SONIDO 2000 – Fiesta en la selva (download mp3) INFOPESA label, Perù

GRUPO 2000 LP by Masstropicas; words by Renz De Madrugada

BUY LP (link)

This LP caught me off guard, unlike the Ranil and Tupac, which was anticipated by the Peruvian invasion of listeners, followers and diggers.

Masstropicas comes again with righteousness in releasing music that could have been lost and forgotten.  Grupo 2000 is no stranger to the explosion of “Musica Selvatica”, in this case from Tarapoto, Dept of San Martin in Perù’s Amazon region.

It was back then during the golden years of Virrey Records when SONIDO 2000 came out. (Grupo 2000 Formerly Known as Sonido 2000), the band Sonido 2000 became part of  INFOPESA changing their name to Grupo 2000.

Really, I don’t know much about the group, is a very obscure LP/Group out of Perù not just the Jungle region.

I could have done my research and shared what I’ve learned. But in this case I’ll let the music speaks for itself.  Masstropicas will release extensive information about the group which will be included on the LP packaging, created and designed by Tunchi of LimaFotoLibre (http://limafotolibre.com/)

Once again, is a nostalgic feeling when I hear music from my land that perhaps even the people from Perù have not experienced yet… The sound of Grupo 2000 is unique.  The beauty of having the music not only remastered, but also reissued in its original content, LP.  Is a treat for the create collection, specially knowing how hard is to find a good clean and playable LP in Perù.

From the moment I played the 1st track “La Ronzampa” in my truck, the LP had me captivated.  I been a Juaneco fan ever since I heard “Ya se a muerto mi abuelo” back in 2005 when I returned back to Lima after 15 years of absence.   I was expecting something similar or in the same alley.  But let me tell you, GRUPO 2000 is not the cliché Cumbia Selva band as Juaneco or Los Mirlos, nah!.  This band had something else under their sleeves.  Rock, Funk, Soul, Psych, Cumbia and I even heard a bit of Brazil influence.  And why not Brazilian influence,  the Amazon region is one of the most integrated areas that shares land with Brazil, so there is a lot of cultural similarities,  from the influence of sounds to the food and living traditions.

Grupo 2000 not only brings a new old sound,  it also shares with us the diversity that Tarapoto was back in the days, bringing that guitar party psych ayawascar sound to the stereos and boom boxes all over the Amazon Region.

I’m sure somewhere in Lima,  “Sonido 2000” was heard back in the 70’s and 80’s.  If it wasn’t for INFOPESA…

The green cover sleeve with the vintage photo and the fonts used are a cherry on top to this wonderful tracks by Perù’s own.  I can only say that this LP will be on my record back for quite sometime, along Ranil and El Sonido De Tupac Amaru.

…The beauty of reissuing old LPs, is the fact that you can go back in time and experience the music with the physical item and info in your hands.  Labels like Masstropicas gives us that experience… To go back into time and put our self in the shoes of a party goer, dj or just a listener… in the jungle back in the 70’s and 80’s!

Music like this, is not made any more.  The essence of recording a live band is been lost.  This recordings are extremely rare to the Peruvian ear and outside.  They are now part of the soundtrack of our life.

Mike Pigott, Founder of Masstropicas, has made sure to select the most neglected and forgotten sounds from the vaults of INFOPESA (Peruvian Music Label), as well as meeting with the makers of this amazing LPS.  Mike will continue to discover, reissue and share with the world the sounds that was once PERUVIAN JUNGLE MUSIC.

Renz De Madrugada

http://masstropicas.blogspot.com/

LOS RIBEREÑOS “Fiesta de Callejon”, Perù (download track)

Chicha is essentially a sort of psychedelic cumbia-based music from the Amazon basin in Peru. Incessant twangy surf guitar playing montunos alongside propulsive, percolating percussion is the modus operandi of a chicha group.

Los Riberenos, led by Jhon Beny, is another Peruvian 60s band which specialized in a mostly Cuban repertoire but gave it what can be called – in retrospect – a chicha twist. At the time of this recording, chicha was getting a little more syncretic, with an occasional Andean flavor, but guaracha (a mid-20th century Cuban style of music) remained its strongest element.

JUANECO Y SU COMBO (Bio, Spanish / Eng.) Story by Barbès Records; photos by Carlos Diaz, Perù

Este grupo se inició en la ciudad amazónica de Pucallpa a comienzos de los años 60, y fue fundado por Juan Wong Paredes, descendiente deal saxofón que se ganaba la vida como fabricante de ladrillos. En aquella época se hacían llamar Juaneco y su Conjunto.

En 1966, el hijo de Juan, Juan Wong Popolizio, se integró a la banda de su padre como acordeonista y poco a poco el sonido empezó a cambiar. En 1969, Juan Wong padre se retira del grupo y pasa la posta de la dirección del grupo a su hijo, quien le cambia de nombre a Juaneco y su

La primera contratación del nuevo grupo fue Noe Fachin, un guitarrista cuarenton quien trabajaba como profesor en una escuela publica y “cachuelaba” como guitarrista de musica criolla. Noe era un musico con talento y contribuyo enormemente al grupo con sus ampliosconocimientos de musica. En los siguientes diez años, el se convertiria en el principal compositor y tambien en la primera guitarra del grupo.

Ellos fueron el primer grupo musical formado en Pucallpa, los pioneros de la cumbia del oriente en el Perú, con un sonido que recordaba demanera obligada a su tierra natal, ya que imprimían en sus temas la alegría típica de la gente de esa zona del país. Llegaron a tocar en otroscomo Colombia, Ecuador, Venezuela y Brasil.

Su aparición se dio en el momento de auge económico de selva peruana, con el boom del petróleo. Por lo que ellos le cantaban a la riqueza de susuelo, al poder de su tierra, y a la alegría que sentían ya que, como ellos mismos decían, el Perú por fin había volteado a ver a la muchas vecesolvidada Selva.

El año de 1970, graban su primer disco de 45 RPM, con los temas La Fiesta de San Juan y Me Robaron mi Runa Mula, debido al gran éxito alcanzado, graban su primer Long Play, titulado El Gran Cacique, que incluía temas clásicos como Mujer Hilandera (versión del tema folklórico de Brasil Mulher Rendeira), La Sirenita Enamorada y Vacilando con Ayahuasca.

Luego vendrían otros LP todos con grandes éxitos, como Dale Juaneco, Viajando por la Selva, Aquí están… los Reyes de la Selva, entre otros.

Junto con Los Mirlos, son los máximos exponentes del llamado Poder Verde.

Dentro de los atractivos más importantes del grupo destaca la revalorización de los trajes típicos de la zona, así también como las tradiciones y creencias de una región mágica y llena de encantos como es la Selva Peruana.

This group originated in the Amazonian city of Pucallpa at the beginning of the 60’s, and was founded by Juan Wong Paredes, descendant of Chinese immigrants huge fans of the saxophone, whose work was also the fabrication of bricks. In those times the band was called Juaneco y su Conjunto.

In 1966, the son of Juan, Juan Wong Popolizio, came aboard the band as an accordionist and little by little the sound started to change.  In 1969, Juan Wong (father) retires from the group, giving the direction of the group to his son, who would later change the name to “Juaneco y su Combo”.

The first booking of the group with its new name was made by Noe Fachin, a guitarist in his 40’s who also worked as a professor in a public school, and would hustle here and there with is guitar to make a few bucks to get by.  He would play “musica criolla” “creole music from Peru”. Noe was a musician with a great talent.  His contribution to the band was very crucial to the sound.  In the next 10 years he would become the 1st guitarist of the band and also the main composer.

They where the 1st musical group that formed in Pucallpa, the pioneers of cumbia in eastern Peru, with a sound that made you melancholia about your old town, since they printed the happiness of the people from that particular region (amazonas).  They also performed in other countries like Colombia, Ecuador, Venezuela and Brazil.

During their performances in the 70’s, the Peruvian jungle was going thru the ‘petroleum’ boom.  Part of the lyrics of Juaneco’s band tell the riches and power of  the earth in which they are from.  Their happiness of how the Peruvian jungle was growing in economy and living status.

In the year 1970, they recorded their first 7″ single, with their two songs, ‘La Fiesta de San Juan’ and ‘Me robaron mi Runa Mula’.  Due to the huge success they where able to record their first LP, title “EL GRAN CACIQUE” which included classic titles like: Mujer Hilandera (version of the theme of Brazilian Folklore “Mulher Rendeira”), La Sirenita Enamorada and Vacilando con Ayahuascar.

After that, others LP’s were recorded, all with many hits like: Dale Juaneco, Viajando por la selva, Aqui estan, Los Reyes de la selva and others.

Next to Los Mirlos  they are the main exponents of the music called “PODER VERDE” “GREEN POWER”.

Juaneco y su Combo dressed with some of the most traditional creations of fashion in the Peruvian Jungle. The usage of Amazonian textiles like the Shipibo art on canvas and cotton.  They carry their traditions and believes of such a magical region full of enchanting moments… the Peruvian Jungle.

 

JUANECO Y SU COMBO bio from BARBES RECORDS

In music as in science, the poetic instinct of individuals seems to be the spark that ignites a whole new way of thinking – or dancing. It is the “eureka!” moment that led Newton to gravity or Machito to mambo. In the case of Chicha, several different musicians fulfilled the role of catalyst including Enrique Delgado, Jaime Moreyra, Angel Rosado,and Chacalon. But none was as independent or as original as Juan Wong Popolizio and Noé Fachin, the masterminds of Juaneco y su Combo and originators of the Ola Amazonica – the Amazonian Wave.

Juaneco y su Combo was born in the Amazonian city of Pucallpa in the early 60s. The group was founded by Juan Wong Paredes, an amateur saxophone player of Chinese ancestry who made his living as a brick manufacturer. The musicians would get together on weekends and played mostly for their own enjoyment. They considered themselves a jazz band, played cumbia and other dance standards, and went by the name of Juaneco y su Conjunto.

Chicha has its origins in a variety of styles and influences which became codified over time by what seems like a series of accidents. Elements include the popularity of cumbia, the huayno of classic Andean folklore, and the exotic sound of rock and roll as epitomized by electric guitars and electronic organs. As with many new musical waves, people became excited about the idea of modern sounds combined with vestiges of tradition — music your parents wouldn’t understand mixed up with the music your parents listened to.

In 1966, Juan’s son, Juan Wong Popolizio, joined his dad’s band as an accordionist and little by little started changing the sound. In 1969, Juan Wong Sr. retired from music and passed over the direction of the band to his son, who renamed it Juaneco y su Combo.

Juaneco’s first recruit was Noé Fachin, a guitar player in his 40s who had been working as a public school teacher and moonlighting as a criollo guitar player. Noé was already something of a virtuoso and brought a serious musical knowledge to the band. For the next ten years, he would become Juaneco’s main composer, as well as the group’s lead guitarist.

Pucallpa was still a fairly isolated city at the time. Music was heard mostly through local radio broadcasts that played cumbias as well as Peruvian criollo standards. Nearby Brazilian stations, whose signal easily reached Pucallpa, favored carimbo, a Brazilian Amazonian rhythm with a strong African influence (the carimbo is a drum of African origin). These cumbia and carimbo rhythms would become the building blocks of Juaneco’s new sound.

The other influence was of course rock and roll, which was rapidly taking over the planet.  The electric guitar had been used in local bands for a while but Juaneco was the first one to adopt the electric organ. He traded his accordion for a Farfisa, which would soon become one of the trademarks of the new Peruvian cumbia sound

Juaneco started out by adapting traditional songs,  practice popular with pop artists such as the Beatles and Bob Dylan. The band’s first hit, in 1970,  was “Mujer Hilandera,” a cumbia version of a popular 50s Brazilian song called “Mulher Reindeira,” or “O Gangaceiro” (a song which, incidentally, was also part of Joan Baez’s repertoire).

Soon, though, Noé Fachin found his voice as a composer and wrote a series of songs based on cumbias and carimbo rhythms. They used idiosyncratic melodies which mixed every sound familiar to the band — Brazilian classics, huaynos, Venezuelan joropos, criollo songs — as well as exotic influences that owed as much to bands like the Shadows and the Ventures as they did to spy movies.  The themes that run through the songs were based on local indigenous folklore, largely borrowed from the Shipibo Indians who dominate the region.

None of the band members was actually of Shipibo origin, but they did identify with the tribe in very profound ways.  It was almost a matter of local pride. Before the population boom of the 70s and 80s, Pucallpa was essentially a Shipibo town. The Shipibos made up a majority of the population, but more importantly, as the town’s original inhabitants, they were the ones with a true understanding of the jungle. Juaneco y su Combo became the musical ambassadors of the selva (the jungle, which defines Pucallpa both geographically and culturally) and their style of music is still referred to as Cumbias Selvaticas. They dressed in traditional costumes and sang about the jungle, and to this day Juaneco is Pucallpa’s most famous export – oil and lumber being its most lucrative.

Of all the musicians, it seems Noé Fachin identified the most with Shipibo culture.  His nickname was El Brujo – the witch doctor – and he was known to take ayahuasca, the hallucinogenic drug used by Shipibo shamans. His reasons for indulging seemed quite similar to those of his contemporaries in California — to seek a deeper, esoteric knowledge of oneself, get inspiration…and get high. He claimed that many of his songs came to him while he was under the influence of the drug.

In 1970, Alberto Maravi, the owner of a Lima-based label called INFOPESA, offered the band a recording contract. Their first album, El Gran Cacique, included many of the songs on this compilation. It established them as the leading band from the Amazon almost right away. They spent the next seven years traveling all over Peru with forays into Brazil, Ecuador, and Colombia, recording three more albums, all of them produced by Alberto Maravi.

Maravi and his label played a big part in establishing the Chicha sound. He was the producer responsible for Juaneco, Los Mirlos, Los Hijos del Sol, Chacalon, and many more. In the 70s and 80s he became somewhat of a tastemaker in Peruvian popular music, including rock and musica criollo. Unfortunately, the label went under, the original masters are no longer available, and Maravi himself seems to have disappeared.  This state of affairs has not helped the artists associated with the label, and as a result, they have found themselves almost shut out of musical history.

On May 2nd 1977, the day after playing a Labor Day party in San Ramon, most of the band flew back to Pucallpa.  As is often the case in rock and roll stories, their plane crashed and Noé Fachin, Walter Dominguez, Ediberto Vasquez, Jairo Aguilar, and Wilfredo Murrieta all joined the pantheon of fallen music idols. Juan Wong, singer Wilindoro Cacique, timbalero Rosendo Hidalgo, and conguero Juvencio Pinchi, who had all gone straight to Lima to finish work on their new record, were not on board the plane.  They decided to reform the band a few months later, with five new members, and kept on playing. They never filled the creative void left by Noé Fachin, who had written all of their best material, but remained a great live band and did record a few gems including the iconic “Ya Se Ha Muerto Mi Abuelo.”

Juaneco passed away in 2004 but his son, Mao Wong Lopez, has taken over the band.  In the past year, there has been a resurgence of interest in their music, in part because of the critical success of Barbès Records’ previous release, The Roots of Chicha. Juaneco y su Combo has recently been playing in some of the best venues of posh Barranco, sharing the bill with some of the hippest rock bands and treated as heroes by the young hipsters of Miraflores. The band has been the subject of television documentaries and has been profiled in such highbrow publications as El Comercio.  Forty years and many deaths later, it seems that this unique Amazonian sound has finally found its place in the Peruvian canon. May Juan Wong Popolizio and Noé Fachin rejoice in their ayahuasca paradise.

WILINDORO CACIQUE (Juaneco Y Su Combo original member/singer) new photos by Chichaweb.com

painting by José “Ashuco” Araujo

WILINDORO CACIQUE (Juaneco Y Su Combo original member/singer) reappears in the Festival that occurred in the Colca Local on November 20, 2010.

As part of the presentations made in the local Art Cayon University, where a private presentations stormed Iquitos and the typical group like Los Hijos de Lamas.  Juaneco Y Su Combo performed Live along side with its original member Wilindoro Cacique (singer).

After two years of being away from the world of entertainment for health reasons, Wilindoro returns to the stage, performing on a local venue call Colca in Iquitos, his hometown.  Wilindoro sang his classic songs making the crowd dance with his “Ayawascar” sound all thought the night…

words by Pedro Jaico (ChichaWeb.com)

edit in english by Renz De Madrugada

On the photo above that I’ve obtained from (Chichaweb.com) Wilindoro is holding the lyrics of a song.

Wilindor Cacique had a brain aneurysm which left him in coma and near of death, but nevertheless he recuperated and was able to walk again and gain consciousness.  Doctors said was wasn’t going to be able to speak again.  On Nov. 20th 2010, Wilindoro Cacique vocalist of Juaneco y su combo, is back on stage beating all odds and showing his beloved fans the WILINDORO LIVES!

Vintage photos of JUANECO Y SU COMBO ft. Wilindoro Cacique

 

RANIL “Cumbia sin nombre” on Ranil’s Jungle Party LP (Masstropicas Recrds.)

RANIL Y SU GRUPO by La Cumbia de mis viejos blog, (tranlated in English)

From left to right: Riyder Zumba, “Spring”, Betto Gaviria, Ranil, Victor Rivas. Below Holmes Zavaleta.

Raul Llerena, born in the city Belen – Iquitos. Very versatile, is dedicated to journalism, music, politics. Here’s a little history about RANIL:

The attachment for music was inherited from his mother, who was a singer and guitarist. My mother traveled to Lima, where she studied to become a teacher and return to her hometown to practice at events to teach at the Peruvian border. Additionally I’m dedicated to journalism work in which I hold until today as a job.

My first musical experience was the sound and voice of Los Paisanos recordings. Folk music for the label Smith. Since then I realized that the music business beneficiaries weren’t the musicians. During the first half of the seventies the group “The Silvers” Johnny Quinteros appears in Belen, where I asked for advise since they are great experienced musicians… So, Raul helped on some recording to INFOPESA, recording mainly Tropical music, which had great potential for success.

During the mid seventies, I decided to form my own group. I  gather some musicians, mainly some historical ones experienced in  tropical music from Iquitos. The first guitar was held by various musicians, depending on the season. Most important Zumba Limber, which came from The Silvers, and Betto Gaviria. At the time, Luis Peña and Emilio, also served as guitarist Nigro. Among the founding members Were Rider Other Zumba on bass, Paluca Flores on drums and Marco Rivas on the grave.

Raul was aware in the benefits and power of having a record label and having musicians under his wing, so he started his own record label call  “Llerena Recordings”. The label recorded more than a dozen LPs and 45 RPM records. Several under the name”Ranil Y su Conjunto Tropical”  (Ranil is a combination of the names and Nilsa Raul, His Wife).

The musicians Travel to Lima, recorded and pressed records on the premises of MAG, running after the distribution by Ranil itself. With Respect to promotion, Raul had his own radio and television, so neither had to deal with the gangs who charged for promoting musicians.

In the eighties the group disintegrated because of the oil rush. Out in the jungle the people had less money to buy records. In Addition, the force to introduce cumbia began with synthesizer, in which the guitar was  displacing as the main instrument for Tropical Music. As well as Betto Gaviria departs towards “Grupo Pax” (MAG),  while Emilio Piña follows his path towards Criollo music.

Interview & Words by LA CUMBIA DE MIS VIEJOS Blog (Spanish Original Version)  < Link

LOS MIRLOS Makumba by MIKE P for MassTropicas

YA SE HA MUERTO MI ABUELO; Juaneco Y sus combo. “TRIBUTE TO WILINDORO”

YA SE HA MUERTO MI ABUELO (mp3 download)

1. Mujer Hilandera

2. Y Dale Juaneco!

3. Ya Se Ha Muerto Mi Abuelo

Link to previews blogs about JUANECO Y SU COMBO

Amazon Music blogs ^

JUANECO Y SU COMBO moving forward to 2010… latest photos of the band + free download of greatest hits.

http://www.zshare.net/download/61549775f8444c26/