Richard Hayman And His Orchestra "Voodoo!" 1959

 

I was talking to my wife about Exotica records the other day, and we both agreed that there are a lot that sound quite similar to each other.  Because we both really like that sound, this is a good thing.  It’s really nice to know that when you pop on a Martin Denny or Arthur Lyman record, you are going to be taken to a place that is exotic, but after a while, familiar.  One thing I have noticed about Exotica records though is that most artists are not afraid to play a little with the formula and try to have at least one or two songs that are off the beaten path (to use an exotic sounding phrase.) 

                “Voodoo!” by Richard Hayman  is no exception.  At this point in my Exotica listening career, I should know what a “voodoo” song sounds like, but when I put on the first side of the record and hear “Danse Calinda,” I don’t get that vibe at all.  This sounds like a jaunty Mambo number if I ever heard one.  It is great for lots of reasons.  It makes me want to move my hips and find out what the lead instrument is.  It sounds like a giant kazoo to me.  When I think of voodoo, wiggling my hips and giant kazoos are not what should come to mind.  With that being said, it’s a fine opener to the album. 

“Mamba” and “Voodoo” are a little closer to what I would expect from an album title “Voodoo!”  Both feature the gut thundering drums that are all over this record.  “Mamba” also makes wonderful use of some ear splitting flutes/piccolos and squawking trombones.  You really get a Les Baxter movie soundtrack vibe from “Voodoo.”  It makes me feel like the characters are struggling with, or mystified by something.  Most people would need context for this type of music.  Without the “movie,” your average listener might just find himself struggling with, or mystified by this song itself. 

There are some songs on here that have more of a traditional Exotica sound to them.  “Spell of Deatra” comes to mind first.  This one is more Middle Eastern and creates some beautiful textures with octave piano notes mixed with strings.  “Gris-Gris” is one of the slower (but not relaxing) paced songs on the record, and “Afro” has a similar feel to Dave Brubeck’s “Take 5.”  It’s not in 5/4 time, but it does sound like a jungle version of that song.   

As I mentioned earlier, there is usually a song on Exotica records that seems to take a chance.  Arthur Lyman used to end his records with something that was totally off the wall compared to the songs that preceded it.  “Incantation” is that song here.  Staring down at the grooves of the records, I can see that it is about twice the length of any of the other songs.  It starts with a percussive groove that slowly ads tambourine, maracas, and toms.  After just under a minute, a “savage” starts to yell in some faux language.  Really, it sounds like a bunch of gibberish.  He does sing a few bent notes that are fairly interesting though.  After a huge gong explodes, a call and response ensues between the “savage” and the large group.  This conversation goes nowhere.  By that I mean the people he shouts at become less and less excited, and actually seem a little disappointed by the end.  It’s kind of weird.  The drums come back and the song and gibberish finish up.  This song sticks out like a recalcitrant hair on a finely combed pompadour (maybe Richard Hayman's?).  As a lover of Exotica, these songs are interesting to me for both sonic and cultural reasons.  However, this song is very much of its time, and I could see someone getting offended hearing this in the wrong context. 

Tones:  This is an orchestra record, and to me the horns play a very important role.  They have a thick pasty quality to them in places, especially on “Midnight Ritual.”  There is only a little guitar on this record, but it is very noticeable on “Conjuration.”  It is light, plucky, and sounds like someone getting hit continually with a pea shooter. 

Cover Note:  This looks more like a picture of a moon walk than anything having to do with Voodoo.  It’s more like a Voodoo cheerleader doll  that is filled with glee that it has found its way to lunar paradise.  The back however has one of the best pictures of an orchestra leader I have ever seen.  Richard Hayman, complete with horn rimmed glasses, shiny slicked back hair, and two inch dimples, has the biggest,  warmest smile I have ever seen.  This is the guy I want to meet at a party.  This is the cool kid I want to sit with at lunch. 

Price paid:  I had read good things about this record, so I forked over $7.00 for a very clean copy.  If you are heavily into Exotica then I think a few bucks more would be perfectly reasonable. 

Bottom line:  I wouldn't say this is a must have record, but it is a very good record.  This kind of record will plant you firmly into “Exotic nerd” territory, or “Weirdo music” land.  It is tough for me to think of a good context to play this for someone.  For me it is one that is best enjoyed with headphones.     

Duke Ellington "Far East Suit" 1967

                The title sounds exotic, right?  And it is, just in a heavily jazzy way.  I bought this with no prior knowledge other than the fact that Duke is the king, and the cover and title were appealing.  The funny thing is that even though it is supposed to be inspired by the Far East, it actually has more of a jungle vibe than many other records with “jungle” in the title do.  This is dark and pulsating, thick and hot, complex and woody.  It’s very much a “Far East” record, but it has that low rumble of a jungle LP. 

                The opening chord played by the horns in “Tourist Point of View” is so dense, the notes so close together, that it feels like someone’s put a mosquito net on your face.  The ride cymbal in the background clanks away and the sax moans and moans then screams like a flaming teapot.  This reminds me of some heavy Mingus stuff.  I know Mingus was inspired by Duke, but I’m more familiar with Mingus’ music.  As I’m listening to this, my pulse is a bit elevated, and my breaths are shorter than usual.  Its burning intensity affects you physically.  It’s like the coals at the bottom of the fire. 

                “Bluebird of Delhi (Mynah)” is brilliant.  Birdcalls are some of the bread and butter in Exotica, but rarely are they actually played by instruments.  In this case, a clarinet plays a repeating figure before launching into an almost cartoonesque (as in animated, fun, and energetic) solo.  Have you ever walked into a room and suddenly been confronted by an animal staring at you.  It’s a weird feeling.  If I had to write a story to this song, I would say this: A man walks into a room and sees a bird staring at him.  The bird makes some strange noise at him, and then suddenly flies around the room knocking every piece of glass off the shelves it can find.  It then settles, stares deeply into the man’s eyes, and gives the same call as before, just as the man’s friends walk into the room. 

                “Blue Pepper” is my favorite on the record, and is typically the one I have to listen to more than once.  This one has some serious swankiness to it and really grooves to that “Now Sound” beat.  There are massive amounts of space in the solos, which really lets you concentrate on how fat that groove is.  This is part spy movie, and part old-school strip tease.  The melody is slippery as an eel, but still easy to hold onto.  I am not sure I would want this to be my theme song, but if people happened to think of this song as I walked into a room, then I think we would all be better off.  Also, is it just me or does the trumpet seem impossibly high?

                “Amad” sounds the most Middle Eastern out of the lot.  I love jazz with lots of chord changes, but a song like this (with none) really hits the spot for me.  Duke’s melody ideas over the single chord really show you why he is so impressive.  The harmonies scratch at you like a tiger and the metallic piano bubbles in the background.

Tones:  The doubled saxophone on many of these numbers is very appealing.  It’s a very jazzy sound in general, and it sits in my gut well.  There is also some very good use of stereo panning.  Nothing really ping-pongs per se.  It’s more of a call and response between two sets of horns.  You get mid range horns on the left, baritone horns on the right, and solos in the middle.  The drums get a lot of my attention as the songs goes by too. 

Cover Note:  This cover is a cornucopia of Far East imagery.  I feel like the orange background color (lovely by the way) feels a bit like a desert.  Instead of the usually lush and wet Exotica covers, you get one more sandy and arid. 

Price paid:  $5.00 at Gary’s backyard record sale. 

Bottom line:  If you are someone who does not really like jazz a lot, but are into exotic type sounds, this may be good for you.  It’s important to remember that Duke was a composer, so there is a lot more going on here texture wise other than just solos and rhythm.  It’s also nice to have the focus on Middle Eastern sounds in addition to the jungle stuff.  Most of my exotic albums are of the Hawaiian, African, or Latin variety.  This is a wonderful change up.  I think this could easily go in the $10.00 range. 

Edmon De Luca's "Safari" (1958)

            This is Symphonic Exotica at its best.  I’m putting this up there with Les Baxter.  Right from the get go, this record is so epic.  This is not your easy listening, Martin Denny, Arthur Lyman Exotica.  This is a full-fledged orchestra with all the trimmings.  The overall concept is pretty cool too, at least for the first side.  There are six tracks each coinciding with some part of a safari.  You really can pop on a pair of good ole headphones and be transported straight to Africa. 

            “Port Pangani” is very ominous and really quite heavy.  The melody is a far cry from easy listening.   But what it lacks in pleasantness, it makes up for in bravado.  There are so many instruments as well, like lots of stings, and horns, as well as marimbas and other thumping percussion.  I really get the feeling I am looking out on some African land I’m about to explore.

            “The Trek” has more of a typical cocktail/lounge feel to it, but the sheer amount of guys playing on the track really expands the scope.  It’s just big.  Everything on this album is big.  This one is really nice and relaxing, but still has some weird sounding stuff.  It’s the kind of song you play someone because it’s the most normal track you think they would enjoy.  It’s only when you listen to it with someone else that you realize there is some weird stuff going on. This is about how far my wife gets in the album.  Then I know it’s time to turn it off.  Here’s why.

            “The Chase and the Kill” is bone chilling if you actually picture what the music does such a good job evoking.  This was made in the days when killing “Big Game” was more accepted and perhaps more legal.  I always assumed it was an elephant they killed because of all the horns blaring.  Anyway, my wife hates it and I understand why.  There is a big shot when they shoot the “The Beast,” and you can hear it hit the ground.  It’s shocking, and loud, and upsetting, but totally freakin’ awesome!  I certainly don’t condone killing elephants, but nobody got bad karma from writing a song about it.  Right?  It’s just darn exciting, and as a piece of art, it’s thrilling.  Great music is not always supposed to make you feel all warm and fuzzy.  It’s supposed to make you feel something deep.  This does that very well. 

            I think it goes without saying that I would not play this for my 1 year old boy, although he did hear it the first time I played it myself.  Somehow, I wasn't expecting it to all be so intense. 

           The second side has two extended pieces that are not written by De Luca.  They fit in with the feel of the first side, but are not as cool.  There is nothing wrong with them, but it’s almost like another album.  I sort of consider this record to be an E.P. with two extra tracks.  The second side is cool though and I don’t want to undersell it.  I like it. 

Tones:  I can’t think of what they did to make the sound of that gun blast when the elephant is killed, but that makes it more fun for me.  It’s almost like they recorded a crack of thunder, but I doubt they did.  There are also a lot of wordless vocals and chanting on here.  I’d bet over 50 dudes must be singing at the same time.  It’s thick. 

Cover Note:  When I saw this cover, I swear my heart skipped a beat.  It’s the kind of record you pull out just to show people the artwork.  It’s also super pink.  I have no other record with that much pink on it.  That includes Rock and Pop.  It’s a thrilling and perfect representation of the music inside.  Someone should get a tattoo of this. 

Price Paid:  $2.00 at the Central Florida Fairground record show.  I had $20.00 to spend, and I used most of it up on one vendor.  I also found a cool Esquivel record that day and saw an old friend who had recently grown a very large and unexpected beard.  It was a perfect morning. 

Bottom line:  Don’t scare your family with this, but get it if it’s in the $5-$7 range.  It’s high quality work.