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Track List
01) Let's Never Stop Falling in Love
02) Anna (El negro zumbón)
03) Hang on Little Tomato
04) The Gardens of Sampson & Beasley
05) Veronique
06) Dansez-vous
07) Lilly
08) Autrefois
09) U plavu zoru
10) Clementine
11) Una notte a Napoli
12) Kikuchiyo to Mohshimasu
13) Aspettami
14) Song of the Black Swan
15) Sympathique (version inédite)
01) Let's Never Stop Falling in Love
02) Anna (El negro zumbón)
03) Hang on Little Tomato
04) The Gardens of Sampson & Beasley
05) Veronique
06) Dansez-vous
07) Lilly
08) Autrefois
09) U plavu zoru
10) Clementine
11) Una notte a Napoli
12) Kikuchiyo to Mohshimasu
13) Aspettami
14) Song of the Black Swan
15) Sympathique (version inédite)
3:02
2:36
3:16
4:00
3:19
2:52
2:43
3:38
6:01
3:50
4:45
4:32
3:38
2:10
2:58
Data Complete
30%
Total Rating
30%Total Rating
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Back Cover
CD Art
3D Case
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3D Spine
First Released
2004
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Album
0 copies
Album Description
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It would be easy to liken Pink Martini's music to the lounge and swing revivals of the '90s. However, the 12-piece mini-orchestra's mix of jazz, classical, Latin, and vocal pop sounds more organic than the work of, say, Combustible Edison. Like the Squirrel Nut Zippers -- who were always more than just a straightforward swing revival band -- Pink Martini do more than just rehash their influences; by dabbling in different sounds that they love, they've come up with their own. And even on the most theatrical moments of their second album, Hang On Little Tomato, such as the Yma Sumac-meets-chamber jazz of "U Plavu Zoru" or the smoky Italian ambience of "Una Notte a Napoli," a lot of genuine sentiment shines through. Though most of Hang On Little Tomato -- named after a vintage Hunt's Ketchup ad -- consists of originals, a few well-chosen covers stake out Pink Martini's sonic territory: the festive "Anna (El Negro Zumbon)"; Villa-Lobos' "Song of the Black Swan"; a downright swellegant version of "Let's Never Stop Falling in Love"; and "Kikuchiyo to Moshimasu," which features Hiroshi Wada, the slide guitarist who played on the original recording of the song. Amid all the multiculturalism, Hang On Little Tomato emphasizes the French and Cuban elements of Pink Martini's sound, with "Dansez-Vous" and the lovely "Autrefois" nodding to the former, and the ever-so-slightly mischievous ballad "Lilly" tipping its hat to the latter. The album's moods are almost as wide-ranging as its sounds, spanning the innocence of the title track's '30s pop and the Bacharach-esque sweetness of "Clementine" to the world-weary "Veronique" to the smoky romance of "Aspettami." A more full-fledged album than the band's debut Sympathique, Hang On Little Tomato offers a charmingly populist approach to music.
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Available in:
It would be easy to liken Pink Martini's music to the lounge and swing revivals of the '90s. However, the 12-piece mini-orchestra's mix of jazz, classical, Latin, and vocal pop sounds more organic than the work of, say, Combustible Edison. Like the Squirrel Nut Zippers -- who were always more than just a straightforward swing revival band -- Pink Martini do more than just rehash their influences; by dabbling in different sounds that they love, they've come up with their own. And even on the most theatrical moments of their second album, Hang On Little Tomato, such as the Yma Sumac-meets-chamber jazz of "U Plavu Zoru" or the smoky Italian ambience of "Una Notte a Napoli," a lot of genuine sentiment shines through. Though most of Hang On Little Tomato -- named after a vintage Hunt's Ketchup ad -- consists of originals, a few well-chosen covers stake out Pink Martini's sonic territory: the festive "Anna (El Negro Zumbon)"; Villa-Lobos' "Song of the Black Swan"; a downright swellegant version of "Let's Never Stop Falling in Love"; and "Kikuchiyo to Moshimasu," which features Hiroshi Wada, the slide guitarist who played on the original recording of the song. Amid all the multiculturalism, Hang On Little Tomato emphasizes the French and Cuban elements of Pink Martini's sound, with "Dansez-Vous" and the lovely "Autrefois" nodding to the former, and the ever-so-slightly mischievous ballad "Lilly" tipping its hat to the latter. The album's moods are almost as wide-ranging as its sounds, spanning the innocence of the title track's '30s pop and the Bacharach-esque sweetness of "Clementine" to the world-weary "Veronique" to the smoky romance of "Aspettami." A more full-fledged album than the band's debut Sympathique, Hang On Little Tomato offers a charmingly populist approach to music.
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