Los Jaivas: Alturas de Macchu Picchu (1981)

Los Jaivas was apparently quite popular in Chile. They were formed in 1963, started releasing their first albums in the early ’70s, but suffered some setbacks thanks to dictator Augusto Pinochet taking power in 1973, forcing the band in exile, first in Argentina, then in France. As the band was in exile, they started exploring prog rock, and for many people, this 1981 album Alturas de Macchu Picchu (recorded while in France) is their high-point, which is unusual for many reasons: prog rock was pretty much considered dead and buried in 1981 (bands that rode the punk/disco storm out often turned away from prog like Genesis), and most bands that started recording in the early ’70s usually have seen their best days by the late ’70s. But Los Jaivas somehow overcomed those obstacles to release their landmark album in ’81.

Back in 1943, celebrated Chilean poet Pablo Neruda visited Machu Picchu. In 1945, he wrote the poem Alturas de Macchu Picchu, which documented his stay at those famous Peruvian ruins. In 1981, Los Jaivas took that poem to music, although Neruda had passed-on in 1973 not too long after Pinochet took office (it also needed to be pointed out that once Pinochet took power, he banned the works of Neruda, since Neruda was openly communist).

Many prog rock bands were happy showing their Yes, Genesis and King Crimson influences. For Los Jaivas they did not. They took a totally uniquely South American take on the genre, by including Andean elements. Here you get treated with the usual prog setup of electric guitars and Mini Moog, alongside the quena and zampoña (panpipes, obviously a staple of traditional Andean folk music), and other Latin American instruments like the cuatro (five string guitar-like instrument that originated in Puerto Rico), Bombo Legüero, Tarka, and Trutrucas. The ocarina is also used. Vocals, courtesy of guitarist Gato Alquinta are in Spanish and tends to be on the dramatic side and is an acquired taste, but works fine in the context of the music here.

“Del Aire Al Aire” is the opening cut, mainly strange electronic effects, so more or less an introduction, before the actual music starts. “La Poderosa Muerta” is the album’s lengthiest piece, and a high-point. Here you hear that strong Andean feel in the music, but it’s also very progressive, with lots of creative passages and great use of Mini Moog as well as the use of both modern and traditional instruments. “Amor Americano” features more dramatic vocals, with a strong ethnic feel, while “Aguila Sideral” is by far the most traditional prog piece on the album (where the band’s ethnic roots don’t show as much). “Antigua America” is another fantastic number complete with harpsichord, pipes, synthesizers, etc. I love how the music picks up speed, then the panpipes kick in. “Sube A Nacer Conmigo Hermano” is much less progressive, sounding more like traditional Latin music to my ears. “Final” is basically the piano theme of “La Poderosa Muerta” revisited, and it occured to me that this was the only time this band reminded me of another prog rock band: in this case Genesis since the piano work reminded me of Tony Banks.

Although Chilean you could swear this band was Peruvian, because of the use of Peruvian/Bolivian instruments, and of course the album is about Machu Picchu (based on a poet’s stay there in the 1940s).

Great stuff if you fancy both Andean folk music and prog rock!