Released on CD in 2001 by Lucky Kitchen. Long out of print.

De:Bug ***** (5 stars rating, Bleed) 2001
"what can be assumed here with history - it looks down to us from the future, with voices of angels that can be compared with sonic clarity
and permeability of calculations."


The Wire (David Keenan) 2001
Alejandra Salinas and Aeron Bergman spent the best part of three years trawling the mountains, bars and backstreets of the La Rioja region of Spain in an attempt to capture a living snapshot of the music and joy of that area. Folklore volume one is a fantastic presentation of real folk and World music minus the museum dust of classification and the inevitably embalming processes of the recording studio. Here Spanish singers record themselves on old battered cassettes and we hear them mutter and struggle with the machine while bursts of feedback explode during tracks and conversations intrude on impassioned solos. There's no attempt to impose any one narrative or to give any real historical or regional context - choral music and mutant marching bands go up against horrible synth pop and weepy ballads and the effect is to truly transport you elsewhere.

Bodas de Pobres, bodas de ricos.
If we the poor get married, we marry for love and live very happy. Rich people, I don't know why you get married for interests.

-Traditional. From Muro de Cameros.


We spent three years crawling-around, through, over and under the villages, fiestas, bars, streets, and mountains of La Rioja, Spain, in an attempt to sketch an audio portrait of living folk music in its natural environment. This is not a studio documentary. We make no pretensions of a "complete" study of Riojan folk music. Instead of pinning dead butterflies, we drew them loosely in mid-flight. OK, our document will become dusty as well, but we take relief in knowing our snapshots were made while the music was alive, (if aging quickly).

We captured sounds as they occurred naturally, as part of the rich daily life and seasonal traditions of Spain. We didn't look for the false perfection, or austerity of "archive" quality studio recordings, rather, our audio quality is a more realistic wide band dynamic. Surprising and astonishing at times with stereo events corresponding to sound source movement, and also to our movement chasing sounds down some craggy stone paved hill in a tiny mountain village. This approach led to audio "imperfections" that are absolutely forbidden in the documentary code of science. In our recordings you hear the physicality and noise of the actual world in which these sounds live. This is especially noted in several of our selections where we gained permission to include the home tapes of the musicians themselves. In these personal recordings, the documentarian is absent altogether. The sound source constantly conflicts with the sound recording device, (because the recorder was of poor quality, and/or, because they could not operate the recorder). Many rich moments were thusly captured. Thanks to the generosity of these people, we share our favorites here. Several of our borrowed home recordings are 30 years old, and they indicate the discomfort, yet acceptance of electronic devices within Riojan society. The recording of Sandra's grandmother, for example, is mostly feedback as she tries unsuccessfully to operate the taping mechanism. This feedback is at once horrifying and beautiful, the collision of old and new, draws the ear in, and becomes deeply compelling as descriptive domestic sounds surface such as dripping water and ticking clock. In this fertile collision we find hope for folk's survival,not only here in La Rioja, but around the world.

Where our recordings are the body of our tale, these written notes are more inaccurate generalities to help fill in some (probably unnecessary, yet traditional) background information on our work.


La Rioja is a small mountainous province of northern Spain. It is mostly agrarian, fantastic fruits and vegetables are raised here, but its main industry is its world renowned wine production. The only cities we recorded that are not in La Rioja are Navarran Viana and Basque Oion - both are located in the same valley and about 8 kilometers north of Logroño, the capital city of La Rioja. We chose to record Viana and Oion because they are connected geographically to La Rioja, Viana is the home of Alejandra's grandmother, and in fact, the wine region borders of La Rioja extend out past the political borders of La Rioja and into neighboring villages such as Viana and Oion. So if you buy a La Rioja consecha, you may be drinking the aged grape juice of several border provinces.

*

We chose to separate our CD into three parts:
1. Quotidian music: Spain, and La Rioja exhibit a strong tradition of making music on a daily basis, from the workers in the fields, to the children at school -music is ubiquitous. In addition to traditional songs, we included uniquely musical sounds that are not typically considered music: such as sheep bells We also included a few pop sources from radio, tv, and film which have become part of the everyday musicality of La Rioja.

2. Summer music: These are festival songs. Every village, town and city in Spain has festivals to honor their livelihood, their religion, and especially their saints. In the late summer to early fall harvest season there is a particularly high number of fiestas. The music of the fiesta is energetic and cathartic. It is the collective return of the impossible dream, of forbidden beliefs, and brief liberation from centuries of strict obedience.*

3. Winter music: There is less winter specific music. Aside from Christmas, carnival, and holy week, Riojanos in winter have their noses in work and survival.

The subjects in these songs range from Riojan pride and wine, to protest,religious, and children's topics.

As usual, because folk music is human expression, it often shows ugly gender stereotypes, prejudice and xenophobia. For example, the Bishop of Calahorra described the Fiesta de las Doncellas as defining what a woman "should" be. These qualities, according to the Bishop, are: "pure, affectionate, tender, emotional, friendly, humble, silent (!!), happy, simple, hard working, spirited for service, strong against the debility of sex, and sacrificing for love."** We presented these subjects as neutral as we could, however, we avoided the Fiesta de las Doncellas, as well as a church called "Santiago Matamoros", the Saint Killer of Moors, not to censure, but because it just made us too sad.

As the villages of La Rioja empty, the cities crowd, and multinational commerce moves in, this music is on its way out. Most Riojanos listen on a daily basis to the well distributed American, and English pop music that is infecting the world, and worse, to the Spanish copycat acts that shamelessly translate the emptiness into Castellano. Riojanos no longer learn to sing or play music in the high proportions of the past. Worse, most younger Riojanos have an embarrassment of their music history, it has become their uncool past that they wish would just be quiet. Also, unlike the Flamenco of southern Spain, northern Spanish folk has not, and probably will not, become an international sensation, thus keeping it uncool, and more fragile.

Music associations exist and a large number of the population (compared with the USA for example), still sing old songs and remember old styles, but their numbers are falling. Their urge to put this music onstage behind a PA system creates a deadly separation between the people and the musicians (a recent construct in folk music). This alienates the music into a virtual glass case, or museum piece instead of an organic, living-breathing everyday occurrence. We recorded several of these associations anyway because of their passion for the music, but we recorded them during their informal practice sessions because we found the music more vivid there.

We recorded an historian called Felix Cariñanos who works hard to carry many traditions in his village, Viana. When we asked Felix what he thinks will happen to his Folklore, he said "it is not important". He cannot worry if young people ignore their heritage, it is their free will. Folklore and folk music is for the people who need it. If it no longer speaks the wishes, hopes and fears of a people, then there is no reason for it to hobble along unwanted. We believe that this folklore will not die completely, but will be transformed (for better or worse) into other forms that the people need.

We hope they have the self esteem to make their own way rather than passively accept whatever is offered. We also hope that in their new folklore, Riojanos volunteer to leave behind some old prejudices. With this CD of Riojan folk music, we celebrate the continued survival of a strong tradition, mourn its inevitable loss, and celebrate again the possible positive transformations that it will take.

-A & A 2001

AY, MANOLE
(La canción de los doce meses)

La canción "Los doce meses" les va a cantar un riojano; presten todos atención y a la cartera echen mano.
Ya ha llegaó Enero, el mes riguroso; a todos los pobres se les cae el moco. Ay Manolé, ay Manolé, ay Manolé, Manolé! Lé! Lé!
Ya ha llegaó Febrero, también San Matías acortan las noches, alargan los días. Ay Manolé..
Ya ha llegaó Marzo, también San José, pá comer torrijas si nos quién poner. Ay Manolé...
Ya ha llegaó Abril con bastantes hielos; ni truena ni llueve: Viva San Prudencio.Ay Manolé..
Ya ha llegaó Mayo con las habas verdes; engordan chiquillos, hombres y mujeres Ay Manolé...
Ya ha llegaó Junio con algún calor; ya salen los viejos a tomar el sol. Ay Manolé...
Ya ha llegaó Julio; voy a Villoslada a comer cordero bajo la enramada. Ay Manolé..
Ya ha llegaó Agosto, glorioso San Roque; haz que los granizos la parva no toquen. Ay Manolé..
Ya ha llegaó Septiembre, el mes de las fiestas; ya pasan los mozos con sacos a cuestas. Ay Manolé..
Ya ha llegaó Octubre, el mes del rosario; el pobre a la aurora; el rico al camastro. Ay Manolé...
Ya ha llegaó Noviembre, mes de la matanza; ahora empieza el pobre a llenar la panza. Ay Manolé..
Ya ha llegaó Diciembre. mes del turrón; yo lo cambio todo por un buen capón. Ay Manolé...
La canción "Los doce meses" les ha cantado un riojano, que Dios les lleve a su Gloria si mi platillo ha sonado.

Ay Manolé, ay Manolé, ay Manolé, Manolé! Lé! Lé!


AY MANOLE
(The song of the twelve months)

The song of the twelve months is going to sing you a Riojan, pay attention and reach your hand to your wallet.

January has already arrived, the rigorous month, the poor have their snots hanging. Ay Manole, ay Manole, ay Manole, Manole! le! le!
February has already arrived also San Matias, the nights shorten, the days get longer. Ay Manole...
March has already arrived, also San Jose, to eat "torrijas" (sweets) if they want to give us some. Ay Manole...
April has already arrived with much ice, it doesn't thunder or rain: Viva San Prudencio! Ay Manole...
May has already arrived with the green beans - little kids, men and women get fat. Ay Manole...
June has already arrived with some heat, the old people come out to get some sun. Ay Manole...
July has already arrived, I am going to Villoslada to eat sheep under the branches. Ay Manole...
August has already arrived glorious Saint Roque. Don't let the hail touch our corn. Ay Manole...
September has already arrived. The month of the fiestas, the younger ones pass by with sacks on their backs. (Filled with grain.) Ay Manole...
October has already arrived, month of the rosary, the poor to the aurora (dawn singing), the rich to sleep. Ay Manole...
November has already arrived, month of the butchery, now the poor start to fill their bellies. Ay Manole...
December has already arrived, month of turron (Christmas sweets), I would trade everything for a good rooster. Ay Manole...


The song of the twelve months has sung for you a Riojan. May God take you to his Glory if my little plate has made noise.

Ay Manole, ay Manole, ay Manole, Manole! le! le!


QUOTIDIAN

1. En casa de Don Vicente. Emiliana Sainz likes to sing while cooking. MP3*
2. Sheep near Logrono. They each wear a different sounding bell. MP3*
3. La Zarzamora. Lucio Estefanía says that whistling keeps him healthy and happy.
4. Las mozas de Haro. Begoña Echevarría plays the accordion over cups of milky village coffee.
5. Que tendremos los Riojanos. Raul sings about wine while working in his bodega in Canillas.
6. Belinda feedback. Circa 1960's. Emiliana used to tape her favorite songs for the family and send them in the mail.
7. Asociación ARTUA. "Friends of music" taped themselves singing after dinner.
8. Navarra Jota, Hogar Navarro en Logroño, San Fermín. Sr. Medrano longs for his home land. (Which is about 10 kilometers away.)
9. Si Logroño se quemara. Begoña played another Jota and the cat ran out, aftraid of the noise.
10. Por que no hablaís de amor? Jose sings a sad love song in the plaza, in front of the Logroño cathedral.
11. Por la carretera vamos. A member of the proud, yet worn, Gitano community in Logroño sings a sad song about leaving on the road.
12. A una madre hay que querer. Maria Pilar Medrano sings at the bar over a tinto.
13. Grupo Mixto Riojano. The group sings the Riojan style mass at the wedding of the guitar player's son.
14. Que llueva, que llueva. Emiliana sings a quick children's song wishing rain.
15. Anguiano choir. We went to too many masses, but this one was nice.

SUMMER

16. El Afilador. The Knife Sharpener whistles for customers up and down the streets. MP3*
17. Alberite, Grupo de Danzadores de Belonado. Day of San Juan. Dancing with sticks in the village plaza.
18. Riojano de buena zepa. Young jotero Jacinto Salazar on stage and old joteros (including "Fede"), in the crowd.
19. Birlibirloque y la Escuela de Gaita y Tambor de Alberite. Day of San Juan.
20. Fiestas de la Magdalena. Los Zancos de Anguiano. On this day, young village men wear the traditional flowing rainbow colored skirts and tie two meter sticks on their legs. They dance in circles down worn, craggy, stone paved hills, and often fall.MP3*
21. Anguiano Bells. The village is called to see "Los Zancos" spin down the hills.
22. Romery of Lomos de Orio. After hiking to the monastery on top of the mountain, hundreds of pilgrims (and tourists) danced to "Las Peñas", and then waited in line for the annual potlatch of a quivering plate of freshly killed baby sheep meat and bread.
23. San Asensio. Pasacalles. Very early in the morning on the Day of the Virgin of Davalillo, when the streets are deserted, the dancers parade through the village.
24. San Mateo. Fiestas of Logroño. Singing sometimes comes out from open balconies, after lunch time.
25. Torito de Fuego. Oion. Alberto Tolosa annually dresses up as a bull and runs through the village square with sparks of fire shooting out of his back. The sparks are painful and can set you on fire, so people run away. This year he was hurt by a running of the bulls in Logroño.
26. Gigantes y Cabezudos. Viana. Gigantes are men dressed as giants and cabezudos are little men wearing giant grinning heads. They whip children with pig's bladders filled with air, as they pass through the village.
27. Gigantes y Cabezudos, the same scene as 26, except this is from classic Spanish cinema.

WINTER

28. Christmas Bells. A man called the radio to play bells through his cell phone on Christmas day.MP3*
29. Felix Cariñanos plays the Turuta in his bodega near the fire. This instrument, like a Kazoo made out of cane, is played in Carnaval.
30. Murga del Sorteo. Felix Cariñanos sings a protest song from Logrono, 1898, complaining about how Spain is ruled by the rich and corrupt. The rich sent the poor Spaniards to fight in Cuba. The penalty for singing this song was jail (or worse).
31. Santo Domingo. Cassette recording by Pilar Tolosa. Riojan medieval music is remembered every year on this day.
32. La Octava. Berceo. Every Sunday in October, they parade the Virginaround the village to sing with her.
33. Santa Cecilia. In the rain outside of our balcony, they remembered the day of the musician in Logroño.
34. El Tamborillero. Christmas Day in La Redonda, Logroño's cathedral.
35. Los Tres Reyes del Oriente. At 6am, January 6th, Los Auroros sing this up and down every street to wake up the village and let them know the three kings have arrived. This year, after singing in the pouring rain, they invited us for kings cake and coffee. MP3*

La Rioja © A. Bergman and A. Salinas 2001
LK009


Muchas gracias a la gente de La Rioja. Muchísimas gracias a Pilar Tolosa por todo su apoyo y también su coche. Muchas gracias! Felix Cariñanos, Ignacio Galilea, Grupo Mixto Riojano, Asociación ARTUA, Hogar Navarro en Logroño, José Fernandez Rojas, Amelia Romero, familía Medrano, Begoña Echevarría, Emiliana Sainz, Alberto Tolosa, José Luís Salinas, Los Auroros de Viana, Peña la Rondalosa, La Escuela de Gaita y Tambor de Alberite, Asociación Unidos por la Música, y Santa Cecilia.

Gracias a estos escritos:

*Atienza, Juan G. "España mágica de la A a la Z (Fiestas populares e insólitas).Madrid. Diaz, Joaquin ed. "Revista de Folklore." Caja de Ahorros Popular. Valladolid. 1990 Rojas, José Fernández . "La Rioja en sus danzas y canciones". Volumenes 1 y 2. Editorial Musica Mundana. Madrid. 1987
**Rubio, Jose-Miguel. "Orígines de Una Fiesta, una advocación, y una comarca. La Fiesta de los Doncellas, Sorzano." Editorial Ochoa Logroño. Logroño. 1975 Rubio, Pilar. "Una vida por y para la música." en la revista "Cuatro Calles". Logroño. 1985.