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Taboo Arthur Lyman HiFiRecord R 806 Taboo Baxter Kalua Darby Ringo Oiwake Yoneyama-Ozawa Sea Breeze Busch Misirlou Roubanis China Clipper Conrad Sim Sim Baxter Katsumi Love Theme Waxman Caravan Ellington Akaka Falls Parker Dahil Sayo Traditional Hilo March Peele Taboo: primitive superstitions of an island volcano, woven into eerie, lush, tropical sounds. As the ear listens, the mind conjures ancient native Hawaiian rituals, the days of Queen Lilioukalani's monarchy, and then the Hawaiian Islands as they are today, the U.S. Territory of Hawaii. Cosmopolitan Honolulu symbolizes the impact of the white man on the island paradise, or more correctly, perhaps, the impact of the island paradise on the white man. Without the beauty, traditions, and tropical environs of these Islands, the structural monuments of the white man would be nothing, but without those monuments, the island paradise of Queen Lilioukalani would not be much disturbed. The sounds of Arthur Lyman recorded in Henry J. Kaiser's Alumnium Dome, outside the Hawaiian Village Hotel in Honolulu, contrasted the native and the modern. The group, their instruments of sound, and their music, are native pulsatingly primative, often eerie. The Alumnium Dome is unmistakably modern, the product of 20th Century construction genius. Arthur Lyman plays vibes, marimba, and percussions of all kinds, having learned from his Hawaiian father since age 6. John Kramer plays bass, ukulele, guitar, flute clarinet and percussions. Alan Soares is pianist, plays celeste, guitar and percussions. Harold Chang is a percussion virtuoso, and plays xylophone. The bird sounds heard are from actual birds, with some imitative bird calls by Lyman and Kramer. Arthur Lyman's group entertains enthusiastic listeners in the Tiara Room at the Hawaiian Village Hotel where they now appear nightly. Included in the astounding array of percussions heard are congas, bongos, tymbali, cocktail drums, boobams, cowbell, asses' jaw, conch shell (heard at the opening and close of "Kalua"), and guido, as well as the more ordinary percussions, such as tambourine, snare drums, wood block, cymbals, Chinese gong, and sleigh bells. Arrangements are by Arthur Lyman and Paul Conrad. From left to right; Alan Soares, John Kramer, Arthur Lyman and Harold Chang. Kaiser's Aluminum Dome is a half sphere, seating about 1,500 persons, is used for live entertainment and movie showings. Its ingenious simplicity of structrual design and ideal sound form suggest its wider use for low cost auditoriums of pleasing space-age appearance. We chose this place for our recording because the half sphere shape has no "peaks" and allows a pleasing "easy" sound reproduction with natural room acoustical reverberation. As you listen you will hear the unique effects produced by moving percussions, giving a certain sound perspective which intrigues. Oh, yes, the ocean sounds heard are real Pacific salt water waves. Native cries are, well, weird but real. We express our thanks to Mr. Henry J. Kaiser for allowing us the use of the Aluminum Dome, and to Mr. Lewis Amiel for his assistance in producing this album. Perfect sound reproduction was achieved with 3 AKG Austrian microphones, a custom built Ampex 3-track 1/2" magnetic tape stereophonic recorder, and later painstaking processing, using a Scully automatically variable pitch lathe with latest Westrex cutting head to make the master disc. Frequency response is from 16 to 20,000 C.P.S. Pressings are custom pure virgin vinyl. This album is also available on pre-recorded HIFITAPE for sterophonic playback. USE STANDARD RIAA BASS BOOST AND TREBLE ROLL OFF High Fidelity Recordings, Incorporated 7803 Sunset Blvd. Hollywood 46, Calif. Arthur Lyman

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