Pop Music Reviews : The Sounds and Sights of Indigenous Americas

Every Huayucaltia appearance is a learning experience, and Saturday’s show at Randell’s was no exception.

Though the trendy jazz-fusion nightspot might seem an unlikely venue for a mostly acoustic quintet that plays the indigenous music of the Americas, Huayucaltia won over the assembled with its rhythmic mixture of guitars, percussion and wind instruments.

The group doesn’t present faithful re-creations of various styles from South and Central America. Instead, it brings them together ( huayucaltia is the Aztec word for unity), blending rhythms and instrumentation into a sound that mirrors the cultures yet is entirely the band’s own.

“America Negra” is a perfect example. While singer/wind player Cindy Harding explained that the tune is a celebration of black culture in the Americas, it also involved Peruvian and Mexican rhythms in a strongly percussive mix, decorated with the rattling sound of teeth set in a donkey’s jaw. Julio Ledezman earned a large ovation with a demanding conga-like solo on cajon , a large box from which he coaxed a variety of timbres.

The opening “Cuzco” blended wooden flutes, guitar and percussion into a danceable mix in which rhythm and atmosphere varied as the tune climbed to its simple theme. “The Message” featured bird calls and rattling percussion by Hernan Pinilla before dissolving into a stong drum beat from Ledezma and droning guitar sounds from Ciro Hurtado.

Though exposure to these sounds is an education in itself, learning also came as each member of the group took time to explain a song’s inspiration, rhythmic derivations and the instruments used to play it.

Ledezma gave the most entertaining introduction of the first set, poking fun at Columbus (“he took the gold and left us the music”) during his remarks preceding “Amazonas.” During the number itself, Harding’s flute played above Atonio Ezkauriatza’s electric keyboard bass line, giving the music a light, airborne feel.

Hurtado is the group’s principal soloist, combining agile, flamenco-inspired lines with other classical influences and occasional blue or jazz phrases. He was most impressive during “America Negra,” flying to his guitar’s highest pitch as he closed his improvisation.

Huayucaltia also is a visual delight, as percussionists move between instruments and pan pipes are pushed back and forth as the players strike tones and gasp for breath. And it’s almost guaranteed that you’ll see at least one instrument (like that donkey’s jaw) that you’ve never seen before.