Do The Hula

Wedding Song

Do The Hula
Complete Hula Instructions For 12 Songs
400 Full Color Pictures
Record On The Beach By Waikiki Records Company
Produced by Tommy Kearns
L.P. 123

Do The Hula
Pua Almeida and his Sunset Trio

Haole Hula
Bill Aliiloa Lincoln and his Hawaiians

Blue Hawaii
Honey Kalima and the Royal Hawaiians

Cockeyed Mayor Of Kaunakakai
Alvin Keleolani and his Original Hawaiians

Somewhere In Hawaii
Pua Almedia and his Sunset Trio

Keep You Eyes On The Hands
Sonny Nicholas and the Waikiki Serenaders

Kainoa
Alvin Isaccs, Jr. and the Moonlighters

Beyond The Reef
Alvin Isaccs, Jr. and the Moonlighters

Little Brown Gal
Kalani Bright and his S. S. Matsonia Serenaders

My Yellow Ginger Lei
Pua Almeida and his Sunset Trio

Lovely Hula Hands
Honey Kalima and the Royal Hawaiian Serenaders

Wedding Song
Iwalani Kamahele and the Royal Hawaiian Serenaders

French Themes - Francis Lai

Today It's You

French Themes
Francis Lai
Design: John Cabalka

Photography: Steve Silerstein
United Artists Records

UAS-5630
1972

From Billboard - October 14, 1972: The beautiful lush and plush instrumentals of Francis Lai would please anyone. Tunes include "Love Is Far Stronger Than We," "The Solitude," and "Snow Frolic," but nearly every tune features that Lai magic.

The Solitude
The Legend Of Frenchie King
Early Morning
Today It's You
We Believe It's Love (On Croit Que C'Est L'Amour)
The Wheel (Les Nuits Sont Trop Courtes)
Adagio For Organ, Choir And Strings
Smic, Smac, Smoc
Love Is Stronger Far Than We
Snow Frolic
I Think Of You (Il Faut Trouver Le Temps D'Aimer)
The Fountain (La Fontaine)

Colors - The Brass Company

Alias Buster Henry

Colors
The Brass Company
Arrangements by Bill Lee
Musical Directors: Bill Hardman, Bill Lee, Billy Higgins
Producer: The Brass Company
Engineers: Ron Carron and Randy Alter
Cover: Sandra Williams
Photos: Curtis A. Brown
Background Mexica Blanket courtesy of Betty Dillard
Recording dates: June 4 and 3, 1974
Studio: Minot; While Plains, New York
Strata-East Records SES-19752
1975

Personnel:
Trumpets: Bill Hardman, Eddie Preston, Harry Hall and Lonnie Hillyer
Fluegehorns: Clif Lee and Kamal Abdul-Aim
Trombone: Charles Stephens
Tuba: Bob Stewart
Bass: Bill Lee
Drums: Billy Higgins and Sonny Brown

Guest Artists
Tenor Sax: Clifford Jordan
Piano: Stanley Cowell
Trumpet: Charles Tolliver

Instrumental Version Of Bob Dylan Favorites - The Metropolitan Pops Orchestra

Positively 4th Street

The Metropolitan Pops Orchestra Plays
Instrumental Versions Of Bob Dylan Favorites
Produced and Arranged by Alan Lober
Director of Engineering: Val Valentine
Cover Art: Peter Max
Cover Design: Michael Malatak
Metro Records MS-597
1967

From the back cover: It may seem a strange, mixed bag at first; "What's the work of a fiery, wild-haired composer, high-priest of the beatniks and teeny-boppers doing – being played by, for heaven's sake, the Metropolitan Pops Orchestra?" The fascinating answer is right here in the grooves of this record. A sampling will make you feel that Mr. Dylan and the Metropolitan Pops were practically made for each other.

Like A Rolling Stone
It Ain't Me Babe
It's All Over Now Baby Blue
She Belongs To Me
Don't Think Twice, It's All Right
One Too Many Mornings
Positively 4th Street
All I Really Want To Do
Mr. Tambourine Man
The Times They Are A-Changin'

Legwork - Jeremy Steig

Permutations

Legwork
Jeremy Steig
Produced by Sonny Lester
Art Direction: Frank Gauna
Cover and Liner Art: Jeremy Steig
Solid State Records SS 18068
1970

From the inside cover: The depth as well as breadth of Jeremy's accomplishments in this set requires, I think, some background about the Steig odyssey in order to indicate the range of musical experience he's been into. Born in New York's Greenwich Village on September 23, 1942, Jeremy is of a family that has impressive creative credentials. His father, William Steig, is a cartoonist of antic universals for The New Yorker and the author-illustrator of uniquely evocative children's books. Elizabeth Mead Steig, Jeremy's mother, is an artist and heads the art department at Lesley College. An aunt is Margaret Mead, the persistently probing anthropologist who keeps showing ways in which divergent cultures and generations can make connections.

After schooling in New York at the Little Red School House, City and County, and the Music and Art High School, along with three years of private study of the flute with Paige Brook, Jeremy began a wide-ranging journey into music. In addition to groups of his own, Jeremy has played in the past decade with, among others, Jim Hall, Feddie Redd, Paul Winter, Paul Bley, Tony Scott, David Amram and Bill Evans. He's also worked with bluesmen Junior Wells and Big Joe Williams, and has appeared in jazz clubs, rock rooms and in concerts that have encompassed Fillmore East and Fillmore West along with halls in Copenhagen, Munich, Frankfurt, Milan, Paris and London.

Although immediately and unmistakably identifiable by sound and style, Jeremy is so open to all kinds of music that he can fit into an unusually heterogenous variety of musical situations with zestful attentiveness. From 1966 to the present, for example, among the players and units Jeremy has sat in with are Jimi Hendrix, the Jefferson Airplane, Blood, Sweat & Tears, Paul Butterfield, Elvin Bishop, Earth Opera, Buddy Miles, the Flying Burrito Brothers and James Cotton. I mention the to underline his refusal to be limited by traditional categories. As I noted, Jeremy is a motif directly from Howlin' Wolf. – Nat Hentoff

From Billboard - May 30, 1970: Flute player Steig has been moving, of late, in very mixed company. He appears on one date with jazz pianist Bill Evans and next sits in with the Flying Burrito Brothers or Jimi Hendrix. He reflects this wide open taste in his playing which sprinkles Miles Davis, Roland Kirk and Howlin' Wolf (as in "Howling for Judy") in one chorus. Small group backs him here but it is made large by some tricky overdubbing. Rock and jazz appeal here.

Howlin' For Judy
Permutations
Hot-Head
Alias (a li'as)
Nardis
Piece Of Freedom

Miracles - Yma Sumac

Miracles
Yma Sumac
Produced by Les Baxter
For Bob Kreppel, Jim Branciforti and Bob Covais
Cover Design: Marcellino
London SHU 8431
The Decca Record Company Limited
1972

Musicians:
Chuck Cowan - Guitar
Richard Person - Organ
Roger Cowan - Bass
Skippy Switzer - Drums

From the back cover: Miracles re-unites the extraordinary five-octave voice of Peru's Yma Sumac with Les Baxter, the producer of her first album, "The Voice Of Xtabay" (released in 1950). Acclaimed for her powerful and unique artistry, Miss Sumac achieved world fame during the Fifties with the use of Mr. Baxter's productions. He has chosen to record Yma in a contemporary setting with a four-piece rock band and modern recording techniques. The results are a stunning showcase for an unparalleled performer.

From Billboard - March 11, 1972: Last time Les Baxter and Yma Sumac teamed, they came up with the phenomenal classic "Voice Of Xtabay." They now reunite for a totally 'today' sound with original rock material penned by Baxter and delivered in an exceptional sound by the incredible voice of Miss Sumac. Four-piece rock band lends support to the vocal work. Already getting much FM and MOR attention, LP could prove a smash.

Remember
Medicine Man
Let Me Hear You
Tree Of Life
Flame Tree
Zebra
Azure Sands
Look Around
Magenta Mountain
El Condor Pasa

Hermann Scherchen - Westminster

Tchaikovsky - Capriccio Italien - London Symphony Orchestra
Rimsky-Korsakoff - Capriccio Espagnol, Op. 54 - London Symphony Orchestra
Rossini - William Tell - Philharmonic Symphony Orchestra of London
Rossini - Thieving Magpie Overture - Philharmonic Symphony Orchestra of London
Conducted by Herman Scherchen
FPG Photo by Tom Kelly
West Minster XWN 18598

From then back cover: Hermann Scherchen is acknowledged as one of the world's great conductors and is renowned for the wide range of his repertoire. He has been acclaimed as great an interpreter of Beethoven, Handel and Bach as he has of many modern composers. His Westminster recordings of all nine Beetoven symphonies and the twelve "London" symphonies of Haydn are considered milestone in the history of recorded music.

Hermann Scherchen's early reputation was earned as conductor in Rigo, Berlin, Frankfurt Winterthur, and Konigsberg. An outspoken anti-fascist, he left Germany in 1932, and settled in Switzerland. Since the end of World War II he has conducted in all the leading European cities most recently in Rome, London, Paris, and Vienna, and in South America. In addition to his activities as a conductor Scherchen is well known as an author, having written authoritative books on music, including The Nature of Music and Handbook of Conducting.