Here's Louis from his first flush of success at the Famous Door in New York City. Backed by his New Orleans gang, Prima's distinctive style was already emerging on material like "How'm I Doin'," "Plain Old Me," "Sweet Sue," "Lazy River," "Dinah," and the original version of "Sing Sing Sing." Although the backing is strictly New Orleans (and thus a long way stylistically from his later Capitol sides with Sam Butera & the Witnesses), most of the tunes boast the highly inventive clarinet work of Pee Wee Russell, and Prima's horn is well to the fore on these sides. One for hardcore Prima fans.

Italian-American singer, actor, songwriter, bandleader, and trumpeter, Louis Prima (1910-1978) was rooted in New Orleans jazz, swing, and jump blues, but he touched on various other genres throughout his career. From the 1940s through the 1960s, when these recordings were made, his music further encompassed early R&B, rock'n'roll, boogie-woogie, and even Italian folk music, such as the tarantella. In 1954 Prima was offered a long-term engagement at The Sahara in Las Vegas to open his new act with singer Keely Smith (born in 1928, she is 89 at this writing). He enlisted New Orleans saxophonist Sam Butera (1927-2009) and his backing musicians, ''The Witnesses''. The act was a hit, and ultimately led Prima to sign with Capitol Records in 1955. The present concert performance at The Sahara, immortalized on the LP Las Vegas Prima Style (Capitol Records - T-1010), was taped by Prima in 1958 with Keely and Butera, and is presented here in its entirety.

This DRG two-fer brings together two worthy and neglected Louis Prima/Keely Smith Capitol albums from the late '50s. Hey Boy! Hey Girl! is the soundtrack album from the lounge duo's 1959 film of the same name. Not as cheesy as it might sound at first, it features Louis and Keely (and Sam Butera & the Witnesses) at their Las Vegas peak. The title track is a brisk, lightly swinging duet from the pair while "Oh Marie" almost delicately reprises Prima's Sicilian heavoly scatting classic from the previous year's The Wildest! Saxophonist Butera gets his own hipster vocal on "Fever," and Keely sings at least two ballads, "You Are My Love" and "Autumn Leaves," to lend the proceedings a little class…

During 1940-1941, Louis Prima led a medium-size (ten-piece) combo, which by 1944 had expanded to a full big band. Although a popular figure during this era, Prima was not quite a star and his big band never really caught on. The 23 numbers on this good-natured CD include a couple instrumentals ("To You, Sweetheart, Aloha" and the swinging "Look Out"), novelties, vocal numbers for Lily Ann Carroll, and the debut versions of "Robin Hood," "Angelina," and "Oh Marie" (which hints at Prima's 1950s rendition). The leader is the main star throughout the historic release.

Born and raised in New Orleans, Louis Prima came up in his hometown gigging steadily in the clubs and doing his best to emulate Afro-American musicians. His number one role model was Louis Armstrong. After playing Cleveland with Red Nichols in 1932, Prima began recording in 1934 and thoroughly established himself on 52nd Street in New York City the following year. Prima was good looking and sang in a pleasantly hoarse voice. His humor was often heavy-handed, and his bands pushed hard to generate excitement among live audiences and the record-buying public. Prima's 1934 bands had strong players in George Brunies, Claude Thornhill, and Eddie Miller. "Jamaica Shout" is a rare example of instrumental Louis Prima: hot jazz with nobody yelling…