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The following year, he opened a polka bar in Miami, which stayed in business for the next six years but was eventually forced to close due to the citys much smaller Polish contingent.

Lil Wally has been one of the most important and influential polka musicians in America.

He was responsible for creating the Chicago-style polka, a slower, more danceable, more improvisational sound, whose core appeal lay with Polish-Americans.

Wally was a cottage industry unto himself, recording at an often frantic pace and releasing over 150 albums on his own Jay Jay label.

He played both concertina and drums in concert, and performed good-humored dance tunes and sentimental ballads with the same unwavering enthusiasm.

Walter Edward Jagiello was born in Chicago on August 1, 1930.

His parents were both Polish immigrants, and he was exposed to polka music very early on -- so much so that he gave his first public performance at age eight, fearlessly taking the stage at a neighborhood picnic to belt out songs with the band.

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He started sneaking out to hear polka music in the clubs along Division Street, and was soon getting professional bookings as a singer with the bands he met.

A self-taught drummer and concertina player, he started playing with Chicago polka godfather Eddie Zima at age ten, and was leading his own band at 14, by which time hed dropped out of school.

His first recording session came in 1946 for his own small Amber Records label, at which point he was still singing entirely in Polish.

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Dissatisfied with the experience, he launched Jay Jay Records in 1951, and unleashed a torrent of music; during the 50s, he often managed to turn out ten or more LPs a year.

His slowed-down style left his musicians plenty of room to improvise as they saw fit.

His burgeoning popularity crystallized into a breakout national hit in 1954, thanks to his first English-language recording, I Wish I Was Single Again.

It sold over 150,000 copies in Chicago alone, and climbed onto the national charts, where it topped out at Number 22.

However, Wally was so overwhelmed by the duties of recording, performing, and running the label that he began to suffer from ulcers; he took some time off for a vacation in Miami, and liked it so much that he and his wife would eventually move there permanently.

In the meantime, however, Wally returned to Chicago and resumed his prolific writing and recording pace.

He scored numerous hits with polka audiences over the years, including the all-time polka standard No Beer in Heaven, Lil Wally Twirl, Johnnys Knockin, She Likes Kielbasa, Seven Days and Seven Nights, Take Me Baby, Chicago Is a Polka Town, Lichtensteiner Polka, Two Bucks Polka, To Be in Love With Someone, and many, many, many others.

He played gigs all over the Midwest whenever he could, touring with a core trio (concertina, trumpet, and drums) and adding a clarinet, bass, andor violin player for bigger shows; most of his musicians held day jobs in factories, so there was near-constant turnover in his backing group.

At the peak of his popularity, he had a polka radio show in Chicago, and played some of the citys biggest dance halls, including a high-profile debut at the Aragon Ballroom in 1955.

He also bought his own record-pressing plant, which enabled him to control more aspects of his one-man polka industry.

By the end of the decade, he and his wife had relocated to Miami, where Wally bought a recording studio.

In 1969, he and Frankie Yankovic were selected as the two charter members of the Polka Hall of Fame.