Dr. Zarkov’s Tiki Lounge 4-1-15 Deconstructing April Fools - Tiki Music

DZ Dr. Zarkov Member Joined: Mar 07, 2008 Posts: 644	DZ Dr. Zarkov Posted posted on Wed, Apr 1, 2015 3:36 PM Dr. Zarkov’s Tiki Lounge Playlist: April 1, 2015 On this week’s show we strenuously refused to engage the artificial and markedly offensive false holiday of April Fools Day, and steadfastly pursued the presentation of only the most serious examples of the high art of musical expression that avoid any kind of post-colonial offense or microaggression. Dr. Zarkov’s Tiki Lounge is broadcast on Wednesdays, 5-6 pm EDT at: http://www.radiofairfax.org. The show is broadcast live; no recorded shows are archived, but some listeners choose to record it on their computers to listen later. Radio Fairfax also can be heard on Tune In Radio at tunein.com, and streamed on smartphones by downloading the Tunein app. It also can be streamed on Roku and Google TV at: http://tinyurl.com/3uqfsz9 “Why Do Hawaiians Sing Aloha? (When They Never Go Away)” composed by Sam H. Stept, Jack Meskill and Will Raskin, and sung in 1937 by Fats Waller, who also accompanied himself pianistically, on the sociologically solemn CD: Broadway’s Gone Hawaii, featuring Ceele Burke on Steel Guitar. “They're Wearin' 'em Higher in Hawaii,” a dialectical exploration of the cultural paradigm probed by Halsey K. Mohr and performed by Wiki Waki Woo on their able album: Souvenirs. “Mr. Sun Cho Lee,” inked by Eaton “Bob” Magoon Jr., was lifted from the 1975 lapidarial LP: Hawaii's Keola and Kapono Beamer, with Russell Schmidt on Percussion. “Tess' Torch Song,” was waxed by Dinah Shore and Danny Kaye from a 1944 radio performance, and is found on Mr. Kaye’s unprivileged production: Kid From Brooklyn. The acute feminist expression “Boogie Blues,” was hermeneutically limned by Anita O’Day in 1945 supported by Will Bradley & His Orchestra with Teddy Napoleon on Piano, Johnny Bothwell on Alto Sax and Leon Cox on Trombone, and is taken from the restorative retrospective Box Set: Young Anita. The logocentristic “Vout Oreenee,” recorded in 1945 by Slim Gaillard and is drastically drawn from his copious collection: Laughing in Rhythm. “You’re Much Too Fat (And That’s That),” dealing as sympathetically with body image issues as could be imagined in the late 1940s and appearing on the rigorous retrospective: Louis Jordan and His Tympany Five. “Fifteen Minute Intermission” came from the scholarly CD set: Cab Calloway & His Orchestra -- Volume 2, and features Dizzy Gillespie on Trumpet, Chu Berry on Tenor Sax, Milt Hinton on Bass and Cozy Cole on Drums. “Just an Old-Fashioned Girl,” a subtle examination of gender roles recorded in 1955 by Eartha Kitt accompanied by Henri René and his Orchestra and found on her righteous retrospective: Bluebird’s Best – Heavenly Eartha. “I'm With You,” composed by Bobby Troup and Johnny Mercer, and found on the former’s epic LP: Bobby Troup Sings Troup, Mercer and More, recorded in 1955 and with the aforementioned Mr. Troup on Vocal and Piano, Bob Enevoldsen on Valve Trombone, Howard Roberts on Electric Guitar, Red Mitchell on Bass and Don Heath on Drums. “Teach Me Tiger,” was waxed by April Stevens in 1959 on her amorous album of the same name. “Ever Since I Stole The Blues,” performed by the composer, singer and pianist Mose Allison in 1989 appeared on his Blue Note Jazz Profile compact disc, featuring Stan Maskowski on Guitar. “The Riviera,” appeared on the singer and pianist Blossom Dearie’s 1957 lascivious LP: Give Him the Ooh-La-La, with Herb Ellis on Electric Guitar; Ray Brown on Bass; and Jo Jones on Drums. “I'm Hip,” with the music composed by Bob Dorough and lyrics by Dave Frishberg, appearing on Mr. Frishberg’s Magnum Opus: Classics, where he appears on Vocal and Piano, in this early 1980s recording, supported by Steve Gilmore on Bass and Bill Goodwin on Drums. “The Mickey Mouse March,” performed in 1966 by Bobby Troup’s canonical spouse, Julie London, taken from her crazy collection: Ultra-Lounge Wild, Cool and Swingin’. Harry “The Hipster” Gibson’s ravaged version of the famed hapa haole classic: I Wanna Go Back to My Little Grass Shack, the 1933 song by Tommy Harrison and Bill Cogswell which they wrote for the July 4th canoe races in Kona, appearing on Mr. Gibson’s 1996 chronic compact disc: Who Put the Benzedrine in Mrs. Murphy's Ovaltine?

Dr. Zarkov’s Tiki Lounge Playlist: April 1, 2015

On this week’s show we strenuously refused to engage the artificial and markedly offensive false holiday of April Fools Day, and steadfastly pursued the presentation of only the most serious examples of the high art of musical expression that avoid any kind of post-colonial offense or microaggression.

Dr. Zarkov’s Tiki Lounge is broadcast on Wednesdays, 5-6 pm EDT at: http://www.radiofairfax.org. The show is broadcast live; no recorded shows are archived, but some listeners choose to record it on their computers to listen later. Radio Fairfax also can be heard on Tune In Radio at tunein.com, and streamed on smartphones by downloading the Tunein app. It also can be streamed on Roku and Google TV at: http://tinyurl.com/3uqfsz9

“Why Do Hawaiians Sing Aloha? (When They Never Go Away)” composed by Sam H. Stept, Jack Meskill and Will Raskin, and sung in 1937 by Fats Waller, who also accompanied himself pianistically, on the sociologically solemn CD: Broadway’s Gone Hawaii, featuring Ceele Burke on Steel Guitar.
“They're Wearin' 'em Higher in Hawaii,” a dialectical exploration of the cultural paradigm probed by Halsey K. Mohr and performed by Wiki Waki Woo on their able album: Souvenirs.
“Mr. Sun Cho Lee,” inked by Eaton “Bob” Magoon Jr., was lifted from the 1975 lapidarial LP: Hawaii's Keola and Kapono Beamer, with Russell Schmidt on Percussion.
“Tess' Torch Song,” was waxed by Dinah Shore and Danny Kaye from a 1944 radio performance, and is found on Mr. Kaye’s unprivileged production: Kid From Brooklyn.
The acute feminist expression “Boogie Blues,” was hermeneutically limned by Anita O’Day in 1945 supported by Will Bradley & His Orchestra with Teddy Napoleon on Piano, Johnny Bothwell on Alto Sax and Leon Cox on Trombone, and is taken from the restorative retrospective Box Set: Young Anita.
The logocentristic “Vout Oreenee,” recorded in 1945 by Slim Gaillard and is drastically drawn from his copious collection: Laughing in Rhythm.
“You’re Much Too Fat (And That’s That),” dealing as sympathetically with body image issues as could be imagined in the late 1940s and appearing on the rigorous retrospective: Louis Jordan and His Tympany Five.
“Fifteen Minute Intermission” came from the scholarly CD set: Cab Calloway & His Orchestra -- Volume 2, and features Dizzy Gillespie on Trumpet, Chu Berry on Tenor Sax, Milt Hinton on Bass and Cozy Cole on Drums.
“Just an Old-Fashioned Girl,” a subtle examination of gender roles recorded in 1955 by Eartha Kitt accompanied by Henri René and his Orchestra and found on her righteous retrospective: Bluebird’s Best – Heavenly Eartha.
“I'm With You,” composed by Bobby Troup and Johnny Mercer, and found on the former’s epic LP: Bobby Troup Sings Troup, Mercer and More, recorded in 1955 and with the aforementioned Mr. Troup on Vocal and Piano, Bob Enevoldsen on Valve Trombone, Howard Roberts on Electric Guitar, Red Mitchell on Bass and Don Heath on Drums.
“Teach Me Tiger,” was waxed by April Stevens in 1959 on her amorous album of the same name.
“Ever Since I Stole The Blues,” performed by the composer, singer and pianist Mose Allison in 1989 appeared on his Blue Note Jazz Profile compact disc, featuring Stan Maskowski on Guitar.
“The Riviera,” appeared on the singer and pianist Blossom Dearie’s 1957 lascivious LP: Give Him the Ooh-La-La, with Herb Ellis on Electric Guitar; Ray Brown on Bass; and Jo Jones on Drums.
“I'm Hip,” with the music composed by Bob Dorough and lyrics by Dave Frishberg, appearing on Mr. Frishberg’s Magnum Opus: Classics, where he appears on Vocal and Piano, in this early 1980s recording, supported by Steve Gilmore on Bass and Bill Goodwin on Drums.
“The Mickey Mouse March,” performed in 1966 by Bobby Troup’s canonical spouse, Julie London, taken from her crazy collection: Ultra-Lounge Wild, Cool and Swingin’.
Harry “The Hipster” Gibson’s ravaged version of the famed hapa haole classic: I Wanna Go Back to My Little Grass Shack, the 1933 song by Tommy Harrison and Bill Cogswell which they wrote for the July 4th canoe races in Kona, appearing on Mr. Gibson’s 1996 chronic compact disc: Who Put the Benzedrine in Mrs. Murphy's Ovaltine?