Hawaii 1963. A guy walks down to the shore with his red 5′ board in hand, paddles out and catches some waves. And rides them well, like he does so every day. A shortboard! In 1963! OK, it’s a paipo board which is usually ridden on the belly. It’s radical! Check out how close he rides to the wall towards the end. His body english is very relaxed there. Phew!

PAIPO Boarding 1963, Val Ching

This is another beautiful trailer for a new surf video. I like the unusual and extreme choice of boards ridden and the impressionistic piano music. It works very nice, and casts yet another light on surfing. Very, very nice

Thanks to 70percent.org

I knew about this big back-catalogue re-issue being planned before, but I somehow never could view the web-page until now.

Arthur Lyman died a couple of years ago, and it was a great loss to the people into Exotica and Tiki as he was still performing. He used to play with Martin Denny before he ventured out with his own group. Both artists released similar styled albums, but Lyman kept more Hawai’i in his music as the sixties went on, being hawaiian might be a reason. He had some of the deepest, most atmospheric and soulful Exotica recordings, combining authentic ethnic instrumentation with modern jazz. Another interesting point of note are humorous tunes he often selected to appear towards the end of his LPs. He may not have had a Sandy Warner on the covers, but many are very beautiful, classic Exotica designs. Taboo 2 had an authentic shrunken head on the front, until it was repackaged with a shot from the Pele roll of film.

Kevin Crossman writes on the Exotica list:

Collectors has released 18 Lyman albums in their entirety as 9 two-fer CDs.
…
Don’t be fooled by lame, generic cover art. each release has the cover of both LPs printed in full color. All you have to do is take the front booklet out and fold it backwards to show the cool orig Lp cover art! The CD also contains a reprint of one of the Lp back covers
…
Look for the double titles separated by a slash. Steer clear of the Greatest Hits package – it is not bad but I’m sure you would rather have the full experience of a Lyman lp in its original format
…

go to Collectors’ Choice Music

What I like about this is the spirit and performance. They obviously got the hang of surf instrumentals – great sound, especially the Fender Jazzmaster guitar. The songwriting is focused and quite enjoyable (maybe even more so on this track). They are young and play pretty tight and avoid approaching any sloppy pseudo guitar/drum/bass hero antics. The purity really comes across well. This music is meant to be played in a cool way, with a good punch. And let me tell you, three piece instrumental bands act under a big magnifying glass. You can really hear all the details – I can only second the comment somebody else made about them: Good Job!

The highest quality surf memorabilia ever brought to auction in Australia will be seen at the Global Surf Industries Noosa Festival of Surfing. The world’s leading authority on surf collectibles, Hawaii’s Randy Rarick will host the evening.Rarick, convenor of the biggest surf auction in the world, Honolulu’s bi-annual Hawaiian Islands Vintage Surf Auction, is making his first trip back to Noosa in eight years for the March 5 auction, to be held at the Festival Village in Lions Park, Noosa Heads.In addition to running the world’s biggest surf auction in Honolulu every second year, Randy is the long-term director of the Hawaii Triple Crown, a founding father of professional surfing and one of our sport’s leading craftsmen and adventurers. He will be assisted by some of Australia’s leading experts in surf memorabilia, including surfboard guru Bob McTavish and author/film buff Murray Walding, plus regular festival auctioneer Bob Johnson.

read more here Pacific Longboarder

Up for Grabs: MP boardshorts as worn in Morning of the Earth, 1971. Framed with signed photo.

For further information, ticket sales and entry forms/online entry visit www.noosafestivalofsurfing.com

Download the complete Auction Catalogue . . . Click here.

Thanks to Lou Smith on The Exotica Mailing List

NPR – Weekend Edition Sunday, July 29, 2007

Lyle Ritz has logged over 5,000 sessions on the bass as a studio musician. But for his latest project, he wanted to figure out a way to make music on a computer. So Ritz bought an Apple laptop and a software program called GarageBand, designed for making home recordings. Six months later, he completed work on a new solo album.

‘Hardly anybody knew how to operate GarageBand, how to deal with it,’ Ritz says. ‘So I had to fool with it a couple of months.’

On No Frills, however, Ritz entered the bass line into the computer using a synthesizer. That’s because the album features Lyle Ritz’s other musical passion: the jazz ukulele.

Ritz is known as the ‘father of jazz ukulele’ for merging the genre with the four-stringed instrument, and his credits on bass include multiple pop hit singles. However, it was in college, while he was working at a Los Angeles music store, when Ritz first picked up either instrument.

‘This was in the 50s, when Arthur Godfrey, the entertainer, who liked to play the [ukulele], popularized the instrument, and so many people just had to have ukes,’ Ritz says. ‘And one day I picked it up, somebody wanted to see this beautiful, nice, big tenor uke, and I picked it up and played a few chords on it, and I was gone.’

After a stint with a U.S. Army Band during the Korean War—in which Ritz played tuba—he dropped by the music store and played a few tunes on the ukulele for his former boss. Ritz didn’t know that jazz guitarist Barney Kessel, the West Coast representative for Verve Records, was present.

‘I just about fell through the floor,’ Ritz says. ‘I couldn’t believe that I had actually played before this man.’

Kessel offered Ritz a record deal, and in 1957—50 years ago—Ritz recorded an LP called How About Uke?, the first album for jazz ukulele.

How About Uke and its follow-up 50th State Jazz generated little interest, however, and Ritz soon abandoned the ukulele for the bass. It was at that point when Ritz joined the ‘Wrecking Crew,’ the legendary group of studio musicians who played on many of the pop hits which came out of the Los Angeles area from the mid 1960s to the early 80s. Later, Ritz also played on film scores.

While Lyle Ritz’s bass was heard by millions, his jazz records for Verve were being studied by a generation of musicians in Hawaii, home of the ukulele.

Roy Sakuma is Hawaii’s foremost teacher of the instrument. ‘All of a sudden here comes Lyle with all these fantastic chord harmonies that just took music to a whole new level on the ukulele,’ Sakuma says. Sakuma tracked Ritz down in 1984, inviting him to headline his annual ukulele festival in Hawaii. Ritz ended up moving to the islands for some time.

Ritz currently lives in Portland, Ore., where he continues to experiment with music and new recording technology. He says he’s always fooling with his ukulele—after all, he did teach himself to play the instrument.

‘I’m a firm believer and exponent of the art of noodling,’ Ritz says. ‘You don’t necessarily have to have a goal in mind, you don’t have to have a specific phrase or song that you’re working on, but you just fool with it and things happen. And I call the result the fruit of the noodle.’

Lyle Ritz on iTunes

For a very long time I was contend with my Boss DD3 echo pedal. Of course it’s generic and cold sounding compared to old tube-tape or disc delays like the Dynacord I once owned. But trying to get spare parts for those was impossible in pre-internet days, at least for my amptech back then. And the old echos require collectors money – when I just wanted a tool, not a museum piece. The earlier delay modelers like the Line6 tried to do too much I don’t want and too less of what I want, the variations of multihead delay patterns. I always found them a little too expensive! Now the Magicstomp recreates tape and multihead delays very well. And timebased effects like echo and reverb escape the detached feeling latency encountered with other digitally generated effects, like amp-modeling and distortion. I got mine used and it’s of the first variety, later versions include a headphone jack.

What really convinced me beside the current low prices for them, was finding this page, where a dutch guy programmed a large number of sixties tape echo patches for the Magicstomp, mostly Meazzi and Vox. There’s also a Roland, and the patch really resembles the sonic signature. You can download patches from Yamaha’s site or dedicated www-groups (2 on Yahoo!) and install them with your pc or mac with OS9 and built in usb. Just connect an usb cable and start the Magicstomp editor. You can deep edit a lot of effect parameters and store them to 99 user presets.

Integrating the effectbox into a live-set-up brings some problems. Read this message from one of the Yahoo! Magicstomp boards:

I’ve finally got round to attaching my magicstomp to my board only to
find a considerable drop in volume when patches are engaged. Tried
reducing the input level but no change.
Is this yet another defect (along with the half second pause between
patches) that has lead to this product being discontinued?
Here’s another point. I’ve decided to use my stomp to replace certain
effects that I only use occasionaly – phaser,flanger, uni-vibe and for
delays etc…problem is that I thought I could navigate up and down
and then just use the on/off footswitch to activate the chosen effect.
Turns out that even though the display reads “reverb” for example, I
still have a bloody harmoniser. Have to go back to the patch that the
sound corresponds to and then move up or down. Useless. I never
noticed this before when I used it as a stand alone effect. Anyone had
similar problems ar know something I don’t?????
Cheers.