Over time, Academy records discontinued the mail order business, and became strictly a supplier to Kjos for CDs distributed to music dealers along with the corresponding books of music. At this point came a crucial turn of events when Neil called Keith with the suggestion that they create editions to go with the music that Academy Records had already recorded – Keith as editor, Academy Records to supply the inventory of CDs, and the Kjos Music Company as publisher and distributor.

Within a year, all four books had CDs (Neil had the foresight not to bother with cassette tapes!). Kjos Jr., the Bastien’s publisher, and everything was set in motion. What a wonderful tool to have recordings of these particular collections, with Diane’s performances reflecting the editorial markings in the score! A couple of phone calls, and a meeting with Neil A. He had always liked using the excellent collection of repertoire in the four Piano Literature books compiled and edited by Jane and James Bastien. Keith then got another idea: edition specific recordings.

These were an instant hit with piano teachers all over the United States, and Academy Records continued to release new recordings rapidly. The business was launched initially as a mail-order catalog, with CDs and cassettes of the most frequently taught intermediate piano music: Bach Inventions and Little Preludes, Burgmüller Studies Opus 100, Clementi Sonatinas Opus 36, a collection of easier Beethoven pieces, and so forth. Ken Zahner became the business manager, Brian Monahan ran the office and inventory, and Diane Hidy turned out one spectacular performance after another in the recording studio. In a flash, the idea was born: create a record company whose sole enterprise was to produce recordings of the standard piano teaching repertoire! Keith enlisted the help of his talented friends to make it all come together. Yet he still truly believed in the idea of students having good recordings of their music. If he did it once, he would have to do it again, and for every student, not just Paul. Likewise, he did not want to spend a portion of his week practicing the Bartok to make a recording. However, Keith realized that a semi-sight-reading of the Bartok Sonatina would not be an adequate role model to put on tape. How he wished all of his students could have the same, or even a portion of such an opportunity to listen to piano music.

Reflecting on his own teen years, he remembered the impact that listening to his mother’s students, as well as many hours spent listening to LPs of piano music, had on the development of his musical knowledge, taste, and interpretive skills. In theory, Keith completely understood and approved such a request. With cassette tape in hand, Paul asked Keith to play the Bartok so that he could record it onto the tape and have an example to listen to at home to help the learning process. Paul was just beginning to learn the Sonatina by Bela Bartok. One day in the early 90’s, Keith was teaching a piano lesson to his then junior high school student Paul Cheung.

Keith snell piano repertoire