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VARIOUS The Paths Of Pain : The Caife Label, Quito, 1960-68

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エクアドルの首都キトの存在したレーベルCAIFE(CAFE)の音源、設立者のカルロス・ロータの孫の倉庫から発掘されたという貴重なオープンリールとLPから、HONEST JON'S RECORDSがコンパイル!アンデス、インディオの大衆音楽、魅惑のサウンド。2枚組、見開きスリーヴ、インナースリーヴにもアートワークが施され、16ページのブックレットには、それぞれの解説、アーチストの紹介や貴重な写真があり、HONEST JON'Sこだわりの仕事。推薦盤です! (サイトウ)

▼ Tracklisting

A2.Cansados Pies Corazon Miosample
A4.Dulce Mirada -sample
A6.Taita Salasacasample
B2.Legos De Tisample
B3.Vaca Lecherasample
B4.Amor De Mi Linda Guambrasample
B5.El Anacu De Mi Guambrasample
C1.Carnaval De Guarandasample
C2.La Naranjasample
C3.Mi Dulce Amorsample
C4.Sangrante Corazonsample
C6.Los Huachissample
D1.Chola Cuencanasample
D2.Cashari Shunguitosample
D3.Longuito Enamoradosample
D4.Desde Que TuTe Fuistesample
D5.Sendero Del Dolorsample
D6.Corazon Que No Olvidasample

A dazzling survey of the last, bohemian flowering of the so-called Golden Era of Ecuadorian musica national, before the oil boom and incoming musical styles — especially cumbia — swept away its achingly beautiful, phantasmagorical, utopian juggling of indigenous and mestizo traditions.
Forms like the tonada, albazo, danzante, yaravi, carnaval, and sanjuanito; the yambo, with roots in pre-Incan ritual, and the pasillo, a take on the Viennese waltz, arriving through the Caribbean via Portugal and Spain.
Exhumations like the astoundingly out-there organist Lucho Munoz, from Panama, toying with the expressive and technical limits of his instrument; and our curtain-raiser Biluka, who travelled to Quito from Rio, naming his new band Los Canibales in honour of the late-twenties Cannibalist movement back home, dedicated to cannibalising other cultures in the fight against post-colonial, Eurocentric hegemony. He played the ficus leaf, hands-free, laying it on his tongue. One leaf was playable for ten hours. He spent long periods living on the street, in rags, when he wasn’t in the CAIFE studio recording his chamber jazz-from-space, with the swing, elegance and detail of Ellington’s small groups, crossed with the brassy energy of ska — try Cashari Shunguito — and an enthralling other-worldliness.
Utterly scintillating guitar-playing, prowling double bass, piercing dulzaina, wailing organ, rollicking gypsy violin, brass, accordion, harps, and flutes. Bangers to get drunk and dance to. Slow songs galore to drown your sorrows in, with wildly sentimental lyrics drawn from the Generacion Decapitada group of poets (who all killed themselves); expert heart-breakers, with the raw passion of the best rembetica, but reined in, like the best fado.
Fabulous music, like nothing else, exquisitely suffused with sadness and soul. Hotly recommended.

Sumptuously presented, in a gatefold sleeve and printed inners, with a full-size, full-colour booklet, with wonderful photos and excellent notes. Limpid sound, too, courtesy of original reels in Quito, and Abbey Road in London; pressed at Pallas.
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