Mary's Sound Bytes

Welcome To Mary's Sound Bytes

pugspeak@sbcglobal.net (Mary Crissman) — Fri, 11 Apr 2008 07:52:00 PDT

Welcome to Mary's Sound Bytes. Each week, we will review (and hopefully appreciate) a song and/or artist. This song could be from any genre, any era. It could be Latin or Classical or 60s pop. The sky's the limit.

I am a lifelong music lover. While my tastes lean toward Latin anything (even some Latin rap), I love big band, 40s, 50s, 60s crooners, easy listening (as long as it's not elevator music) jazz, classical, pop, rock, broadway tunes, and new age. Our home collection is extensive and eclectic, to say the least. You'll find Brahms (my favorite classical composer) as well as Perez Prado, Gipsy Kings, Ottmar Liebert, Astor Piazzolla, Bobby Darin, The Beatles, Barry Manilow and Donna Summer.

Without waxing too poetic, I will say music is a friend and companion that goes on the journey with you. It's rare to find a situation where music does not fit in. And it's also the chocolate elixir that fires up the endorphins and energizes the soul. For me, music is an art form you can hear and feel and I want to share that with our readers.

Music began for me back in the late 50s. I discovered, in the attic, a stack of 45s. They became my Nintendo, for that era.

The record collection included Rosemary Clooney, Perez Prado, Dean Martin, Bobby Darin, Kay Starr, Georgia Gibb, Teresa Brewer, Connie Francis, Vic Damone, and Jerry Vale. There were a few 33 rpm albums as well. One, in particular, was called Honeymoon in South America. I recall one song - El Manisero - The Peanut Vendor. I was hooked!

Back to the 45s - from the day I played my first Rosemary Clooney, she has remained my favorite singer of all time. I recall several 45s with Rosemary and (in my opinion), the Mambo King - Perez Prado. Hearing Perez Prado's work was my defining moment for the love of Latin music. Many years later (1979) I actually found the vinyl album - Touch of Tobasco in a Kansas City area music store. That was a happy day and I wore the grooves off that wonderful, old album. Fortunately, we have CDs now and it was thrilling to discover Touch of Tobasco again. The CD recording is flawless and it epitomizes the very best of Rosemary and the unquestionably infectious mambo stylings of Perez Prado.

That being said, my first selection for this music blog is Little Spanish Town from Touch of Tobasco. Enjoy!

For more information on Rosemary Clooney (May 23, 1928-June 29, 2002) click here.

There are some wonderful clips on YouTube of Rosemary Clooney performances:

http://www.youtube.com/watch?v=exmVlbAQAg4

http://www.youtube.com/watch?v=bmKqbjQBG0I&feature=related

http://www.youtube.com/watch?v=bzUfmh3G9AE

For biographical information on Damaso Perez Prado (Dec. 11, 1916-Sept. 14, 1989), click here.

Here's some clips from YouTube:

http://www.youtube.com/watch?v=jr-Nkfeeues

http://www.youtube.com/watch?v=71ccPegibAI

Next week's pic - El Negro Zumbon - there's a fascinating story behind this song!

El Negro Zumbon - This Week's Song Selection

pugspeak@sbcglobal.net (Mary Crissman) — Mon, 14 Apr 2008 13:58:00 PDT

El Negro Zumbon has been performed by a number of artists over the years including Perez Prado, Xavier Cugat, Abbe Lane, Lolita Garrido, Amalia Rodrigues, and the first being the late film actress, Silvana Magnano. It's the kind of tune you've heard from time to time - it's very familiar and tends to linger in your head long after. And there's an interesting story behind this song:

El Negro Zumbon was actually born from the 1951 Italian film, Anna. And if you research the song, you'll find it is generally titled El Negro Zumbon (Anna). In the movie, Silvana Magnano plays a nun working as a nurse in a hospital. When two former paramours have a shoot-out in the hospital, Magnano's character, Anna, reminisces about her former life as a nightclub performer. As she cares for one of the former lovers, she has second thoughts about her calling but decides to continue her spiritual life.

Here's a YouTube clip from the movie, Anna - http://www.youtube.com/watch?v=j-HNZLg6ntI

Now back to the song: First, a translation of the lyrics -

Here comes the black man
Happily dancing ‘the baion’
He plays the drum
And calls to the woman

Here comes the black man
Happily dancing ‘the baion’
He plays the drum
And calls to the woman

I feel like dancing this new beat
When they see me pass by, they ask:
“Girl, where are you going?”
I’m going to dance… ‘the baion’

Admittedly, the lyrics are pretty simplistic and so often lyrics are just that. But they inspire a mood - particularly when you hear the music.

The version we've posted this week is one of the newest renditions of El Negro Zumbon - performed by Portland-based group Pink Martini. They have dubbed themselves - musical archaeologists - and I would have to agree. Their three albums - Sympathique, Hang on Little Tomato, and Hey, Eugene - gives us a musicological history lesson as well as a veritable potpourri of tunes that have or may become a part of your life. And there are some tantalizing bits of trivia behind many of the songs Pink Martini chose for their albums. As time goes by, we'll revisit the songs - and the stories.

Next week - Ottmar Liebert!

Translation courtesy of alwaysontherun.net

Nouveau Flamenco With Ottmar Liebert

pugspeak@sbcglobal.net (Mary Crissman) — Fri, 18 Apr 2008 09:08:00 PDT

The first time I heard (or heard of ) Ottmar Liebert, I was standing in the television department of Best Buy a few years back. We were shopping for a new TV and I heard this wonderful music coming from the next aisle. I actually had goosebumps on my arms and that's always a good indicator for me. If I break out in goosebumps, it must be good!

We wandered over and there was a music video playing on that row of televisions. Images of the southwest desert flashed and as the guitar riffs became more intense, I knew I would have to find this CD. At the end of the video, the credits appeared: Barcelona Nights by Ottmar Liebert. It was fortuitous that we happened to be in a store that also sold CDs. After determining that Ottmar Liebert is catalogued under New Age, I found the CD, Nouveau Flamenco.

Since that time, I have pretty much purchased all of Liebert's albums and if I had to sum up his work in a word, it would be extraordinary.

If you explore the music label - Luna Negra/Higher Octave Music - you'll find a plethora of superb artists, but I think of Liebert as, by far, the best. He has a way and a gift with classical guitar. The only other person I have ever encountered with such incredible guitar skill is my husband, Lowell. And I can say this with confidence because I a. worked in the music industry for years; and b.I have been acquainted with guitarists most of my life.

Esteban has his moments, but I do take issues with some of his cover songs and we'll save that for another day.

Liebert has an interesting musical history - for more on his work and albums, click here - http://www.ottmarliebert.com/.

While Liebert is often found in the New Age section of music stores, I suspect he is instrumental (no pun intended) in fueling the genre - Nouveau Flamenco. At one time, you found the genre Flamenco (originated out of Spain's Andalusia region) which included legends such as Sabicas and Segovia. And the Nouveau Flamenco genre, in a manner of speaking, transcends beyond Flamenco - or at least takes it to the next level.

If you are new to Ottmar Liebert, I recommend starting with the Nouveau Flamenco CD. Barcelona Nights, Santa Fe, and 2 The Night are exquisite works. The CD Borrasca features a soul-stirring La Rosa Negra (guaranteed to add goosebumps). The Rumba Collection features two of my favorites - Havana Club and Montana Walking. And on the Santa Fe Sessions, check out Sao Paulo. Or you could just buy them all.

To see a snippet from YouTube, click here - http://www.youtube.com/watch?v=CCRw9wtVCAs.

I could go on and on, but it might be best to let you check out Liebert yourself - Happy Listening!

Next Week - Libertango and Astor Piazzolla.

Libertango, Tango, and All Things Argentina

pugspeak@sbcglobal.net (Mary Crissman) — Fri, 18 Apr 2008 14:22:00 PDT

My fascination with all things Argentina and South America began in 4th grade geography. Mrs. Tully didn't just recite statistics such as population and annual average rainfall. She created a snapshot for the mind's eye. As she explained to the class, she had traveled extensively over many continents and was particularly taken with South America. Even at the age of 10 or so, sitting in her class, I could almost conjure the image and power of an intense metropolis such as São Paulo, Brazil or the beauty of Buenos Aires, Argentina.

Later on, I began researching and collecting Tango music. As with anything, you begin at the beginning and that's what makes tango so intriguing. Here's a brief overview: It is said that tango was born (about 1890) of the barrios and working class from the port cities of Buenos Aires, Argentina and Montevideo, Uruguay. It is a compilation of many key elements - the milonga and candombe of Uruguay, as well as from the African influences in Buenos Aires. You could say the tango is built on a melting pot of ethnicities. And many of Buenos Aires inhabitants were European immigrants. Many cultures essentially had a hand in or contribution to this dance and music.

There is much discussion as well that tango began in the brothels. Some argue, on the one hand, that girls were kept busy and did not have time to dance. There was a shortage of women in Argentina at that time - needless to say, women were in demand. But somewhere along the line, the upper class caught wind of tango (and this may be a result of upper class visiting brothels) and as the bandoneon was brought into the tango mix (this instrument was imported from Germany), musicians and tango dancers from Argentina began traveling to Europe. Not long after the turn of the last century, it was all the rage among the elite in Europe, though still shocking to an extent in the US. Modified versions of the dance were created and that has ultimately evolved into our American ballroom tango of today. Personally, I think this version of tango is too homogenized and if anything, has made a joke of the tango - ala Fred Flintstone. Why do a half-hearted tango, when you can learn the real-deal meal which is vastly more exciting? But I digress...

By 1916, pianist and composer, Roberto Firpo, presented La Cumparsita (which was composed by Gerardo Mattos Rodriguez) for an audience in Montevideo. La Cumparsita is likely the most famous tango of all time.

Enter Carlos Gardel, who became an Argentinian icon as the quintessential tango singer. Gardel sold many hundreds of thousands of records worldwide, toured much of the planet, and was adored by all of South and Latin America and much of the world. He died in 1935 in a plane crash over Colombia and fans from every continent mourned this loss. Here's a clip - http://www.youtube.com/watch?v=Aa_N71VXQnM with Gardel performing Mi Buenos Aires Querido.

Now we fast-forward to Astor Piazzolla (creator of nuevo tango), born in 1921 in Mar del Plata. At the age of eight, he received his first bandoneon and by the early 1930s, Piazzolla had studied under Bela Wilda (who was called a disciple of Rachmaninov). Piazzolla had received exposure to other musical influences - jazz as well as classical. These factors helped develop Piazzolla's interpretations of tango. In fact, there is so much more to this story, so I'll direct you to this link - http://www.piazzolla.org/biography/biography-english.html. It's fascinating reading!

In 1973, came Piazzolla's Libertango - my favorite of all the tangos (and there are many to choose from). I've heard other versions of Libertango over the years and while some are very good, nothing really compares to the original. I will point out a Buenos Aires group - Viceversa - they do a kick-ass, edgy version laced with elements of jazz. And the same can be said for Bond's version. I even enjoy the kinky Grace Jones' lyrical version - Strange - which was popularized in the movie Frantic. Needless to say, some Libertango covers are like coffee you can see through - weak, limpid and lack flavor.

To get a wonderful and awesome sense of Libertango, check out this clip from Sally Potter's The Tango Lesson. http://www.youtube.com/watch?v=rj6rCbUcnxc. The incomparable Yo -Yo Ma is featured as cellist to Piazzolla's rich and passionate tango. The first time I saw this movie and this scene, I experienced one of those defining moments - and on a scale of 1 to 10, the goosebump factor was at 12!

Also, another clip - http://www.youtube.com/watch?v=9vlJcA9YV7I - enjoy!
Next time- The Gipsy Kings!

Rumba Gitano - Meet the Gipsy Kings!

pugspeak@sbcglobal.net (Mary Crissman) — Tue, 22 Apr 2008 12:29:00 PDT

The story of the Gipsy Kings is as intriguing and engaging as their music. And when you listen to their songs, you find yourself smiling, feeling giddy, and moving to the rhythm of mellifluous guitars and joyful lyrics.

You'll see various genre names for this music - rumba gitano (gipsy rumba), rumba catalana, nouveau flamenco, and Rumba Flamenca. I found one description - Spanish flamenco with Romani rhapsody meet salsa funk. That works too. It all works for me.

The Gipsy Kings are comprised of a blending of two families and an even richer history. Having fled Spain during the Spanish Civil War, the Reyes family and the Baliardos family settled in the south of France - Arles and Montpellier. These regions are fertile with history, wine, and once hosted such artists as Van Gogh, Cezanne, and Gauguin.

The story actually begins with family patriarch, Jose Reyes, who performed with Manitas de Plata and was backed by the Reyes sons. Their brand of flamenco brought recognition worldwide and their fan base included John Steinbeck, Pablo Picasso, and Salvador Dali. In fact, going to Picasso's home or sitting around a campfire with Picasso was a typical day. And one of the things that makes the Gipsy Kings so enigmatic and charming is precisely that-they are just regular guys who are doing what they love and happen to be extraordinarily talented.

After Reyes passed, the Reyes sons met the Baliardos sons while at the St Marie de la Mer Gitan pilgrimage. The pilgrimage is an interesting story unto itself, so I've inserted a link of its history.

Armed with guitars and wine, the two families - Nicolas, Canut, Paul, Patchaï, and Andre' Reyes and Tonino, Paco, and Diego Baliardos played their music and began a new chapter. As with many musicians throughout history, they started out performing on street corners, at parties and weddings. Not long after, they renamed themselves The Gipsy Kings (Reyes meaning Kings in English).

Their first album titled Gipsy Kings came along in 1987 and the world was introduced to a brand new sound - the melding of rumba and flamenco. Many, many albums and concerts later, the Gipsy Kings are a household name on virtually every continent . It was tough deciding which song to feature, so I picked two - Djobi Djoba and Pida Me La. And I've included other concert performances and videos:

http://www.youtube.com/watch?v=oNgSeJzLJFc
http://www.youtube.com/watch?v=sNg8Fj1YY5g
http://www.youtube.com/watch?v=LweA7NLPB0c
http://www.youtube.com/watch?v=CyOq7IjUeUc - this one discusses the Gipsy Kings' relationship with friend, Picasso.
http://www.youtube.com/watch?v=wy_qDS7WGHU
http://www.youtube.com/watch?v=AyCqZyggtWE&feature=related

I can't even begin to suggest which album to buy first. They are all good and the best solution is to buy them all!

Happy Listening and viewing!
Next time - A Mighty Wind

A Mighty Wind - Lampooning Gives Way For Serious Music

pugspeak@sbcglobal.net (Mary Crissman) — Mon, 28 Apr 2008 13:01:00 PDT

One of the many enjoyable aspects of writing this blog is that we can look at any and all kinds of music. There are so many genres to choose from and appreciate and I could probably spend the next few years writing and never run out of musical subject matter.

This week, I want to detour over to something completely different - American folk music, circa the late fifties and early sixties. Many and most cultures have their folk music - by definition: folk music is music originating among the comon people of a nation and passed down orally.

Many babyboomers will remember, with fondness, groups such as Peter, Paul, and Mary; The Limeliters, The Kingston Trio, Joan Baez, Pete Seeger, The New Christie Minstrels, Judy Collins, Ian and Sylvia - just to name a few. And I suspect many of you remember the TV show Hootenanny. It broke new ground for television and helped showcase the increasingly popular Folk genre (of this era), but unfortunately, it failed partly under the weight of politics and McCarthyism shenanigans. The instant Pete Seeger was blacklisted from the show, many folk acts boycotted future appearances. From that point, the Beatles came on the scene and folk music segued towards folk rock.

In 2003, the writing duo, Christopher Guest and Eugene Levy, brought to the screen, A Mighty Wind. And it got us to thinking about folk music once again.

As many of you are aware, Guest and Levy are not only incredible actors, but have collaborated on a number of documentary-style spoofs or parodies- including Waiting for Guffman, Best in Show and For Your Consideration. They have a wonderful way of picking a topic, building a movie around that topic (in documentary fashion), exposing the humorous side of the subject while featuring a tightly syncopated core ensemble of actors. In the case of A Mighty Wind, the story centers around folk musicians who agree to reunite (some 40 years later) for a show in New York City - as tribute to their recently deceased former manager. The movie focuses on three groups - Mitch and Mickey (played by Levy and Catherine O'Hara); The Folksman (performed by Michael McKean, Christopher Guest, and Harry Shearer); and The New Main Street Singers (which includes John Michael Higgins, Jane Lynch, and Parker Posey).

Sure, there is plenty of lampooning and poking fun at folk groups (at least these particular characters). The movie is incredibly funny, facetious and witty. The writing is snappy and fresh, and the characters are a hoot. But the point of this week's blog is the soundtrack to A Mighty Wind. All fun aside, the music is serious and done quite well. Many of the songs from the movie were penned ( in various combinations) by Guest, Levy, McKean, McKean's wife, actress Annette O'Toole, and Shearer. And many of these performers are solidly skilled on the guitar, banjo, mandolin, and acoustic bass. And best of all - they can sing! I've selected two songs from the soundtrack - Old Joe's Place (performed by McKean, Guest, and Shearer) and A Mighty Wind (which was performed by the entire ensemble).

I recommend both the movie and the soundtrack! Enjoy!

Next Time - Meatloaf - (Let me sleep on it...)

Meat Loaf - Not Just Another Dinner Entree

pugspeak@sbcglobal.net (Mary Crissman) — Thu, 08 May 2008 04:49:00 PDT

Over three decades have passed since the debut of Meat Loaf's Bat Out Of Hell album. Several albums, movies, and tumultuous lifetimes later and Meat Loaf not only endures, but has left a permanent imprint on the rock genre.

Born Marvin Lee Aday (and it is said he has since changed his legal name to Michael Lee Aday) in Dallas, Texas, Meat Loaf began his career playing in local bands. His debut album, Bat Out of Hell, (1977) was the result of the infamous collaboration between he and songwriter/lyricist Jim Steinman (and that's a story in itself). What made this album a standout? For starters, every song not only tells a story, but does so in full-blown rock opera fashion. But notably different than say Britain's Queen who actually started a few years earlier. Bat Out Of Hell - at the time -was sort of a blue-collar, down and gritty collection of coming-of-age songs.

As many of you already know, there are some interesting historical tidbits about this album: Todd Rundgren produced this album and was lead guitarist. If you look at your liner notes, you'll see other recognizable names: Edgar Winter, drummer, Max Weinberg, and singer/actress Ellen Foley.

Meat Loaf's life story reads much like his songs - with all the extreme highs and lows. It might be best to read the details directly - http://en.wikipedia.org/wiki/Meat_Loaf. And for a Meat Loaf video, click here - http://www.youtube.com/watch?v=GOAo43KzMIs.

In the meantime, we feature Paradise By the Dashboard Light as our song pic of the week.

Next time - Bobby Darin!

Beyond the Sea and Back Again

pugspeak@sbcglobal.net (Mary Crissman) — Mon, 02 Jun 2008 04:03:00 PDT

How did we get from Meat Loaf to Bobby Darin? Good question! That's the beauty of this blog - you never know what's going to happen next!

First off, let me refer everyone to the 2004 movie, Beyond the Sea, which was directed, co-written and produced by and starred Kevin Spacey. While it is said the movie is not wholly accurate, I suspect Spacey gave a pretty fair account of Walden Robert Cassotto's life. And listening to Spacey croon the tunes - WOW. It's almost scary!

The biographical movie is full of energy and guts and that is wholly accurate of Darin's performances.

Bobby Darin's music evolved - from teen heart throb performing Splish Splash and Queen of the Hop (both 1958), Dream Lover (1959), then taking Mack the Knife (from Kurt Weill's Threepenny Opera) and giving it a slick, jazzy facelift.

Darin followed that up with Charles Trenet's beautiful yet sleepy La Mer - Beyond the Sea (1960). Beyond the Sea was transformed into a full-out jazzy, upbeat production. (You may want to note Spacey's Beyond the Sea musical sequence in the movie - once again - wow.) After cutting Beyond the Sea, Darin began to set all manner of attendance records at the Copacabana nightclub in NYC. And this made him a hot commodity to headline in Las Vegas.

Later in 60, Darin came out with one of my favorites - Artificial Flowers -another jazzy, fun tune that turns itself into a full-blown mega-performance. By this point, Darin was leaning towards show tunes which fit in well at the time with the Vegas scene.

Later in the 60s, Darin turned to folk music and this was fueled particularly by the assassination of Robert Kennedy.

Darin battled health issues his entire life - a damaged heart as a result of rheumatic fever. Darin passed in 1973.

This week we feature Bobby Darin's Beyond the Sea and Kevin Spacey's version of Bobby Darin's Artificial Flowers.

And here's a look at Bobby Darin from Youtube - http://www.youtube.com/watch?v=4Qrjtr_uFac
as well as a montage of Bobby and wife, Sandra Dee set to the song, More - http://www.youtube.com/watch?v=2B0tiLMhJjo&feature=related.

And a fantasy sequence scene from the movie - Beyond the Sea - http://www.youtube.com/watch?v=GbcjW9SQabc
Enjoy!
Next Time- Ritchie Valens!

The Day The Music Died

pugspeak@sbcglobal.net (Mary Crissman) — Sat, 21 Jun 2008 04:56:00 PDT

Yes, it's a line from the song, American Pie, and maybe even a cliche, but when Ritchie Valens, Buddy Holly, and J. P. the Big Bopper Richardson's chartered plane went down in a cornfield shortly after takeoff, a bright light in our musical history went out as well.

Ritchie Valens, born Richard Valenzuela May 13, 1941, grew up in the San Fernando Valley listening to a combination of Mexican Mariachi, Flamenco and R&B. There were influences from both sides of the border and Ritchie loved them all. And even though Ritchie was left handed, he was so eager to learn to play guitar, he adapted and was soon performing for his friends at Pacoima Junior High School.

At 16, he joined a local band known as the The Silhouettes.

It was apparent that Ritchie had talent as a singer and guitarist - enough so to be approached by the president of Del-Fi Records, Bob Keane.

The name change came to broaden his appeal. Remember, this was the late 50s and unfortunately, we (as a people) tended to play down the ethnicity of a performer. And partly, to homogenize and make the performer a household name. In a sense, Ritchie Valens was a simplified version. Another case in point: Connie Francis was born Concetta Rosa Maria Franconero. Armand Catalano became actor Guy Williams. Sure, easy to remember on the one hand, but how American sounding is that? What happened to America - the melting pot??

But I digress...

Ritchie's music was energized and there's no doubt he inspired future Latino performers - Los Lobos and Carlos Santana and Los Lonely Boys as well as Selena Quintanilla-Pérez. La Bamba, a Mexican folk tune became Ritchie's signature song- and for Ritchie - possibly the first Latino to cross over into mainstream rock and roll. He set the bar and I guarantee - no matter what you are doing or where you are, when you hear the first riffs of La Bamba, you can't help but smile and move to the beat and sing along to the lyrics.

I've included the lyrics to La Bamba as well as the tune itself:

Para bailar, la bamba
Para bailar, la bamba
Se necesita una poca de gracia
Una poca de gracia pa'mí y pa' ti
Ay Arriba y arriba
Ay arriba y arriba por ti seré
Por ti seré
Por ti seré

Yo no soy marinero,
Yo no soy marinero,
Soy capitan
Soy capitan
Soy capitan

Bamba, bamba
Bamba, bamba
Bamba, bamba, bam

Para bailar, la bamba
Para bailar, la bamba
Se necesita una poca de gracia
Una poca de gracia pa'mí y pa' ti
Ay Arriba y arriba
Ay arriba y arriba por ti seré
Por ti seré
Por ti seré

Bamba, bamba
Bamba, bamba
FADES
Bamba, bamba

I've also included Come On Let's Go for your listening enjoyment.

That fateful day, February 3, 1959, Valens, Holly, The Big Bopper and several other musicians were performing the Winter Dance Party tour. The next stop was Fargo, ND. The bus had broken down, winter conditions were taking a toll on everyone. (To some degree or another, several had colds or flu) Holly chartered a Beechcraft Bonanza that seated four. Waylon Jennings gave up his seat to Holly. Ritchie, who overcame a fear of flying won (or lost) the coin toss to take the plane.

To this day, I wonder just how far this talented young man would have gone, had he stayed in Iowa for the night. Ritchie Valens was a star and his memory still shines today and hopefully for generations to come.

I encourage everyone to view the movie La Bamba, starring Lou Diamond Phillips.

Also I've included some Youtube clips - a tribute to Ritchie Valens -
http://www.youtube.com/watch?v=8nVHaw-xYKA

And a performance by the Gipsy Kings -
http://www.youtube.com/watch?v=T4f75F1YbJ8&feature=related

And by Carlos Santana and Los Lonely Boys -
http://www.youtube.com/watch?v=4COLJ5tBUr0&feature=related

And a clip from the movie -
http://www.youtube.com/watch?v=YicJPLT1dWU&feature=related

And finally - the official Ritchie Valens website -
http://www.ritchievalens.com/

Next Time - The incomparable Luis Miguel!

Luis Miguel Breathes Life and Romance Into Every Song

pugspeak@sbcglobal.net (Mary Crissman) — Fri, 27 Jun 2008 08:23:00 PDT

When I write these reviews, I try to stay generally objective which is not always easy. Especially when you are writing about a performer you really enjoy and appreciate. Otherwise, it begins to read like Tiger Beat (those of you baby boomers will remember that rag).

Sure, anyone and their brother can get on a blog and chat up the merits of their favorite performers. It would be easy to say Luis Miguel, for example, is as cute as the day is long. And it would be true! But the point of this exercise is to explore the performer, his craft, and the genre. The cuteness-factor is really not the issue here.

All that being said, sounding like a fan or not, here goes:

I stumbled upon Luis Miguel (born Luis Miguel Gallego Basteri in 1970) in the mid 90s. According to his bio, Miguel is Puerto Rican born and Mexican raised. He began his career at 11 and by the early 80s, he had already recorded four albums. In 1985, he had won his first Grammy for his duet with Sheena Easton for the song Me Gustas Tal Como Eres. By this point, Miguel was cranking out albums like crazy and racking up a bucket-load of platinum and gold.

Miguel became an international success - particularly in Spain, but eventually all over Europe and South America. And the planet. As a Latin performer, Miguel has broken all kinds of records for concerts and CD sales and at this point, I'll add the link to his official bio - http://www.luismiguel.net/.

What makes Miguel an appealing musician to me?

For starters, if you've listened to him over the years, one thing is for certain - he gets better and better with age. I was deeply moved the first time I heard his rendition of Besame Mucho. He took this traditionally beautiful bolero, punched the tempo a bit, but still kept it as smooth, dark, and rich as a cup of good espresso!

And that brings me to his next cover - Cuando Calienta El Sol (When the Sun is Hot) - which has been one of my favorite songs of all time! In years past, pretty much everyone (including Connie Francis, Vikki Carr, Jose Feliciano, and Trini Lopez) has done a cover of this tune and often within the traditional bolero ballad boundaries. And as ballads go, (and I tend to lean towards the uptempo) it's a classic. Then Luis Miguel came along and breathed an amazing energy into this arrangement. It's fun, funky, and upbeat, but Miguel manages to keep the romance and meaning in the song.

I've added the lyrics as well as this tune to this post:

Cuando calienta el sol aquí en la playa,

Siento tu cuerpo vibrar cerca de mi;

Es tu palpitar,

es tu cara,

es tu pelo,

Son tus besos,

me estremezco, oh, oh, oh!

Cuando calienta el sol aquí en la playa,

Siento tu cuerpo vibrar cerca de mi,

Es tu palpitar,

tu recuerdo,

mi locura,

Mi delirio,

me estremezco, oh oh oh!

Translation:

When the sun heats up here at the beach

I feel your body vibrate near me

It's your heartbeat,

it's your face

it's your hair

They're your kisses,

I get dizzy, oh, oh, oh

When the sun heats up here at the beach

I feel your body vibrate near me

It's your heartbeat

the memory of you,

my insanity

My delirium

I get dizzy, oh, oh,oh

Then we move on to another of Miguel's best interpretations - La Bikina - written by Maria Jose' Quintanilla. I've added a link to YouTube to Miguel's performance of this song from a concert in Caracas, Venezuela last year -

http://www.youtube.com/watch?v=bRDXn-YI9qg&NR=1.

As I tried to explain to my daughter just the other day, it certainly does not hurt to be backed by a group of Mariachis and Miguel seems to understand not only the interpretation, but also the presentation and romance of the package. And I admit this - the serenading Mariachis are infinitely more romantic to me, than one standing in the rain with a boom box (or any appliance) on one's head. The serenading Mariachis, for me, are the real deal!

For those interested in testing the waters, I recommend starting with Grandes Exitos double CD along with the Romances. These will give you an idea of Miguel's range of talent. Quite honestly, I've yet to hear him lay down a bad track!

I've also added more YouTube videos - some are older, but they are all fun.

http://www.youtube.com/watch?v=yDjnHs5jr0A&feature=related

http://www.youtube.com/watch?v=lq10HGVu-BQ

http://www.youtube.com/watch?v=NG5flDxauIc

http://www.youtube.com/watch?v=IexQjTx4oRc

http://www.youtube.com/watch?v=YZxcbwmuJKY

Enjoy and next time, Michael Buble'!

How Many Ways Can you Sing Sway? Michael Buble' Shows Us!

pugspeak@sbcglobal.net (Mary Crissman) — Mon, 21 Jul 2008 03:42:00 PDT

The first time I heard Michael Buble' was during the end credits of the romantic comedy movie - Down With Love. As I listened to his rendition of For Once in My Life, I was watching carefully to see (as they were rolling credits) the name of this wonderful crooner. I had goosebumps. Finally, I saw the name - Michael Buble' - and rushed to the computer to look him up and immediately bought his CD - titled - Michael Buble'.

Now bear in mind - this gifted young man, from Canada, was born in 1975. Yet, Buble' has a deep understanding and interpretation of the old standards from the 40s, 50s, and 60s. Buble' possesses that big band sound and 60s crooning (which many of you know I adore). And I guess it goes to show- age certainly isn't an issue when it comes to music appreciation. In other words, you don't have to have lived in that era to appreciate a particular genre'.

For more information on Buble's background, I've enclosed a link - http://en.wikipedia.org/wiki/Michael_Bubl%C3%A9.

Now on to his music: I was especially moved by his rendition of Sway. Sway has always been one of my favorite songs and I always regarded Rosemary Clooney's version (from the album Touch of Tabasco, 1959) as the quintessential. Who can argue with this sultry version, backed by the Mambo King - Perez Prado.

And yes, Dean Martin's version has to be credited -another fantastic 60s crooner!

Then I heard Buble's rendition of Sway. No doubt, he still croons the tune, but the tempo has been kicked up a notch or two. It's hot and punched and yet remains sultry and smooth. His orchestra has that full-bodied sound that I personally love. I will tell you - I had this version in my head for weeks (still do from time to time) and quite honestly, I believe Rosemary would have approved!

Later, I heard another slightly kinkier version by the Pussycat Dolls and have to say, I love that as well. This Sway version was featured in the 2004 film - Shall We Dance and it so fits the theme of the movie!

Back to Buble' - I recommend all his CDs. I especially appreciate his version of Come Fly With Me (guaranteed to give you goosebumps) and while I would prefer a slightly punched-up version, Buble's Quando, Quando, Quando (duet with Nelly Furtado) is not bad! And his covers of Mack the Knife, I Got You Under My Skin, and Moondance are sure to please!

To sum up this review, Buble' gets it and he's got it going on!

Here are some YouTube clips for your enjoyment -

http://www.youtube.com/watch?v=IWp0Psq7xjE

http://www.youtube.com/watch?v=OPXZBLtq6DM&feature=related

http://www.youtube.com/watch?v=aFPvKGL69kE&feature=related

Next Time - Emilio Pericoli!

Emilio Pericoli and Al Di La - Beyond the Beyond

pugspeak@sbcglobal.net (Mary Crissman) — Wed, 23 Jul 2008 13:06:00 PDT

Just a few weeks ago, I received a comment to my blog discussing Luis Miguel and his version of Cuando Calienta El Sol. Essentially, this reader said she preferred the slower, heartfelt ballad version - at least in the case of Cuando Calienta El Sol. And I indicated that I understand - music is in the ear of the beholder - as it were. And I welcome any and all opinions!

I am always open to new and often times, upbeat spins on old standards. And there are times when the old adage applies - if it ain't broke, don't fix it. Sometimes, the original, at least for me, is the best.

And that's where we come to Emilio Pericoli and the Italian love song - Al Di La. Though Emilio was not the first to perform this exquisite song, you could say he put it on the map when he performed it in the 1962 romance movie - Rome Adventure, starring Troy Donahue, Suzanne Pleshette, and Rossano Brazzi.

Sure, the movie is fun, sappy, and very typical of that era. (And admittedly, Rossano Brazzi is always a plus in any movie! ) But the standout for me is Emilio and his heartfelt rendition of Al Di La (which means Beyond). The song becomes the theme throughout the movie. Al Hirt even performed an upbeat rendition during a bar fight scene in the film- and it didn't cut it for me. And later, many others covered the song - including Connie Francis (a lovely version) and Jerry Vale.

But to this day, Emilio's Al Di La leaves my knees knocking.

For more on Emilio Pericoli, click here - http://en.wikipedia.org/wiki/Emilio_Pericoli as well as it his website - http://www.spettacolo.it/h_pericoli.htm.

Here are the lyrics for Al Di La:

Al di lá del bene più prezioso, ci sei tu.
Al di lá del sogno più ambizioso, ci sei tu.

Al di lá delle cose più belle.
Al di lá delle stelle, ci sei tu.
Al di lá, ci sei tu per me, per me, soltanto per me.

Al di lá del mare più profondo, ci sei tu.
Al di lá de i limiti del mondo, ci sei tu.
Al di lá della volta infinita, al di la della vita.
Ci sei tu, al di la, ci sei tu per me.
La la la la la... La la la...

And the English translation - more or less:

Al di la means you are far above me, very far
Al di la, as distant as the lovely evening star
Where you walk flowers bloom
When you smile all the gloom turns to sunshine
And my heart opens wide
When you're gone it fades inside and seems to have died

Al di la, I wondered as I drifted where you were
Al di la, the fog around me lifted, there you were
In the kiss that I gave was the love I had saved for a lifetime
Then I knew all of you was completely mine.

There is a reason that Emilio Pericoli is still regarded as the most romantic voice of Italy.

I've also included a clip from YouTube:
http://www.youtube.com/watch?v=aGMC9A_k6zQ

http://www.youtube.com/watch?v=SmP_-laNBl8&feature=related

Next time: Bond!

Ring in 2009 with Great Music!

pugspeak@sbcglobal.net (Mary Crissman) — Thu, 15 Jan 2009 07:39:00 PST

We've been away for a while, but now we're back to review even more music! And before we get started, we wish to thank our readers for their feedback! We love that you follow this blog and hope you'll continue your quest for new music!

As promised last year, our next selection - Bond! (Not to be confused with James).

I discovered Bond back a few years ago while watching a television show they guested. And I was blown away! Bond has something for everybody -classical, techno-electro beats, latin, hip hop and jazz.

The Bond ensemble is actually an all female classical quartet performing on electric violins, viola, and cello. The Bond women have literally toured the planet performing original works and covers - that are extraordinary. Libertango is an example - I imagine Piazzolla would be pleased. This rendition of Libertango is powerful, full-bodied, and soul-stirring.

We've also added Fuego as a listening sample. And a few links to youtube - http://www.youtube.com/watch?v=UItlz8ipSVc (performing Victory) and

http://www.youtube.com/watch?v=MnzHWIokBgk (performing Speed)

Which Bond album to buy? You really can't go wrong with any or all - Born, Shine, Explosive, Classified, or the Definitive Collection. The Bond albums make a great addition to any music library!

There's Always Something To Get Excited About!

pugspeak@sbcglobal.net (Mary Crissman) — Mon, 11 May 2009 09:07:00 PDT

I am always on the lookout for new artists and music. Particularly groups who add an edginess to their music. Last year, I discovered the Portuguese group Zodiac (they've been out there for a while, but just became available to us) and one thing led to another - now I own all their CDs. The music has a full sound - containing keyboardist and lead vocalist, bassist, lead guitarist, drummer, percussionist, and 3 piece horn section. Their songs - all sung in Portuguese, are edgy with samba rhythms, and linger in your head long after the song is over. We've featured a song called Beira-Mar which will give a sense of their tight orchestration.

The second newest discovery is a young woman named Zoe Tiganouria. What she does with an accordion is nothing short of genius. Generally, tangos encompass the bandaneon - which is similar to a concertina. However, Zoe plays the accordion for Libertango and it's one of the best renditions I've heard in a long while. Zoe is backed by full and concise orchestration and the presentation is flawless. Unfortunately, her music is only available in the mp3 format for the moment. And while we are waiting for a CD, check out Libertango and other tangos on Amazon including Por una Cabeza, Tanguera, and Verano Porteno.

Also, we've added a link from Youtube - http://www.youtube.com/watch?v=-9k_8GPkeq4

Brahms and Akademische Festouvertüre

pugspeak@sbcglobal.net (Mary Crissman) — Wed, 10 Jun 2009 10:25:00 PDT

While I know at least one person far more qualified to write about Johannes Brahms and classical music in general, I am going to take a leap here and discuss my respect, admiration, and appreciation for his works. (For biographical information, click on Johannes Brahms.)

The first being Academic Festival Overture, op.80 or Akademische Festouvertüre which was composed by Brahms in 1880 as tribute to the University of Breslau after being awarded an honorary doctorate. This particular version is from the album Brahms: Hungarian Dances, Academic Festival Overture, and Symphony No.4 in E Minor By Berlin Symphony Orchestra. I should also mention that the Chicago Symphony Orchestra under the direction of Sir Georg Solti is equally excellent.

I'm not certain I can give technical reasons why I love this particular piece, but I can say that Academic Festival Overture (at least for me) stirs the soul and wraps the listener in sheer joy. It's bright, crisp, and energized.

My second favorite Brahms composition is Concerto for Violin and Orchestra in D major op. 77 and specifically - Allegro giocoso, ma non troppo vivace - Poco piu presto under the direction of Herbert Von Karajan with Anne-Sophie Mutter on the violin. If ever a classical work brought about an adrenalin rush, it would be this violin concerto. It builds and grows to an explosive finish and Ms. Mutter's technique is nothing short of amazing! Allegro giocoso is heady, provocative, and all consuming.

As always, I love to hear from the readers - listen to these pieces and let me know what you think.

How Little We Know and Hoagy Carmichael

pugspeak@sbcglobal.net (Mary Crissman) — Sat, 04 Jul 2009 12:35:00 PDT

The song, How Little We Know, has been playing in my head for days. And I know the reason: Recently, for the umpteenth time (it's definitely in my top 10 favorite movies), we watched Ernest Hemingway's To Have and Have Not starring Humphrey Bogart, Lauren Bacall, and Hoagy Carmichael. Set in 1944 on the island of Martinique under occupation of the Vichy regime, the movie focuses on two Americans who for different reasons find themselves on Martinique and are looking for a way out. This was Bacall's first role and needless to say, the chemistry between Bogart and Bacall was electric. And we get a sense of Hoagy Carmichael's great musical talent.

Carmichael's character is the entertainer at a saloon/hotel in Fort de France where the story centers. We are treated to a couple of well-known songs including- How Little We Know with music by Hoagy Carmichael and lyrics by Johnny Mercer. Here is a good spot to interject the How Little We Know scene with Carmichael on the piano and Bacall singing - http://www.youtube.com/watch?v=mFfuUu5xmMA.

For years, I have been searching for a cover of How Little We Know that seems worthy of the original (which does not seem to be available on CD in acceptable condition). The closest we find to the movie version is from the album Hoagy Carmichael - The First of the Singer Songwriters Key Cuts featuring Anita Boyer. Many singers have had a hand at this song - Sinatra's is so-so. Michael Feinstein, who I've always liked, sounds nearly comatose with his rendition. I recently found an uptempo version by Alan Paul. A tad on the lounge side, but it has a little more life than Feinstein's. I think the tempo is key here and in this case, I still contend the original is by far, the best. The best way I can define the tempo is that of a rhumba-type sway.

I've added both the Anita Boyer version and the more uptempo version as well as another song from the movie - Am I Blue? sung by Carmichael- as well as this clip from the movie -http://www.youtube.com/watch?v=9C1vJ2Z8aI0. Enjoy!

Sammy Davis, Jr. - Something's Gotta Give!

pugspeak@sbcglobal.net (Mary Crissman) — Tue, 18 Aug 2009 08:55:00 PDT

I find that craving certain kinds of music is much like a food craving. But instead of mentally tasting and imagining the aroma, something triggers the brain and you have the "song-in-the-head" syndrome (or craving). In this case, watching the 1998 HBO movie, The Rat Pack, reminded me how much I've always adored Sammy Davis, Jr. And that of course, reminded me of one of my all time favorite songs - Something's Gotta Give. (Yes, I have a long list of favorite songs.)

I've listened to many covers of Something's Gotta Give and I've never found one as well done as the Davis version. Davis was the consummate singer, dancer and all-around entertainer and the way he interpreted Something's Gotta Give is right on the money. This song, written by,(who else?) Johnny Mercer (in 1955), reflects the sentiments of either a man or woman who has been around the block a time or two - been there, done that. It's going to take the right kind of person to spark love again. The lyrics are exquisite and as stated earlier, Davis, in my book, does it best.

I've also added another favorite Davis song - Too Close For Comfort - written by Jerry Bock, George David Weiss, and Larry Holofcener in 1956.

I've also added a link to Youtube - http://www.youtube.com/watch?v=AgWxUipUYjA. Enjoy! And as always, I welcome your feedback. Until next time...