NEXT FOLKWORKS CONCERT
Saturday, September 27th at 8pm
doors open at 7:00pm (food will be available)
newly renovated Talking Stick Cafe
1411 Lincoln Blvd., Venice, CA 90291
at Lincoln and California St. in corner behind Pollo Loco
Parking available behind or in Ross Dress For Less parking lot.
General Admission: $18
FolkWorks members (Friend and above) – reserved seating: $16
Nevenka Concert Tickets
FolkWorks PO Box 55051
Sherman Oaks, CA 91413
FINAL 2014 Concert
(Click on hyperlink for tickets)
Series at the Talking Stick Café
1411 Lincoln Blvd., Venice, CA 90291
SYNCOPATHS October 25th
HAVE UKE WILL TRAVEL!By nine a.m., under mercifully overcast skies, a steady stream of participants was filing into the front plaza of the Japanese-American Cultural Center in downtown LA. They all seemed to have a bounce in their step. From the balcony overlooking the plaza, I watched the crowd grow, a jocular mingling of darker and fairer-skinned persons from diverse age groups, some wearing neutral jeans, tee-shirts, and huaraches, others adding vibrancy with Hawaiian shirts and Aloha print sundresses.
TITLE: AMY HANAIALI’I AND SLACK KEY MASTERS OF HAWAII
LABEL: PETERSON PRODUCTIONS
I took one look at the cover of this CD and concluded that it was a shoe-in for the 2011 Grammy for Best Hawaiian Music Album. After five years of awarding it to compilations of slack key guitar music, the mucky-mucks could enjoy a refreshing twist on their love affair with slack key. Celebrated vocalist, Amy Hanaiali’i, who has lost out to slack key at the Grammies more than once, had teamed up with five masters of the beloved guitar tradition: Cyril Pahinui, Sonny Lim, Dennis Kamakahi, Jeff Peterson, and Chino Montero. It’s a dazzling collaboration and thoroughly enjoyable listening. Did it win the Grammy? No! This year the award for Best Hawaiian album went to a vocalist of more limited gifts than Amy and no hint of slack key guitar on the cover. Go figure! We move on...
Although it was recorded in a studio, Amy Hanaiali’i and Slack Key Masters of Hawaii has the flavor of a live concert. The musicians each get a turn being center stage, accompanying Amy, in some cases singing with her or playing slack key with one another. Not only do they display their gifts as musicians; in some cases, they showcase their own compositions.
Prolific Dennis Kamakahi sings his delightful country-style E Mau Ke Aloha in Hawaiian and English, accompanying himself on guitar with room for a guitar solo by Chino Montero. Kamakahi shines as a slack key guitarist and vocalist, his deep rich voice combining with Amy’s in a poignant song composed by Queen Kapi’olani in the late 19th century Ipo Lei Manu.
Cyril Pahinui is keeper of the slack key tradition that his father, Gabby “Pops” Pahinui revitalized and popularized. Cyril shares vocals and plays guitar in a trademark Pahinui number, Hi’ilawe with Jeff Peterson adding his own slack key sound to enrich the accompaniment. Pahinui does a lively interpretation of Miloli’i on vocals and guitar with Sonny Lim spicing up the song with well-chosen steel guitar enhancements.
Amy sings her own composition Keawa Nui with loving attention to the art of falsetto that makes it clear why the mantles of falsetto greats Lena Machado and recently-passed Genoa Keawe have easily remained on her shoulders. A ukulele solo by Jeff Peterson kicks it up a notch.
Chino Montero gets to demonstrate his male falsetto singing and solid slack key technique in Makee ‘Ailana. Dennis Kamakahi plays one of the two slack key solos in this number, enlivening it with a contrasting style. I confess I have not followed Montero’s career as I have the other participants in this album, but I think he performs at a level that is harmonious with his peers.
An all-instrumental number, Vaqueros, brings together composer Sonny Lim with Montero and Jeff Peterson for a flamenco-flavored hats-off to the cowboys who brought the guitar to Hawaii.
I would be negligent if I did not mention the way Jeff Peterson’s talents permeate this album. No fewer than six of the sixteen cuts feature his compositions. My favorite is Pukana La on which he plays solo. He creates an otherworldly feeling with unusual chord progressions, sweet-voiced picking, and sensitive rubato. We also hear Peterson’s eclectic musicianship on eleven of the numbers, mainly slack key but also including classical guitar on Vaqueros and ukulele in Keawa Nui.
In the end, this is still Amy’s album. She opens with Fields of Gold by Sting, bringing to it heartrending nuances. Nevertheless, I find the song a strange choice for an album in which she and her friends otherwise celebrate Hawaiian culture and landscape. The mention of “fields of barley” made me wince despite the added Hawaiian lyrics. Do they even grow barley in Hawaii? Shouldn’t it be “through ponds of taro (traditional Hawaiian staple crop) or to use the old Hawaiian word kalo? Hmmm. The trouble is those ponds have you thigh deep in mud. I’ve been there. As we trudge through the sludge-ponds of kalo? Definitely not as romantic as barley fields. Enough! It’s a great album!
Audrey Coleman is a journalist, educator, and passionate explorer of traditional and world music.