Esquivel And His Orchestra Infinity In Sound
Oh, and thanks to Ernie, of Ernie Not Bertfor his tips on recording and preparing records for digital sharing! Track listing for Esquivel Esquivel And His Orchestra Infinity In Sound Infinity in Sound: Side 1: 1.
Softly, As in a Morning Sunrise "Quedo" 2. Music Makers 3. My Reverie 4. Johnson Rag 5. Harlem Nocturne 6. Take the "A" Train Side 2: 1. Macarena La Virgen de la Macarena 2. Autumn Leaves 3. Frenesi 4. Marie 5. Let's Dance 6. So Rare. Posted by Esther at PM. Labels: esquivelspace-age pop. Get to Know Us. Amazon Payment Products. English Choose a language for shopping.
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Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Easy listening Lounge Space age pop Exotica. Arranger Conductor Bandleader. RCA Victor Reprise. The New York Times. Retrieved 11 February Retrieved Both cheesy and goofily unpredictable, these records were forgotten by all but thrift-store habitues for decades.
Esquivel in the manner of Dion or Melanie, he billed himself with a single name actually enjoyed a Johnny Chingas No Hablo Ingles and varied career, of Esquivel And His Orchestra Infinity In Sound his space age pop Explosions In The Sky David Wingo Manglehorn Original Motion Picture Soundtrack were only a portion.
Born in a small Mexican village, the pianist became a popular performer on a Mexican radio station, and studied briefly at Juilliard in New York. The radio and later television and film work actually gave him valuable experience in the art of quickly devising varied background music and orchestral arrangements, which he'd Flight Facilities Down To Earth to good use when he began recording for RCA in the late '50s.
This was the era in which stereo albums were first starting to be marketed. Esquivel Esquivel And His Orchestra Infinity In Sound along with several other of "space age pop"'s leading lights -- took advantage of this development to use his albums as laboratories of sorts to explore the spectrum of recorded sound, as reflected in LP titles like Other Worlds, Other Sounds and Four Corners of the World.
He employed then-exotic instruments such as the theremin, the ondioline, early Fender Rhodes keyboards, Chinese bells, bass accordion, and a Boom-Bam a bongo kit tuned to F to get what he wanted.
What kept Esquivel from serious critical appreciation at the time are, perhaps, the same factors that exerted a strange fascination upon listeners of the s. In its form and content, Esquivel's material was lightweight martini-mixing fare, more geared toward suburban easy listening than challenging innovation. He threw in just enough sly, oddball quirks, however, to make one wonder whether he was in fact deftly satirizing the form, or at least using it as a forum to slip in some unbridled zaniness.
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