Hello,
Today's Artist was an enigmatic multi-instrumentalist draws from the diverse culture and history of his Mexican homeland, Reyes combines flute, pre-Columbian instruments, and percussion with synthesizers and voice to cast a spell of ritualistic intensity. Like shadows from Mexico's sultry and savage past, his music has a dark quality to it that sometimes scares off the unprepared, but adventurous listeners will find plenty to admire in his evocation of jungles, jaguars, and Aztec rites. ....N'Joy
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Reyes was born on September 24, 1952, in Uruapan, Michoacán, Mexico with the name Jorge Valencia. He was not a Native Mexican, but played many Prehispanic instruments to which he was exposed from an early age in his village. Reyes attended the National School of Music, Mexico (Escuela Nacional de Musica de la Universidad Nacional Autónoma de México, or UNAM) 1970–1975, studying the flute. During this time, he formed two seminal Mexican rock bands, Al Universo and Nuevo México, influenced by Jethro Tull and Pink Floyd but incorporating native musical instruments. In 1976, his growing interest in jazz led to spending a year in Hamburg, Germany, where he studied improvisation with Herb Geller. As part of this training, he traveled through Turkey, Pakistan, Afghanistan, and Sri Lanka. In 1978, he attended a Hindu music course in the Himalayas, in which he studied traditional Indian flute and percussion techniques. On these overseas trips, he began collecting many native instruments.
After returning to Mexico, Reyes founded the band Chac Mool with drummer Armando Suárez and keyboardist Carlos Alvarado, which was one of the first Mexican progressive rock bands. The band recorded four well-received albums, on which Reyes played flute and guitar, before disbanding.
In 1985, Reyes began a prolific solo career. He collaborated with several other new-age and electronic musicians, including American synthesist Steve Roach, Mexican singer and multi-instrumentalist Arturo Meza (of the band Decibel), Spanish guitarist Suso Saiz, Mexican percussionist Juan Carlos López, German synthesist Elmar Schulte (of the band Solitaire), Deep Forest, and others.
His music was used frequently in Mexican radio and television programs. He performed many concerts at famous Mexican archeological sites such as Malinalco, Teotihuacan, Templo Mayor, Chichen Itza, and Tenango del Valle. His annual Día de los Muertos concerts at UNAM were popular events. He also gave many concerts at the Espacio Escultórico de Ciudad Universitaria, where he collaborated with dancer and choreographer Regina Quintero.
Reyes died from a heart attack at his recording studio in Mexico City on Saturday February 7, 2009. He was 56 years old. He had three children—Citlalli, Ridwan (with Ursula Kipp), and Erendira (with Ariane Pellicer).
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A journey to Central America, “Crónica de Castas” is an album filled with instruments that the Native Americans from Mexico used before the advent of Christopher Columbus (Pre-Hispanic instruments, played mostly by Jorge Reyes) accompanied by more modern instrumentation: e-bows, synths and electric guitars (the latter played mainly by Suso Saiz). The result is not a mere sample of folklore, but something else instead. A whole new world that late Jorge Reyes mastered to perfection.
Suso Saiz (1957) is a seasoned Spanish composer. Mostly a guitarist, though his music has always possessed an avant-garde approach. He has released several recordings as a solo artist; as a member of La Orquesta de las Nubes; with collaborators (like this one); and has also scored soundtracks for films. Apart from all this, he is also a producer of other artists.
Let’s delve into the realms of “Crónica de Castas”, “Tente En El Aire”, the opening number, is a sixteen-minute long suite, with Jorge Reyes deploying ocarina, stones, narrow -mouthed pitcher. After two minutes, we hear Suso Saiz’s guitars, with effects, soaring in the background. Suso quietly strums his guitar to provide the sonic cushion for Reyes to improvise on, using all those Pre-Columbian instrumentation. The feeling is like travelling back to an ancient ceremony in Mexico before the coming of the Western civilization, even though Suso’s guitars somehow break this time warp. Not that they’re out of place, on the contrary; in fact, the sonic cauldron where all these musical ingredients are being cooked tastes deliciously original. Everything is thrown in for good measure. Two great talents, for sure. On this album, technology is at the service of tradition and spirituality, not the other way round; therefore, the result is both surprising and mesmerising. Turtle shells, fossil stones and the Mexican rainstick provide this composition with a highly ritualistic approach.
This musical joint venture of two geniuses shows Jorge Reyes trying to make his archaic instruments sound contemporary, whereas Suso is trying to make the electric and electronic gadgetry sound visceral and archaic so that those two musical languages become one, somewhere along the road.
Jorge Reyes & Suso Saiz - Cronica de Castas (flac 191mb)
01 Tente En El Aire 16:15
02 Puchuela De Negro 2:29
03 Saltatrás Cuarterón 3:49
04 No Te Entiendo 8:28
05 Ahí O Hay Te Estás 2:26
06 Lunajero 3:38
(ogg mb)
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Jorge Reyes is a Shamanic practitioner. His ritualistic soundscapes are steeped in Mexican Native American traditions. That is Reyes' culture and he embraces the holistic spirituality of his ancestors. PreHispanic is one of the albums in his pre-Columbian series. Reyes uses native acoustic instruments to create ethnic atmospheres draped in deep reverence. The only electronics involved are for amplification purposes. The totally natural sound design is a true wonder of beauty. The performance techniques and arrangement expertise take this work to the limit. Reyes is a true pioneer of the perpendicular universe. Because of both its rarity and quality, it is essential for all collectors.
Jorge Reyes - Pre-Hispanico (flac 191mb)
01 Web Of Dreams 3:19
02 Sazilakab 4:53
03 The People With Painted Faces 2:08
04 On The Way To Tlalocan 3:11
05 Stone Music 1:16
06 Dance 3:47
07 The New Fire 2:45
08 The Nine Directions 3:13
09 Journey To Mictlan 2:19
10 Wood Music 1:12
11 The Flight Of The Bird Children-The Goddess Of The Eagles 9:13
(ogg mb)
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This is techno-tribal music to raise the dead, rip the hearts out of your sacrifices, or dance to under the full moon. Reyes's album also features the innovative sounds of Spanish electric guitarist Suso Saiz. Some booming Peter Gabriel-style beats can be found among mysterious atmospheres and virtuosic percussion.
Jorge Reyes - Bajo El Sol Jaguar (flac 225mb)
01 El Ensoñamiento 5:22
02 Los Cuatro Jaguares 3:28
03 Ver Cosas Nunca Oídas... 3:46
04 Invocación 3:49
05 Las Flores Divinas Del Águila 4:28
06 El Sendero Espiral 3:44
07 Danza De La Culebra 6:16
08 Aguas Permanentes 5:19
09 Canción Del Jaguar-Luna 2:30
10 Viaje Al Sitio De Los Violines De Flores 3:21
Jorge Reyes - Bajo El Sol Jaguar (ogg 104mb)
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El Costumbre is one of Jorge Reyes' most popular albums as for years it was also his most readily available work. This album is firmly entrenched in Reyes' Mexican roots. Using ethnic instruments, acoustic percussion, vocal field recordings, and electronics, he builds huge atmospheres and reverent soundscapes. With assistance from Steve Roach and Juan Carlos Lopez, the deep atmospheres enrich the sound worlds of deep listeners. The music speaks to the heart and soul of the meditator. As expected, this will appeal to fans of Steve Roach, Robert Rich, TUU, Ma Ja Le, and Suso Saiz. Surprisingly, it will also appeal to fans of David Parsons, Loren Nerell, Douglas Spotted Eagle, Marina Raye, and Vas. The ethnicity evokes similar spiritual responses. It is an essential and classic album.
Jorge Reyes - El Costumbre (flac 172mb)
01 El Costumbre 12:00
~ Cancion Medicinal
~ La Barrida
~ Adivinacion
02 Omeyocan, Lugar 2 4:18
03 El Huarachito 3:15
04 Peyote-Venado-Maíz 15:00
~ La Boca De Los Muertos
~ Viaje Sagrado A Virikuta
~ La Busqueda
05 Danza De Los Voladores 4:16
06 El Despedimento 3:10
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Forgotten Spirits is a set of "authentic pre-Columbian music" from Jorge Reyes. He continues his homage to his native Mexican American roots and his Shamanic practices. The ritualistic music on this CD is performed on acoustic ethnic instruments only. There are no electronic enhancements beyond amplification. This highly inspirational soundworld is steeped on the traditions of Reyes' Mexican heritage. The rituals predate time itself; they honor the spirits that begat life and time. Deep listeners will journey back to an era when time did not exist and did not matter. They will question and then validate their own existence. Reyes uses the primitive instruments to create an aura of realism and authenticity. The soundscape is all that and highly spiritual.
Jorge Reyes - Prehispanic (Music for the Forgotten Spirits) (flac 183mb)
01 Tonami (The Singer) 4:42
02 Obsidian Butterfly 5:11
03 Suddenly We Were Out Of The Dream 4:56
04 Dance Of The Red Tezcatlipoca 4:09
05 Omeyotl (The Dual Essence) 4:30
06 Smoking Mirror, The Lord Of Duality 5:28
07 Seven Serpent 7:24
08 Feast In The Mountain 2:44
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's Artist was an enigmatic multi-instrumentalist draws from the diverse culture and history of his Mexican homeland, Reyes combines flute, pre-Columbian instruments, and percussion with synthesizers and voice to cast a spell of ritualistic intensity. Like shadows from Mexico's sultry and savage past, his music has a dark quality to it that sometimes scares off the unprepared, but adventurous listeners will find plenty to admire in his evocation of jungles, jaguars, and Aztec rites. ....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Reyes was born on September 24, 1952, in Uruapan, Michoacán, Mexico with the name Jorge Valencia. He was not a Native Mexican, but played many Prehispanic instruments to which he was exposed from an early age in his village. Reyes attended the National School of Music, Mexico (Escuela Nacional de Musica de la Universidad Nacional Autónoma de México, or UNAM) 1970–1975, studying the flute. During this time, he formed two seminal Mexican rock bands, Al Universo and Nuevo México, influenced by Jethro Tull and Pink Floyd but incorporating native musical instruments. In 1976, his growing interest in jazz led to spending a year in Hamburg, Germany, where he studied improvisation with Herb Geller. As part of this training, he traveled through Turkey, Pakistan, Afghanistan, and Sri Lanka. In 1978, he attended a Hindu music course in the Himalayas, in which he studied traditional Indian flute and percussion techniques. On these overseas trips, he began collecting many native instruments.
After returning to Mexico, Reyes founded the band Chac Mool with drummer Armando Suárez and keyboardist Carlos Alvarado, which was one of the first Mexican progressive rock bands. The band recorded four well-received albums, on which Reyes played flute and guitar, before disbanding.
In 1985, Reyes began a prolific solo career. He collaborated with several other new-age and electronic musicians, including American synthesist Steve Roach, Mexican singer and multi-instrumentalist Arturo Meza (of the band Decibel), Spanish guitarist Suso Saiz, Mexican percussionist Juan Carlos López, German synthesist Elmar Schulte (of the band Solitaire), Deep Forest, and others.
His music was used frequently in Mexican radio and television programs. He performed many concerts at famous Mexican archeological sites such as Malinalco, Teotihuacan, Templo Mayor, Chichen Itza, and Tenango del Valle. His annual Día de los Muertos concerts at UNAM were popular events. He also gave many concerts at the Espacio Escultórico de Ciudad Universitaria, where he collaborated with dancer and choreographer Regina Quintero.
Reyes died from a heart attack at his recording studio in Mexico City on Saturday February 7, 2009. He was 56 years old. He had three children—Citlalli, Ridwan (with Ursula Kipp), and Erendira (with Ariane Pellicer).
xxxxx xxxxx xxxxx xxxxx xxxxx
A journey to Central America, “Crónica de Castas” is an album filled with instruments that the Native Americans from Mexico used before the advent of Christopher Columbus (Pre-Hispanic instruments, played mostly by Jorge Reyes) accompanied by more modern instrumentation: e-bows, synths and electric guitars (the latter played mainly by Suso Saiz). The result is not a mere sample of folklore, but something else instead. A whole new world that late Jorge Reyes mastered to perfection.
Suso Saiz (1957) is a seasoned Spanish composer. Mostly a guitarist, though his music has always possessed an avant-garde approach. He has released several recordings as a solo artist; as a member of La Orquesta de las Nubes; with collaborators (like this one); and has also scored soundtracks for films. Apart from all this, he is also a producer of other artists.
Let’s delve into the realms of “Crónica de Castas”, “Tente En El Aire”, the opening number, is a sixteen-minute long suite, with Jorge Reyes deploying ocarina, stones, narrow -mouthed pitcher. After two minutes, we hear Suso Saiz’s guitars, with effects, soaring in the background. Suso quietly strums his guitar to provide the sonic cushion for Reyes to improvise on, using all those Pre-Columbian instrumentation. The feeling is like travelling back to an ancient ceremony in Mexico before the coming of the Western civilization, even though Suso’s guitars somehow break this time warp. Not that they’re out of place, on the contrary; in fact, the sonic cauldron where all these musical ingredients are being cooked tastes deliciously original. Everything is thrown in for good measure. Two great talents, for sure. On this album, technology is at the service of tradition and spirituality, not the other way round; therefore, the result is both surprising and mesmerising. Turtle shells, fossil stones and the Mexican rainstick provide this composition with a highly ritualistic approach.
This musical joint venture of two geniuses shows Jorge Reyes trying to make his archaic instruments sound contemporary, whereas Suso is trying to make the electric and electronic gadgetry sound visceral and archaic so that those two musical languages become one, somewhere along the road.
Jorge Reyes & Suso Saiz - Cronica de Castas (flac 191mb)
01 Tente En El Aire 16:15
02 Puchuela De Negro 2:29
03 Saltatrás Cuarterón 3:49
04 No Te Entiendo 8:28
05 Ahí O Hay Te Estás 2:26
06 Lunajero 3:38
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Jorge Reyes is a Shamanic practitioner. His ritualistic soundscapes are steeped in Mexican Native American traditions. That is Reyes' culture and he embraces the holistic spirituality of his ancestors. PreHispanic is one of the albums in his pre-Columbian series. Reyes uses native acoustic instruments to create ethnic atmospheres draped in deep reverence. The only electronics involved are for amplification purposes. The totally natural sound design is a true wonder of beauty. The performance techniques and arrangement expertise take this work to the limit. Reyes is a true pioneer of the perpendicular universe. Because of both its rarity and quality, it is essential for all collectors.
Jorge Reyes - Pre-Hispanico (flac 191mb)
01 Web Of Dreams 3:19
02 Sazilakab 4:53
03 The People With Painted Faces 2:08
04 On The Way To Tlalocan 3:11
05 Stone Music 1:16
06 Dance 3:47
07 The New Fire 2:45
08 The Nine Directions 3:13
09 Journey To Mictlan 2:19
10 Wood Music 1:12
11 The Flight Of The Bird Children-The Goddess Of The Eagles 9:13
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This is techno-tribal music to raise the dead, rip the hearts out of your sacrifices, or dance to under the full moon. Reyes's album also features the innovative sounds of Spanish electric guitarist Suso Saiz. Some booming Peter Gabriel-style beats can be found among mysterious atmospheres and virtuosic percussion.
Jorge Reyes - Bajo El Sol Jaguar (flac 225mb)
01 El Ensoñamiento 5:22
02 Los Cuatro Jaguares 3:28
03 Ver Cosas Nunca Oídas... 3:46
04 Invocación 3:49
05 Las Flores Divinas Del Águila 4:28
06 El Sendero Espiral 3:44
07 Danza De La Culebra 6:16
08 Aguas Permanentes 5:19
09 Canción Del Jaguar-Luna 2:30
10 Viaje Al Sitio De Los Violines De Flores 3:21
Jorge Reyes - Bajo El Sol Jaguar (ogg 104mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
El Costumbre is one of Jorge Reyes' most popular albums as for years it was also his most readily available work. This album is firmly entrenched in Reyes' Mexican roots. Using ethnic instruments, acoustic percussion, vocal field recordings, and electronics, he builds huge atmospheres and reverent soundscapes. With assistance from Steve Roach and Juan Carlos Lopez, the deep atmospheres enrich the sound worlds of deep listeners. The music speaks to the heart and soul of the meditator. As expected, this will appeal to fans of Steve Roach, Robert Rich, TUU, Ma Ja Le, and Suso Saiz. Surprisingly, it will also appeal to fans of David Parsons, Loren Nerell, Douglas Spotted Eagle, Marina Raye, and Vas. The ethnicity evokes similar spiritual responses. It is an essential and classic album.
Jorge Reyes - El Costumbre (flac 172mb)
01 El Costumbre 12:00
~ Cancion Medicinal
~ La Barrida
~ Adivinacion
02 Omeyocan, Lugar 2 4:18
03 El Huarachito 3:15
04 Peyote-Venado-Maíz 15:00
~ La Boca De Los Muertos
~ Viaje Sagrado A Virikuta
~ La Busqueda
05 Danza De Los Voladores 4:16
06 El Despedimento 3:10
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Forgotten Spirits is a set of "authentic pre-Columbian music" from Jorge Reyes. He continues his homage to his native Mexican American roots and his Shamanic practices. The ritualistic music on this CD is performed on acoustic ethnic instruments only. There are no electronic enhancements beyond amplification. This highly inspirational soundworld is steeped on the traditions of Reyes' Mexican heritage. The rituals predate time itself; they honor the spirits that begat life and time. Deep listeners will journey back to an era when time did not exist and did not matter. They will question and then validate their own existence. Reyes uses the primitive instruments to create an aura of realism and authenticity. The soundscape is all that and highly spiritual.
Jorge Reyes - Prehispanic (Music for the Forgotten Spirits) (flac 183mb)
01 Tonami (The Singer) 4:42
02 Obsidian Butterfly 5:11
03 Suddenly We Were Out Of The Dream 4:56
04 Dance Of The Red Tezcatlipoca 4:09
05 Omeyotl (The Dual Essence) 4:30
06 Smoking Mirror, The Lord Of Duality 5:28
07 Seven Serpent 7:24
08 Feast In The Mountain 2:44
xxxxx xxxxx xxxxx xxxxx xxxxx
1 comment:
٩(^‿^)۶
thank you
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