Arthur Lyman Albums (27)
'Mele Kalikimaka (Merry Christmas)'
Release Date 10/31/2006
Tracks 12
Label Empire Musicwerks
See Album Tracklist and Review
'The Legend of Pele: Sounds of Arthur Lyman'
Release Date 6/9/1998
Tracks 12
Label Rykodisc
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What The Critics Say
Arthur Lyman's enchanted vibraphone conjures exotic magic on this Rykodisc reissue. The Legend of Pele is a series of material loosely based on the elusive and transforming Hawaiian volcano goddess, creating soundscapes of land and fauna in awe of a powerful and unpredictable force. Lyman's vibe-powered lounge music is subtle as a tropical mist on "Cumana." Lyman's use of four-mallet vibes (a pair in each hand) and added instrumentation of guitar, ukulele, flute, and glockenspiel result in a mix that is unhindered by much mid- and low-range instrumentation. Thus soaring, Lyman provides aerial views of mysterious and beautiful oceanic utopias and dresses up such varied standards as "76 Trombones" and Rimsky-Korsakov's "Scherezade." ~ Tom Schulte, All Music Guide
What The Critics Say
Arthur Lyman's enchanted vibraphone conjures exotic magic on this HiFi reissue. Yellow Bird leans more on the cornucopia of actual birdcalls that became Lyman's musical signature later on. Lyman delivers intoxicatingly rich music in the dense interplay of guiro (South American scraped gourd), maracas, and tambourine with the vibes in "Bamboo Taboo." Lyman's use of four-mallet vibes (a pair in each hand) and added instrumentation of guitar, ukulele, flute, glockenspiel, and others results in a mix that is unhindered by much mid- and low-range instrumentation. Thus soaring, Lyman provides aerial views of mysterious and beautiful oceanic utopias and dresses up such varied standards as "Havah Nagilah" and the American folk work song "John Henry" to percussive effect. Also here, Lyman switches to the wooden, vibrato-less marimba and adds bass and piano for an unusually deep dive in plumbing the depths of "Arrive Derci Roma." ~ Tom Schulte, All Music Guide
'Taboo 2: New Exotic Sounds of Arthur Lyman'
Release Date 3/17/1998
Tracks 12
Label Rykodisc
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What The Critics Say
This stands up to any Martin Denny album as an example of exotica in full flight, decorated with lots of bird noises and soft vibraphone. The songs do tend to melt into each other without much in the way of striking differences, and it's not likely it would be played often except by those who can't get enough Arthur Lyman in the house. "Jungle Fantasy," though, is notable as an example of exotica at its most frenetic, with exuberant birdcalls from the band and a fast tempo that has more in common with rhumbas than Hawaiian music. The CD reissue restores the original sleeve, whose distorted tikified heads were considered "too gruesome" upon its initial release. ~ Richie Unterberger, All Music Guide
'Hawaiian Sunset: The Sounds of Arthur Lyman'
Release Date 9/24/1996
Tracks 17
Label Rykodisc
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'Taboo: The Exotic Sounds of Arthur Lyman'
Release Date 9/24/1996
Tracks 16
Label Rykodisc
See Album Tracklist and Review
What The Critics Say
Lyman's debut album, recorded shortly after he left Martin Denny's group, was almost as popular as the concurrent releases by his former mentor, reaching the Top Ten. Purists may hang me for this, but I honestly don't detect much difference between Lyman's late '50s releases and Denny's. Meaning, if you like one, you'll most likely want the other, and if you're not all that excited about exotica to begin with, one Denny compilation should be all you need. If there are any subtle differences between the pair, Lyman may have a slightly sedate, jazzier sound, though he too uses a wide variety of ethnic instruments, percussions, and bird calls. The CD reissue adds four tracks from the Bwana A album. ~ Richie Unterberger, All Music Guide
What The Critics Say
In fairly short order, Arthur Lyman (vibraphone) and his merry band of tropical musicians followed up the classic late-'60s offering Aphrodisia (1968) with Winner's Circle (1968). This 11-track collection incorporates covers that would have been familiar to anyone following the concurrent trends in pop music -- which were often influenced by the silver screen and Great White Way. While Lyman is inevitably steeped in his lasting tradition of isle-inspired exotica, the selections featured here are considerably more reserved and executed in a decidedly jazzier direction. Thomas Crown Affair (1968) was a Faye Dunaway/Steve McQueen vehicle whose original soundtrack had a version of "Windmills of Your Mind" with Noel Harrison on vocals. However, it would take Dusty Springfield -- another U.K.-based diva -- to take it into the Top 40. The electric guitar flourishes are set against a swinging clavinet -- all of which are buoyed by the bandleader's own supportive shimmering runs along the vibes. A frisky safari feel drives through the heart of the Dr. Doolittle (1967) staple "Talk to the Animals." Lyman switches to the more organic marimba to unleash a syncopated and spirited lead. The dark comedy The Graduate (1967) included a pair of chart-toppers from the pen of Paul Simon. First up is the energetically delivered "Mrs. Robinson," that quickly ascends into gear with Lyman laying down some of his finest percussion lines that the effort has to offer. The refined chiming celeste intro for "Love Is Blue" yields to an interminably catchy and slightly samba-fied rhythm, stylishly edging out Paul Mauriat's harpsichord-meets-chorus reading. Lyman is at his vibraphonic best as the instrument extracts an ethereal quality, perfectly suited to the bittersweet melody. Taking the bossa nova to the Beatles' "With a Little Help from My Friends" is a stroke of genius that pays off immeasurably by presenting the Fab Four in an unquestionably groovy shadow. The light and supple score ultimately delivers it to a much more interesting place when compared to the majority of the sonic sins that Lennon & McCartney's compositions have been subjected to through the years. To a similar degree, the theme from Camelot -- replete with the regality and majesty of tubular concert bells -- has arguably never been delivered with such a degree of quaint, yet stately charm. On the other hand, the Fiddler on the Roof (1964) staple "Sunrise, Sunset" leans toward the up-scaled sophistication of the Modern Jazz Quartet as Lyman's simple but still exploratory interpretation has the confidence and savoir-faire of the MJQ's Milt Jackson (vibes). Returning to Dusty Springfield's cannon, "The Look of Love" is one of the moodier sides to grace Winner's Circle, living up to Springfield's authoritative take. The ballad "Honey" likewise comes across with much of the earnest and heartfelt empathy of the Bobby Goldsboro ballad. Concluding the album is "Sounds of Silence" -- the second from The Graduate, although in reality it had predated the movie by several years. Once again, Lyman's use of the cold, sharp celesta aurally tethered to the warm tonalities of the vibes reiterate his formidable skills as an arranger. In 2008, Collectors' Choice Music compiled Winner's Circle with Today's Greatest Hits (1968) onto a two-fer CD that makes each available for future generations of Arthur Lyman lovers. ~ Lindsay Planer, All Music Guide
What The Critics Say
Fans of Arthur Lyman (marimba/vibraphone/guitar) can hear a distinct shift in his sound, beginning in earnest with Llikai (1967). Among the changes behind the scenes were the replacement of Arthur Lyman Group cohorts John Kramer (bass/bamboo flute) and Allen Soares (piano/celeste) with Archie Grant, Jr. (bass) and Clem Low (piano/keyboards). Unlike the majority of their earlier recordings, the dozen-song LP was documented in their transplanted digs at the Grand Ballroom -- dubbed the "Canoe House" -- at the Ilikai Hotel on Waikiki Beach. Seemingly, the relocation influenced both the album, as well as its sublime and wistful title track. It is likewise a reflection of how -- regardless of the personnel changes -- the combo's tried and true approach continued to serve them and their audience well. In honoring their home turf they also pay an homage to Hawaiian composer Kui Lee by covering his originals -- the uptempo frolicking opener "Ain't No Big Thing" and the light and lovely ballad "Lahaina Luna." Other island-inspired entries of note are the percussive and moody "Shells," an intimate "Upon a Lonely Beach," and the ever-popular "Tiny Bubbles" -- best known as Don Ho's memorable, if not unofficial theme song. Equally successful are Lyman and crew's adaptation of a pair of cinematic selections. First up is "Born Free" -- which "goes native" about halfway through the arrangement, doubling the tempo and with Harold Chang (percussion) at his most tropical. The other is a groovy reading of "Lara's Theme" that is deceptively pompous thanks to Low's introductory piano flourishes. Similarly superior is their scintillating "La Bomba" (aka "La Bamba" -- the same traditional Mexican folk melody that had been renovated into a seminal rocker for Ritchie Valens). Returning to the somewhat jazzier fare are the spirited Nat Adderley-penned "Work Song" and a refined take of "I Left My Heart in San Francisco." As part of their extensive upgrade of Arthur Lyman's catalog, in 2008 Collectors' Choice Music reissued Llikai along with At the Port of Los Angeles on CD, making each available for the first time in several decades. ~ Lindsay Planer, All Music Guide
'At The Port of Los Angeles'
Release Date 1/1/1967
Tracks 11
Label Hi-Fi
See Album Tracklist and Review
What The Critics Say
Arthur Lyman's At the Port of Los Angeles (1967) was a clever repackaging of 11 previously available selections from eight different long players -- all of which are thematically centered on the topic of tropical travel. On board are members of the incipient Arthur Lyman Group featuring Lyman (vibraphone/marimba/guitar) supported by Harold Chang (percussion), John Kramer (bass/bamboo flute), and Alan Soares (piano/celeste). The Bahia (1959) album extracts are likewise among the best Les Baxter compositions that Lyman covered. Two distinct sides of the author and performers are explored within the native ambience of "Quiet Village" as well as the sensitively syncopated "Busy Port." Included from Lyman's Top 40 album I Wish You Love (1963) -- which had also been released as -- Love for Sale (1963) is the dark "Follow Me" a song prominently featured in the film Mutiny on the Bounty. Other prime cinematic offerings are the ultra hip bossa-nova groove flowing through "Theme from the Sandpiper" and an extended Rodgers & Hammerstein salute from the silver screen to Broadway on the "Medley from South Pacific." Among the melodies that Lyman and crew reference are "I'm Gonna Wash That Man Right Outta My Hair" and the truly inspired take of "Some Enchanted Evening." The remainder of the set focuses primarily on pre-rock & roll era Hit Parade pop standards that continue the project's nautical motif with "Red Sails in the Sunset," "Sea Breeze," and "Harbor Lights" -- which are from the Hawaiian Sunset double volumes, while "Ebb Tide" can be found on the second installment of Taboo. In 2008,Collectors' Choice Music reissued At the Port of Los Angeles (1967) and Llikai (1967) onto a double-play CD that restore both after decades out-of-print. ~ Lindsay Planer, All Music Guide
