Educational Media Reviews Online

This affectionate documentary film (a direct transfer to DVD with no menu) contrasts the lives of Peruvian saxophonist and composer Julio Rosales Huatuco, shown worrying about making too much noise in his public housing apartment in Paterson, New Jersey, with musicians near his home in Acolla, a town the Central Andes Junin Region of Peru. Celebratory performances by whole bands of saxophonists, all men in suits and fedoras, occur nearly daily outdoors in the Montaro Valley province of Huyancayo, (also in the Junin Region). Via testimonies from a variety of musicians, viewers soon learn how vitally important saxophones are to the musical culture of this area and how Peruvian folk saxophone orchestras (an orqueta tipica generally also includes an Andean harp, at least one violin, and some clarinets) hope to travel to the US both to play and to buy instruments. As the program continues, Julio’s story broadens (he eventually does return home, where he is hailed as a famous musician), we meet one unusual saxophonist-conductor in Peru who would prefer to be a jazz soloist, and musicians tell of both rewards and hardships in their lives.

Although proud to be considered part of Peruvian ‘folklore,’ leaders of the orchestras notate new music, use sheet music when teaching, and promote the commercial and competitive image of their groups via matters of dress (ties, scarves, hats, suits). Musicians introduced in the program include Javier Unsihuay (whose group is known as the Ases de Huayucachi), Gady and Migdol Mucha (Selecta Mucha Hermanos), Manuel de la Cruz and Jaime Rodríguez (Super Ases de América) and both Marcial and Julio Rosales Huatuco (Los Engreídos del Perú). The film is in Spanish with English subtitles.

Questions remain: Although one Peruvian girl is shown taking violin lessons, are no women allowed to play saxophones or be members of any of the orchestras? Why was Julio Rosales denied permission to leave the US until filmmaker Goldenberg came into his life?

Goldenberg is described elsewhere as a journalist and anthropologist, but Sax Country is not true ethnography. The editing is done for effect: a tune begun in one location continues on the soundtrack while dancing is shown occurring elsewhere, for example. As soon as one Peruvian says he longs to travel, Goldberg cuts to Julio in New Jersey, complaining about life abroad. It’s too long to be an entertainment film; one bandleader even admits that listening to multiple saxophones playing in unison is boring. Though handheld cameras are used throughout, giving the film an ethnographic look, it is overproduced for authenticity.

Of limited value in education programs specifically centered on Peru.

Awards

• Special Jury Award, Festival de Cinema Peruvien de Paris, 2007