Hawaiian 78 RPM Records - Saturday, September 29, 2 pm (ET) - on CRAGG

Sept. 27, 2012 - PRLog -- "Singin' in the Bathtub", "Blue Hawaii" and "Aloha Oe" will be among the 78 RPM records heard on the 15th edition of Joe Bev's Jazz-O-Rama Hour airing this Saturday, September 29, at 2 pm (ET) / 11 am (PT) on Internet radio powerhouse Cult Radio-A-Go-Go! (http://www.cultradioagogo.com).

This Saturday Joe Bev presents 78 RPM Jazz with a Sense of Humor: "A Jazz-O-Rama Luau", including:

 I Dreamt I Dwelt in Marble Halls - Sam Moore, Hawaiian Guitar & Musical Saw - 1926
Singing in the Bathtub - King Nawahi's Hawaiians (1929)
A Song Of Old Hawaii - Cliff Edwards (early 1930s)
Kawohikukapulani - Mahi Beamer (Decca L 8728)
Kalena Ka - Bill Aliiloa Lincoln (Waikiki 507)
My Isle of Golden Dreams - The Andrews Sisters (Decca 28294)
Kaulana O Hilo Kanakahi - Honey Kalima & His Royal Hawaiian Serenaders (Waikiki 513)
For You A Lei - George Archer and the Pagans (Bell LKS 80)
Kila Kila O Haleakala - George Archer and the Pagans - (Bell LKS 80)
Blue Hawaii - Honey Kalima & His Royal Hawaiian Serenaders - (Waikiki 513)
Naka Pueo - Honey Kalima & His Royal Hawaiian Serenaders - (Waikiki 514)
Nalani - The Andrews Sisters (Decca 28294)
Sweet Leilani - Cliff Edwards (early 1930s)
Hukilau - Howard Kekalohuokalaikiekle - Bill Aliiloa Lincoln (Waikiki 507)
Na Kuahiwi Elima - Mahi Beamer (Decca L 8728)
To You Sweetheart, Aloha - Honey Kalima & His Royal Hawaiian Serenaders (Waikiki 514)
Goodbye, Hawaii - Henry Hall's BBC Dance Orchestra (1930s)
Aloha Oe - Alfred Apaka (Bell LKS 232)

Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well-known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a major contribution to country music with the introduction of the steel guitar.

Slack-key guitar (kī ho`alu in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (the most common is G, which is called "taro patch" tuning) or a major 7th (called a "wahine" tuning). A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the Hawaiian Renaissance, though, the example of players such as Auntie Alice Namakelua, Leonard Kwan, Raymond Kane, and Keola Beamer had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing.

The guitar entered Hawaiian culture from a number of directions—sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawaiʻi in the first half of the 19th century. These paniolo brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument.

Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride and cultural revival, drew rhythms from traditional Hawaiian beats and European military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American).

Alfred Apaka was an American singer who possessed a romantic baritone voice. He was closely identified with Hawaii between the late 1940s and 1960.  He was arguably the foremost interpreter of Hapa haole music, which melded Hawaiian music with traditional pop music arrangements and English lyrics to convey Polynesian imagery and themes. He was of Chinese, Portuguese, and Hawaiian ancestry.

Joe Bevilacqua (Joe Bev) has been producing radio in many genres since 1971 when he was 12. At 19 in 1980, Bev became the youngest person to produce a radio show for public radio. He co-hosted The Jazz Show with Garret Gega in the early 80s, a four hour a week mix classic jazz and comedy. Bev also worked for WBGO, Jazz 88 in Newark, NJ and produced documentaries for WNYC New York Public Radio on jazz legends including Louis Armstrong, Wynton Marsalis, Count Basie, Woody Herman, Cab Calloway, and Lionel Hampton.

Bev also produces, directs, writes and voices half of The Comedy-O-Rama Hour, which is has been highest rated radio show on Cult Radio A-Go-Go! for many weeks. Joe Bev's other weekly radio show, The Jazz-O-Rama Hour debuted at #2.

Ten weeks ago, the veteran voice actor added his third hour for Cult Radio, called The Joe Bev Experience which airs right after The Jazz-O-Rama Hour.

More about Waterlogg Productions at http://www.waterlogg.com.

An announcement about this week's Joe Bev Experience follows.

Video for this week's "Joe Bev 3-Hour Block":
http://youtu.be/GaSbl8U44SY (http://youtu.be/CA0CQGI4xY0)