Billboard | May 15, 1965
Don Costa heard Trini Lopez at PJ’s in Los Angeles in 1963 and signed him as an artist with his production company. He then placed the singer with Reprise Records. Here is his analysis of the ingredients in Trini’s style which account for his mercurial success.
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By DON COSTA
Trini Lopez will be the biggest ballad singer in America within two years. I’m absolutely convinced of that. Trini’s style involves the ability to communicate to his audience and make them feel that they’re part of the act. Some of the things he does come under the heading of community singing. He sings well, in tune, and with a definite jazz feel.
Like most kids his age who grew up in the rock ‘n’ roll era, he should really only have this orientation. But he doesn’t. He has a natural, instinctive jazz feel with a little of Louis and Ella in his style.
He has to learn a few things about phrasing or really knowing where to breathe. But he sings with such driving spirit that even in ballads he’s almost out of breath trying to get the point across. I‘ve developed a closer relationship with Trini than with any other artist because I’ve seen him develop right from the beginning.
When Nino Tempo took me to hear him at PJ’s, I felt the electricity he generated. The people were standing 10 deep around the stand. Trini’s rhythm feel was sensational.
PJ’s at the time was a hangout for audition and recording men. I can’t recall how many guys who saw him have come up to me since and said they should have signed him. I don’t think they took him seriously.
Recording Trini has been the easiest assignment for me. Each album gets harder as the material becomes more complex. Trini only picks songs he can wail on. There is a definite danger in doing ballads (Trini’s latest LP is “The Love Album“) but it’s something he’s never done before and wanted to do very badly. END
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Information, credit, and news source: Billboard; May 15, 1965
Trini Lopez passed away two years ago, at the age of 83, August 2020. You can view his NBC News obituary here
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