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Reaching a new plateau >> Chile's Los Jaivas scale the Heights of Macchu Picchu by RUPERT BOTTENBERG
Los Jaivas certainly constitute "classic" rock, having evolved, since forming in Vina del Mar, Chile, in 1963, into one of South America's true rock supergroups. But in interpreting Alturas de Macchu Picchu ("Heights of Macchu Picchu"), an epic poem by Nobel Prize-winner Neruda, they've reached a new plateau. "Neruda thought it was necessary to relive the human suffering," explains keyboardist Eduardo Parra, "in order to build a movement which represents the power of an imperialist culture, such as in the case of the Inca culture." The poem, which Neruda wrote in 1945 during a stay at the fabled Inca ruins in the Peruvian Andes, sees the poet confronting the pain and horror he had witnessed in Spain under the Fascists, and ultimately emerging, wounded but hopeful. In 1981, Daniel Caminos, a Peruvian friend of the band (who at the time were exiled in Paris) suggested that they not only adapt the poem as an epic rock opera, but that they perform it, live on TV, in its actual sky-high setting. "In the beginning," continues Parra, "more than the fear of misrepresenting the ideas of Neruda, what really worried us was the feasibility of the project. Once Caminos assured us that the project had the support of the right people, we spent a lot of time reading and analyzing the poem in depth." Remarkably, the performance, hosted by noted Peruvian writer Mario Vargas Llosa, went off without a hitch. "We had the full support of the Peruvian government and Air Force, who facilitated the transport with planes and helicopters. This made it possible to lift the grand piano all the way to the top of the ruins, for instance." Although scored in Paris, the work shows a musical perspective worthy of Macchu Picchu's mountaintop vantage point. Los Jaivas plant one foot in the noble, mournful tones of pre-Colombian America, and another foot in western classical, with its contemplative piano cycles. They've got a third foot as well, wherever it may have come from, in a psychedelic space rock warp, with their bubbling moogs and soaring guitar work. At points in Alturas de Macchu Picchu, these three incongruous styles flow together almost seamlessly, tied up by a little Latin lilt. The formula worked, so why change it these 18 years later? "To the contrary," observes Parra, "we've tried to revive the same sounds and original interpretation. We even had to repair an old Mini Moog synthesizer, because it has been discontinued. We also had to make two new trutrucas, a traditional instrument about two metres long which resembles an Alpine horn." Still, times have changed in the last two decades. For one thing, Los Jaivas have since returned to their post-Pinochet homeland. "We are preparing a new album which will reflect our experiences since we've been able to return to Chile. We would also like to finalize our symphonic project for the year 2000. "This is a collection of works, some of which date back as far as 1973, to be interpreted in conjunction with symphony orchestras." Rock operas and symphony orchestras? Now that's just classic. Los Jaivas perform Alturas de Macchu Picchu at Club Soda on Thursday, February 11, 8:30pm, $24.50. Lemunantú open.
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At what point does classic rock become classical rock? Queen's grandiose "Bohemian Rhapsody"? Not really. The blistering solos of Yngwie Malsteem? Don't think so. Alturas de Macchu Picchu, Los Jaivas' sweeping adaptation of the poetry of Pablo Neruda? Getting warm, at least.