PARADISE - ARTHUR LYMAN
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PARADISE - ARTHUR LYMAN
| SIDE 1 POINCIANA STRANGER IN PARADISE SHANGRI LA NOW IS THE HOUR MOUNTAIN HIGH, VALLEY LOW VINI VINI |
SIDE 2 SOUTH SEA ISLAND MAGIC PEARLY SLIELLS OFF SHORE BAUBLES BANGLES AND BEADS SONG OF INDIA ALOHA OE |
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POINCIANA | ||
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STRANGER IN PARADISE | ||
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SHANGRI LA | ||
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NOW IS THE HOUR | ||
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MOUNTAIN HIGH, VALLEY LOW | ||
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VINI VINI | ||
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SOUTH SEA ISLAND MAGIC | ||
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PEARLY SLIELLS | ||
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OFF SHORE | ||
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BAUBLES BANGLES AND BEADS | ||
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SONG OF INDIA | ||
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ALOHA OE | ||
| PARADISE - ARTHUR LYMAN Deep in every heart dwells a dream of a faraway island—a verdant tropical refuge surrounded by a sparkling blue sea that breaks gently into white surf as it pounds caressingly on a deserted shore; where majestic mountain peaks are crowned by billows of wafting white clouds and the air is sweetly scented with the intoxicating perfume of a million tropical flowers. Let's make just one improvement on boufitiful nature. Let's add to the sound of unrelenting surf; of coco fronds gently swaying in the trade winds and the insistent call of brilliantly hued "Birds of Paradise," the magical sound' of Arthur Lyman's music. The musical poet-laureate of his native Polynesia, • Arthur is waiting to welcome you at the end of your miraculous journey and to lend the, final touch of enchantment to your special island—your PARADISE! ARTHUR LYMAN is a masterful, sensitive and astonishingly versatile musician. He plays vibes, marimba, congas, bongos, guitar and almost every other instrument heard in the ensemble. JOHN KRAMIER„who writes in collaboration with Arthur, plays bass, flute, guitar, ukulele, clarinet and percussion. HAROLD CHANG is a multi-talented percussionist, who doubles on bass and a battery of exotic instruments. ALAN SOARES, pianist, also doubles on guitar, clavietta, glockenspiel and marimba. All are from Hawaii and have that special ingratiating friendliness that seems indigenous to the Islands. |
| Side One POINCIANA. . . . We begin with one of the evergreen exotic songs featuring the deep tones of the marimba and then the vibraphone against Latin rhythm instruments—the ratChet or scraping sound of the guiro, the jawbone of the ass and finally the congo drum. The jungle flavour is provided by an entire aviary of tropical birds. STRANGER 1N PARADISE. . . . This is our impression of one of the great melodies written for the opera Prince Igor by the Russian composer Borodin, and adapted for the Broadway musical Kismet. The unusual harp like effect is created by stroking the piano strings with a drummer's brush while depressing the, chords on the keyboard with the other hand. SHANGRI LA. . . . We approach this marvellous standard favourite with the feeling of a Latin Bolero, complete with bongos, gourd and later the claves adding a contra-rhythmic Bossa Nova beat. NOW IS THE HOUR. . . . The authentic Maori flavour of this New Zealand folk song is highlighted by the double-time rhythm of the ukuleles. MOUNTAIN HIGH, VALLEY LOW. . . . This intriguing work introduced by Mary Martin in the Broadway musical "Lute Song" gives us an opportunity to add many oriental effects, including the Chinese Gong, the Koto-harp (an unusual 7 ft. high Japanese instrument) sound played by the guitar, as well as the striking of wood blocks and the use of sticks instead of mallets on the marimba. The flute, celeste, and piano are featured in the ensemble. VINI, . . . First introduced by Yves Roche at the Tahiti Hotel in 1957, it became the biggest hit ever to originate in Tahiti, earning a place on the Hit Parade in many distant lards including Germany and Australia. Typical of Tahiti, this song features the sound of the Toere, the large high-pitched Tahitian wood block. Tahitian music is generally faster in tempo than that of the other Pacific Islands. The melody is played by the flute and clavietta with the sound of Boobams and hand drums in the background. Side Two SOUTH SEA ISLAND MAGIC. . . . The Conch-shells sound the clarion call, then the marimba simulates the Ka-eke-eke, the ancient Hawaiian instrument that was played by as many as fifty men at one time pounding bamboo poles of varyinglengths on the ground. PEARLY SLIELLS. . . . Originally. titled Pupu 0 Ewa, the shells of Ewa, we apply the gospel flavour here since this song was originally a hymn sung by the people of Ewa, a small village on the opposite side of the Island of Oahu from Honolulu. OFF SHORE. . . . A mood-laden musical seascape, we tried to endow this song with. the calm and beauty of the South Seas,, complete with the sound of seagulls majestically soaring overhead. BAUBLES, BANGLES AND BEADS. . . . Again we turn to the exotic music of Borodin. After playing the melody through as a graceful waltz, relying on different vibraphone mallets and the crisp sound of the celeste to create an unusual effect, we swing into the second movement featuring a contemporary "Pop" rhythm (as Sam Goldwyn might say, "If Borodin were alive, he would turn over in his grave!"). SONG OF INDIA. . . . The oriental setting is provided by the Boobams (the syllables of Bamboo reversed). These are six small skin covered bamboo drums that are played with the fingers or mallets. The pitch varies with the size of the drum. The melodic line is played by the clavietta—an Italian mouth instrument that sounds like a combination of the harmonica and accordian and is played by fingering an abbreviated keyboard on its side. The rhythm effect is created by shaking a set of sleigh-bells and tapping on them with sticks with a secondary rhythm. ALOHA OE. . . . My father told me that.this was an old German song brought to the Islands by missionaries and adapted by the Polynesians. We play this one with our heart and soul; this is our "Alma Mater" and it gives us a tremendous emotional feeling even though we play it to close every performance. Many times we have seen strong men weep to the strains of this enchanting farewell song. We really enjoyed recording this second album for Gene Norman and. GNP Crescendo. This is the kind of music we love the mostIUR LYMAN |
| TECHNICAL DATA: A custom
buir position four channel mixing console was employed having separate
equalization and rever7; beration controls for each channel, as well as
switching facilities to change any microphone position to any channel at
any time to achieve various placement effects. • Model 251 Telefunkens, U47 Telefunkens and C-37A Sony microphones were used to record the musical sounds and echo effects. ^ The master tape was transferred to a variable pitch Neumann lathe using a Westrex 3C cutter. Engineering Supervision—Phil A. Yeend Cover Photos taken in Tahiti by Michael H. Goldsen, Cover Design by Geo. Whiteman A CRESCENDO Recording |
