Cañada honda - interprete Arturo Zeballos

Cañada honda   (chacarera) de Atahualpa Yupanqui interpretada
por  Arturo Zeballos en Casa de la Cultura de la ciudad de Pergamino
Homenaje en el Centenario de su nacimiento, 22 de  Enero de 2008.

Arturo Zeballos ademas transcribió el tema y sigue transcribiendo la Obra completa de Yupanqui aquí encontrara mas detalles en la WEB de la Fundación Yupanqui:
http://www.atahualpayupanqui.org.ar/obrascompletas.html

 https://www.facebook.com/arturo.zeballos

Guitarra Construida por el luthier Fernando Estrada (2001)
Todo el material me fue suministrado  por el Señor Arturo Zeballos

Biografía de Atahualpa Yupanqui: http://www.atahualpayupanqui.org.ar/ata-bio.html
Hector Roberto Chavero Aramburo was born in Pergamino, a province around 200 kilometres away from Buenos Aires, on January 31st 1908. By the 1960's he was considered one of the most important Argentinian, and Latin American, folk musicians of all time.

Choosing not to showcase his family name on stage, instead, Hector decided to adopt the alias ofAtahualpa Yupanqui. A pseudonym combining the names of two legendary Incan kings. With a father hailing from Argentina and a mother descending from the Basque country, Yupanqui was blessed with a healthy cultural mix, which undoubtedly went some way towards fuelling his desire for travel.


His first musical experience was of playing the violin, but he would soon switch to guitar, and became something of a troubadour, singing folk songs as he travelled around Argentina. This was made possible by his early jobs of delivering telegrams and of working as a muleteer, which is to deliver goods by mule. Gradually the travelling would become more than just a job. He spent a lot of time in the northwest of Argentina and the Altiplano studying the Amerindian indigenous culture. Of particular note, in 1934 he took part in an ethnological study of the Amaichas Indians with Alfred Métraux. It was during these travels that he would learn rhythms such as the zamba, vidala and chacarera, that he would later popularise in his songs.

During this time, the young Yupanqui grappled with political ideologies and decided to join the Communist Party of Argentina. In 1931 the Argentine took part in the attempted, and ultimately unsuccessful, uprising of the Kennedy brothers, which resulted in the musician being forced to seek refuge in Uruguay. Yupanqui would not return to his native land until 1934.

Yupanqui first visited Buenos Aires in 1935, when he was invited to perform on one of the local radio stations at the time and it was shortly after this event that the Argentine met his long-time, collaborative, musical partner and future wife; pianist Antonieta Paula Pepin Fitzpatrick (nicknamed "Nenette"). "Nenette" accompanied Yupanqui for many years under the pseudonym of Pablo Del Cerro, creating vibrant and entertaining compositions. It was also around this time that he became a published writer, with Cerro Bajo hitting Argentine bookshelves in 1941.


Yupanqui's work suffered as a result of his allegiance to the Communist Party, especially during Juan Peron's presidency. The musician's work was largely censored and Yupanqui was even detained and incarcerated on many occasions during this period. Feeling dejected, the Argentine fled to Europe in 1949 and by July 1950, Yupanqui was invited to perform in Paris by Edith Piaf.

By the 1960's Yupanqui's work was widely recognised, especially by nueva cancion artists such asMercedes Sosa (who would in 1977 record her Mercedes Sosa interpreta a Atahualpa Yupanquialbum, devoted solely to his songs) and Jorge Cafrune who began recording his compositions. This made the Argentine very popular among the younger musicians who affectionately began referring to him as 'Don Ata'.

[...]

Atahualpa Yupanqui recorded over 12,000 songs, many of which are on labels that no longer exist, and are therefore out-of-print. This makes it very difficult to begin making any recommendations, however, the good news is that I've never heard a bad record by him. Mis 30 Mejores Cancionesand Solo Lo Mejor de are both recommended as strong collections of his songs. Piedra Y Camino: 1936/1947 on Discmedi records, focuses on his early days, and while it may not get great marks for its fidelity, is definitely worth investigating. Buenas Noches, Compatriotas... is a live recording, made in Mar del Plata in 1983, and despite quite annoying crowd noise is a good document of the man in his later life. Additionally, any of his recordings for Le Chant du Monde in the middle of his career are worth keeping an eye out for. Basta Ya! and Soy Libre are two such examples.