Musiques Rurales D'amÉrique Latine (argentine, Br

Gonzaga, Luiz; Parra, Violetta; Torrealberos, Los; El Jilguero del Huascaran; Vieira, Luz; Chalchaleros, Los; del Palma, Luiz Alberto; Andariegos, Los; Roig, Gonzalo; 4 Guaranis, Les; Trio Los Panchos; Jackson do Pandeiro, ; Arpiazu, Don; Orquesta Peru Rima; Septeto Nacional d'Ignacio Pineiro; Loyola, Ángel Custodio; Maguiña, Alicia; Conjuto Madrigal; Charros de Ameca, Los; Morochucos, Los; Conjonto Terra Blanca de Chico Barcelata; Yupanqui, Atahualpa

The rural music of Latin America reflects the continent’s mental geography in showing how far Creole cultures have evolved and matured. The gap between the cities and rural areas didn’t widen until the early 19th century, mostly because of the slow diffusion, from urban centers to the interior, of new ideas and fashions influenced by Europe. These recordings made between 1930 and 1960 — by the Cubans Don Azpiazu, Gonzalo Roig and the Septeto Nacional, the Argentineans Atahualpa Yupanqui, Los Morochucos and Los Chalchaleros, the Venezuelan Los Torrealberos, and Brazilians like Luiz Gonzaga or Jackson do Pandeiro — measure the pulse of the rural popular music that remained very much alive despite the appearance of urban genres like the choro, samba, tango and mambo. Listening to this music, one can glimpse into the indescribable weight of history that is implicit here along with the cultural unity born out of such a diversity of events. The music explains the inevitable Spanish fertilization, the stigmata of slavery left on black “nations,” the fatalism of Amerindian peoples and the flowering of Creole culture in a nationalism that sings the beauties of native lands.

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