hear "Boracay Blue"
Boracay Blue lyrics (English)
Boracay Blue lyrics (Japanese)
hear "Wait For Me"
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hear "Boracay Blue" Boracay Blue lyrics (English) Boracay Blue lyrics (Japanese)
hear "Wait For Me" |
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liner notes - Japanese I first had the idea of recording in Manila about 2 years ago. I had already been spending lots of holiday time in the Philippines, and it seemed a great way to combine a vacation with some productive work. Then, in August of '98, I met some very compatible musicians--Ray, Arnold, and Tek--found a studio with a 9-foot Yamaha grand, and spent 2 sessions on a trial recording. Pleased with the results, I decided that on my next break from work in Japan, in February of this year, I would go back and record a whole CD. Meanwhile, the island of Boracay (rhymes with, "wore a tie"), to the South off Panay in the Visayas region, had become my favorite spot in the Philippines. I've visited quite a few tropical islands around the world--beautiful places--but there's something special, something magical, about Boracay. So, when I decided to record the CD, I also thought of a title, Boracay Blue, that seemed catchy and fitting. Of course, that meant I'd have to write a song with that title. The idea was simple. It would be a light, bossa nova-ish, Michael Franks-ish sort of song, and I'd have 5 months to work on it. However, being lazy, and distracted by other things, I never did it. Well OK, I thought. I'll just revert to the alternate album title, "Rick Zimmerman in Mandaluyong," the latter being the area of Metro Manila where the studio was located, which I quite liked the sound of anyway. In the meantime, I'd mentioned my recording plans on a few occasions to my good friend and sometimes musical colleague, Gustavo Gregorio. Originally from Buenos Aires, but currently living here in the Kansai region of Japan, Gustavo is a great bassist, arranger, and composer who specializes in all kinds of Latin music styles, but is a fine jazz player as well. We fantasized a couple of times about him joining me in Manila to help with the recording, including the production end, but it seemed that constraints of time and finances made that impractical. Though we discussed my plan in general, never did I mention the idea of Boracay Blue. Then, talking one day in January, we quite suddenly came up with a viable plan. The basic recording might take about 2 weeks, and Gustavo would be able join me in Manila for one. He would play bass on about half the tunes, act as producer when not playing, and contribute one original instrumental tune, Ausencia. Wonderful! Later, about a week before my departure in February, I had a call from Gustavo. He told me he'd just written a nice bossa nova tune, that he called Sea and Sun. He thought I'd like it, and I might want to include it on the CD. I asked him to fax me the lead sheet. Three minutes later I had it in my hands, and was sitting at the keyboard trying it out. Wow--It was lovely! And not only did I like it, but I knew right away that this was it -- this was Boracay Blue! I called Gustavo back, and proposed my plan to write lyrics to it, and though at first reluctant to give up his title, he finally agreed. So I took along my toy Casio keyboard to the P.I., and during a week on Boracay before beginning the recording, I managed to come up with the lyrics to Gustavo's rather difficult melody. The truth is that, inspired by the island itself, sitting on the beach and on the porch of my little bamboo bungalow, surrounded by blue sky and sea, the words came rather easily. And watching this song grow from the handwritten faxed lead sheet on that day in February, to the recording that you now hold in your hands, with Ray's lovely flute playing, Noel's sweet guitar, and Denise's oceanic background vocal, has been the most exciting part of this project. So here it is -- Boracay Blue. I hope you enjoy the song, and the whole album! Rick Zimmerman Osaka, Japan October, 1999 |