Les Baxter — Exotica Absolute

Exotica Absolute is a two-CD set bringing together four Les Baxter albums from the 1950s. The release is part of the open-ended ‘As Dug By Lux And Ivy’ series- which was set up/ curated by respected music journalist Dave Henderson- releasing both standard compilations and album collections such as this.

The CDs come presented in a slim line/see-through jewel case. Inside we have an eight-page glossy/ colourful inlay booklet- featuring a two-half-page write-up about Baxter from Henderson,  and track listings- though sadly no cover art for the four albums here.
 
The release presents itself as a purely Exotica affair, and while a big chunk of what we have here can be placed in that genre- there is a fair bit sitting in the general 1950s easy-listening genre.  So, if you expect wall-to-wall Exotica- you may be a little disappointed. Anyway, let us get stuck into what we have here.
 
So first up we have Ritual Of The Savage (Le Sacre Du Sauvage) from the year 1957. It takes in twelve tracks, and of the four albums here this is the one most firmly within the Exotica genre, and is squarely seen as a key/ important album in the genre. We move from “Jungle River Boat” with its darting, vibrant and orchestrion base which is shifted over by exotic percussion runs, joyful vibe darts, and bright swirls of male & female vocalising.  We have the bouncing “Jungle Jalopy” with its constant clip-clap drum work, and layered to shifting instrumental detail including some wonderful hammer dulcimer & harp flourishes.  There’s the classic bounding paino, tip tap drum work, and moody male & female vocalizing of “Love Dance”. With the album playing out with layered & shifting drum work, (mock) ethnic chants, and dramatic orchestral swoons of  “The Ritual”. As a say a classic example of the exotica form.
 
Next, we have 1954 The Passions which found Baxter teaming up with singer Bas Sheva for a seven-track album. Ms Sheva has a decidedly darting, swirling, to warbling &  wavering largely wordless singing voice. And for the album she marries it with Mr Baxter dramatic & elegant orchestrion. With track titles like “Ecstasy”,  “Lust”, and “Terror”- you can imagine what we have here. It’s a well-executed collaboration, and yes we do get the occasional Exotica hint- but really it much more sits in the general 50’s easy listening bracket.
 
 
Moving onto the second disc & we have 1955’s Tamboo- this is a twelve-track album.   And this is fairly even in its Exotica flavour- though we do once again get darts into general 50’s easy listing. We go from “Oasis Of Dakhla” with its click, crack, and scratch percussion,  warming wordless vocalising, and darting instrumentation. There’s  “Wozambique” with its flirt percussion fills, flute & woodwind darts, and vibe/ gamelan interplay.  Or the waltzing & building “Rio” with its clip-clop rhythmic pluse, and  grand layers of harmonic instrumentation. So another consistent album.
 
Lastly, we have 1956’s Caribbean Moonlight- it features twelve tracks, and you can certainly say that a lot of the percussive elements here nod towards Exotica- it’s just the rest of it is very much more formal & grand orchestration easy listening. We have cascading keys, swooning to dart strings, and ornate piano lines of “The Breeze And I”.  There’s the graceful to swooning “Ay, Ay, Ay”- with the steadily pitter-pattering drums just heard under the layers of orchestration. Or there’s the flighty flute & cascading harp glide ‘n’ glow of “Green Eyes”. There’s no doubt  Caribbean Moonlight is another skilful and well-arranged album from Mr Baxter- it’s just not a true/ wholly Exotica.
 
Slightly misleading title aside, Exotica Absolute is a worthy collection of 1950s albums from Mr Baxter. So if you are happy with a mix of Exotica & generally 1950-orchestrated easy listening you’ll be fine with this two-disc set.