Cosmic Tones for Mental Therapy LP, 1961 (download)

Cosmic Tones for Mental Therapy < (download LP)

Sun Ra and his Intergalactic Arkestra, 1961

Side A:

1. And Otherness – (5.10)
2. Thither and Yon – (4.01)
3. Adventure-Equation – (8.26)

Side B:

1. Moon Dance – (6.34)
2. Voice of Space – (7.42)

Cosmic Tones for Mental Therapy is an album by the American Jazz musician Sun Ra and his Myth Science Arkestra. Recorded in 1963 but not released until 1967 on Sun Ra’s own Saturn label, the record has become one of the most discussed of Ra’s New York recordings

Originally released in a sleeve with a Sun Ra doodle, the better known cover, designed by Richard Pedreguera, was in place by 1969.

The album has increasingly been discussed within the context of anticipating psychedelia or pointing towards the funk of George Clinton;

Clinton’s astral ritual seems as inspired by the Nation of Islam as it is by Sun Ra, and when asked about the Ra in 1979, Clinton said:
“This boy was definitely out to lunch – the same place I eat at.”

MARTIN CHAMBI, Indigenous Peruvian Photographer

Martín Chambi Jiménez or Martín Chambi de Coaza, (Puno, Perù – November 5, 1891 – Cuzco, September 13, 1973) was a photographer, originally from southern Peru.

For more than twenty years, Martín Chambi balanced his successful studio business with extensive travels outside of Cuzco to photograph archaeological sites, landscapes, and indigenous communities.
Chambi’s early reputation was based on his participation in two distinctly different photographic traditions. His adoption of conventions derived from European art photography, particularly the stylized effects of Pictorialism and natural sky-light in studio portraiture, formed the foundation for his studio’s commercial success and his prominence in local salon competitions and industrial fairs of the day.
Chambi quickly came to the forefront in the documentation of his own indigenous culture. He undoubtedly received significant support and encouragement in this work from members of Cuzco’s Indigenista movement. In turn, his work and presence, as an artist of direct Indian descent, photographing their meetings and listening to their discussions, surely reaffirmed their intellectual programs and lent a sense of visual authenticity to the movement.

Between 1920 and 1950 Chambi amassed a comprehensive collection of archaeological sites, native peoples, and views of Cuzco that was widely published as well as presented throughout South America.
Many of the most fascinating pictures in his archive were apparently unknown during his lifetime – some because they fell outside the interests of Indigenismo, others because of the limited artistic conventions then in vogue, and many because of their commercial origin.

Significant ongoing research and publication on this unusual period still need to be realized in order to clarify Chambi’s artistic contribution in the world of photography.

A BRIEF HISTORY OF A NEO-INDIGENOUS ARTIST
Chambi was an Indigenist photographer — the first to photograph his people as seen through their own eyes. Chambi himself emphasized that status in 1936, on the occasion of an exhibition in Santiago and Viña del Mar:

“I have read that in Chile it is thought that Indians have no culture, that they are uncivilized, that they are intellectually and artistically inferior when compared to whites and Europeans. More eloquent than my opinion, however, are graphic testimonies. It is my hope that impartial and objective witnesses will examine this evidence. I feel that I am a representative of my race; my people speak through my photographs.”

Martín Chambi

Martín Chambi was the first to photograph his race with a postcolonial eye. When Martín Chambi arrived in Cuzco, the ancient Incan capital, the richest and most splendid among American pre-Columbian cities, was experiencing a slight demographic recovery following the dramatic population decline.
It was Chambi who had the greatest international diffusion, and he who has left us the most personal, magical, profound, and dazzling work among all Peruvian photographers and maybe of all Latin American photographers.
Martín Chambi’s images laid bare the social complexity of the Andes. Those images place us in the heart of highland feudalism, in the haciendas of the large landholders, with their servants and concubines, in the colonial processions of contrite and drunken throngs. Chambi’s photographs capture it all: the weddings, fiestas, and first communions of the well-to-do; the drunkenness and poverty of the poor along with the public events shared by both. That is why, surely without intending it, Chambi became in effect the symbolic photographer of his race, transforming the telluric voice of Andean man, his millenary melancholy, his eternal neglect, his quintessentially Peruvian, human, Vallejo-like pain into the truly universal.

“One day Chambi will be recognized as one of the most coherent and profound creators photography has given this century.”

Edward Ranney

BLAZING 45’s by TRUE SOUND – DANNY HOLLOWAY, Jan. 19th 2012

Rich Medina – Danny Holloway

Shortkut (Beat Junkies / ISP)

Inka Uno.

Pay Ray getting his last signatures.

Rich Medina Blazing 45’s

Icy Ice / C-Los / Rich Spirit

Shortkut / Tommy Gunn / Icy Ice (Beat Junkies)

Rich Medina doing it!

Wolf’s turn… Blazing 45’s

Peanut Butter Wolf (Stones Throw)

Rhettmatic on the mic… CA!…

Ani Gza / De Madrugada

Posições LP – A Tribo, Modulo 1000, Equipe Mercado & Som Imaginario (download)

V.A. / Posições LP (download)

SIDE 1

1:Kyrie / TRIBO
2:Marina Belair / EQUIPE MERCADO
3:Curtissima / MODULO 1000

SIDE 2

4:A Nova Estrela / SOM MAGINARIO
5:Ferrugem E Fuligem / MODULO 1000
6:Peba & Pobo / TRIBO

LP Bio (Groups / Artist)

One of the remarkable factors in Brazilian music during the early 70’s was the experimentalism. The lack and inversion of rules and as well as the freedom’s idealism echoed from Europe and the United States and entered in Brazil. Here we see this factor in bands that appeared between the end of the 60’s and the first years of the 70’s. Bands consolidated in Rio De Janeiro; influenced by the “carioca” way, some jazz sources and by the psychedelic rock.

In 1971 the Odeon launched a collective LP, “Posições“ (Positions), with four new bands. One Som Imaginario (Imaginary Sound) was not unknown (with one record from the last year); the others A Tribo (The Tribe) , Equipe Mercado (Market Team) and Modulo 1000 (Module 1000) were pretty new bands, and from this record didn’t get so far, as bands. As musicians many of the participants of the bands, mostly from A Tribo and Som Imaginario, became very famous, with long-term carriers.

A TRIBO (1971)

A Tribo was a band formed by beginning young musician’s : the Carioca singer Joyce, the violinist Nelson Angelo and the guitarist Toninho Horta from Minas Gerais , the bass player Novelli and the percussionist Naná Vasconcelos from Pernambuco. Nana and Nelson Angelo were playing in the Free Quarteto, a mix of Bossa Nova and Jazz quartet. In 1970, the two musicians joined the Luiz Eça and Sagrada Family band. There they met the singer Joyce.  Nana, Nelson and Joyce called Toninho Hortaand Novelli and formed the Tribe (A Tribo).  Together they made some compositions of they own and played covers from Milton Nascimento and Danilo Caymmi.  In 70 they were at the V International Festival of the Song with “Onoceonoekoto” (Nelson Angelo).  The same year they participated in the collective “Posições” and also recorded a Compact Disc.  The sound from A Tribo is very interesting.  It discloses the symbiosis of rising talents with the voice of Joyce, Novelli’s bass, the arrangements of Nelson Angelo, the guitar of Toninho Horta and the creativity and improvisation of Naná Vasconcelos, who after some months left the band for a solo career.  Nenê replaced him.  However the band did not last very much beyond 1972, but all the band’s participants had a very successful carreer after that.

EQUIPE MERCADO (1971)

EQUIPE MERCADO was a band created in Rio de Janeiro during 1970. The band had a very creative and illustrious singer, Diana, allied with the songwriter Stul (guitar, piano and voice); Leugruber (guitar), Ricardo Ginsburg (guitar), Carlos Graça (battery) and Ronaldo Periassu (percussion).  The band was influenced greatly by psychedelic rock, but it also abided by the Brazilian melodic lyricism.  Beyond the participation in the collective “Posições” the group released a compact with the music: “Campos de Arroz” and “Side b rock” in the same year.  The band ended the same year.  In 1972 Diana and Stul launched another compact disc, presenting themselves as a couple, but, unfortunately they didn’t record anything else.

MODULO 1000 (1971)

MODULO 1000 was a quartet formed by Daniel (guitar and vocals, Luis Pablo (guitar), Eduardo(bass), Candinho (battery) in Rio De Janeiro in 69′.  Dispite its short duration it left a great influence for the progressive rock bands that were to follow.  Modulo 1000 mixed blues, rock and a touch of ballad.  The participation of the band in the “V International Festival of the Song” culminated with a compact launched by Odeon with: “Big Mamma” and “Isto Não Quer Dizer Nada”.  Still in 70′ they would participated in the collective “Posições”.  In 72′, they launched the only LP of the history of the band, the cult: “Não Fale Com as Paredes “ (“Do not speak with the Walls”).

SOM IMAGINÁRIO (1971)

In 1971 SOM IMAGINARIO debuted a new record, without the singer and pianist Zé Rodrix that followed to play with Sá and Guarabira.  As well as the previous record (commented in the Saudosas Bolachas/1970) it was directed by Zé Rodrix, in this new one was directed by the Frederiko.  The guitarist occupies this rank and so, the record is presents much more dense and radical that the first one; and the most anarchical possible. At this time, the record does not give many concessions commercial standards. The record opts to a sonorous radicalization.  Breaking for dissonance and hardcore.  The record has the preciosity of Wagner Tiso keyboard , Luiz Alves (bass), Robertinho Silva (battery), Frederiko (guitar) and Tavito (guitar).  From this record “Som Imaginario” (1971) Odeon Records used the song: “Nova Estrela” (Wagner Tiso/Frederyko) to place in the collective “Posições”.

SPIRITUAL MEDICATION – J.ROCC (2009) 30:32

SPIRITUAL MEDICATION – J.Rocc  (download full medication mix)

Tracklist:

Peter Lipa – “My Album”
Larry T. & The Family – “I’m Movin On”
Stanley Cowell – “Travelin Man”
Albert Ayler – “Music is the Healing Force of the Universe”
Sun-Ra – “Where There Is No Sun”
Sun-Ra – “Life Is Splendid”
John Coltane – “A Love Supreme”
Louis Armstrong f. Leon Thomas – “The Creator Has A Master Plan”

This mix was made during a very tough year, many great ones gone but not forgotten.  The Funky Pres. as we know him, tributes some of the most relaxing, mediation, spiritual, zen vibe with a tip of happiness songs, to not forget we are still making this grounds moves…

SPIRITUAL MEDICATION is for your soul and for your moving on in life… Enjoy and keep creating great moments in your life, so later we can celebrate history.

Renz De Madrugada

_______________________________________________

Words by J.Rocc 2009 (http://stoneyjackson.blogspot.com)

It’s been a tough one this year.
There’s not really more that I can say than that.
If your expecting a bunch of song you know and love this isn’t for you.
If your looking for something to help you get over thangs or even just vibe out to.
This is for you.

STRICTLY CASSETTE blog intro – by Mark “BP” Bijasa (our 900th post for Listen Recovery site)

http://www.strictlycassette.com/

BEAT SWAP MEET #16 Dj Sets by De Madrugada & Rich Spirit (1:15pm – 2:15pm)

Rich Spirit

Renz De Madrugada

Records for Sale by LISTEN RECOVERY