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Special Huaca Packaging, 7 Compact Disc + 2 DVD + Booklet
RESOUNDING HUACA is Manongo Mujica’s ambitious sound project to bring together a seven CD and two DVD production, in a unique packaging in the shape of a Huaca made out of fine wood. Part of what Mujica has produced in the last twenty years exploring sounds to invoke that ancestral and avantgarde is compiled here. Free improvisation, ritualism and exploration of jazz fusion.
RESOUNDING HUACA
Note to deepen its significance.
Huaca means sacred thing. A Huaca is an object, a phenomenon, a place or being in which the force of that which is sacred has concentrated.
From his origins, man perceived whatever sacred in the landscape. Nothing is more evident in relationship with primitive religiousness than the cult to nature.
Relevant places were the target. Caves, oasis, dunes, mountain tops, islands, woods and forests, deserts, stones, swamps, mountains exacerbated the emotionality of individuals.
Terror, exaltation, lyricism, desolation, lucidity, mystery are sensations that were reflected on the landscape.
(text by Brignardello)
Divinity reveals it is free to adopt any form. That whichever sacred is qualitatively different from profane but it can manifest itself in any form and in any location within the profane world.
(text by Eliade)
Instructions to learn to listen to it
1. Do not listen all the records one after the other
2. Close your eyes
3. Open your ears
4. Relax
5. Let yourself be permeated by the sound
6. Choose a record for a moment of the day or night
7. Preferably follow the sequence in which the records are presented
8. Each day a new record as a new dawning
9. Let the mind fly away to discover “soundscapes”
10. Do not jump of the window after listening to each record
11. Learn to feel the music
12. To listen is always a new experience
Photos by Pauline Barberi
Studio Photos by Juan Pablo Aragón
Design by Youth Experimental Studio
Huaca quiere decir cosa sagrada. La huaca es un objeto, fenómeno , lugar o ser En la cual se han concentrado las fuerzas de lo sagrado.
Desde su origen, el hombre percibió lo sagrado en el paisaje. Nada resulta mas evidente respecto de la religiosidad primitiva que el culto a la naturaleza.
Su objetivo en lugares relevantes. Cuevas, oasis, dunas, cimas, islas, bosques, desiertos, piedras, pantanos, montañas, exacerbaron la emotividad del individuo.
Terror, exaltación, lirismo, desolación, lucidez, misterio, son sensaciones que se reflejaron en el paisaje.
(texto de Brignardello)
La divinidad revela que esta libre de adoptar cualquier forma. Lo sagrado es cualitativamente distinto de lo profano pero puede manifestarse en cualquier forma y en cualquier sitio dentro del mundo profano.
(texto de Eliade)
instrucciones para aprender a escucharla
1. No escuchar todos los discos a la vez
2. Cerrar los ojos
3. Abrir los oídos
4. Relajarse
5. Dejarse permear por el sonido
6. Escoger un disco para un momento del día o de la noche
7. De preferencia seguir la secuencia en que se encuentran los discos ubicados
8. Cada día un disco diferente como un nuevo amanecer
9. Dejar que la mente viaje y descubra paisajes sonoros
10. No saltar por la ventana después de escuchar cada disco
11. Aprender a sentir la música
12. Escuchar siempre es una experiencia nueva
Photos by Pauline Barberi
Studio Photos by Juan Pablo Aragón
Design by Youth Experimental Studio
...more
In my encounter with Julio “Chocolate” Algendones there was and still is until today a kind of mysterious unfathomable aura. He came from a search within the “santero” rhythms. He told me that “santeros” do not properly make music in the way we understand it.
It is not music to be listened to, enjoyed or to express feelings of our own life. What he transmitted to me that he did was as an act of presence to invoke or call upon the spirits. He also mentioned that each beat in each rhythm could be made with the intention of opening doors to free energy or au contraire to imprison that force. Under this mystical religious conception the “musician” evolves into a shaman, officiating a ritual which after a process drives us into ecstasy.
Those of us who had the privilege of working with him can give faith that what he played besides being magic was also of a unique subtlety and elegance. He had the virtue of always playing in an exact way, never one extra note. This performing tidiness was as a metaphor of the pureness of his being. Makela, an Afro American musician based in Peru, who also takes part in that recording, also shared with Chocolate and myself that need to discover the origins of African ancestors.
I believe that this material is an oddity that transmits, even though so many years have gone by, the atmosphere of awe and stillness that surged when we played together and plunged ourselves unto the unknown. I want to deeply thank Mario Rivas for having been the guardian for so many years of this secret music that drives us to the heart of Chocolate.
Credits
Released August 17th 2015
Julio “Chocolate” Algendones
Congas, bongos, African talking drum, Peruvian box drum, seeds, rainstick and diverse spirits
Makela
Transverse flute, bone and wind flute
Manongo Mujica
Arab drum, kalimbas, yembe, Eastern gongs, rattles, marimba
Recording and mix down: Mario Rivas (1991)
Recording engineer: Mario Rivas
Production: La Encia del Leopardo Producciones
Archive: ICPNA
Photos by Pauline Barberi
Design by Youth Experimental Studio
///////////////////////////////////////////
En mi relación con Chocolate, siempre hubo y hasta ahora hay como un aura de misterio insondable. El venía de la búsqueda de los ritmos santeros. Me decía que los santeros no hacen música propiamente como la entendemos nosotros.
No es una música para ser escuchada, disfrutada o para expresar sentimientos de nuestra propia vida. Lo que el me transmitió que el hacia era como un acto de presencia para invocar o llamar a los espíritus. También me decía que cada toque, en cada ritmo podía ser hecho con la intención de abrir las puertas para liberar energía o también lo contrario para aprisionar. Bajo esta concepción místicoreligiosa, el “músico” deviene en chaman, oficiando un ritual que después de un proceso nos lleva al éxtasis.
Quienes tuvimos el privilegio de trabajar con el, podemos dar fe que lo que el tocaba además de ser magia era de una elegancia y sutileza únicas. El tenía la virtud de tocar siempre de una manera exacta, nunca una nota de mas. Esta limpieza de ejecución era como la metáfora de la pureza de su ser. En esa grabación también
participa Makela, un músico afroamericano afincado en el Perú, que también compartía con Chocolate y conmigo esta necesidad de descubrir los orígenes de los ancestros africanos.
Pienso que este material es una rareza que transmite a pesar de tantos años pasados, la atmosfera de asombro y detenimiento que se producía cuando tocábamos juntos y nos entregábamos a lo desconocido. Quiero agradecer especialmente a Mario Rivas por haber sido el guardián durante tantos años, de
esta música secreta, que nos lleva al corazón de Chocolate.
credits
released August 17, 2015
Julio "Chocolate" Algendones:
Congas, bongo, tambor hablador africano, cajón, semillas, palo de lluvia y diversos espíritus
Makela:
Flauta traversa, flauta de huesos y viento
Percussionist musician, composer and visual artist. He was a member of the psychedelic rock band Los Mad’s (1970), founding
member of Perujazz (1984). Pioneer of free improvisation in Peru in the mid ‘70s. Manongo Mujica has given concerts in diverse stages round the globe, he has composed diverse soundtracks for films and presented shows which bring together music, visuals and dance....more
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