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Infinity in Sound, Vol. 1

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Album Review

After several, probably ill-advised collaborative (or sideman) efforts, Esquivel returns to his full glory on Infinity in Sound. This is the second album — after Exploring New Sounds in Stereo — of the "typical" Esquivel, who pushed the envelope of stereophonic "gee-whiz-ardry." Several tracks are recycled in LP and CD compilations. While "Johnson Rag," "Harlem Nocturne," "Take the 'A' Train," and "Frenesi" are all good examples of Esquivel in his prime, the chief attraction of the album is its consistency and overall integrity. It is a relief that Esquivel is not trying anything stranger than he already is. However, it is not quite his best or most interesting work.

Biography

Born: January 20, 1918 in Tampico, Tamaulipas, Mexico

Genre: Pop

Years Active: '50s, '60s, '70s, '80s, '90s

In the mid-'90s, Juan Garcia Esquivel enjoyed one of the most unexpected resurgences of popularity — and hipness — in the annals of 20th-century pop. The composer and arranger skirted the lines between lounge music, eccentric experimentalism, and stereo sound pioneer in the late '50s and early '60s on a series of albums aimed at the easy listening market. Both cheesy and goofily unpredictable, these records were forgotten by all but thrift-store habitues for decades. With the space age...
Full Bio