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Carlos Lopez
Trumpeter Extraordinaire
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Music 1010
Fall 2014
MUSIC 1010 PROJECT PAPER FALL 2014
BY ASHTORA
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Carlos Lopez
Trumpeter Extraordinaire
“Each live performance happens only once, therefore is unique.”-Carlos Lopez, 2014
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Introducing, Puerto Rican trumpet sensation, Carlos Lopez! Born into a
modest Puerto Rican family living in Dallas, Texas, in 1957, Carlos retained his modest
living throughout his life. After international travels, and later gaining his college
education in Austin, Texas, he eventually relocated to Houston, where he makes his home
today.
Although his parents were not musicians, his father loved to listen to great music.
When in fourth grade, he was introduced to musicians Raphael Mendez, Herb Albert, and
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Al Hirt, among others, as his father was playing their recordings on his stereo…and
subsequently, felt the call. By seventh grade, living in southern Germany, he began
taking advantage of some unique playing opportunities, becoming a performing musician
at a young age. Carlos kept performing throughout his high school years. Earnings from
those performances paid for his college education.
His degree in Music Literature came from the University of Texas at Austin. After
living in Austin for 15 years, Carlos chose Houston for his home; and it is there, where
he took private instruction with a member of the Houston Symphony, and truly began his
career as a professional musician.
Carefully putting together bands capable of performing a wide variety of genres,
including ballroom-dance, Carlos crafted his personal band style before adding
performances with the Houston Symphony (an opera in 1994); and today, he performs
with classical and jazz freelance groups and latin music groups. In addition, he
contracts out his talents to musical and commercial productions.
Commanding knowledge of his instrument and disciplined awareness of his
execution makes Carlos’ performances engaging, beautiful, and inspiring. He says that
what he loves most, is the live performance, because: “it happens only once, therefore is
unique.”
While conceding that perfection is unattainable, Carlos finds it can be straining to
work with musicians less disciplined than himself. Few have developed the technique
Carlos has mastered, or acquired his knowledge and expertise.
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Today, Carlos makes his home with his feline companion, in Houston, Texas,
where he enjoys collecting art and dabbling in other hobbies when he isn’t performing.
Juggling between his routine performance schedule and additional productions actually
leaves little time for his hobbies, as his trumpeting skills are in demand all-year round;
especially, during Christmas, New Year’s, Valentine’s, Easter, and Latino holidays.
Like many musicians, Carlos claims to live in poverty—saying this is the first of
the two downsides to being a professional trumpeter. The other negative, he says, can
potentially be hearing damage.
A quiet, private fellow, Carlos has successfully avoided fame and the press.
Currently, his CD, Different Strokes, produced three years ago, is his only recorded
production. Occasionally, he will take on a student who is very talented, very serious or
both. He encourages parents of music students to enjoy every note, sweet or sour, as it
comes.
When asked about the highlights of his career, Carlos relates this story:
“My only visit to the Far East was with the American Pops Orchestra in 1994. We took
an forty-five member orchestra and four vocalist performers to Chiba, Japan.
The Japanese loved the Cole Porter review show we put on and all three performances
were sold out. It was a great time of personal and professional growth for me as I got to
know my professional colleagues better and become more respected by them.”
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It comes as no surprise that Mr. Lopez has no intentions of slowing down his
fulfilling performance career; instead, he is looking toward expanding his productions,
and hopes to find a collaborator with whom he can build a diverse music production
company.1
Author’s note: I would like to say that since being introduced to this Trumpeter
Extraordinaire, I have a greater appreciation for the exhilarating capabilities of the
trumpet instrument. Often, when listening to music, I find myself mentally filling in the
bright qualities of a trumpet. Mr. Lopez achieved a oneness and greatness with his
trumpet, which makes every note played a magical, musical moment to savor.
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Uploaded on Jul 22, 2011
Sabor A Mi (DR) Bolero Cha-Cha-Mambo Style.
Carlos Lopez & Freddie Navas Band.
Freddie Navas - Timbales, Bongos, Congas, Cowbells, Cymbal, Guiro, Chekere.
Musical Producers - Carlos Lopez (Lead Trumpet) & Freddie Navas
(Percussionist)
Recorded At - David Caceres Studios, Houston, Tx. April 19, 2008.
Category
Education
License
Standard YouTube License
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https://www.youtube.com/watch?v=q965nSbRB7Y
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Listening Guide:
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Sabor a Mi3
by Mexican Composer, Alvaro Carillo (1921-1969), arranged by Carlos Lopez
Classification: Bolero
Rhythms: Bolero
Quadruple Meter Simple Division
Keys G to A-flat
Solo trumpet plus jazz band: 3 trumpets, 5 saxophones (2 alto, 2 tenor and 1
baritone), 4 trombones, acoustic guitar, piano, bass and percussion.
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:05
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:16
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:36
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:42
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BOLERO STYLE INTRO: Acoustic guitar provide bolero rhythm intro
FIRST TRUMPET SOLO VERSE 1: trumpet solo begins bolero melody
while acoustic guitar plays accompanying arpeggios
SAXOPHONES & PERCUSSION: tenor saxophones
introduced; rhythm of percussion added
PIANO & BASS: piano & bass voice added to solo trumpet voice
with saxophone section harmonic accompaniment voices
1:00 CHA CHA ANNOUNCED: BOLERO style gives way to CHA CHA
as saxophone section voices announce rhythm change
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1:02 SECOND TRUMPET SOLO VERSE 2: trumpet solo resumes melody in
CHA CHA rhythm with guiro enhancing the style change, while SAX
VOICES and congas add enthusiasm; TROMBONES respond to each
trumpet statement with CHA-CHA-CHA; sliding down into bass range
when trumpet voice ascends
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1:20 BOLERO RHYTHM RETURNS IN TRUMPET SOLO VERSE 3: BOLERO
return ANTICIPATED as lead trumpet concludes its CHA CHA statement
with emphasis; yet, seamlessly resumes its original melodic statement in
BOLERO style while SAX VOICES keep pace; piano voice mimics bird
voices chiming in
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1:41 ACOUSTIC GUITAR SOLO VERSE 4: trumpet statement ends with
handing off to acoustic guitar solo, which continues bolero style,
restating original theme or statement and embellishing with improvisation;
piano, guiro and congas provide rhythm while piano provides harmon
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2:02 ACOUSTIC GUITAR IMPROV 1: acoustic guitar repeats its
statement embellishing with improvisation
2:22 PIANO: piano helps guitar conclude its statement
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2:23 ACOUSTIC GUITAR MOD. UP & ADDS SAXOPHONES IMPROV 2:
acoustic guitar begins a new statement in a higher range with saxophone
section joining in the emphasis of higher range
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2:43 IMPROV EMPHASIS: Emphatic statement concludes with ascending and
descending scale of guitar and three ascending chords from saxophone
section
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2:45 ACOUSTIC GUITAR SOLO IMPROV 3: acoustic guitar returns to lower
range embellishing with improvisation, this time with piano taking a duet
role with its own response to melody; soft drums provide rhythm
accompaniment
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3:05 MAMBO SECTION WITH SAXOPHONES VERSE 5:
Saxophone section takes MAMBO lead, echoing melody as piano and
rhythm instruments keep pace
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3:26
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MAMBO REPEAT: saxophone section repeats mambo statement
3:46 CHA CHA RHYTHM W/FULL BAND VERSE 6: FULL BAND joins in as
repeats statement, now in CHA CHA, as piano and rhythm instruments
keep up in SALSA STYLE excitement
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4:06 FULL BAND SETS UP FINALE: announces the coming of trumpet lead
with four sets of double eighth-note beats, 1 and, 2 and, 3 and, 4 and—
trumpet solo
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4:08 BOLERO FINALE WITH TRUMPET SOLO MODULATION: modulating
1/2 step up, trumpet solo rings out the concluding BOLERO style melody,
then adding two embellishing high notes as trombones emphasize
trumpet’s high notes with their own low notes, in bass range.
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History of Sabor a Mi4
by Mexican Composer, Alvaro Carillo (1921-1969)
“Composed by Mexican singer/songwriter, Álvaro Carrillo, "Sabor a
Mi" represents one of the most enduring and beautiful ballads in the Spanish
language. Its message is romantic, sensual and timeless, a beautiful song for
any period (Steve Kahn).”5
An iconic and signature piece of Carrillo, Sabor a mi was registered on
July 11, 1958, at the Promotora Hispano Americana Music (PHAM), first
recorded in mid 1959, and has been translated and performed in many
languages (including Russian and Japanese) and performed throughout the
world. Recordings sold count in the millions.
The story behind this beautiful Mexican song goes something like this:
One December day in 1957, Carrillo was drunk on whiskey. During
the Christmas dinner and between whiskeys, Carrillo kissed his wife. His
wife was offended by the whiskey kiss and let him know he was drunk and
should stop drinking; but, Alvaro kept drinking and kissing, drinking and
kissing. Finally, his wife protested, exclaiming he was depositing the taste of
whiskey from his mouth, but taking nothing from hers. Alvaro Carrillo,
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being drunk, fired back, “what you have in your mouth is not whiskey, it is
me!” They both understood in that moment that the phrase he proclaimed
was the poetic preamble to a song yet to be written. Together, he and his wife
composed, Sabor a Mi that night. They claim to have known then this song
would be his greatest success.6
Text of Sabor a Mi7
Translated in English
So long enjoyed, for this love approached our souls, so much so I keep your taste but you take a taste of me too ...
If you should deny my presence in your life be enough to hold you and talk I gave so much life strength that you bring to me and taste ...
I do not claim to own you I am nothing I have not vanity of my life, I give good I so poor, what else can I give
It will take over a thousand years, many more I do not know if have love forever But there as here you will carry in your mouth taste of me …
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Uploaded on Jul 20, 2011
Quizas, Quizas, Quizas (DR) Cuban Cha-Cha Style.
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Band: Carlos Lopez & Freddie Navas Band
Freddie Navas - Timbal, Cowbell, Congas, Guiro. Musical Producers: Carlos Lopez (Lead Trumpet) & Freddie Navas (Percussionist)
Recorded At: David Caceres Studio, Houston, Tx. April 19, 2008.
Category
Education
License
Standard YouTube License
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https://www.youtube.com/watch?v=HZge2MYusB0
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MUSIC 1010 PROJECT PAPER FALL 2014
BY ASHTORA !11
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Listening Guide:
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Quizas, Quizas, Quizas9
by Cuban Composer, Osvaldo Farres (1903-1985), arranged by Carlos Lopez
Classification Cha-cha
Rhythms Cha-cha
Quadruple Meter Simple Division
Key E minor
Trumpet, tenor saxophone, baritone saxophone, trombone, bass, percussion
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:05
INTRO: Baritone sax, guiro, congas, bass, piano intro
:21
TRUMPET SOLO VERSE: trumpet solo makes Quizas, Quizas, Quizas
statement, ending in three percussive “Perhaps” exclamations
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:37
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:54
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:56
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TRUMPET/BARITONE SAX DUET: trumpet and baritone sax exchange
thought while piano and guiro chat in the background; again, trumpet and
piano conclude the QQQ statement with three emphatic “Perhaps,
Perhaps, Perhaps” “foot-stomps”
BARITONE SAX: baritone sax helps out by adding its own two “footstomps” in lowest range
TRUMPET SOLO VERSE IN HIGH RANGE: High range solo trumpet
begins new variation of original QQQ statement, full band engaged now
with piano delighting in keyboard improv embellishments
1:15 TRUMPET SOLO SHIFTS TO LOW RANGE: trumpet re-introduces
original statement in lower range, this time with baritone sax providing
short per-cus-sive responses and piano dancing around
trumpet melody; percussive instruments enhancing throughout, all
ending with less emphatic foot-stomps, but “Perhaps, Perhaps, Perhaps”
played with the same recurring emphasis, nonetheless
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1:31 CHORUS/BRIDGE: trumpet, baritone sax, and full ensemble instruments
jazzing around; again, ending in “Perhaps, Perhaps, Perhaps”
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1:47 BARITONE SAX VERSE: BARITONE sax finally takes solo with
accompaniment in a type of round, resulting in polyphonic clamor, ending i
in the predictable by now, three beat emphasis
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2:05 PIANO SOLO INTERLUDE: piano enjoys highlight in brief, delightful
keyboard rift
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2:26 TRUMPET/FULL ENSEMBLE INTERLUDE: trumpet, sax and FULL
ENSEMBLE enjoy a chummy mid-range harmonic brass sing-a-long; piano
and rhythms taking background; concluding with the three syllable,
response
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2:40 BARITONE TRILL: with a little thrill, low BARITONE sax TRILL
anticipates the coming HIGH range trumpet solo playing
original statement while other instruments pirouette around the melody
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3:01 TRUMPET FINALE: trumpet restates theme in a LOWER range, ending in
the uh, uh, uh, once again
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3:16 BARITONE SAX FINALE: baritone sax has the last word in repeating this
familiar theme, one last time, sounding a little like “the sun is going down,
it’s time to go to bed, I’m tired of saying this over and over again, but:
THAT’S-THE-TRUTH (Perhaps, Perhaps, Perhaps).
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Quizas, Quizas, Quizas10
by Cuban Composer, Osvaldo Farres (1903-1985)
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Quizas, Quizas, Quizas, likely the most popular song by Cuban born, Osvaldo Farres. Osvaldo’s
Cuban melody was first recorded in English (“Perhaps, Perhaps, Perhaps”) on December 29,
1947, by Desi Arnez,11/12 and later immortalized when introduced in Nat King Cole’s velvety
tones in 1958; then again, by Hollywood’s Doris Day, when she sang her sexy version in the
1964 movie, Perhaps, Perhaps, Perhaps, with Carey Grant.13 Second Hand Songs site: http://
www.secondhandsongs.com, provides this song’s extensive recording history. As widely as
Quizas, Quizas, Quizas has been recorded and performed, and throughout all my searching and
listening to available recordings of “Perhaps, Perhaps, Perhaps,” I find none so punctuated and
passionate as the arrangement written and performed by Carlos Lopez. I hope you enjoy hearing
his arrangement and performance of this much beloved, iconic Mexican folk song.
English Lyrics for Quizas,
Quizas, Quizas14
You won't admit you love me
And so how am I ever to know?
You always tell me
Perhaps, perhaps, perhaps
A million times I've asked you
And then I ask you over again
You only answer
Perhaps, perhaps, perhaps
If you can't make your mind up
We'll never get started
And I don't wanna wind up
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Being parted, broken hearted
So if you really love me
Say yes but if you don't, dear, confess
And please don't tell me
Perhaps, perhaps, perhaps
Perhaps, perhaps, perhaps
If you can't make your mind up
We'll never get started
And I don't wanna wind up
Being parted, broken hearted
So if you really love me
Say yes but if you don't, dear, confess
And please don't tell me
Perhaps, perhaps, perhaps
Perhaps, perhaps, perhaps
Perhaps, perhaps, perhaps
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1
Lopez, Carlos. Telephone Interview. 28 October 2014.
2Lopez,
Carlos, and Navas, Freddie, with Carlos Lopez Big Band. Sabor a Mi’ , written and composed by Carrillo, Alvaro.
https://www.youtube.com/watch?v=q965nSbRB7Y: 2011. (Web) Audio only. 31 October 2014
3admin.The
Story Behind the Song: “Taste Me’”Alvaro Carrillo. Todo Oaxaca El Oriente continedo con rumbo. El
oriente.net. 15 August 2014. http://translate.google.com/translate?hl=en&sl=es&u=http://www.eloriente.net/
home/2014/08/15/la-historia-detras-de-la-cancion-sabor-a-mi-de-alvaro-carrillo-2/&prev=search. (Web) 2
November 2014
4admin.The
Story Behind the Song: “Taste Me’”Alvaro Carrillo. Todo Oaxaca El Oriente continedo con rumbo. El
oriente.net. 15 August 2014. http://translate.google.com/translate?hl=en&sl=es&u=http://www.eloriente.net/
home/2014/08/15/la-historia-detras-de-la-cancion-sabor-a-mi-de-alvaro-carrillo-2/&prev=search. (Web) 2
November 2014
5Khan,
Steve. Leonardo Amuedo’s “Sabor a Mi” Solo & Analysis. http://www.stevekhan.com/saboramuedoa.htm. N.p.,
n.d., (Web) 2 November 2014
6admin.The
Story Behind the Song: “Taste Me’”Alvaro Carrillo. Todo Oaxaca El Oriente continedo con rumbo. El
oriente.net. 15 August 2014. http://translate.google.com/translate?hl=en&sl=es&u=http://www.eloriente.net/
home/2014/08/15/la-historia-detras-de-la-cancion-sabor-a-mi-de-alvaro-carrillo-2/&prev=search. (Web) 2
November 2014
7Los
Lobos. Sabor A Mi Lyrics (English Language). Batlyrics. in partnership with Tonefuse Music. http://batlyrics.net/
sabor_a_mi-lyrics-los_lobos.html?ln=en. 2010 (Web) 2 November 2014
8Lopez,
Carlos, and Navas, Freddie, with Carlos Lopez Big Band. Quizas, Quizas, Quizas, written and composed by Farres,
Osvaldo. https://www.youtube.com/watch?v=HZge2MYusB0: Quizas, Quizas, Quizas (DR) Carlos Lopez and
Freddie Navas Band, 2011. 31 October 2014
9elveraz.com.
Osvaldo Farres: The Most Performed Composer of Cuba. The Truthful. 10 November 2003. http://
translate.google.com/translate?hl=en&sl=es&u=http://elveraz.com/articulo903.htm&prev=search. (Web) 2
November 2014
10elveraz.com.
Osvaldo Farres: The Most Performed Composer of Cuba. The Truthful. 10 November 2003. http://
translate.google.com/translate?hl=en&sl=es&u=http://elveraz.com/articulo903.htm&prev=search. (Web) 2
November 2014
11Davis,
Joe. Perhaps, Perhaps, Perhaps by Desi Arnaz. Second Hand Songs. n.d. http://www.secondhandsongs.com/
performance/14862. (Web) 3 November 2014
12Davis,
Joe. Perhaps, Perhaps, Perhaps by Desi Arnaz. Second Hand Songs. n.d. http://www.secondhandsongs.com/
work/14862/versions#nav-entity. (Web) 3 November 2014
13elveraz.com.
Osvaldo Farres: The Most Performed Composer of Cuba. The Truthful. 10 November 2003. http://
translate.google.com/translate?hl=en&sl=es&u=http://elveraz.com/articulo903.htm&prev=search. (Web) 2
November 2014
14elveraz.com.
Osvaldo Farres: The Most Performed Composer of Cuba. The Truthful. 10 November 2003. http://
translate.google.com/translate?hl=en&sl=es&u=http://elveraz.com/articulo903.htm&prev=search. (Web) 2
November 2014
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