Yma Sumac the legendary, one of a kind singer famous for her 4 1/2 octave range, has died in Los Angeles. She was 86.

Peruvian born, she was the personification of exoticism, making her an international sensation in the 1950’s. After signing with Capitol Records in 1950, the striking, raven-haired beauty became known as the "Nightingale of the Andes," and the "Peruvian Songbird." Her first album, Voice of the Xtabay, rocketed to the top of the LP charts introducing a whole new genre, Exotica, to the music buying public. During her heyday, Sumac headlined at the some of the most prestigious venues in the world, such as the Hollywood Bowl, Carnegie Hall and Royal Albert Hall. She reportedly made $25,000 a week in Las Vegas and turned down offers to sing with New York's Metropolitan Opera. Her eccentric costumes and stage settings were often extremely elaborate, filling stages with native dressed drummers and dancers and caged wild birds. Yma Sumac was also featured in the 1951 Broadway musical Flahooley and appeared in the films Secret of the Incas in 1954 and Omar Khayyam in 1957.

Although details of her birth and early life have varied greatly, lending mightily to her legend, the biggest misconception was that she was born in Brooklyn as Amy Camus -- Sumac was actually born Zoila Augusta Emperatriz Chavarri del Castillo in Cajamarca, Peru, on Sept. 13, 1922. After performing and recording in Argentina in the early 40’s, she and her husband, bandleader Moises Vivanco, moved to New York City in 1946, where they performed as the Inca Taky Trio, with Vivanco on guitar, Sumac singing soprano and Cholita Rivero, her cousin, singing contralto and dancing.

Every once in while you realize certain names are always appearing in the credits of old albums, and it’s a constant surprise. I was always astounded by how often I’d find Mort Garson's name, and on some of the most unlikely records. From Doris Day to Mel Torme to Glen Campbell, and all those albums of nice soft-pop vocals from the likes of The Letterman or the Sandpipers or the Glenn Yarborough record of Rod McKuen covers. And you would usually find Mort Garson conducting or arranging those safe but somewhat innocuous collections of ‘pop hits of the day’ by the Hollyridge Strings or the Sunset Strings. And if you’re lucky enough to find it, you’d see Mort Garson provided background music to Laurence Harvey reading poetry on Atlantic. And why do I think it’s so odd? Because whenever I think of Mort Garson I think of the legendary pioneer in electronic music, and not the multi-faceted, in demand arranger and conductor.

Mort Garson, who also co-wrote the classic "Our Day Will Come," died this past January 4th of renal failure in San Francisco. He was 83. Born July 20, 1924, in Saint John, New Brunswick, Canada, Garson attended the Juilliard School of Music. He was a pianist and arranger with dance orchestras before serving in Special Services during World War II and before moving onto Los Angeles and the pop music world. But it was his work as a composer using the then novel Moog synthesizer on a series of albums in the late 1960s and '70s that is his lasting claim to fame, especially to record collectors and electronica enthusiasts. These albums, especially the 1967 exotica classic, and influential, The Zodiac: Cosmic Sounds,  established his cult following. The Zodiac: Cosmic Sounds is one of the first electronic and psychedelic albums put out by Elektra Records.