It's cocktail music with a worldly twist, shaken with some Latin grooves and stirred with French, Croatian and Japanese influences. In a word: hip (but your grandmother will like it, too).
Pink Martini's new album "Hang on Little Tomato" is an escape from the normal barrage of pop music; the 12-piece orchestra's long-awaited second album will intoxicate your music player with a creative energy rarely seen in just 14 tracks.
Perhaps that's because it took them seven years to produce it. Their first album, "Sympathique," which came out in 1997, sold 650,000 copies worldwide without the help of any label. They've had hit singles in France, gone on tour in the Middle East and have a following in Asia.
Founder and Harvard alumnus Thomas Lauderdale describes the group as "somewhere between a 1930s Cuban dance orchestra, a classical chamber music ensemble, a Brazilian marching street band and Japanese film noir." And while it may not be a "masterpiece," as Lauderdale once not-so-modestly described it, with the diversity of music found on their new CD, "Little Tomato" does not disappoint.
Most songs feature co-founder and fellow Harvard alumnus China Forbes as vocalist, who sings with an angelic, lyrical voice reminiscent of 1930s pop songs heard in old movies. And if it reminds you of times before you were even born, that's because the music is meant to be nostalgic and act as an "archeology" of music long past.
The title song features a clarinet intro and has a jazz-combo feel that would have been revolutionary 70 years ago. Forbes enters after the long instrumental solo, singing optimistically innocent lyrics like, "you've got to hold on / hold on through the night / hang on, things will be alright." The song was based on an ad for Heinz Ketchup produced at the beginning of the 20th century in Life magazine.
While many of their songs have Latin elements, "Let's Never Stop Falling In Love," "Anna" and "Lilly" all explicitly feel like they just got off the boat from South America. "Anna," sung in Spanish by Forbes (who, incidentally, also sings in French, Croatian, Italian and Japanese on the album), evokes tropical imagery: You would expect the singer to be wearing a fruity headpiece while singing it.
The French song "Autrefois" was inspired by a real letter written by a French musician who, when asked to whom he was writing, replied "J'?©cris des mots doux ? toutes les filles de France" (I write soft words to all the girls of France). The sparse piano chords, passionate violin crescendos and hushed, romantic voice would sound appropriate in any sappy French movie or on a romantic night out with your partner.
"Dansez-vous," also sung completely in French, starts off with a catchy, danceable, Cuban bass lick and features a more detached voice. The song, however, goes from foot-tappin' good to overwhelmingly cheesy when the orchestra starts to sing the repetitive chorus "Dansez, dansez, dansez-vous" ("Dance") and Forbes embarks on a spoken-word soliloquy that may cause some to cringe.
"U Plavu" makes up for that, though, with its whimsical, operatic vocal lines accompanied by Bach-inspired cello riffs, a Carmen-esque trumpet solo and a funky, Latin beat.
Also impressive is the "Una Notte a Napoli," written in collaboration with 1970s era stage and television star Alba Clemente and DJ Johnny Dynell of "legendary" New York nightclub Jackie 60. It begins with a stereotypical Italian monologue and, then the string section enters and a passionate love song ensues, complete with classical piano riffs and a chorus.
The following track, "Kikuchiyo To Mohshimasu," was recorded in Japan with Hiroshi Wada, a slide guitarist whose group originally recorded and released the song 40 years ago. The song verges on dorky, perhaps because it is so unexpected, and the guitar solos sound more '50s science fiction "B" movie than high Japanese culture. But it is different in a good way and works when you're in the mood for it.
One of my favorites, the short, catchy "Clementine," is a quiet, perfect blend of piano, drum shuffle and trumpet that will invade your ears and have them asking for more. It's simple, almost cheesy - verging on elevator music - but enjoyable, and makes good use of a saying my grandma still uses: "If tomorrow's sun doesn't shine, at least I'll have my Clementine."
Some might dismiss their music as simple "ear candy" and nothing but a bunch of novelty songs to accompany a nice dinner party. But, by striving to be danceable, singable and not scandalous, Pink Martini is wildly different; it's music for all generations - music that even your "Clementine" will enjoy.
