Review and Analysis of Malambo No. 1 by Nicholas E. Limansky
Read more on the  HYPERLINK "http://www.divalegacy.com/" \t "_new" Legacy of the Diva Web site!   This was a piece often used by Yma in nightclub appearances.  It has some wonderful "bird" calls - which Yma sang by using grace note approaches to the high D.  The text sounds suspiciously like "Oh what they do in Peru!"  The middle section has the startling contrast of a darkly growled chest voice immediately followed by pure, focused head tones - a jolting effect.  For a bridge into the second half of the song, Yma imitates the opening trumpet fanfare.  These intricate figures of alternating staccato-legato are note and rhythmically perfect, providing a burst of brilliance like a flash of lightning.  After this display, Yma again descends to her contralto register to repeat the melody in a sensual, warm voice, full of suggestive sighs and exclamations.  The driving mambo rhythms underscore Yma's effects and produce an almost sexual appeal.  The finish boasts a rhythmically repeated high D, two octaves above. 
An alternate recording of this piece was released on the 1995 Rev Ola CD,  HYPERLINK "http://www.sunvirgin.com/php/recording_details.php?ID=220472056" Voice of the Xtabay and Other Exotic Delights (CREV034CD).  Although the released version is definitely the more interesting of the two this alternate version has one or two moments of interest. 
Interestingly, this version, timed at 2:28 is framed in an arrangement that is a full third higher - which is why, perhaps it is missing so much of Yma's typical high register work.  Such a high-lying arangement places the vocal line almost impossibly high for any additional interpolations.  Gone are all the grace-notes and stacatto flourishes.  The main theme is sung an octave lower and it is only at the end that Yma swoops to 3 very excellent stacatto high F sharps.  Generally, too, the piece seems less compact and smooth.  An alternate, instrumental "take" of this song was released on the 1997 RevOla CD, Yma Sumac Mambo! ...and More, (CREVO48CD) which only proves how much fun such songs are even without Yma's contributions.  Although such out-takes are not of great importance in the Sumac canon, they serve to demonstrate the music used to frame her singing.  They also show not only how such pieces are crafted but also how Yma's improvisations fit into the overall fabric of the piece.