Llikai/At The Port Of Los Angeles

構成数 : 1枚
合計収録時間 : 00:00:00
Personnel: Arthur Lyman; Clem Low, Archie Grant Jr., Harold Chang. Liner Note Authors: David Smay; Kim Cooper . With the exception of chronology -- as both Llikai and the inconspicuous anthology At the Port of Los Angeles were issued in 1967 -- neither of the titles on this two-fer have much else in common. The former album is particularly noteworthy as Arthur Lyman (marimba/vibraphone/guitar) has changed his digs and band alike. After years as the star attraction at the Hilton Hawaiian Village's Geodesic Aluminum Dome -- which had been created by American industrialist Henry J. Kaiser -- Llikai (1967) hailed the arrival of Archie Grant, Jr. (bass) and Clem Low (piano/keyboards) -- who replaced John Kramer (bass/bamboo flute) and Alan Soares (piano/celeste). It was likewise marked by their collective move to the Grand Ballroom -- dubbed the "Canoe House" -- at the Ilikai Hotel on Waikiki Beach. Appropriately enough, the effort is particularly heavy on local flavor. As a nod to the (then) recently departed Hawaiian music legend Kui Lee, Lyman and the gang uncork the proceedings with a rousing "Ain't No Big Thing," balancing things out on the comparatively laid-back ballad "Lahaina Luna." Also on the tropical topic are "Shells," "Upon a Lonely Beach," and Don Ho's signature "Tiny Bubbles." Back on the mainland are the inspirational updates of movie music "Born Free" -- a la the jungle and an atypically optimistic spin of "Lara's Theme." Enthusiasts of the genre, or Lyman specifically, are encouraged to check out the trance-like "La Bomba" (sic), jazzy "Work Song," and "I Left My Heart in San Francisco." The other LP included on this double-play disc is the subtle compilation At the Port of Los Angeles. The original Arthur Lyman Group with Lyman (vibraphone/marimba/guitar) supported by Harold Chang (percussion), John Kramer (bass/bamboo flute), and Alan Soares (piano/celeste) can be heard on 11 cuts gleaned from over half-a-dozen of Lyman and company's earlier LPs. The central motif deals with maritime missions and seafaring expeditions alike. This is particularly evident on the pop standards "Ebb Tide," "Harbor Lights," "Red Sails in the Sunset," and "Sea Breeze," which are joined by suitable remakes of Les Baxter's "Quiet Village" and "Busy Port." Finally, drawing from the silver screen and Great White Way are the bossa nova-based "Theme from the Sandpiper" and a lengthy "Medley from South Pacific" that touches upon "I'm Gonna Wash That Man Right Outta My Hair" and "Some Enchanted Evening" among others. ~ Lindsay Planer