Then there is the Venezuelan poetry of Aquiles Nazoa, deceased. Before his life was cut short by an automobile accident, Nazoa was a prolific writer.

Horacio Salinas never does explain (in his book) how he first came across Nazoa's poems. He was a young adult when he acquired, in Chile, a "slender pamphlet of about 80 pages", all by Nazoa, poetry for children or about childhood.

Salinas does admit, in his biography, to a powerful attachment to this small book of poems. He goes on to say that when Inti-Illimani found themselves in exile, in Europe, the little book was back in Chile with family or friends. He persisted, long-distance, in petitioning his loved ones in Chile to send Nazoa's booklet to him in Italy! And eventually they did.

Two of the Travesura songs are Nazoa poems set to music by Horacio Salinas, and intended to emphasize the theme of children and childhood, and the playfulness and mischief "travesura."

"Lineas para un retrato" is one, with the entire "chorus" of singers. The one I prefer is "Mi papá y mamá."

Horacio Salinas, whose singing voice heretofore concealed itself in the chorus, sings the latter song, supported by the chorus. He has the thinnest, most nasal little voice to sing with -- he sings true, but it just isn't more than a very modest instrument, like speaking on pitch.

But when he sings/speaks Nazoa's words praising his papa and his mama, it is really affecting. And the music is deceptive; it sounds simple, but it gets under your skin.

Oh, and that is Camilo Sanchez, Horacio's adult son, playing the keyboards: born and raised in exile.