Inti-Illimani (Ayamara dialect: Inti - sun; Illimani - mountain near La Paz, Bolivia and pronounced Inte-E-gee-mane). For three decades Inti-Illimani's music has delighted audiences around the globe. Wedded in traditional Latin American roots and playing on more than 30 wind, string and percussion instruments, Inti-Illimani's compositions are a treasure for the human spirit. Their synthesis of instrumentals and vocals captures sacred places, people's carnivals, daily lives, loves and pains that weave an extraordinary cultural mural.
2008, is the year of the creation of Inti Illimani Históricos ´Esencial¨,.
¨Históricos¨, Esencial: the  essence of the band.
Horacio Salinas, guitars, composer and arranger of almost all themes.
Horacion Duran, charango, the historic image of the band with his famous white ¨Panama¨ José Seves, the voice of Inti Illimani, from ever and for ever
Jorge Ball, the excellent multi-instrumentist of the band, genius of the cuatro guitar besides 3 young excellent Chilean musicians,  are Inti-Illimani Históricos,.
This new step wants to look forward to new ideas and keep the best of the wonderful history of the old Inti Illiman; and the best way to inaugurate this new direction has been the last Chilean tour with guitarist John Williams, one of the most fascinating musical collaborations of  Inti Illimani´s history.
Known for their open-minded musical approach, the "Intis" had a much different mission in mind when they met in the 60's at Santiago Technical University - to become engineers. Luckily for the world, their love of music encouraged their restless souls to explore the indigenous cultures of Chile, Peru, Bolivia, Ecuador and Argentina. In some of the poorest, purest and most ancient cultures they discovered Andean music and in a sense their roots. Inti-Illimani's music became Latin America's visceral link between pueblo and people, vivified in Nueva Canción. In 1973, Chilean President Salvador Allende was deposed while Inti-Illimani was on tour. The young musicians found themselves without patria or passport. Italy became their home for the next 14 years; they were warmly welcomed back to Chile in 1988. Many of us remember Inti-Illimani as South America's ambassadors of human expression. Their unique sound -- forged with passion and poetry -- became a mantra for peace in a world torn by turmoil. They have appeared on Amnesty International stages with Bruce Springsteen, Mercedes Sosa, Sting, Wynton Marsalis and Peter Gabriel.
Of these years Jorge Coulon, in an interview stated: "We have never been so political that it was propaganda. We are not a political group in that sense, but we have always been politically engaged. We have a concept of society and about the relationships between human beings, and we try to translate our ideas into our sound, not to be part of one political party or another but in the sense to bring about a better world." Now 33 years and over 30 albums later, Inti-Illimani's music, influenced by their numerous encounters with other cultures, has illustriously evolved with powerful poetry and provocative instrumental textures. 1999 recordings include: Sinfonico (a selection of ten works arranged for Inti-Illimani with orchestra), Amar de Nuevo and La Rosa de los Vientos (a 33 minute cantata for Inti-Illimani, orchestra and chorus). From last season through March, 2000 Inti-Illimani has toured Italy (4x), Germany, Spain, England, Canada (2x), the United States (3x), Mexico and throughout South America; given benefit performances for the Victor Jara Foundation in London and Glascow, performances at WOMAD USA, with the Vancouver Symphony and the Edmonton Folk Festival and tours of North America, New Zealand and Australia with Paco Peña and Europe with Paco Peña and John Williams. The most nominated artist at the 1999 Entertainment Journalist Association Awards Ceremony in Santiago, Inti-Illimani came away with Best Album of the Year for La Rosa de los Vientos
Inti-Illimani spun a mesmerizing blend of South American, European, and other geographically diverse influences, walking a line between political folk music, endemic instrumental traditions, and classical instrumentation and arrangements.
Dirty Linen Magazine Inti-Illimani has used time to continue evolving with the creation of a charismatic style, highly sophisticated, but without loosing any of their original essence.
Pagina 12 (Buenos Aires)
The concert given by Inti-Illimani on Saturday night in sold out Lisner Auditorium was enough to raise anyone's spirits - a program full of melodic energy, rhythmic vitality and the exotic timbres of dozens of Latin American instruments.
Washington Post
Inti-Illimani is like a talisman. The longer it's around, the more polished it becomes, the more it shines and reflects, and the more memories it collects.
Chicago Tribune
Inti-Illimani's voices are strong, especially when all seven musicians are singing in unison, harmony or counterpoint. The string work is excellent, with intricate arrangements that sometimes fit together in a socketlike manner.
The New York Times