Esquivel, His Piano & Group
4 Corners of The World
BMG/RCA 74321-29856-2 (1958) *Import*

As many of my regular readers know, I"ve taken up carrying the Esquivel torch around these parts. Since I've exhausted the available Esquivel CDs available in the states, I've taken my quest abroad. These two CDs will take a little patience to acquire, but they're well worth the wait.

Both of these CDs are the original albums as they appeared on RCA in 1958, with the addition of three bonus tracks each. They're also part of BMG Europe's ongoing "Living Stereo" reissue series, and both of these have been remastered from the original two track masters. Needless to say, they sound better than the three compilations I'd reviewed previously. The Cabaret Manana compilation on RCA had the edge in sound quality; the two Bar None compilations sound horrid in comparison (Space Age Bachelor Pad Music and Music From A Sparkling Planet). My problem with the Bar None discs was that they appear to have been transfered from third or fourth generation tapes, the high levels of hiss and lack of upper detail the big giveaway. And on the 'Sparkling Planet' compilation, a bit of echo had been added, blurring rather than enhancing the overall sound. These two CDs sound almost on par with the original vinyl pressings, a compliment indeed!

So now that this sound quality issue has been resolved, it's time to put on the smoking jacket, pour the martini and warm up the hi-fi. It's Esquivel Time! These two albums (the second and third Esquivel albums available in the U.S.) were originally issued in 1958, and both have a lot in common. Both, for example, feature a "global" theme in the selection of songs. They were also both recorded at the same time. 4 Corners was recorded with leftover studio time from the Other Worlds sessions. Having this much in common, the albums could not be more different.

Other Worlds, Other Sounds began to showcase some of Esquivel's trademark arrangements. Utilizing a full big band and the Randy Van Horne vocal group, we get a glimpse of what Esquivel would aspire to on his later albums like 'Infinity In Sound Vol. 2' and 'Latin-Esque'. Dig that slide guitar on "Begin The Beguine", the full frontal brass attack on the album-opening "Granada", and the utilization of "zu zu zu zu" as the vocal line of choice. On other tracks like "Night and Day", the only vocals are mere snippets or echoes of the original lyrics. "Poinciana" gains a vaguely Oriental theme as the opening in Esquivel's arrangement. Thanks to RCA's complete liner notes, I noticed that a lot of the musicians on this date (and the others from the bonus tracks) are the cream of the crop, including Dick Nash on trombone, Conrad Gozzo and Pete Candoli on trumpets, Shelly Manne, and Larry Bunker.

On the opposite end of the scale, 4 Corners Of The World is a small group recording, using only bass, guitar, flute, and Latin percussion (the standard timbale, bongo, conga, etc.). Esquivel was never as pleased with this album as his others, and although I can understand his point of view, it is still an enjoyable set. The rhythm section is nimble, the percussion section cooks, and Esquivel sparkles among his flurry of notes. This is the best setting in which to hear Esquivel's considerable technique on the ivories. Most of the tracks are propelled by a persisent mambo beat. Who else but Esquivel could do a small group arrangement of "The Blue Danube" or "Hungarian Rhapsody No. 2"? From other corners of the world, the bespectacled one gives us "Tico Tico" (which originated in Brasil), "Cielito Lindo (from Mexico), "In a Persian Market", "El Carro Del Sol (Venetian Love Song)", and "April In Portugal".

Because Esquivel's LPs are in such high demand, these CDs are a better bet for collectors of his music. Other Worlds is an exciting journey itself, and 4 Corners travels just as well with a smaller entourage. The excellent sound quality and extensive personnel listings are a plus. Both are highly recommended CDs, which will hopefully pave the way for more excellent reissues from the RCA vaults.

Due to RCA's reluctance to release this album, Esquivel took it over to Reprise. As opposed to the other three compilation CDs available, this is a complete Esquivel album from start to finish, chronologically placed after his initial run at RCA. From the sound of it, though, this album is really not that much different from his RCA work.

On RCA, Esquivel first recorded Other Worlds, Other Sounds for his U.S. recording debut in stereo. From there, he launched into the truly exotic, experimental sounds that would become his trademark. His most adventurous work, Latin-Esque, was part of RCA's "stereo action" series, and featured Esquivel's usual musical antics panning and even flying across the speakers. From this perspective, More of Other Worlds, Other Sounds sounds tame by comparison. Intentional or not, this album is strongly reminiscent of that earlier namesake. There is more emphasis on making music with Esquivel flourishes, rather than creating completely alien soundscapes. A lot of the "Esquivel-ness" is tamed down--let's just say it's refined, presenting the most unique elements without being overbearing.

There is a lot of delightful music and arranging on this album. It opens with "The Breeze and I (Andalucia)", heralded by a blast of "toreador" trumpet, and in typical Esquivel fashion, breaks into a mambo after the first verse or two. "Chant To The Night" opens with strongly oriental-flavored marimba, and features splashes of color via a harp and blasting brass. "I Get A Kick Out Of You" chugs along quite nicely, while "One For My Baby (and One More for The Road)" gets a truly Mexican atmosphere, replete with flutes, marimba and percussion that almost remind me of something from one of Henry Mancini's Latin-flavored albums. "Snowfall" features plenty of Esquivel's lightning-quick cascades of notes flurrying about like snowflakes.

All told, I really get a "kick" out of this album. Notably free of the usual gimmicks, this is top-notch Esquivel going through the motions with some fine arrangements and equally splendid musicianship. Highly recommended!