Since their breakthrough in 1997 with their first studio album, “Sympathique,” the 11-member “little orchestra” has never ceased to amaze their audiences around the world. After the immense success of their previous three studio albums, all of which have gone platinum, Pink Martini has just this month released their fourth recording, “Splendor in the Grass.” The album, released in Turkey on Nov. 10, is made up of nine original songs and four covers with songs in English, Neapolitan, Italian, French and Spanish. Pink Martini is set to present songs from their brand new album tomorrow night at İş Sanat, but before that, the band’s founder and artistic director, Thomas Lauderdale, spoke about “Splendor in the Grass” to Today’s Zaman.Some critics describe Pink Martini as a lounge-pop act. How do you describe the Pink Martini sound?
I would rather describe the our sound as old-fashioned pop with a global perspective. We all love old pop songs, and we enjoy rediscovering old pop singers and old pop songs of different countries.
Pink Martini is known for blending classical and traditional music with some pop influences; does “Splendor in the Grass” continue in this tradition?
Absolutely, it has so many classical flavors, more than ever. The album has a few songs with classical influences -- mainly inspired by great classical composers like Tchaikovsky and Schubert. Especially “And Then You’re Gone,” sung by China [Forbes, a Pink Martini vocalist], is directly inspired by Schubert and you can feel it on the piano section.
In your album you reinterpret a popular Italian song from the ’70s, originally sung by the legendary singer Rafaella Carra. How did you discover that song?
A close friend of mine knew a lot about Rafaella Carra, and together we discovered how big she was in Europe as a legendary singer, [loved both] for her TV shows and pop songs. Our long-time collaborator Alex Marashian also knew about Carra. When we listened to her songs, we discovered very catchy pop songs like “Tuca Tuca.” “Tuca Tuca” features a sitar solo originally played by Peter Sellers in his famous movie “The Party” in 1968.
Vocalist China teams with Sesame Street’s Emilio Delgado for a bilingual version of the song “Sing,” originally composed for Sesame Street. How did you associate Pink Martini with Sesame Street?
I feel television is terrible. Television loses its sincerity and warmth that it used to have in the ‘70s. In those times, Sesame Street was a groundbreaking show. They had started the show even before I was born. Pink Martini loves to recall those old times, and “Sing” is an old song. The song was originally composed for the show, but was later covered by The Carpenters and became famous. My high school choir accompanied the song on the album, and it feels like more Pink Martini now.
You describe your title song “Splendor in the Grass” as more like an early ’70s pop ballad…
It’s really hard to describe it, but if you have any idea about rock ballads of those times, you will agree that “Splendor in the Grass” has a spirit of the ‘70s. Not only its melody or lyrics, but also the spirit of the song feels like the ’70s.
You have also licensed your music for use in many popular television series like “Desperate Housewives,” “CSI: New York” and “Weeds.”
I have no television at home. I don’t watch television; I only read newspapers and listen to some music at home. Because I don’t like TV, I have never watched those series, but it’s nice to reach a wider audience with our songs with these popular television series.
In the very beginnings you were playing at fund-raising gigs for political or civil rights causes, and you were unhappy with Bush’s politics. Are you happy with Obama’s policies now?
No one was really happy about Bush, but I don’t think Obama has taken any real action about peace in the world, because he’s got a tough job in his country, too. First he has to deal with policies in his country and he has to wake people up because the public is being put to sleep through television. He is really working on health issues. … Nevertheless, the Nobel Peace Prize is [controversial].
Your multilingual repertoire must be hard for China, but it seems any song in French fits China best since “Sympatique,” do you agree?
China is pretty comfortable with French but also comfortable with Italian, too. But whatever the language is, she works with experts when it comes to studio recordings and she tries her best. I guess the Arabic language is pretty tricky. Besides, China loves to sing in Turkish.
Alex Marashian directed your one and only music video “Sympatique.” Why don’t you shoot a new music video?
It’s not an attitude or some policy but we just don’t have time. We are so busy touring around the world, performing in different countries, and so far we haven’t had time to come up with a new music video. But I would love to shoot a new one in Turkey. İstanbul in particular is a very beautiful place to shoot a music video.
Your new album is composed of nine original songs and four covers. Among them, which song is the most typical of Pink Martini?
The album’s opening track, “Ninna Nanna,” is a very typical Pink Martini song. I guess anyone who likes the Pink Martini sound will love this track. But to me, the most original song on this album is “Splendor in the Grass,” which has a kind of ’70s flavor.
Your album also features a 90-year-old legendary Mexican ranchera singer, Chavela Vargas. How did you come up with this unique idea of collaboration?
I dreamt about this for so long, but we weren’t able to make it happen for a while. She was sick several times whenever I attempted to meet her. But finally we recorded the track in Mexico City. It’s a very special recording for this album. I gave the CD to Pedro Almodovar at a very private gig in New York. He is one of her number-one fans, and he was very excited about the song. I guess listeners are going to feel excited about the song, too, especially those who know a little bit about Vargas.
Since your first album, “Sympatique,” have you realized your aspirations as a musician?
I am still working. So far, we have had beautiful experiences, but if you dream of doing something better, you can come up with something better, too. If you work hard, you can produce something better, and this is what I am trying to do.
Your next project is a live album you recorded with the Oregon Symphony, and there is a surprise for Turkey in this recording, too…
We are going to release our live concert album next spring, in 2010. China sings “Katibim” on this recording. We are making a kind of surprise for our long-time collaborator Sinan Nergis and his team, Pasion Turca. We have been working together with his team for almost eight years, and we have performed this song on stage in İzmir, Ankara, Çeşme and also in İstanbul so far. I guess this song helped [us establish] this very special connection with the Turkish audience. We will finally release this song on an album.
Since you first performed here, at the İstanbul Jazz Festival in 2001, you’ve performed many times in İstanbul. How would you define İstanbul to anyone who’s never been here?
If I were to describe İstanbul with only three words, I would say, “mysterious, beautiful and entertaining.” İstanbul is a very beautiful city; you experience history and a very entertaining night life at the same time. We performed our very first concert right beside the very beautiful scenery of Bosporus. Even the Bosporus alone is amazing.
Pink Martini will present “Splendor in the Grass” on Nov. 24 at 8 p.m. at İş Sanat in the Levent district.
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