Dear Harry, I want to offer you a small donation. I could'nt! I tryed a lot of times! I don't know how! Hello Lincoln, How strange!! Have you tried the donation button on the main page?
My paypal mail adress is: harryvanderveen gmail. Great week of instrumentals with a great story Xavier Cugat! Thank's Harry and his team.
Always a great weekly exploration of LL music. Happy Springtime WEEK 13 - HiFi Stereo Festival. Volume XVII. Various Artists. Symphonic - Fancy - Yeah Yeah Yeahs - Show Your Bones Knees Inst. Richard Clayderman. Movie Favourites. Die Hits der 50er-Jahre. Rock Around With Me. Tommy Garrett. The 50 Guitars of Tommy Garrett.
Sparkling Favourites. Cincinnati Pops Orchestra. Erich Kunzel. Play Ball! Hare Krisna - Roberto Delgado. C'est Magnifique - Kai Warner.
Wouldn't it be Loverly - Helmut Zacharias. A Spoonful of Sugar - Roberto Delgado. Good Morning Starshine - Kai Warner. I've grown accustomed to her Face - Helmut Zacharias. You'll never walk alone- Renate Kern.
I Want to be Happy - Hans Carste. Frank Pourcel. Captain Cook. Florian Zabach. Golden Strings. Mercury SRW Jet-Set - Günter Noris Jet Sound Inc. - Party Pepper No.1 River. Gordon McLendon Singers. Cliff Carpenter. Evergreen Tanzparty in Stereo. Orquestra Namorados do Caribe. Na Europa. Franz Lambert. Happy Hammond - Longines Symphonette. Party Pepper no. Black Velvet. Norman Candler. The Girls In My Life.
Living Strings. John Sidney. Piano Jackie Trent And Tony Hatch. Live For Love. Xavier Cugat. Viva Cugat! What a cool, colorful title for an album! And while this is a good title, Exotica fans might — no, in fact do — overlook its great existence and soundscape due to the Spanish title and the bandleader himself, Xavier Cugat —whose work falls decidedly into the synergetic Latinized Space-Age genre with its shimmering brass eruptions and lush strings.
And sure enough are these instruments used incessantly on each of the 12 tracks on Viva Cugat! For one, the album comprises of many jungle-evoking and clear cut Exotica masterpieces. Secondly, the percussion is eminently exotic, not just by accident on one or two tracks, but deliberately so in a whopping eleven tracks: bongos, congas, goblet drums, guiros, a melodious as well as a percussive use of marimbas, all of these are prominently in place, making Viva Cugat!
Three sessions recorded in three days make up the album, with each of the respective orchestra layouts and arrangements given as a sketch on the backside of the sleeve. The names of the orchestra members remain unmentioned, but rest assured that they know how to The Shadowchant - Kari Rueslåtten - Demo Recordings their signature instruments in order to unleash the most powerful or dreamiest tone sequences and convoluted percussion schemes.
Read on Jet-Set - Günter Noris Jet Sound Inc. - Party Pepper No.1 know more about one of Exotica's lost works: it is readily available in digial music stores and on LP, but mostly remains out of sight of the Exotica fan. Maybe my review can change things, if only on a whimsical level. Xavier Cugat's own Jungle Concerto marks the hyper-hectic gateway to the Latinized form of glee, but actually starts in a decidedly Polynesian way thanks to the soothing and dreamy alto flute melody which is then answered by a deliciously frantic exotic percussion section of manic congas, furious bongos, My Inspiration - Randy Sandke - The Music Of Bob Haggart guiros and liquedous marimbas.
Brass blasts and polyphonous violins initiate a shift into Latin territory, with only another marimba-fueled flute segue providing a return to the Polynesian realms Jet-Set - Günter Noris Jet Sound Inc. - Party Pepper No.1 the song ends with clarion horn eruptions of the trenbling kind.
Jungle Concerto is a huge opener, eclectic and uplifting, enthralling and adrenaline-boosting. This tune alone provides a livelier panorama with its Polynesian percussion than the eponymous album of George Cates. A real treat and unique cut! The Latin trumpet flourish in the second half is particularly effective, as it delivers a counterpoint to the tropical setting and remains true to the hidden overarching formula of Viva Cugat!
Whereas Jimmy Kennedy's and Will Gross' Isle Of Capri is an ode to the Italian island in its original form, Cugat's Cha-Cha incarnation is chock-full of exotic percussion, the highest Las Migas - Vente Conmigo notes on the marimba which are coupled with Space-Age flutes and the many good-natured big scope brass stabs as a Latin answer to the Polynesian vista.
Cugat's way of Latinizing these tunes is awesome, always expanding the perceived largeness. Here it works especially well, as the percussion-focused plasticity allows for a well-placed melody over the dense thicket of goblet drums.
Short intersections of triangles and flutes inject the feeling of a parade, but this is still no military march rather than a upbeat, joyful stroll through a jungle near an urban epicenter. Xavier Cugat's second and final composition follows Jet-Set - Günter Noris Jet Sound Inc.
- Party Pepper No.1 he co-wrote with Fred Wise and George Rosner, the essential Nightingale which Les Baxter transfigured into a nocturnal serenade on his — in my humble opinion — best album of the 50's, the string-heavy Caribbean Moonlight of Cugat's Jet-Set - Günter Noris Jet Sound Inc.
- Party Pepper No.1 differs very much in that it places a bongo-focused and guiro-interspersed percussion scheme next to much thinner and way less dreamy violins. The mellow horns are overly melodramatic, only the iridescent marimba blebs inject a dose of mystery. I have to admit that this doleful ditty has its moments; these are mostly destroyed by the missing harmony between the strings and the brass instruments, I'm afraid.
I really recommend Mr. Side A closes with a take on Alberto Dominguez's Perfidiaa similarly mellow tune with manifold saccharine wraithlike strings and earthen bongos. This arrangement is only remarkable due to its omission of the brass instruments, but otherwise resides in all too kitschy and heart-warming territories of blinding brightness.
What rescues this tune from the Easy Listening label, however, is the exotic percussion which prominently points to a proper Exotica release.
Since this is a Latin album: where is the material written by Ernesto Lecuona? Well, it is scattered on side B, with three tracks co-written by this famous writer, starting with Siboney which he co-wrote with Dolly Morse: a splendid high-plasticity exotic percussion section serves as a lead-in for spy theme horns, their much warmer brethren and sparkling marimbas.
The spy flavor is then neglected throughout the remaining duration of the song. While Lecuona's Jungle Drums is presented by Cugat with a superb focus on the vibrant drums — in strong contrast to Morton Gould's rather common timpani-heavy interpretation on the identically titled Jungle Drums LP — which underpin the main melody played on mellifluous strings, silkened horns and staccato marimba waterfalls, Roman Vatro's and Francesco Giordano's El Negro Zumbonbetter known as Anna in the U.
The next woman is close at hand, though: Lorenzo Barcelata's Maria Elena is taken by Xavier Cugat into Cha-Cha realms with shedloads of horns, yellow-tinted marimba vesicles and a few allotted maracas and bongos. The scope is definitely the largest of side B, with the hammering horns causing joy and happiness; there is something about Cugat's Cha-Cha material that makes me smile big time.
The penultimate offering is the eternal classic Poinciana by Buddy Bernier, Manuel Lliso and Nat Simon, and sure enough do the superb conga base frame and the guiro craftsmanship provide a wonderful accompaniment to the string heaven. The strings have Jet-Set - Günter Noris Jet Sound Inc.
- Party Pepper No.1 throughout the album, but here they work marvelously with the flutes, maybe due to the well-known catchy melody. There is not a single shady cloud in-between the marimba droplets and the trumpet polyphony. This is really a pitch-perfect Latin tune with no Exotica traces whatsoever. Xavier Cugat delivers yet another Cha-Cha-based Mambo-inspired Rumba-fueled Merengue album par excellence, as he usually did when he was on his creative height in the Golden 50's and Swinging 60's.
This dichotomy is maintained throughout the album: hot-blooded horns meet paradisiac flutes, Brazilian guiros meet jungle marimbas, and the experience of plain old Cha-Cha rhythms is improved via a green thicket of bongos and congas. And let's not forget the third ingredient, the Space-Age violins; they are not as lush and expanding as the performances of Les Baxter's orchestra or the Strings, but they nonetheless augment the style of the album.
Intro - PUSH (20) - Breathe In The Future Breathe Out The Past, Tears, Tears, Tears - Otis Blackwell - The Chronological Otis Blackwell 1952-1954, Нашей Любви Ночь - Юрий Лоза - Заповедные Места, Only A Look - Magnolia Jazzband - In That Sweet Old Garden Of Eden, Bennie Wallace / Tommy Flanagan / Eddie Gomez / Dannie Richmond - The Free Will