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Today's artist is a Peruvian soprano. In the 1950s, she was one of the most famous exponents of exotica music. Sumac became an international success based on her extreme vocal range. She claimed five octaves and some reports state this, but other reports (and recordings) document four and a half at the peak of her singing career (A typical trained singer has a range of about three octaves.) She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano and notes in the whistle register......N'Joy
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Sumac was born Zoila Augusta Emperatriz Chávarri del Castillo on September 10, 1923, in Ichocán, a historically Indian village in Cajamarca, Peru. Her parents were Sixto Chávarri and Emilia del Castillo. Her father was born in Cajamarca and her mother was born in Pallasca. Stories published in the 1950s claimed that she was an Incan princess, directly descended from Atahualpa. The government of Peru in 1946 formally supported her claim to be descended from Atahualpa, the last Incan emperor. She was the youngest of six children. Her mother was a schoolteacher and her father a civic leader. Chávarri adopted the stage name of Imma Sumack (also spelled Ymma Sumack and Ima Sumack) before she left South America for the United States. The stage name was based on her mother's name, which was derived from Ima Shumaq, Quechua for "how beautiful!," although in interviews she claimed it meant "beautiful flower" or "beautiful girl".
Sumac first appeared on radio in 1942. She recorded at least 18 tracks of Peruvian folk songs in Argentina in 1943. These early recordings for the Odeon label featured composer Moisés Vivanco's troupe Compañía Peruana de Arte, of 16 Indian dancers, singers, and musicians.
She married Moisés Vivanco on June 6, 1942. After this date Moises and Yma toured South America and Mexico as a group of fourteen musicians called Imma Sumack and the Conjunto Folklorico Peruana. In 1946, Sumac and Vivanco moved to New York City, where they performed as the Inka Taqui Trio, Sumac singing soprano, Vivanco on guitar, and her cousin, Cholita Rivero, singing contralto and dancing. The group was unable to attain any success ; their participation in South American Music Festival in Carnegie Hall was reviewed positively. In 1949, Yma gave birth to their only child Carlos. She was signed by Capitol Records in 1950, at which time her stage name became Yma Sumac. Her first album, Voice of the Xtabay, launched a period of fame that included performances at the Hollywood Bowl and Carnegie Hall.
In 1950 she made her first tour to Europe and Africa, and debuted at the Royal Albert Hall in London and the Royal Festival Hall before the Queen. She presented more than 80 concerts in London and 16 concerts in Paris. A second tour took her to the Far East: Persia, Afghanistan, Pakistan, Burma, Thailand, Sumatra, the Philippines, and Australia. Her fame in countries like Greece, Israel and Russia made her change her two-week stay to six months. During the 1950s, she produced a series of lounge music recordings featuring Hollywood-style versions of Incan and South American folk songs, working with Les Baxter and Billy May. The combination of her extraordinary voice, exotic looks, and stage personality made her a hit with American audiences. Sumac appeared in a Broadway musical, Flahooley, in 1951, as a foreign princess who brings Aladdin's lamp to an American toy factory to have it repaired. The show's score was by Sammy Fain and Yip Harburg, but her three numbers were the work of Vivanco, with one co-written by Vivanco and Fain.
During the 1950s, Sumac continued to be popular, playing Carnegie Hall, the Roxy Theatre with Danny Kaye, Las Vegas nightclubs and concert tours of South America and Europe. She put out a number of hit albums, such as Mambo! (1954) and Fuego del Ande (1959). Capitol Records, Sumac's label, recorded the show. Flahooley closed quickly, but the recording continues as a cult classic, in part because it also marked the Broadway debut of Barbara Cook. During the height of Sumac's popularity, she appeared in the films Secret of the Incas (1954) with Charlton Heston and Robert Young and Omar Khayyam (1957).
She became a U.S. citizen on July 22, 1955. In 1959, she performed Jorge Bravo de Rueda's classic song "Vírgenes del Sol" on her album Fuego del Ande. In 1957 Sumac and Vivanco divorced, after Vivanco sired twins with another woman. They remarried that same year, but a second divorce followed in 1965. Apparently due to financial difficulties, Sumac and the original Inka Taky Trio went on a world tour in 1961, which lasted for five years. They performed in 40 cities in the Soviet Union for over a six months, and a film was shot recording some moments of the tour, and afterward throughout Europe, Asia and Latin America. Their performance in Bucharest, Romania,
was recorded as the album Recital, her only live in concert record. Sumac spent the rest of the 1960s performing sporadically
In 1971, Sumac released a rock album, Miracles. She performed in concert from time to time during the 1970s in Peru and later in New York at the Chateau Madrid and Town Hall. In the 1980s, she resumed her career under the management of Alan Eichler and had a number of concerts both in the United States and abroad, including the Hollywood Roosevelt Cinegrill, New York's Ballroom in 1987 (where she was held over for seven weeks to SRO crowds) and several San Francisco shows at the Theatre on the Square among others.
In 1987, she recorded "I Wonder" from the Disney film Sleeping Beauty for Stay Awake, an album of songs from Disney movies, produced by Hal Willner. She sang "Ataypura" during a March 19, 1987, appearance on Late Night with David Letterman. She recorded a new German "techno" dance record, "Mambo ConFusion".
In 1989, she sang again at the Ballroom in New York and returned to Europe for the first time in 30 years to headline the BRT's "Gala van de Gouden Bertjes" New Year's Eve TV special in Brussels as well as the "Etoile Palace" program in Paris hosted by Frederic Mitterrand. In March 1990, she played the role of Heidi in Stephen Sondheim's Follies, in Long Beach, California, her first attempt at serious theater since Flahooley in 1951.
She also gave several concerts in the summer of 1996 in San Francisco and Hollywood as well as two more in Montreal, Canada, in July 1997 as part of the Montreal International Jazz Festival. In 1992, she appeared a documentary for German television entitled Yma Sumac – Hollywoods Inkaprinzessin (Yma Sumac – Hollywood's Inca Princess). With the resurgence of lounge music in the late 1990s, Sumac's profile rose again when the song "Ataypura" was featured in the Coen Brothers film The Big Lebowski.
Her song "Bo Mambo" appeared in a commercial for Kahlúa liquor and was sampled for the song "Hands Up" by The Black Eyed Peas. The song "Gopher Mambo" was used in the films Ordinary Decent Criminal, Happy Texas, Spy Games, and Confessions of a Dangerous Mind, among others. "Gopher Mambo" was used in an act of the Cirque Du Soleil show Quidam. The songs "Goomba Boomba" and "Malambo No. 1" appeared in Death to Smoochy. A sample from "Malambo No.1" was used in Robin Thicke's "Everything I Can't Have". Sumac is also mentioned in the lyrics of the 1980s song "Joe le taxi" by Vanessa Paradis, and her album Mambo! is the record that Belinda Carlisle pulls out of its jacket in the video for "Mad About You".
On May 6, 2006, Sumac flew to Lima, where she was presented the Orden del Sol award by Peruvian President Alejandro Toledo and the Jorge Basadre medal by the Universidad Nacional Mayor de San Marcos. Sumac died on November 1, 2008, aged 85,at an assisted living home in Los Angeles, California, nine months after being diagnosed with colon cancer. She was interred at the Hollywood Forever Cemetery in the "Sanctuary of Memories" section
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Sumac's first and most popular release, and also one of her least hokey or pop-oriented. That's not to say it's without its mass-appeal elements, especially in the arrangements, conducted by Les Baxter. Originally issued as a 10-inch LP, the latest CD reissue combines the eight tracks with the eight others contained on another of her early albums, Inca Taqui.
Yma Sumac - Voice Of The Xtabay...And Other Exotic Delights (flac 349mb)
01 Xtabay 3:16
02 Ataypura! 2:58
03 Wayra 2:56
04 Panarima 3:21
05 Negrito Filomino 2:11
06 Mamallay! 2:53
07 Ccori Canastitay 2:17
08 Suray Surita 3:15
09 Wimoweh 2:40
10 No Es Vida 2:17
11 Lullia Mak'ta 2:25
12 Cumbemaita 3:04
13 Wak'ai 2:28
14 Chuncho 3:36
15 Kuyaway 2:25
16 Inca Waltz 3:10
17 Karibe Taki 2:49
18 Witallia! 2:23
19 Kon Tiki 3:02
20 Lament 3:15
21 Montana 3:25
22 Najala's Lament 3:25
23 Birds 2:58
24 Zana 1:59
25 Babalu 2:48
26 Xtabay 3:21
Yma Sumac - Voice Of The Xtabay...And Other Exotic Delights (ogg 139mb )
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Capitol got on top of two '50s fads at once by issuing an album of Sumac tackling mambo. Yma (characteristically) held nothing back, and the result was one of her more enjoyable LPs, with respectably swinging mambo grooves crafted by Billy May. "Five Bottles Mambo" is one of her most astonishing vocal workouts, dropping into guttural growls that are downright bestial, and making one wonder how exactly they got away with that in the conservative milieu of the 1950s.
Yma Sumac - Mambo! (flac 235mb)
01 Bo Mambo 3:17
02 Taki Rari 2:47
03 Gopher 2:14
04 Chicken Talk 3:03
05 Malambo No. 1 2:53
06 Five Bottles Mambo 2:49
07 Indian Carnival 2:04
08 Jungla 2:25
Yma Sumac - Mambo! (ogg 62mb)
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The album cover of Miracles is a striking gold on blue with imagery of modern technology meeting the old world. VU meters adorn steps next to a mini sphinx with boats and electric/acoustic guitars in the water. The first song on this disc should've been a hit; "Remember" begins with a hard rock explosion and Sumac exploring what the liner notes call her "extraordinary five-octave voice." There are no lyrics here, just Sumac's vocal flights which ride over rock & roll textures. Although the rock here sounds like it is straight out of the Berklee College of Music, jazz influenced organ courtesy of Richard Person, Chuck Cowan's guitar, the bass of Roger Cowan, and Skippy Switzer's drums all shine here. On "Let Me Hear You," Sumac reaches down into her gut and comes up with a sound Peter Frampton utilized on his 1976 hit "Show Me the Way," the amazing thing is, she didn't have to use the mouth instrument employed by Frampton! "Tree of Life has keyboards licks from a Monkees album track ("(Look Out) Here Comes Tomorrow"), while "Azure Sands" on side two emulates "Music to Watch Girls By," the Bob Crewe hit from 1967, with an on-key Yoko Ono, that being Sumac. The similarity to Ono is worth noting. Where she is all over the map, Sumac is controlled, passionate. Ten tracks is a bit much of vocal exercises, chirps, and incessant styling, but the music on this album with bandleader Les Baxter has merit.
Yma Sumac - Miracles (flac 187mb)
01 Remember 4:05
02 Medicine Man 3:02
03 Let Me Hear You 2:25
04 Tree Of Life 2:53
05 Flame Tree 2:44
06 Zebra 2:49
07 Azure Sands 2:35
08 Look Around 2:15
09 Magenta Mountain 3:00
10 El Condor Pasa 4:50
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a collection of early—perhaps the very earliest — recordings made by Yma Sumac, whose voice is one of the most phenomenal ever to issue from the human throat. The lovely Peruvian girl has a range which is incredible. It covers four full octaves, going from a deep, quivering contralto — almost a female baritone — to the clearest and highest of coloraturas, brilliant and bell-like. But it is not only the range which is remarkable—a perfect blending of the tones of a woman and a bird — but the pure quality and enchantment of the singer's manner are indescribable. Never have native songs been projected with greater magic. Those who have heard her at the Cotillion Room of the swank Hotel Pierre and other famous night-spots have immediately succumbed to her unique combination of personal charm and extraordinary musical skill—a combination which is preserved in these early but characteristic recordings.
Yma Sumac - Amor Indio (flac 214mb)
01 Batanga-Hailli (Festival) 1:33
02 Shou Condor (Giant Condor) 2:28
03 Indian Carnival 2:04
04 Cha Cha Gitano 3:51
05 Jivaro 2:56
06 Carnavalito Boliviano 2:06
07 Jungla 2:22
08 Sejollo (Whip Dance) 1:38
09 Nina (Fire Arrow Dance) 2:13
10 Yawar (Blood Festival) 2:34
11 Sauma (Magic) 3:45
12 Sumac Soratena (Beautiful Jungle Girl) 1:42
13 Sansa (Victory Song) 2:50
14 Aullay (Lullaby) 3:45
15 Hampi (Medicine) 3:09
16 Wanka (The Seven Winds) 3:05
17 Cueca Chilena 3:19
18 Amor Indio 2:59
Yma Sumac - Amor Indio (ogg 102mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's artist is a Peruvian soprano. In the 1950s, she was one of the most famous exponents of exotica music. Sumac became an international success based on her extreme vocal range. She claimed five octaves and some reports state this, but other reports (and recordings) document four and a half at the peak of her singing career (A typical trained singer has a range of about three octaves.) She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano and notes in the whistle register......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Sumac was born Zoila Augusta Emperatriz Chávarri del Castillo on September 10, 1923, in Ichocán, a historically Indian village in Cajamarca, Peru. Her parents were Sixto Chávarri and Emilia del Castillo. Her father was born in Cajamarca and her mother was born in Pallasca. Stories published in the 1950s claimed that she was an Incan princess, directly descended from Atahualpa. The government of Peru in 1946 formally supported her claim to be descended from Atahualpa, the last Incan emperor. She was the youngest of six children. Her mother was a schoolteacher and her father a civic leader. Chávarri adopted the stage name of Imma Sumack (also spelled Ymma Sumack and Ima Sumack) before she left South America for the United States. The stage name was based on her mother's name, which was derived from Ima Shumaq, Quechua for "how beautiful!," although in interviews she claimed it meant "beautiful flower" or "beautiful girl".
Sumac first appeared on radio in 1942. She recorded at least 18 tracks of Peruvian folk songs in Argentina in 1943. These early recordings for the Odeon label featured composer Moisés Vivanco's troupe Compañía Peruana de Arte, of 16 Indian dancers, singers, and musicians.
In 1950 she made her first tour to Europe and Africa, and debuted at the Royal Albert Hall in London and the Royal Festival Hall before the Queen. She presented more than 80 concerts in London and 16 concerts in Paris. A second tour took her to the Far East: Persia, Afghanistan, Pakistan, Burma, Thailand, Sumatra, the Philippines, and Australia. Her fame in countries like Greece, Israel and Russia made her change her two-week stay to six months. During the 1950s, she produced a series of lounge music recordings featuring Hollywood-style versions of Incan and South American folk songs, working with Les Baxter and Billy May. The combination of her extraordinary voice, exotic looks, and stage personality made her a hit with American audiences. Sumac appeared in a Broadway musical, Flahooley, in 1951, as a foreign princess who brings Aladdin's lamp to an American toy factory to have it repaired. The show's score was by Sammy Fain and Yip Harburg, but her three numbers were the work of Vivanco, with one co-written by Vivanco and Fain.
During the 1950s, Sumac continued to be popular, playing Carnegie Hall, the Roxy Theatre with Danny Kaye, Las Vegas nightclubs and concert tours of South America and Europe. She put out a number of hit albums, such as Mambo! (1954) and Fuego del Ande (1959). Capitol Records, Sumac's label, recorded the show. Flahooley closed quickly, but the recording continues as a cult classic, in part because it also marked the Broadway debut of Barbara Cook. During the height of Sumac's popularity, she appeared in the films Secret of the Incas (1954) with Charlton Heston and Robert Young and Omar Khayyam (1957).
In 1971, Sumac released a rock album, Miracles. She performed in concert from time to time during the 1970s in Peru and later in New York at the Chateau Madrid and Town Hall. In the 1980s, she resumed her career under the management of Alan Eichler and had a number of concerts both in the United States and abroad, including the Hollywood Roosevelt Cinegrill, New York's Ballroom in 1987 (where she was held over for seven weeks to SRO crowds) and several San Francisco shows at the Theatre on the Square among others.
In 1987, she recorded "I Wonder" from the Disney film Sleeping Beauty for Stay Awake, an album of songs from Disney movies, produced by Hal Willner. She sang "Ataypura" during a March 19, 1987, appearance on Late Night with David Letterman. She recorded a new German "techno" dance record, "Mambo ConFusion".
In 1989, she sang again at the Ballroom in New York and returned to Europe for the first time in 30 years to headline the BRT's "Gala van de Gouden Bertjes" New Year's Eve TV special in Brussels as well as the "Etoile Palace" program in Paris hosted by Frederic Mitterrand. In March 1990, she played the role of Heidi in Stephen Sondheim's Follies, in Long Beach, California, her first attempt at serious theater since Flahooley in 1951.
Her song "Bo Mambo" appeared in a commercial for Kahlúa liquor and was sampled for the song "Hands Up" by The Black Eyed Peas. The song "Gopher Mambo" was used in the films Ordinary Decent Criminal, Happy Texas, Spy Games, and Confessions of a Dangerous Mind, among others. "Gopher Mambo" was used in an act of the Cirque Du Soleil show Quidam. The songs "Goomba Boomba" and "Malambo No. 1" appeared in Death to Smoochy. A sample from "Malambo No.1" was used in Robin Thicke's "Everything I Can't Have". Sumac is also mentioned in the lyrics of the 1980s song "Joe le taxi" by Vanessa Paradis, and her album Mambo! is the record that Belinda Carlisle pulls out of its jacket in the video for "Mad About You".
On May 6, 2006, Sumac flew to Lima, where she was presented the Orden del Sol award by Peruvian President Alejandro Toledo and the Jorge Basadre medal by the Universidad Nacional Mayor de San Marcos. Sumac died on November 1, 2008, aged 85,at an assisted living home in Los Angeles, California, nine months after being diagnosed with colon cancer. She was interred at the Hollywood Forever Cemetery in the "Sanctuary of Memories" section
xxxxx xxxxx xxxxx xxxxx xxxxx
Sumac's first and most popular release, and also one of her least hokey or pop-oriented. That's not to say it's without its mass-appeal elements, especially in the arrangements, conducted by Les Baxter. Originally issued as a 10-inch LP, the latest CD reissue combines the eight tracks with the eight others contained on another of her early albums, Inca Taqui.
Yma Sumac - Voice Of The Xtabay...And Other Exotic Delights (flac 349mb)
01 Xtabay 3:16
02 Ataypura! 2:58
03 Wayra 2:56
04 Panarima 3:21
05 Negrito Filomino 2:11
06 Mamallay! 2:53
07 Ccori Canastitay 2:17
08 Suray Surita 3:15
09 Wimoweh 2:40
10 No Es Vida 2:17
11 Lullia Mak'ta 2:25
12 Cumbemaita 3:04
13 Wak'ai 2:28
14 Chuncho 3:36
15 Kuyaway 2:25
16 Inca Waltz 3:10
17 Karibe Taki 2:49
18 Witallia! 2:23
19 Kon Tiki 3:02
20 Lament 3:15
21 Montana 3:25
22 Najala's Lament 3:25
23 Birds 2:58
24 Zana 1:59
25 Babalu 2:48
26 Xtabay 3:21
Yma Sumac - Voice Of The Xtabay...And Other Exotic Delights (ogg 139mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
Capitol got on top of two '50s fads at once by issuing an album of Sumac tackling mambo. Yma (characteristically) held nothing back, and the result was one of her more enjoyable LPs, with respectably swinging mambo grooves crafted by Billy May. "Five Bottles Mambo" is one of her most astonishing vocal workouts, dropping into guttural growls that are downright bestial, and making one wonder how exactly they got away with that in the conservative milieu of the 1950s.
Yma Sumac - Mambo! (flac 235mb)
01 Bo Mambo 3:17
02 Taki Rari 2:47
03 Gopher 2:14
04 Chicken Talk 3:03
05 Malambo No. 1 2:53
06 Five Bottles Mambo 2:49
07 Indian Carnival 2:04
08 Jungla 2:25
Yma Sumac - Mambo! (ogg 62mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The album cover of Miracles is a striking gold on blue with imagery of modern technology meeting the old world. VU meters adorn steps next to a mini sphinx with boats and electric/acoustic guitars in the water. The first song on this disc should've been a hit; "Remember" begins with a hard rock explosion and Sumac exploring what the liner notes call her "extraordinary five-octave voice." There are no lyrics here, just Sumac's vocal flights which ride over rock & roll textures. Although the rock here sounds like it is straight out of the Berklee College of Music, jazz influenced organ courtesy of Richard Person, Chuck Cowan's guitar, the bass of Roger Cowan, and Skippy Switzer's drums all shine here. On "Let Me Hear You," Sumac reaches down into her gut and comes up with a sound Peter Frampton utilized on his 1976 hit "Show Me the Way," the amazing thing is, she didn't have to use the mouth instrument employed by Frampton! "Tree of Life has keyboards licks from a Monkees album track ("(Look Out) Here Comes Tomorrow"), while "Azure Sands" on side two emulates "Music to Watch Girls By," the Bob Crewe hit from 1967, with an on-key Yoko Ono, that being Sumac. The similarity to Ono is worth noting. Where she is all over the map, Sumac is controlled, passionate. Ten tracks is a bit much of vocal exercises, chirps, and incessant styling, but the music on this album with bandleader Les Baxter has merit.
Yma Sumac - Miracles (flac 187mb)
01 Remember 4:05
02 Medicine Man 3:02
03 Let Me Hear You 2:25
04 Tree Of Life 2:53
05 Flame Tree 2:44
06 Zebra 2:49
07 Azure Sands 2:35
08 Look Around 2:15
09 Magenta Mountain 3:00
10 El Condor Pasa 4:50
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a collection of early—perhaps the very earliest — recordings made by Yma Sumac, whose voice is one of the most phenomenal ever to issue from the human throat. The lovely Peruvian girl has a range which is incredible. It covers four full octaves, going from a deep, quivering contralto — almost a female baritone — to the clearest and highest of coloraturas, brilliant and bell-like. But it is not only the range which is remarkable—a perfect blending of the tones of a woman and a bird — but the pure quality and enchantment of the singer's manner are indescribable. Never have native songs been projected with greater magic. Those who have heard her at the Cotillion Room of the swank Hotel Pierre and other famous night-spots have immediately succumbed to her unique combination of personal charm and extraordinary musical skill—a combination which is preserved in these early but characteristic recordings.
Yma Sumac - Amor Indio (flac 214mb)
01 Batanga-Hailli (Festival) 1:33
02 Shou Condor (Giant Condor) 2:28
03 Indian Carnival 2:04
04 Cha Cha Gitano 3:51
05 Jivaro 2:56
06 Carnavalito Boliviano 2:06
07 Jungla 2:22
08 Sejollo (Whip Dance) 1:38
09 Nina (Fire Arrow Dance) 2:13
10 Yawar (Blood Festival) 2:34
11 Sauma (Magic) 3:45
12 Sumac Soratena (Beautiful Jungle Girl) 1:42
13 Sansa (Victory Song) 2:50
14 Aullay (Lullaby) 3:45
15 Hampi (Medicine) 3:09
16 Wanka (The Seven Winds) 3:05
17 Cueca Chilena 3:19
18 Amor Indio 2:59
Yma Sumac - Amor Indio (ogg 102mb)
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