main
images
links
about


e
























Esquivel - Latin-Esque
enlarge (87k)

RCA Victor LSA-2418

La Raspa
Adios, Mariquita Linda
Jesusita en Chihuahua
Cachito (Pedacito)
Latin-Esque
La Paloma

Estrellita
(Oyeme) Cachita
Jungle Drums
Mucha Muchacha
You Belong to My Heart
Carioca

THE STORY OF THE ALBUM

Here is a new musical spectacular with audio and musical effects unique in the
history of the recording industry. It is the product of composer-arranger-conductor
Esquivel, his RCA Victor producer, and virtually the entire technical and engineering
staff at the RCA Victor Music Center of the World studios in Hollywood.

This album represents, to the best of our knowledge, the first time in the history of
stereo recording in which absolute separation of channels has been achieved. To
accomplish this, the orchestra was separated into two parts—half in Studio 1 and the
other half in Studio 2, almost a city block down the long corridor of the RCA building in
Hollywood. Through an intricate system of inter-communication by headphones, the
musicians were able to hear each other and play together just as if they were all in the
same room. The effects are startling, the arrangements are daring, and when an
instrument moves from side to side it can literally be said that the motion is almost a
block long!

Five experimental sessions were held prior to the actual recording dates. At these
sessions Esquivel and his producer and engineer tried endless different approaches to
various percussion instruments with electronic effects applied to them. A careful book
of notes was kept with the best and most convincing effects clearly marked, later to be
applied to the actual arrangements by Esquivel himself. Space does not allow the
details of the effects themselves, but in Latin-Esque by Esquivel you are sure to hear
sounds you have never heard before— sounds your eyes can follow.

THE STORY OF STEREO ACTION

Stereo Action is a revolutionary new concept of stereo recording in which instruments,
singers, whole sections, and even full orchestras are placed into movement so that the
listener has, literally, music his eyes can follow.

Stereo Action is a conscious and deliberate effort to set music in motion by utilizing
actual movement of instruments and sounds from one speaker to the other, and
even, at times, suspending an instrument or sound between speakers. It is a
pioneering concept in stereo listening, and resulted from years of extensive
experiments and remarkable technical break-throughs by the RCA Victor corps of
engineers.

Stereo Action requires a wholly new approach to recording. Musical motion is first
conceived by the composer and arranger. Every note of the music to be recorded
must be scored with Stereo Action in mind, as if it were a new and dominating musical
instrument or voice. An elaborate system of charting each and every instrument for
proper stereo placement guides the actual scoring. In addition to the musical
annotation, a companion series of non-musical diagrams for the studio work is
developed.

This wedding of musical artistry and electronic creativity produces Stereo Action —
literally, the sound your eyes can follow.

GUIDE TO LISTENING

SIDE 1

LA RASPA—If Esquivel has a favorite instrument, it must be the "scratcher" (a gourd
with grooves cut in it). The sound from this humble and homely device is heard darting
from left to right and back erratically, then settling into a meandering six-eight pattern
that characterizes the entire number. Surrounding the "scratcher" are horns answered
by flutes, Spanish guitar against steel guitar, and Esquivel's piano complemented by the
vocal group. Listen also for the voices singing "eh" syllables and the gay lope of three
alto flutes passing across the sound spectrum. (BMI 1:49)

ADIOS, MARIQUITA LINDA-The sensuous beauty of the classical Spanish guitar opens
his band. As it moves from right to left, the piano seems to follow with raindrop notes.
This slow and intriguing pursuit continues through the first statement of the melody, to
be affirmed by the deep authority of a bass accordion. Next, the near-genius whistling
of Muzzy Marcellino is heard in duet with a soprano voice. Toward the end, the
xylophone is heard on the left and repeated electronically on the right. Again at the
end, the alto flute does some speaker-to-speaker play. (BMI 3:12)

JESUSITA EN CHIHUAHUA—Ay, Ma-ma! Here's a fiesta in sound as the chorus sings
and claps hands across the room. Guitar and accordion exchange sides, followed by a
galloping xylophone. The interplay between hard-mallet vibes and piano is fascinating;
voices pick up this melody and cross sides in a rapid "tu-ku-tu-ku" style. From there on
it's a symphony motion of mariachi-type trumpets, voices and guitars. (BMI 2:18)

CACHITO (Pedacito)-Alto flutes at the left echo the muted trumpets, setting tempo for
a muffled Spanish guitar which moves back and forth in company with the claves. The
melody is firmly established at the left by a booming bass accordion (another of
Esquivel's favorites). The xylophone crosses right to left as Muzzy Marcellino picks up
the very whistle-able tune. Pick out the crossing of muted trumpets and accordion just
before the girls sing "Cachito." Trumpets then cross with the "pow-pow" vocal group
and the steel guitar zings left to right on a trill. The girls serenade "Cachito" to the end,
with Muzzy's help. (BMI 2:21)

LATIN-ESQUE—The title song of the album was composed by Esquivel, and is primarily
a piano solo performed by the conductor himself. The opening features a moving
xylophone playing a million-note cascade accomplished by "infinite tape reverberation."
At mid-point in the arrangement, the piano plays a melodic passage which moves from
right to left and back again as the orchestra gradually gets softer. The diminuendo
becomes pronounced as the voices appear in deep echo to signal the beginning of a
magnificent crescendo to the climax. Both the diminuendo and the crescendo were
accomplished electronically. At the end, the alto flute trills its way from one speaker to
the other as the mood fades. (BMI 3:03)

LA PALOMA—This favorite opens with the claves clicking on the right and electronically
repeated on the left. The "jawbone" (a real one, with rattly teeth) has a few words to
say in the left channel, followed by bongos and all the rhythm instruments. Esquivel
plays the ode to the dove in his own charming way on the right, echoed on the left by
the "ba-ba-ba-ba-beep" of the vocal group. Muted trumpets then strike up a relationship
with the "boo-bams" (bamboo in reverse). These are small individual bongo-like drums
that are tuned to the musical scale. Listen for the grumpy-sounding alto flutes on the left
and pick out the spot where the voices (L) gradually cross sides with the trumpets (R).
(BMI 2:03)

SIDE 2

ESTRELLITA—Each individual voice starts at the left, crosses to the right and holds
his note. When all have entered, the result is a lush chord sustained as Esquivel
begins his piano solo on the left. Notice the right-hand echo of each note played on
the left. A gorgeous trumpet solo crosses before you; then Esquivel again. An alto
flute crosses to bring in the full orchestra for a brief climax, followed by a rolling
piano cadenza that goes right to left, pauses briefly and then rips back to the right.
Flutes and voices enter singly, gradually moving to the right for the ending.
(ASCAP 2:28)

(Oyeme) CACHITA—The "eh" vocal group starts left, electronically repeated on
the right.  A wild mood is created for Muzzy Marcellino to whistle this gay Mexican
tune. Criss-crossing muted trumpets and voices precede the real highlight of this
band, the duel of "scratcher" and open trumpet, refereed by the conga drums. Pick
your winner. Listen also for the "boo-bams" being repeated electronically in tempo
(tempo was accomplished by a special device to regulate tape speed). (BMI 2:21)

JUNGLE DRUMS (Canto Karabali)--Timpani strikes a single note at the left, which is
repeated infinitely as it moves to the right. "Boo-bam" answers him on the right, and
moves to the left to deep echo. Bongos enter at center to prepare tempo for a trumpet
solo of ethereal beauty. The trumpet is embellished by voices and bass accordion and
by the piano of Esquivel. Three muted French horns move left to right, followed by a
magnificent ensemble. The melancholy of rolling "boo-bams" is a backdrop for
crossing voices and flutes. The trumpet returns, to end on a high, clear tone that gives
way to a fireworks display of percussion and electronics-crossed reverberation of
timpani, deep rolls in and out of echo, timbales, maracas, and the final thunder of a
great gong. (BMI 3:51)

MUCHA MUCHACHA— Another Esquivel original, this band features a kind of Latin
version of American nonsense. The entire rhythm section moves from side to side at
the beginning, followed by the group singing the complete lyric, which consists of
"Mucha Muchacha." Next comes a pyramid effect of brass gradually exchanging
sides with the xylophone and then the voices. Most effective in this number,
however, is the boy-girl stroll through the park. Follow the lovers across and back,
then follow the interchange of brass and voices. (BMI 2:15)

YOU BELONG TO MY HEART (Solamente una Vez)-Esquivel's light approach to this
song features electric guitar and xylophone crossing back and forth, followed by
the conductor playing the melody at the Steinway. Piano and steel guitar are
featured side-to-side as the rhythm pattern slowly moves between them. Muzzy
Marcellino again is featured, whistling exchanges with the French horns. The voices
sing "eh" again, this time repeated electronically on the opposite side. Later they
graduate to the Spanish word "caramba," which means roughly, "heck" or "darn."
In the tutti (ensemble) section, the brass is playing its passage in Studio 1 and being
answered a split-second later by the voices in Studio 2. Muzzy returns to whistle
toward the end, framed by the xylophone striking chords (which are electronically
repeated in tempo) first on one side and then the other. (BMI 2:40)

CARIOCA—Slap-stick, tambourine, cow bell and "boo-bams," in that order, are what
you hear starting at the left and reverberated on the right. Reverse the procedure and
double the tempo, and this is the introduction to a zinging steel guitar and Esquivel's
piano solo. The voices answer "eh" opposite the piano, and the bass accordion worms
its way left to right. Note the crossing of steel guitar slides and the side-to-side repeat
of trumpets and piano. Esquivel has left the climax to this number stationary so you
can stop your head from spinning! (ASCAP 1:40)

Howard Lucraft - Neely Plumb

Copyright 1962, Radio Corporation of America
























seventeen.gif (610 bytes) eighteen.gif (1159 bytes) nineteen.gif (950 bytes) twenty.gif (4788 bytes) twentyone.gif (607 bytes)