Juan Garcia Esquivel Las Estrellas Del Fonografo

Known as Juan Garcia Esquivel, Esquivel and Esquivel!. Juan García Esquivel (January 20, 1918 â€" January 3, 2002) often known as simply Esquivel!, was a Mexican band leader, pianist, and film composer. He's known today mostly for creating unique lounge jazz music. Esquivel is sometimes called "The King of Space Age Pop" and "The Busby Berkley of Cocktail Music". Esquivel is considered one of the foremost exponents of a style of late 1950s-early 1960s quirky instrumental pop that became known (in retrospect) as "Space Age Bachelor Pad Music."

Download Juan Garcia Esquivel Mp3 Albums

	Mr. Ho's Orchestrotica: "Andalucia" ar. Juan Garcia Esquivel www.orchestrotica.com - Live 4/1/2006 in Mexico City for the Festival de Mexico's Homage a Juan Garcia Esquivel. "Mr. Ho's Orchestrotica," (formerly the WAITIKI Orchestrotica) plays original transcriptions of Esquivel's large-ensemble music including this piece, The Breeze and I (Andalucia) transcribed by Mr. Ho who appears on piano and percussion.
	Esquivel - Mini Skirt Juan García Esquivel - "Mini Skirt" from album Loungecore
	LATIN ESQUE Juan García Esquivel LATIN ESQUE Juan García Esquivel
	Juan Garcia Esquivel Noche y Día

" Esquivel's musical style is highly idiosyncratic, and although elements sound like his contemporaries, he has many stylistic tics that distinguish his music and make it instantly recognizable, including exotic percussion, wordless vocals, virtuoso piano runs, and exaggerated dynamic shifts in volume. He uses many jazz-like elements, but other than his piano solos, there is no improvisation and the works are tightly, meticulously, even perfectionistically arranged by Esquivel himself. His orchestration tends toward the very lush; he combines an orchestra, his own heavily-ornamented piano stylings, a mixed chorus, and a long list of novel instruments, such as Chinese bells, mariachi bands, whistling, and numerous percussion instruments. The chorus was often called upon to sing only nonsense syllables, most famously "zu-zu" and "pow!" A survey of Esquivel's recordings reveals a fondness for glissandi, sometimes on a half-valved trumpet, sometimes on a kettle drum, but most frequently on pitched percussion instruments and slide guitars. Esquivel's use of stereo recording is legendary, occasionally using two bands recording simultaneously in separate studios
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