Realm of the Incas

Elisabeth Waldo - Realm of the Incas

released on LP

I would like to share with you another musical exploration into the mystic Realms of the Ancient Americas - the Realm of the Incas! Through his musical instruments, and those of other brilliant Indian Civilizations which preceded him (Nazca, Mochica, Chimu, etc), it is conceivable that the Inca had a high degree of musical development rivaling his other great accomplishments of art and architecture. A semblance of the ancient music still exists in remote areas but is fast disappearing with the discordant advances of modern living.

So whether it was a descendant of these Quechua-Aymara speaking families who hummed an ancient air in my ear, or a reference from the Archives of the Conquistadores, I have striven with these rare instruments of bone and clay, superimposed on modern instruments, to maintain the characteristics and awesome sounds of this nation as it comes alive in my mind.

"Taqui" a "dance-song" was the principal musical form of Incan times. It was always blended in religious expression, and suggests stately rituals and pagan festivals. The simple five tone scale predominates and in turn is plaintive, lyrical and rhythmic. I have used an abundance of appogiaturas, mournful cadences, and suspension endings - all characteristics which make this music definable and contribute to the exotic quality.

Besides the musical possibilities of the Pre-Columbian past, the Entrance of Pizzaro heralded another transformation. The clash of ideals which followed with the impact of the European culture and musical instruments on aboriginal tastes is one of the engaging stories of all times. The results? A hardy "Mestizo" music which is the outgrowth and blending of these two forces culminating in the creation of new American musical forms that could not have been duplicated in any other section of the world.

The Spanish stringed instruments were adopted by the Indians and with their own brand of modification, used freely in interpreting their native music.

I have found that the Indian of all areas leaves his stamp on his musical contributions as indelibly as the African leaves his mark on the better known Afro-forms. Above all, the Indian, of noble soul, strives his entire life to unite the forces of man and nature about him. (Elisabeth Waldo)



Tracklisting:

Side 1

1. Land of the Sun Kings {3:35}

2. Song of the Chasqui {2:41}

3. Incan Festival Dance {2:35}

4. On the High Plateau {2:56}

5. Making Chicha {2:12}

Side 2

1. Balsa Boat {4:06}

2. Swinging the Quipu {2:54}

3. Saycusca! (The Weary Stones) {3:38}

4. Dance of the Nustas {2:38}

5. Entrance of Pizzaro {3:47}

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Maracatu [REPOST]

The Elisabeth Waldo Group - Maracatu

released on LP

Performers:

Elisabeth Waldo - violin
Burnett Atkinson - woodwinds
Guy Horn - guitar
Peter Mercurio - string bass
Jose Pablos and Chet Ricard - percussion

Lovers of the unusual will find this album a fascinating offering of music and sounds from the lands of contrast. Mystic - rhythmic - exotic - plaintive - whether the strains that predominate have grown out of Indian, Spanish or African influences, or whether they have their roots in remote jungle lowlands, high mountain peaks or isolated villages - the strains are immersed in the primitive and filled with spiritual symbolism.

Before the advent of the "Conquistadores," no stringed instruments existed in this hemisphere. With the introduction of the violin and the guitar by the Spanish, a fantastic musical change took place with the superimposition of these instruments on the barbaric percussion and the woodwind instruments that already existed in aboriginal America. The Indians and jungle peoples set about carving new instruments in the likeness of those they had seen, thus creating new sounds and scales. And so, the stone hatchet of the jungles, born before the discovery of America, exists today side by side with that which has been contributed by the European culture. This music is the offspring of those two interwoven cultures. (from the liner notes)



Tracklisting:

Side 1

1. Siembra {2:51}

2. Carnavalito {1:57}

3. I Coos (Oh Joyous Wind) {2:23}

4. Cueca {2:55}

5. Cancion del Carretero (Song of the Carretero) {2:35}

6. Maracatú {3:51}

Side 2

7. Tun-kul {2:52}

8. Tamborito {2:43}

9. Seri Lullaby {2:20}

10. "La Llorona" (The Weeper) {2:47}

11. Indian Procession (Lament to the Dead Emperor) {2:43}

12. Malaguena {2:55}

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Legend of the Jivaro

Yma Sumac - Legend of the Jivaro

This album contains the rare album of authenticity: the songs of the notorious Jivaro headhunters, learned by Yma Sumac in the tribesmen's South American mountain-jungle home, and sung by her in exotic native instrumental settings.

To unearth the Jivaro music - the stories their ancient songs tell, the musical instruments of their culture - Yma Sumac and her husband, Moises Vivanco, one of the foremost authorities on ancient music, travelled deep into the headhunters' native territory. There, her mastery of the Jivaro dialect (she was reared less then one hundred miles from their land) helped facilitate the research in that strange and obscure society.

In ancient times, the Jivaros, being neighbors of the highly cultured Incas, were comparatively civilized. However, the advent of the Spanish conquistadores in the 16th century greatly altered their lives. Their temples were looted, their treasures stolen, their villages destroyed. Thus it was that the Jivaros lived in their remote mountainous jungles, alone and bitter, hating the white man, reverting to a near stone-age existence, including the practice of head-shrinking, and doing all in their power to remain alive and free from the influences of the outside world.

Recently, Yma Sumac and Moises Vivanco, who serves as her composer, arranger, and conductor, went into the Jivaro country armed only with trinkets, good intentions, and a tape recorder. Fortunately, the Jivaros proved friendly and Vivanco was able to tape innumerable native sounds and melodies to use for reference in the composition of the songs for this album. (from the liner notes on the back cover)

Tracklisting:

Side 1

1. Jivaro {2:52}

2. Sejollo (Whip Dance) {1:40}

3. Yawar (Blood Festival) {2:29}

4. Shou Condor (Giant Condor) {2:21}

5. Sauma (Magic) {3:39}

6. Nina (Fire Arrow Dance) {2:10}

Side 2

1. Sansa (Victory Song) {2:48}

2. Hampi (Medicine) {3:06}

3. Sumac Soratena (Beautiful Jungle Girl) {1:40}

4. Aullay (Lullaby) {3:41}

5. Batanga Hailli (Festival) {1:32}

6. Wanka (The Seven Winds) {3:03}
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Inca Taqui

Yma Sumac and Moises Vivanco - Inca Taqui

Down from the towering Andes comes the exotic music of an ancient civilization, sung by a fabulous Princess of its people. The lovely singer is YMA SUMAC and her music is INCA TAQUI, Chants of the Incans.

For three thousand years music has played a vital role in every activity of Inca life, and musicians have been the most honored members of the Inca community. Yma Sumac brings to the outside world the fullness and beauty of her people's spirit, singing traditional chants in a voice of magnificent range and emotional power. The language of the chants is K'eshwa, still spoken today by twenty million South Americans.

MOISES VIVANCO is an eminent authority on ancient music; he has drawn carefully upon native Incan melodies and rhythms in composing and directing the selections for this unique album.

Information above is from the liner notes. There is more information about this amazing vocalist at the official site and the Wikipedia page. Also there is some information about Moises Vivanco (Yma Sumac's husband) at this site.

Tracklisting:

Side 1

1. K'arawi (Planting Song) {3:14}

2. Cumbe-Maita (Calls of the Andes) {3:04}

3. Wak'ai (Cry) {2:26}

4. Incacho (Royal Anthem) {3:06}

Side 2

1. Chuncho (The Forest Creatures) {3:36}

2. Llulla Mak'ta (Andean Don Juan) {2:24}

3. Malaya! (My Destiny) {3:22}

4. Ripui (Farewell) {2:57}

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Chariots of the Gods [soundtrack] REPOST

The Peter Thomas Sound Orchestra - Chariots of the Gods [soundtrack]

This was among the first posts when this blog was started over two years ago. Here it is again just in case you missed it. It also has been upgraded, so you may want to replace the file if you got it when it was first posted.

A soundtrack to the film version of Erich von Daniken's bestseller of the same name where von Daniken claims that extraterrestrials (or ancient astronauts) played a significant role in the development of ancient civilizations all around the world. The soundtrack is a blend of Western orchestral music (i.e. brass, strings & percussion), funk, ethnic music from various non-Western cultures and a bit of electronics. It's some cool accompanying music for an around-the-world adventure in visiting ancient monuments and trying to find signs of ETs. This is one of my all-time favorite film soundtracks.

Now for the hype and background about the film and soundtrack from the liner notes:

Ever since the publication of Erich Von Daniken's book "CHARIOTS OF THE GODS?" people everywhere have been arguing about the theories put forth - Were the first men on earth from outer space? Did our ancestors have visitors from other planets? Were those visitors gods?

In an attempt to find some of the answers, Dr. Harald Reinl set out on a twelve month round-the-world trip to make a motion picture that would turn theory into fact. He actually found living proof in such places as Istanbul, The Tassili Mountains, The Dead Sea, The Mexican Jungle, The Easter Islands, Sacsayhuaman, Tiahuanaca, Australia and Japan.

The film is magnificently complemented and dramatized by the music of The Peter Thomas Sound Orchestra. His compelling arrangements not only match the visual moods of the film but make this soundtrack album an outstanding recording in its own right.

Tracklisting:

Side 1

1. Reminiscences of the Future/Nazca: Imaginary Landing in Peru {2:07}

2. Valley of the Gods {3:33}

3. Popular Myth and Destruction of Sodom {1:18}

4. Chichen Itza: Temple of the Virgins {2:22}

5. The Bible: Book of Ezekiel {1:51}

6. The Red Sea {1:03}

7. The Obelisk of Karnak {1:16}

8. Stars and Rockets {1:31}

9. Gods from Strange Planets {2:02}

Side 2

1. Returning to the Stars {2:30}

2. Rocket Science {0:51}

3. Tula: Monumental Sculptures {1:14}

4. Cult Music and Mussel Horn {0:55}

5. The Pyramid of Cholula {1:34}

6. Lake Titicaca {2:18}

7. Wondina Came from Heaven to the Mortals {1:14}

8. Easter Island {3:44}

9. Angel of Promise {1:04}

10. The Flying God from Palenque {1:13}

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Justine [soundtrack]

Jerry Goldsmith - Justine [soundtrack]

Following Goldsmith's Freud soundtrack posted earlier this week, here's another one of Goldsmith's soundtracks which goes in a different direction musically.

From the liner notes:

Relax - ready for exotic dreams? "Justine" is ready to take you on a personal tour of Arabian - Egyptian, if you will - nights. Tour director is Jerry Goldsmith, the super-talented young tunesmith who composed, arranged and conducted the score for this fabulous movie, and who brings this album to you. He has provided one of the most spellbinding musical scores and albums to come out of Hollywood or any international film studio in a long time. Jerry has not provided simply mood music for a movie, but he has created music making a mood - many moods. These new, rich combinations of sounds are guaranteed to dispel any worldly worries as the listener is wafted to ports of sensual call. Here, for a change is music you can enjoy effortlessly without having to work at it; without having to wonder what it is or what it should say.

The youth of Jerry Goldsmith is not to be confused with his ability. He already has four Oscar nominations for his film scores on "Sand Pebbles," "Patch of Blue," "Freud" and "Planet of the Apes." And he has Emmy nominations for "Thriller" and "Man From UNCLE." There is no phase of music with which he is not familiar. And he proves it in this tale of Egypt, 1938 by an amazing mixture of instruments ranging from the richness of 16 violins, six violas, as many celli, recorder, auto harp to the most interesting combination of old and new - an electric sitar.

"Justine" combines the romantic, Biblical background of Egypt, cast in a semi-modern continental story. The film combines the top talents of movie-making, from a book which required a decade from the purchase of the Lawrence Durrell classic novel to the eventual filming. It remained for writers Lawrence Marcus and Ivan Moffatt working separately to come up with the screenplay true to the mood of author Durrell. For "Justine" is described by the author as "An investigation of modern love." Such love forms as incest, homosexuality, adultery, marital, patriotic and platonic are part of the story. They are also represented in the treatment given the music by Jerry Goldsmith.

Side One

1. Justine {2:29}

2. The School {3:31}

3. The Farm {3:08}

4. Melissa {1:50}

5. Alexandria {1:32}

6. Carnival Happening {2:30}

Side Two

1. Melissa & Darley {1:59}

2. Samba Chica {1:40}

3. The Beach {2:50}

4. The Telescope {1:46}

5. Ambush {1:11}

6. End Titles {2:32}

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