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Ecuadormanta
(Selected sanjuanitos) - "Quiquinmanta" (DR), "Longuita" (DR), "sanjuanito sad" (DR), "San Juanito" (P. Smith) and "Mother" (Ch. Perugachy) - Arr. E. Civallero

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A arpeggiated guitar intro and beating (flute, which takes its name from the cane which is manufactured) opens This selection of the most unmistakable rhythm of the Ecuadorian Andes: the sanjuanito . Originally performed during the feast of San Juan (which coincides with the Hispanic celebration of summer solstice Inti Raymi ), has now become one of the most common rhythms in this Andean region. It has many variations, and has incorporated a number of upgrades, as well as imported instruments and arrangements.
The structure of sanjuanitos is very characteristic: a couple of stanzas separated by an intermediate four-bar repetitive, and a chorus in which, generally, the performers make a stop, then restart.
The title of the selection means, in Quechua, "from Ecuador." The opening track, "Quinquimanta" opens with fife , mohoseño and mandolin , then ushering and crawlers zampoñas on a particular basis of Chajchir setting the pace, added to drum, guitar and bass. The next track, "Longuita" is interpreted simply panpipes ( gang troops) and a prowler . The "sanjuanito sad" that follows begins with flute , mohoseño and mandolin, and developed with a couple of lurkers on a fife . The "San Juanito" that follows begins with a flute , and continues to toyos Zanka and the troop zampoñas standard. "Mammy," the latest issue of selection begins with mohoseño , quenacho and pinkillo incorporates an intermediate mohoseño and bass, and an ending that adds all the winds appeared along selection.
Within the "Yepe" characteristic of sanjuanitos have used words in Quechua, as tushuy "(dance)," mana qunqawankichu "(do not forget me)," ñuqawan qanwan, tushuspa " (You and I, dancing) and "tukuy tutalla tushuspa" (dancing all night, just) as well as many names of cities in Ecuador, as Iluman Peguche or Otavalo.

learned "Mammy," the latest issue of seleccción, with the help of a group of musicians Otavaleños called "Chayanak", with whom I shared hours and touches in Las Palmas de Gran Canaria, during my adolescence . With this track I pay tribute to all those South American immigrants who have sought to make a living playing his music on streets and plazas of the world, leaving behind the familiar corners of their towns and villages, its countryside and its people. Among them, Ecuadorians are the dominant group, and I can assure that most of the songs included here learned from his lips and hands. At times I found tears in his eyes when playing certain songs and sounds that perhaps they brought to mind the things of the past. And, being an immigrant myself, I could not understand them. Many look to immigrants from their own perspective, considering the alleged harm they cause in their work or in society. Few, however, understand the sacrifice and the resignation implicit in the mere fact of emigration: all that is lost, everything is forgotten, all the bonds that break and sometimes can not be reconstructed. My thanks go for immigrant musicians and especially for "Chayanak" whose only CD I still have in my collection and whose members keep a sweet memory.

Photo flickmor, "You can not be shy in business."