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Shamans of Peru: Ceremonial Chants, Icaros, and Music CD – MP3 Download from the Web

Shamans of Peru, Ceremonial Chants, Icaros, & Music

The haunting, plaintive music of Peruvian shamans was recorded at ceremonies in the Peruvian Andes and the Amazon rainforest.

The chants and icaros have an organic relationship to the medicine plants, and are primarily intended as devotional music for a ceremony. It is equally possible to listen to the hypnotically beautiful sounds in their own right and simply enjoy them for their otherworldly beauty.

The CD contains chants and dramatic effects of six different ceremonies with shamans. . Two ceremonies with San Pedro maestros working in the atmospheric ruins of Puruchucu; two ayahuasca shamans, a man and a woman, in separate sessions working in a jungle temple on the River Momon, outside Iquitos; a Shipibo shaman working in Yarinacocha, outside Pucallpa; and lastly, a despacho in the ruins of Pisaq, Cusco. In addition there are three tracks of atmospheric music played on pre‐Colombian instruments.


Download from the Web US $9.99


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Dominic J Marshall Trio: Icaros (2012)

A great CD by the Dominic J Marshall Trio titled ‘Icaros’. The music is really good, but the main reason why I’m posting is because of the Cover Art –  a painting by Pablo Amaringo ‘ Las Nalpeas del Renaco’. Although I’m on old Vinyl cover art Album fan I do have to say that the adaptation of the painting to the CD cover format is really outstanding (and the music is good!).

A Brief Summary narrative of the Painting ‘Las Nalpeas del Renaco’, featured in the bbok ‘The Ayahuasca Visions of Pablo Amaringo’ Inner Traditions (2011)

Las Napeas del Renaco – Nymphs of the Renaco tree

The renaco tree (Ficus trigona) you see growing here by a water fall is guarded over by napeas or nymphs looking like mermaids. The renaco is their temple, palace and sanctuary, where they dance and sing enchanting icaros of the matico plant, for example, which shamans use to craft shacapas or fans which they shake like rattles to accompany their icaros.

In the ayahuasca ceremony below, the maestro is smoking mapacho to intensify the mareación, or visionary effects of ayahuasca. This is shown by the radiant electromagnetic patterns around them.


Some reviews of the album;


By Bruce Lindsay
Published: September 16, 2012

Just who is Dominic J Marshall? A little bit of George Shearing, a spot of Esbjorn Svensson, a modicum ofRobert Glasper and a smidgeon of Neil Cowley are all present on Icaros, the second trio album from the young pianist. Lest this sounds like Marshall is a man who has yet to find his own voice, it’s worth stating at the outset that such a combination has blended together to create an individual sound: Marshall is Marshall.

Marshall comes from Bannockburn, a village in Scotland best know for a battle in 1314 which saw the Scots vanquish Edward II’s invading army. After studying at Leeds College of Music, Marshall relocated to Amsterdam, where he is now based. He released his debut trio record, The Oneness (Self Produced) in 2011, while in his parallel career as a beatmaker he’s released a series of recordings. Clearly, a busy musician. Just as clearly, as his playing and writing on Icaros demonstrate, a talented musician with an ability to mix contemporary hip-hop and electronic influences with those from recent decades of jazz history.

The pianist is blessed with a genuinely exciting rhythm section. Dutch bassist Tobias Nijboerand Latvian drummer Kaspars Kurdeko are tough, dynamic and imaginative players and deserve recognition for their part in creating the Trio’s distinctive sound. Kurdeko is readily able to contribute punchy and powerful beats, but he’s also a very melodic player. Nijboer is a fluid and creative pizzicato bassist while his arco work— heard all-too-briefly—is delicate. The pair can also swing with old school style, underpinning Marshall’s playing on “Sphere”—perhaps inspired by Thelonious Monk—with a rare elegance that matches the pianist’s own.

In the company of this excellent rhythm section, Marshall’s contributions as a writer—all of the compositions on the album are his—and as a player are consistently enjoyable. His solo opening to “Smile For Us” has grace and melancholy; on “The Basement,” he shifts from hard-hitting percussive phrases to jagged chords to funk with ease (and the help of Kurdeko and Nijboer’s superb rhythm playing) before ending with a minute or so of gentle classically-influenced playing; “Pointer” highlights the confident energy in his lower register work.

Marshall had just turned 23 years of age when he recorded Icaros in June 2012. He’s a precocious talent, still absorbing influences and experimenting with his approaches to playing and composition. Exactly where he’ll end up is not yet clear but he certainly has an approach to the piano trio that shows real promise for the future— particularly in the company of Nijboer and Kurdeko. Icaros is a fine album, a promise of even greater things to come.

Track Listing: Loose In Your Atmosphere; Pointer; Smile For Us; Sphere; Ojos De La Pastora; Makarska; The Way Of The Dinosaurs; Alongside Aliens; No Umbrella; The Basement.

Personnel: Dominic J Marshall: piano; Tobias Nijboer: double bass; Kaspars Kurdeko: drums.

Record Label: F-IRE Records | Style: Modern Jazz

Review from Tokyo Jazz Notes

Dominic J Marshall may not yet be a name familiar to most jazz fans around the world, but you get the feeling that this is something that could change in the not too distant future. Studying classical piano from a young age, he then switched to jazz, attending the Leeds College of Music and later at the Conservatorium von Amsterdam, where he is currently based.

Icaros is his second album release, his trio this time completed by Tobias Nijboer on bass and Kaspars Kurdeko on drums, with ten new original tunes that are both complex and accessible at the same time. At times there are shades of Canvas or In My Element era Glasper, as well as E.S.T., though the whole is very much Marshall’s own sound.
Loose In Your Atmosphere is the animated opening number, with Marshall providing some nimble work on the keyboards and the rhythm section given its chance to shine too.  From there it’s onto Pointer, with something of a slow head-nodding groove until the last minute or so where Marshall plays the tune out unaccompanied.
The solo piano continues at the start of Smile For Us, with its beautifully mesmerising melodies. The bass comes in at the minute and a half point building on the mood of the first half, but when Kurdeko joins on the drums the pace really picks up and Marshall explores lots of ideas with his soloing before the spotlight falls on Kurdeko for the climax of the tune, Nijboer’s bass underpinning the tune the whole way through. Most certainly on of the high points on the set.
Sphere shows that the trio feel equally at home with more traditional jazz arrangements as contemporary sounds, with the track swinging nicely in old school almost Monk-like style.
Ojos de la Pastora starts with some gentle introspective piano before switching into a more uptempo groove with some impressive solo work from Marshall and Kurdeko again featuring strongly as the tune builds up towards a climax before returning to the more subdued original theme.
The next couple of tunes have a very contemporary groove: The Way Of The Dinosaurs is a mischievous tune that is both playful and complex at the same time; and the catchy Alongside Aliens is another wonderful tune that warrants repeated listens.
Icaros is a strong album throughout highlighting both Dominic J Marshall’s strength as composer and performer, as well as the talents of the rhythm section. This trio shows enormous promise and the album is a delight from start to finish. Let’s hope that it attracts enough attention in Japan to warrant some tour dates here in the future. Without a doubt one of the best piano trio albums of the year.
Review from London Jazz
Dominic J. Marshall Trio – Icaros
(F-IRE CD 62. CD Review By Chris Parker)

‘Icaros’ are, according to pianist/composer Dominic J. Marshall, ‘songs […] learned directly from plant spiritsand/or received in dreams’ by shamans from South American rainforest tribes, and there is indeed a direct, vibrant spontaneity characterising the ten pieces he has composed for this, the second trio album released under his name (he has also issued, while he was studying at Leeds College of Music, a trio album under the name Tyratarantis).

Icaros features a different bass/drums pairing from the one on Marshall’s debut (The Oneness, reviewed elsewhere on this site), Tobias Nijboer and Kaspars Kurdeko respectively, and they bring a crisp, rattling, street-smart propulsiveness to his music, particularly to his trademark fiercely dramatic, tumultuous pieces featuring cascading, often downright grandiloquent piano.

There are also, of course, quieter moments in this rich and varied set, but at whatever tempo they set for themselves, the trio imbue their playing with all the inspired, fiercely interactive energy suggested by the album’s title, and Icarosshould be investigated by all those listeners already drawn to contemporary jazz-piano-trio music by the likes of Kit Downes, Curios, Alex Hutton et al.

Review from the Jazzman.com


The Original Painting by Pablo Amaringo

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Shamans of Peru – CD

Shamans of Peru CD, Ceremonial Chants, Icaros, and Music

Shamans of Peru CD, Ceremonial Chants, Icaros, and Music


Ceremonial Chants, Icaros, and Music

Shamans of Peru – Recorded on Eagle’s Wing Journeys to Peru

Contains chants and dramatic effects of six different ceremonies with shamans who have worked with Eagle’s Wing Groups. Two ceremonies with San Pedro maestros working in the atmospheric ruins of Puruchucu; two ayahuasca shamans, a man and a woman, in separate sessions working in a jungle temple on the River Momon, outside Iquitos; a Shipibo shaman working in Yarinacocha, outside Pucullpa; and lastly, a despacho in the ruins of Pisaq, Cusco. In addition there are three tracks of atmospheric music played on pre-Colombian instruments.

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Ayahuasca Shaman and Peruvian Mystic, Alonso del Rio Interviewed

Alonso del Rio interviewed by Howard G. Charing and Peter Cloudsley.

Alonso del Rio is a powerful maestro who interweaves Shipibo and other icaros with sacred music of his own to lead you on your journey; he is both a talented musician and an inspiring communicator of the Amazonian shamanic world. He first came into contact with ayahuasca in 1979 after spending three years working with huachuma (San Pedro). This was when he met Don Benito Arevalo, a grand Shipibo shaman with whom he developed a long relationship, and who gave him his first teachings in ayahuasca and other medicinal plants.

View from Mishana from Eagle’s Wing Plant Spirit Shamanism Retreat

Later, taking ayahuasca alone as part of his traditional teaching, he says: “I didn’t feel comfortable reproducing the chants that I’d learned with my maestro, so one night I picked up my guitar and began to play what came to me and the result was surprising. From then on I was never without my guitar at ceremonies and over the years many songs came to me, set to different rhythms for ceremonies and incorporating teachings and revelations from the medicine itself.” He has published three CDs to date. Alonso lives in the sacred valley of Cusco where he runs a healing centre and a primary school for local children.

The potential and purpose of Ayahuasca

For most traditional shamans, ayahuasca is a tool for diagnosing illness, and as curanderos, (healers) they will mediate with plant spirits to heal their clients both physically and spiritually. More ‘popular’ urban shamans can also use their magical powers to change your luck, for example attracting money or a lover.
On this retreat we would like to develop another aspect, perhaps even more serious, and use the plants as powerful tools for self knowledge. Amongst all the spiritual paths that the world offers, Alonso believes that, at this time, teacher plants are the best way for people to gain a deep knowledge of themselves and at the same time this can solve some problems that other paths cannot.

During his 30 years experience with ayahuasca and San Pedro, Alonso never wanted to be a shaman or attain magical powers but rather gain self development through self knowledge. He will share his discoveries to help us ‘undo’ the mental programming and the cultural conditioning (family and ancestral) which models our minds. Ayahuasca is a powerful tool for being happy and free, says Alonso.

The retreat we are holding with Alonso, could equally suit a person who has some background in Buddhism, yoga or mysticism.

It is a space for having contact with divinity without intermediaries or interpretations. Ayahuasca allows you to be gently introspective, to see your fears, worries and everything that makes you suffer! It can take you back through your life to show you at what moment the suffering took hold in your body and in your memory, how it has made you live on a superficial level because underneath there is too much pain, and as we don’t want to feel pain, how we condemn ourselves to living on the surface. With ayahuasca we can enter the pain at the time when we were children, when we experienced the first traumas and agonies of life, and cleanse it by forgiving the whole chain of events and the people who made us suffer. Traumatic experiences are inevitable in life, but what we cannot afford to do is live with resentment and blame people, as this ruins our relationships.

Some people may not be satisfied with the life they lead. Ayahuasca enables them to see their priorities. Is it following a spiritual path that you want most, or making money? Do you want to start a family or do you want to pursue your career? Constantly doing what is expected of us we cause suffering. The answers are all inside us. We must live by what we profoundly want. Ayahuasca clarifies your priorities and feelings, which are neither good nor bad in and of them selves.
Conversation with Alonso

There are many myths about the origin of Ayahuasca and there is even one which has been growing fast in the West, that Ayahuasca is what we need to get us out of the mess we’re in! But can it work for Westerners the same way if they are outside the cultural context and all the associated beliefs that go with it?

I think it works but its different. The mind of a person brought up in the selva without much contact with the Western world, probably born about 50 or 70 years ago, as are the majority of traditional maestros, have lived without watching TV and other Western influences. His mind is very different from your or my mind. So to have access to the same visions, the same codes is difficult. But what I have found is that the expansion of the consciousness and the power that the plant gives you to understand many things is perfectly valid.

The magical space to which we are taken – call it the ‘unconscious’ or any term you want to use depending on your psychological model – is one where all the kingdoms of nature can communicate. That is people can talk to plants, and plants with minerals, minerals to animals and animals with humans… all in the same language. It is a very real communication and one of the greatest mysteries which exists. This is something which an English person, or a Peruvian born in Lima can experience just as an Amazonian person. Because you can do it without speaking in a native dialect, it doesn’t go through the mind but between one spirit and another.

Some Westerners have done themselves harm by not respecting the diet properly, and some have tried to make special exceptions for foreigners.

Yes its true, and the main point they have missed is respect, respect for a tradition. Its not that there is one diet for a native and another for a Westerner. There is one diet not two! Its more than what you eat, its sex and other things too. Otherwise anyone could come along and pretend that it was a bridge to a wonderful sexual experience! There is no limit to the imagination of some New Age gurus. If you follow these traditions which have been tried and tested for thousands of years and then you want to make modifications, then probably you can do it. But first you need the nobility to undergo the full rigors of the tradition, then you can have the authority to alter things for your people. But if you can’t hack doing a proper diet, then you are not in a position to underrate it.

There was a group of Germans who after sessions with Guillermo, would go to the disco, assuming they had come down from the effects of the ayahuasca. They would dance to the very loud music. It gives you an idea of how mistaken you can get from not respecting the tradition. You need to prepare your mind and body to receive all the information which comes to you, otherwise it might destroy you like lightening burns up a tree.

As you continue to work with plant diets, you have more intense experiences, and at the same time you develop a greater capacity to resist them, until you can take the strongest plants and live more in the other reality and to be able to return to your self, to your body.

Alonso relates an Ashuar Myth

In the time of the ancestors there was a ladder, like a rope which connected the world of the Ashuar with the upper world. Here lived other beings just like the Ashuar but they were spirits. These beings were very powerful and could transform themselves into anything they wanted. One day Moon-man cut this ladder so that the people could no longer communicate with their spirits above, and thus they lost their power. Moon man refers to the way of relating to all things in everyday reality through the mind. This is what gives ‘everyday reality’ its often disempowering quality, ‘its out there and we cannot change it’. In other words the mind came between man and the spirit world. The Ayahuasca is the broken rope, but it is always there.

In all cultures there is a recollection of an era when people could talk with the spirits directly. Then civilization arrives, and holds reason as the highest human achievement. What is not rational, does not exist, and that is what has reigned until today. For 2000 years we have suffered this kind of tyranny of reason. If its not logical its not worthy of us. The next step in our evolution is the reconciliation of these two things, and will be the union of reason with intuition. It will generate a new development in humanity leading to other states of consciousness and knowledge.

So what are we to make of taboos, supposedly irrational, but they must have served some purpose because our ancestors were not stupid?

In some cases they may have become distorted in some way but generally they come from something real, so its best to respect them without rationalizing them. If we try to do that we are already on the wrong track.

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