One of the many wonderful things about this connected and interconnected world that we stumble into is having access to art and music from other countries. Once upon a time, let’s say, in any decade before the nineties, the average American music fan would have had a hard time finding almost anything that wasn’t a. playing on the radio and b. made in one of the “big two” musical countries (USA and UK).
Sure there were a few specialty stores and a handful of mail order houses, but unless you were aware, you were out of luck. The recordings that could be found were presented to the public as audio-anthropology or exotic kitsch. This is not for throwing scatters. By contrast, a series of albums like the Smithsonian’s “Folkways Recordings” helped preserve sonic treasures from Bali to the Mississippi Delta that informed and inspired generations.
However, these types of records are condemned to be confined to the field of folklore. Often they are representations of a particular tradition of a particular tribe or ethnic group. Consequently, they convey a sense of anonymity regarding the artist and the art.
Don’t get me wrong, this is not necessarily a bad thing. The everyday and embedded music of the world is one of the things that give meaning to life. People singing work songs, playing drums to accompany weddings and funerals, playing violin from the pub, all of it, all of it is vital. Our age, however, is another matter. We mix and match styles and sounds the way musicians from another era changed chords and tempos. You have hybrids like the punk/gypsy/ska/folk of Gogol Bordello and the psychedelics/freak-out/drone/troubadourismos of Acid Mother’s Temple.
As it turns out, location isn’t really everything. One way or another, music finds its way to the right listener. In this case, the right music found the right listener in Pedro Vigil. Vigil’s new CD “China Soul” (Siesta Records) is a charm. From the very first note, you are transplanted into a clean and refreshing audio heaven that, by referencing various musical styles from around the world, manages to sound original and unique. Vigil is primarily the work of Spain’s Pedro Vigil and is realized through a large number of collaborations with various drummers, organists, string ensembles, wind sections, and pianists. The music is probably best described as an upbeat mix of exotic jazz and space-age pop. At times, bars by Esquivel or Les Baxter are heard.
The title track, “China Soul,” has an old-fashioned march rhythm that’s invaded by dreamy washes of sting and cut through by reverb-drenched surf guitar. It’s like you crashed a private cocktail party for Chairman Mao’s inner circle.
Someone hands you a martini, you take a sip and realize it’s been spiked, you sit in a velvet easy chair to watch a 3-D version of “Endless Summer” on the ceiling. Other tracks are inspired by the rhythms and tones of Bossa Nova. “Los Gatos High School” rattles and slides with the forceful grace of Jobim or Burt Bacharach. You listen to it the same way you sip a cold drink on the beach under a palapa. All this art is presented so natural and fluid that it leaves you stunned and smiling.
Another highlight is the track “Akira Kurasawa”. Not only is it named after one of the truly great filmmakers of all time, but its orchestration, jewelers’ jingle, and Star Trek-esque Theremin spin and spin a magical sound. “China Soul” is a delight from start to finish. It pays homage to vintage and retro without sounding dated. The skill of the performers and the quality of the compositions make this product of our wired and multicultural world a jewel. It is a blessing for us to live in an age with access not only to the traditions, but also to the art of music from other countries.