Day One with Sergio and Tatiana - July 6, 2018

Herencias, the brother-and-sister duo of Sergio and Tatiana Aguirre, turned in a wonderful performance at their first event last night in Winchester, VA. It was at a great Mexican restaurant, Taqueria Guadalajara. Happy, noisy and crowded, such gigs are a challenge unlike a concert setting. Like other audiences, this one was surprised, charmed, and astonished at the discovery of this Latin American harp tradition, so little-known in North America.

Their 2018 tour continues through July 17, with concert gigs in VA, WV, PA and MD. 

The first concert gig is tomorrow, Sunday July 8, at 3 PM, at The Station at Shepherdstown, 100 Audrey Egle Drive, Shepherdstown WV. It is sponsored by the Shepherdstown Friends Meeting (Quakers).

Tonight's gig is 6:30 PM at Thunwa Thai restaurant in Front Royal, VA.

The tour continues to Morgantown, Parkersburg and Charleston in West Virginia; to Pittsburgh, State College, and Fishertown in PA; and to Westminster in Maryland. Check for details on my website or on Facebook.

Last Days in Arauca, now in Bogota

In my last days in Arauca, I mostly rested and played my harp. On Friday, while I was in town by myself, I discovered a group of musicians performing in the market. I got their contact information, and Luis called and arranged for them to come to his place on Saturday for a while about 4 PM. Of course I paid them. They turned out to be Venezuelans, and very fine performers. Harpist Victor Morales, I realized after the fact, was one I had picked out as exceptional on Youtube. He did not sing, but his three sons (Victor hijo (jr.), Antonio, and Ericson) sang and played maracas and cuatro. Another harpist and singer was Luis Gonzales. Another singer was Ander Garcia. I made some videos and posted the first on Youtube, "Luna del Capanaparo" sung by Luis Gonzales.

They finally struck water at the farm on Saturday, in the fourth day of effort. Luis was elated. However, we did not go to the farm out of caution because of a threat from the guerilla ELN (Army of National Liberation). A nationwide strike was expected to affect mainly private motor vehicle and public transportation. (There are reports of a bridge blown up and perhaps other incidents in the last couple of days.)

Sunday morning I flew to Bogota where I was very warmly welcomed by Hildo Ariel and family.

It is now Tuesday. I have been getting very good and individual instruction from Hildo. We are talking about our project plans. In September, Hildo will present the fifth annual Encuentro Internacional Maestros del Arpa in Bogota. We might create a tour for US harpists. Before then, Hildo's son Sergio Nicolas will come again to the US in July. After the September Encuentro event, I will act as baquiano (guide) for another student visiting the US, Wuilmer Lopez.

Today I went for a walk out on the main street where the Trans-Milenio runs. It is a rubber-tired transit system with dedicated lanes and raised stations. I went shopping at a big supermarket and at shops and stands on the street. I watched a garbage truck creep along while workers gathered trash accumulated on the curb. Much like a US operation, but the litter and garbage problem here is a lot worse than at home. 

More later, maybe, but it might not be till after I get home. 

Back in Arauca, soon returning to Bogota

A lot going on here in Arauca since returning Friday from Yopal, Casanare.

Saturday morning Luis and I said goodbye to Erika and Adolfo at the bridge on the Venezuelan border. 

I had proposed to return with them to Guanare for a day or two, then take public transit back to Arauca. They advised strongly against it. Bus service is greatly reduced and insecure, they said. Over the years I have not always followed such cautionary advice. I try to be careful but "no risk, no reward" (in economics that's an investment principle, it has wider application). 

Saturday and Sunday were rest, and I spent some good hours practicing my harp. 

On Monday I had a lesson with Armando "Peachy" Ramirez. Tuesday night I spent an hour with Pedro Quintero. Each harpist offers a complementary perspective. I try not to direct the lesson, but to just take in what they may have to offer. Peachy is young, very talented, and enthusiastic about playing, as reflected earlier in his participation at Las Mercedes on Saturday 1/27. Pedro is older, runs a music school (Pequinsan, derived from his name, Pedro Quintero Sanchez) with students coming every evening from 6 to 7 PM. Pedro is more didactic, which is good for me; he moves from one student to another, giving brief corrections or approvals as appropriate. With Peachy it is just him and me, which offers certain disadvantages as well as advantages.

Wednesday was very different. I went early with Luis to the farm, first to observe milking and then to begin a well-drilling operation that continues now into its second day. The drill is a metal pipe with a sharp bit at the bottom. Water is pumped down the pipe and a worker rotates the drill by hand. I'll follow up with more as next steps are taken after the drill reaches water.

Wednesday evening I had another lesson with Pedro Quintero, and today (Thursday) I'm just practicing as much as possible so I can perform for my teachers before I leave on Sunday.

A couple of nights ago my computer overheated and shut down. Completely dead. It recovered after cooling down for 8 hours. Overheating is a known issue. In retrospect, after consulting with Apple, I decided I will not leave it plugged in and turned on overnight.

Yopal, Casanare, Colombia, Part 2

Yopal, Casanare is at the "foot of the mountain," the piedmont, a zone of transition between the mountains and the vast plains. After a tough 6-hour bus trip from Arauca, we rested Tuesday night at a small hotel named "Ay Si Si." The name refers to a familiar song that says "yes, yes!" 

On Wednesday morning we visited Laura, the young director of Fundacion Cunaguaro, a nonprofit dedicated to sustainable culture and environment. She sent us to the very lively Centro Cultural, the cultural center of Yopal, where classes were being offered in harp, cuatro, and bandola, and also dancing. The state of Casanare is very progressive in cultural preservation. Among the students were many children as well as young and older folks. My little harp immediately became a focus of attention, harpists Blas Antonio Saenz and Hugo Gonzales gave it a real workout.

Like many harpists here, Blas Antonio Saenz has a nickname, "Juan Bimba." He showed me some tricks and I made some recordings. I went back the next morning for a more serious lesson with him, it has been a big help.

Arrangements are all being made by Adolfo. He had planned a visit with a harpmaker, which did not materialize, so on Wednesday afternoon we just rested. It was a good thing we got some rest, because after about 6:30 PM that we set out on a parranda, a wild adventure that lasted till 2 in the morning. 

I had no idea when we started out that it would take more than an hour to get to La Fortuna, a farm with some modest tourism facilities on the river Cravo Sur. A big attraction is a boat ride from the higher ground to a sand beach where visitors can enjoy live traditional music and refreshments. Of course there are no permanent facilities on the beach because it is is under water in the rainy season.

We arrived at 8 PM just in time to catch a live and multi-media program sponsored by Fundacion Cunaguaroand local ambientalistas (environmentalists). The power-point program depicted the traditional work cycle of cattle ranching, with live singers offering brief samples of the songs associated with the practice of milking. There were perhaps 3 or 4 dozen folks in the audience.

The milking songs are gentle and very lyrical. They facilitate the process of communication among humans and animals. Cows are brought in one by one and tied to a pole for milking. Each cow is named, and its features are well known. A given cow does not let down her milk unless stimulated by the presence of her own calf. As the ordiñador (the milker) sings to and about each cow, the song tells the becerrero (the helper) which calf to bring in from an adjacent pen. Gentle singing presumably helps to get the best production.

Here are a couple of Youtube links that give an idea of this cultural environment.

https://www.youtube.com/watch?v=6NXyCPUJdcg

https://www.youtube.com/watch?v=WB7vWK_YeLg

After the short boat-ride, we settled on the beach with a bonfire and refreshments, with local live musicians. They sang and played very familiar songs, mostly much livelier than the milking songs. The lead instrument was the bandola, not harp, but the songs were the same. Folks in the audience sang along. Later in the evening, two or three visitors stood up to perform as soloists. Of course, Adolfo Cardozo was one who stood up, and made a huge hit. This was his first meeting with a lot of these folks, and they all bonded very conspicuously.

On Thursday, we started a bit later in the morning but then again the day got very busy. We went back to the Centro Cultural where I took an hour of harp instruction with Juan Bimba. Then, after lunch we checked out of the hotel and took a local bus ride to Morichal, where we settled for the evening at the town residence of Julieta and Wilber. The two of them have a live interest in environment and sustainability. Their house is very modest. They have a motorcycle and a rough-looking jeep. Their patio illustrates traditional plant and animal diversity. We did not visit their cattle operation. In recent months Wilbur has been developing a small ferreteria, a farm hardware and feed store on the main road. 

Julieta had asked Adolfo to bring a cuatro (small guitar) for her four-year-old daughter Sara Maria. Little Sara was slow at first, but Adolfo has a great charming way with children. Soon Sara was happily strumming. 

I had offered to sponsor a harpist for the evening. Around 7 PM Asdrubal Barrios showed up and began to play. In the next couple of hours, about a dozen friends showed up for the party. There was beer and other refreshment. Wilbur set up a barbecue and served beef which was surprisingly tender in comparison with what I have come to expect in many circumstances. Wilbur cut the meat into bite-sized chunks, and put them on a plate. Sara and a couple of other little girls went about offering the plate. Folks picked the bites with their fingers. 

The music went on till 10 PM, with a lot of singing the same, familiar songs. I spoke briefly to the harpist, Asdrubal. He told me that his harp teacher was Juan Bimba, my teacher from the Yopal Cultural Center.

We settled for the night, then in on Friday morning took leave and returned by bus to Yopal. From there we caught the 12 noon bus back to Arauca, arriving there after 6 PM. 

That was Friday. It is now Monday as I write. Saturday and Sunday were mostly rest. I'll have more to say later. Mostly I feel I am making great strides in my harp technique, the next few days I'm focused on that mission.

Yopal, Casanare, Colombia

Wednesday morning, 1/31/2018. This morning I'm in Yopal. Six hours in the bus from Arauca yesterday brought me through four distinct geographical regions.

Arauca is the "sabana inundable," grassland that is 70% flooded during several months of the year. Shortly after leaving Arauca, the landscape change: still flat, still grassland, but with many more palms and trees. This is the "alta sabana," high plains.

After a couple of hours, we came into the "pied de monte," the piedmont. We began crossing running rivers crossing wide gravelly riverbeds. Gently sloping hills, then steeper. We began to glimpse "cordillera," the mountains to the west. We passed through some winding stretches of road, and ended back in the piedmont. 

Plan is to visit farmers and musicians and return to Arauca on Friday.

Again, visiting Las Mercedes and Terekai

Too much has happened since last I wrote on Friday. On Saturday we went to Luis's farm and stayed till Sunday evening. 

The big story for me was the harpist we hired to come to the farm on Saturday. Alvaro "Peachy" Ramirez arrived about 1:30 PM on his motorcycle, but his harp came about an hour later. Meanwhile, he took interest in my little harp, and made great music with it. He quickly bonded with Luis and Adolfo, who love to sing with gusto. The three of them played and sang continuously until after dark, about 5 hours! They know scores of great old songs, and sometimes they make up new words. 

There was a barbecue featuring roast pig and beef ribs. It was served in traditional manner with no silverware, no napkins, just the meat cut up on a bed of fresh banana leaves, laid on the table. Luis rather prides himself in being an indian, indigena, sikuani. This may seem strange, given his privilege coming from a ranching background generations deep. However, he is very respectful of tradition, as a musician and hands-on cattleman.

I got no photos or recordings at the farm, because I failed to take my phone charger. There is electricity, but I was just stupid. Once I accepted the fact that I could not record events. I just relaxed and enjoyed the scene. There is something to be said in favor of keeping it alive and real.

Sunday morning we followed a rough track across the plains to Terekai, a new ranch that Luis is establishing. I've learned a lot about the ecology, sociology, and sustainability of ranching. The ranch consists of a windmill installed a month ago, a small herd, and a simple pole structure of tarps and laminated roofing. Encargados (residents "in charge") are an experienced ganadero and his wife. Luis is a hands-on manager.

The founding of a ranch is a feature of the old folklore, to be celebrated. In this case, the celebration involved composing a song. This is Adolfo's very special talent, but Luis is no slouch. At some point I will put down the lyrics. Basically it says "Terekai is a little ranch, built little by little (poco a poco) by Luis and Milena, enthusiastically (con ganas)." 

Adolfo is a song-writer and story-teller by nature. Before leaving the ranch, he captivated the children with some of his songs presented as Doctora Gallina, "doctor chicken." These are complete with animal sound effects. One little girl, Dana, was spell-bound. She had seemed rather somber before, but now she smiled and laughed out loud. Earlier, she had noticed tiny ticks on my legs, and she alerted Erika who provided treatment. Upon leaving, I gave Dana my harmonica, not just out of gratitude for finding the ticks but also because I think she is may be motivated to become a musician.

On the way home Sunday afternoon, we stopped in several places where Luis and Adolfo made two-minute videos showing how they go about establishing trees in the grassland. This is widely desired, but the challenge is that the grazing cattle destroy the saplings. Their solution is to plant the sapling very near an established clump of bushes or trees that do not attract grazing animals. Adolfo has an online group of more than 150 ganaderos, with whom he shares his brief video consultations. 

This morning I walked into the center and made a few small purchases, including a new harmonica for me. We decided that tomorrow Adolfo, Erica and I will go by bus to Yopal, Casanare, a 6 hour trip. We will visit farms and musicians, then return here by the weekend.

Next on the agenda today will be to go to Peachy's house to return his harp and connect with his father, who was a renowned harpist in the past. Sidelined by a hand injury, this man now has a recording studio in his home.

Other topics later, maybe.

Visit to Las Mercedesand more

Alexi, the encargado at Las Mercedes, is illiterate. He grew up on farms, knows the work very well, and has demonstrated that he can do the job. Alexi came to Luis's farm just a year ago.

The encargado is more "boss" than "farm manager."  He does not need to read in order to know how to move cattle, build fences, and give direction to several other workers. Alexi came to the farm on good recommendation, and did well in his first assignment, to install a fence line. He then requested and received increased responsibility.

IMG_1520.jpg

Yesterday, Luis and I drove to the farm, Las Mercedes, to deliver a bottle of kitchen gas and various other items. About an hour from town, on farm roads, it is easily accessible in this dry time but tough going in the rainy season. In his research, Luis reports that as much as 70% of the surface area in the state of Arauca is inundado, flooded, for several months of the year.

The trip to Las Mercedes came after a busy morning. We discovered that Adolfo's harp, neglected for several years, needed some repairs. Already scheduled for 3 PM was a harp lesson with "Peachy" Ramirez. We recruited him in the morning to negotiate the needed repairs, which are to be delivered tomorrow (Saturday 1/27/2018). After the lesson came the unscheduled trip to Las Mercedes, then at about 6:30 PM we went to Pequinsan a traditional music school under the direction of Pedro Quintero Sanchez. Here we saw about a dozen students of all ages practicing on harp, guitar, cuatro, bandola, and maracas.

I negotiated the use of a harp from 7 to 8 PM while Luis went elsewhere. I had not asked for his instruction, but he showed interest in what I was doing. In the end, he gave me a great lesson, teaching me to play Alma Llanera.

The traditional teaching of music is entirely by ear. Perhaps I could write a book about that, but what would be the point? Well, maybe just a quick observation: the method involves careful repetition of short phrases, with a very strict insistence on exact fingering and phrasing. There are a great many tunes that constitute a distinct genre, musica llanera, music of the plains of Venezuela and Colombia. It is not enough to capture the melody; there must be acceptable variations, what I am calling conventional "licks."

There's more to be told, about education, culture, bureaucracy, philosophy, through the eyes of my friend Luis. At some point I'll tell his story about the ear-tag controversy.

Now I want to play my harp.

From Arauca, Colombia

I arrived by plane yesterday afternoon, stepped down into the tropical heat of the great plains, the llanos. This is the legendary setting for the novels of Romulo Gallegos. Smack on the border with Venezuela. The last frontier.

This morning I woke up a bit chilly from air conditioning. I'm with my friends Luis and Milena, they are both veterinarians. The little hotel where I stayed in 2014 is now a small animal clinic upstairs and the family's town residence downstairs.

I left Pittsburgh Tuesday evening, had 9 hour layover in Bogota before the flight to Arauca. Bright skys, mild temperature. In the airport I settled down in a very pleasant food court area, listening to music and reading Luis's draft thesis. He's writing sociology, not veterinary medicine; his passion is ethnography of traditional subsistence, including but not at all limited to cattle "production." More later.

Luis knows full well why I have come. Already he has engineered for me two encounters with harpists. Today I will have a lesson with "Peachy". We called on him to work out a plan. 

After eating pizza for supper, we called on Nelson Azevedo, who had given me lessons previously. He greeted me warmly, protested that no, he could not spare time to meet tomorrow, but "sit down for a visit." I declared how much I loved harp music, and how I've enjoyed listening to his CD. Very shortly he decided maybe he could play for 20 minutes or so. Of course, it was terrific. (I played just enough to demonstrate some progress, albeit lame in the true perspective.)

Nelson Azevedo is a truly remarkable musician. But there are so many remarkable musicians here! Of course, I'm really talking about remarkable HARPISTS.

Luis is very solicitous. He is distressed with social ills and cross-border stresses. The border is closed, we cannot simply enter Venezuela as we did four years ago. Many Venezuelans have crossed into Colombia, struggling to survive in marginal economy, including theft but also street entertainment. Right away coming from the airport we saw juggling acrobats at the intersection, children harvesting donations from cars as they came by. Last night we noticed a harpist in a park, presumably a Venezuelan. We will go looking for him today (not at night, Luis insists).

More later.

 

Holiday SPAM: Happy New Year, from a Harper for Harmony

Happy New Year, Feliz Navidad

Maybe once a year I can get away with what I'm doing now, "holiday spam" to A LOT OF RECIPIENTS from my contacts list. This is to invite many who do not know much about Latin American harp music. Some but not all of you know me as a "harper for harmony." My longstanding devotion has been to Harping for Harmony Foundationand my newest initiative is the Baqueanos program to promote traditional live, acoustic Latin American harp music.

Here's the line-up for 2018:

Baqueanos has its roots in efforts over many years sponsoring performances by traditional Latin American harpists in the US. In 2017, I organized a tour in DC, VA, WV and PA with Colombian master harpist Hildo Ariel Aguirre Daza. Hildo Ariel called me his baqueano, thereby giving a name to this program offering logistic support to Latin American harpists wishing to perform in North America. In the plains of Venezuela and Colombia, a baqueano(guide) is a friendly person familiar with the local territory and its people. Hildo Ariel was my baqueano in 2014 when I spent 3 weeks with him in Bogotá, at his music school, Academia Llano y Joropo. 

In order to build and grow a North American audience for traditional Latin American harp music, I want to be a baqueano for others from the Latin harp traditions. Here is a list of some qualified harpists that I know and admire.

Three aspects of the Baqueanos program are:

  1. Logistic and material support for qualified Latin American harpists wishing to perform in North America;
  2. Assistance to groups and individuals who will sponsor Latin American harp events in North America; and
  3. Live promotional programs, no fee required! By harper for harmony John Lozier; these events are a mix of live performance and presentation of audio-visual resources, designed to display the appeal and diversity of Latin American harp traditions.

If interested, you can "reply" directly to jl@harpingforharmony.org! Or, you can "subscribe" to receive occasional newsletters (fewer than once a month). Of course I'd like you to "donate" to support the Baqueanos and other programs of Harping for Harmony Foundation. (Or you can just delete this message.)

By far the best outcome for me would an invitation to deliver a program and/or an offer to volunteer your collaboration in sponsoring an actual live presentation by a qualified Latin American harpist.

Thank you for reading..

Peace on Earth

Harmony and Community, Locally and Globally, through Harp Music.

Happy and Prosperous New Year 2018

- John Lozier

The Baquiano Program - DRAFT 12/7/17

Through the Baquiano Program, Harping for Harmony Foundation (HHF) and collaborators offer sponsorship and support for traditional Latin American harpists touring and performing in the United States. Well-qualified performers can apply for services including logistics and scheduling of events; accommodations and hospitality; and also for a limited amount of financial support.

The name of the program was suggested by Colombian harpist Hildo Ariel during a US tour in July, 2017, sponsored by HHF. He called me his baquiano. In the plains of Venezuela and Colombia, a baquiano is an experienced local person or guide. When a stranger turns up, a baquiano can always be helpful and hospitable. Or not!! In reality, the extent of such hospitality depends upon discovering a common purpose, and developing rapport.

Hildo Ariel was my baquiano in Bogota in 2014, where I was his guest and studentat his highly regarded music school, Academia Llano y Joropo.

In brief, the new HHF program is to provide a baquiano for visiting harpists in the US. This is to return favors I've received from Hildo Ariel and other baquianos I have met over more than 25 years of travel in Venezuela and Colombia.

Applicants are to be well-qualified performers, either established professionals or new and aspiring young musicians. The purpose of the program is to develop a US audience for this music. Events may include public concert performances, school presentations, workshops, restaurant entertainment, etc. Events may be ticketed (with admission fee) or free to the public with revenue mainly from donations and sale of recordings.

US tours will be scheduled three times a year, in Spring, Summer and Autumn. Initially, the program will focus on tours in the vicinity of Morgantown, West Virginia, and adjacent states of Virginia, Maryland, Ohio, and Pennsylvania. With growth of the program, tours may be more frequent and may reach any part of the United States.

 

Harping for Harmony on a Roll, Heading into 2018

Hello, Friends, Happy Holidays,

At Thanksgiving, I'm grateful for your support and encouragement over the course of many years. It has been a while since I wrote. I will respond personally if you reply (jl@harpingforharmony.org). I appreciate your feedback and I humbly ask for your financial support.

Harping for Harmony Foundation (HHF) has made some giant steps in 2017, with big plans for 2018 and beyond. As always, the mission is harmony and community, locally and globally, through harp music. My personal devotion, since 1995, has been presenting Latin American harp music to new audiences. 

In March, 2018, a Harping for Harmony tour with Paraguayan harpist Nicolas Carter will reach VA, WV, PA and MD. Nicolas is very well known in the harp world; he performs widely in the US and abroad. Yet this astonishing talent and these remarkable traditions are virtually unknown to the general public. I want to change that situation!

In 2017, HHF sponsored a short appearance with Nicolas Carter, and more extensive tours with Colombian Hildo Ariel and Venezuelan Angel Tolosa. We have presented these and many other remarkable talents, over the years. To improve their visibility in the US, I'm working on a list of artist profiles.

Please help with a donation

More background...

This year I've been seriously working to develop the potential of Harping for Harmony Foundation (HHF). Established in 1995, the organization has been relatively inactivefor several years. This has changed in 2017. Our founding documents are now posted on our website. There is independent verification showing slow activity in recent years. 

In 2014, I spent three weeks in Bogota, Colombia, studying with master harpist HIldo Ariel Aguirre, founder of Academia Llano y Joropo. Then in 2015, I hosted Hildo's son, Sergio Nicolas, a remarkable young harpist who has beencelebrated in Paris this year.

Three times a year since 2014, HHF has sponsored events with a number of other harpists, links are shown on the sidebar at harpingforharmony.org. This is a collaboration with harpmaker John Kovac of Front Royal, VA, and others.

Bottom line, we raised just under $6000 in 2017, all from donations and tips at our events. We have $2500 on hand, but that won't be enough for our plans for 2018 and beyond. We have not been supported by grants. Your donation now will boost our year-end numbers, so that we can offer matching when applying for grants in the future.

It is all about

Presenting Latin American Harp Music
to New Audiences

Thank you for reading, and for your support and encouragement. Peace!!

John Lozier, Executive Director

Copyright © 2017 Harping for Harmony Foundation, All rights reserved. 


Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list
 

Charleston, West Virginia, with Hildo Ariel

Charleston, WV. Wednesday July 12, 2017.

All afternoon, Hildo Ariel played in the center court at the Charleston Town Center Mall. Many folks walked on by, but others stayed listening at the tables and benches near the Starbucks., I think it is safe to say that folks were certainly not expecting to hear harp music from South America. The mall management made it super-easy to be there, thanks to Lisa McCracken and a very helpful technician named Charlie. Lisa gave us an open invitation, and a generous gift card for use with the mall merchants.

We were surprised at lunch when the Chinese food vender, a young Chinese man, spoke with us in perfect Spanish! We learned that he had been born in China but raised in Venezuela from an early age. When I was in Venezuela, I noticed a lot of Chinese in business, even far out in the countryside. Those were the years of Hugo Chavez, whose international outreach brought Venezuela closer to China. Hildo Ariel, as a native Colombian, was able to say that the young man's accent was clearly Venezuelan and not Colombian.

The evening program was at the Unitarian Universalist Congregation of Charleston (UUCC). The program was well received although attendance was very light. Our contact at UUCC was Paul Dalzell, and he broadcast parts of the program live on Facebook.

This morning, 7/13, we will move on to Parkersburg, West Virginia.

Pajarillo Barranqueño

Pajarillo, Pajarillo, Pajarillo Barranqueño
que bonitos ojos tienes, lastima que tengan dueño

Que pajarillo es aquel que canta en aquella lima
anda y dile que no cante, que mi corazon lastima

Que pajarillo es aquel que canta en aquella higuera
Anda y dile que no cante que espere hasta que me muera

Que pajarillo es aquel que canta en aquella palma
Anda u dile que no cante qu me esta partiendo el alma

Toma esta cajita de oro, mira lo que lleva dentro
Lleva amores, lleva celos y un poco de sentimiento

Toma esta llavita de oro, abre mi pecho y verás
Lo mucho que te quiero y el mal pago que me das

Ya con ésta me despido, pajarillo barranqueño
Ya no cantes pajarillo, que ese amor ya tiene dueño

Little Bird, Little Bird, Little riverside bird
What pretty eyes you have, too bad they belong to another

What little bird is that, who sings in that lime tree
go and tell him not to sing, it hurts my heart

What little bird is that, who sings in that fig tree
Go and tell him not to sing, to wait until I die

What little bird is that, who sings in that palm tree
Go and tell him not to sing, it is breaking my soul

Take this gold box, look what is inside
Carries loves, carries jealousy and a little bit of sentiment

Take this golden key, open my chest and see
How much I love you, and how badly you repay me

And with this I say goodbye,  pajarillo barranqueño
Sing no longer little bird, my love has another owner

Bertin y Lalo ....

 

Tish Hinojosa ...

Introducing Juan Lucero

Hola (Hello) !  

Yo soy Juan Lucero (I am John Lozier)

Mi amigo Venezolano, el arpista Fernando Guerrero me ha puesto el apodo (nickname) Lucero, o Lucerito (star), porque suena algo como mi apellido, Lozier. Lucero es una palabra que se encuentra con frecuencia entre las letras de los canciones romanticos, muchas veces refiriendo a los ojos. 

My Venezuelan friend, the harpist Fernando Guerrero, has given me the nickname "Lucero," or "Lucerito" (little star), because it sounds rather like my last name. Lucero is a word that is often found the lyrics of romantic songs, frequently referring to beautiful eyes.

Mi intento aqui (My intention here)...

  • es ponerme el nombre Juan Lucero o Lucerito cuando escribo en español, o en forma bilingue.
  • (is to call myself Juan Lucero or Lucerito when I write in Spanish, or in bilingual form.)
  • Otherwise, in English only, I am John

(Here's a link to Lucerito de mi Llano, written by Augusto Bracca and sung by the legendary Eneas Perdomo. Spanish lyrics are in the description.)

- Lucerito

Viaje a Mani

I have been visiting my friends John and Judy Kovac, he is a harp nut like me.

Among other things I've been recording myself for posting online. One of my efforts is Viaje a Mani, originally sung by the great Francisco Montoya. The song tell of a trip by airplane from Venezuela to the Colombian town of Mani, famous for musica llanera.

Here's a Youtube link to the original by Francisco Montoya:

https://www.youtube.com/watch?v=5BxxCyV1x1Q

I'll post my own brave effort shortly.