«Nilo Espinosa may not be the best-known player in jazz circles – or bossa nova, disco, funk, Latin soul, boogaloo, and rhumba – though he is one of the best at playing all of them (often in the same ensemble). Espinosa is a Peruvian sax and flute-playing legend who has been hard at it since 1959, when he was getting a conservatory education. In 1962 he made his debut with the Neptuno Orquesta,

«Outside of a handful of reissues from Inca rock outfits like We All Together, Traffic Sound, and Laghonia, the Peruvian music of the rock & roll era has gone largely unrecognized and underappreciated in the rest of the world. Back to Peru, a superbly eclectic and comprehensive overview of the scene during its 1964 to 1974 heyday, goes far in correcting the error, casting a net over the best hard

An amazing compilation! Guaranteed: you’ll love Chicha! «Chicha started out in the late 60’s, in the oil-boom cities of the Peruvian Amazon. Cumbias Amazonicas, as they were first known, were loosely inspired by Colombian cumbias but incorporated the distinctive pentatonic scales of Andean melodies, some Cuban guajiras, and the psychedelic sounds of surf guitars, wah-wah pedals, farfisa

Many thanx to an anonymous Peruvian reader for this post. «Though Novalima was originally started by four Peruvian musicians living in all four corners of the world (Barcelona, Hong Kong, London, and Lima), this experimental music group's membership spans much wider than that. Their sound and goal are much too broad to be thought of in a traditional "credits list" sense. Though the world is

A great instrumental band from Peru, fusing Jamaican ska ad reggae, latin rock, Peruan cumbia, jazz, etc. This is their first CD. Their second work, the equally interesting Cumbia, came out in 2008. «Bareto es una banda instrumental que sigue la tradición de agrupaciones como Black Sugar y los Belkings, que se convirtieron en verdaderos animadores de las fiestas de toda una generación de

«La cultura musical criolla y afroperuana se inicia con la llegada de los españoles y los esclavos africanos que fueron traídos por ellos. La cultura musical criolla en Lima construye de manera permanente una identidad propia, transformando los géneros musicales y patrones estéticos importados. Desde la presencia de valses de origen vienés, mazurcas, jotas españolas, continuando con la influencia

«On sait que le recherche de Diana Baroni cible les intonations justes, au carrefour du respect des indications des manuscrits abordés, et de la pratique encore actuelle dans la rue péruvienne. De fait, qui a assisté au carnaval de Lima, serait frappé de retrouver ici les consonances et la vitalité rythmique pourtant vielles de plus de deux cents ans. La « danza de carnaval » : son de los diablos