Chicha Libre / The Roots Of Chicha: Psychedelic Cumbias
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Various Artists
Chicha Libre If globalization has any virtues, the ability to travel back in audible time and space may be one of the most enlightening. The oil boom that transformed the Peruvian cdroots beginning in the late 1960s generated massive social displacement, horrific work conditions, unbridled ecological damage, and the consumption of plenty of chicha (the indigenous Andean corn liquor). If the musical consequences were predictable, the mash-up sonic results were unique, recalling the cultural history of other regional working-class musics like ska, bachata, and kaiso.
Lest the faithful mourn, any word of chicha's passing is happily premature, thanks not least to Barbčs Records (the house that brought forth Hazmat Modine) and Chicha Libre, gringo Brooklyn's contemporary shout-out to chicha antigua (roots chicha), purveyed via quirky instrumentation like the Venezuelan cuatro, a vintage Hohner Electravox (whose accordion-like appearance belies its purely electronic organ-like sound), and beaucoup Latin percussion. For good measure, ˇSonido cdrootsico! begins with the same eponymous Los Mirlos classic that opens Roots of Chicha, tapping the Farfisa-Moog-percussion groove that rocked the Peruvian cdroots way back when (although Los Mirlos, too, remain active today). From there, with Primavera en la selva (spring in the jungle) they launch into a nearly unrecognizable minor-key read of Vivaldi's analogous theme from The Four Seasons, parallel sonic surgery on Ravel's Pavane, and a smoky bolero interpretation of Satie's Gnossienne No. 1. Chicha Libre adds numerous original compositions, extending the chicha spirit to transnational audiences, with a good deal of wry amusement and eccentric revelation along the way. - Michael Stone
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Chicha Libre: Indian Summer
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