Ka Wai Ola - Office of Hawaiian Affairs, Volume 6, Number 2, 1 February 1989 — "Sweet and Sassy" A Treat From Kahumoku Brothers [ARTICLE+ILLUSTRATION]

"Sweet and Sassy" A Treat From Kahumoku Brothers

Sweet and Sassy, a new release by Big Island slack-key virtuosos George and Moses Kahumoku, presents a personal history of Hawaiian slack-key guitar in musical form. Opening with an original work by Moses Kahumoku embodying his conception of the Spanish musical legacy, the new release moves through a masterly treatment of classics such as "Hilo March/Maui Chimes" to origina! works of haunting beauty, such as "December at Mauna Kea," and the Kahumoku Brothers' trademark light touch in "Mauna Kea Mosquito." Liner notes by George Kahumoku, Jr. provide a brief history of the slack-key art form as well as a concise explanation of its technical characteristics.

Through this all-instrumental recording, the Kahumokus seek to bring slack-key from the back porch to the serious consideration of the concert hall. Known for their unique instrumentation, the Brothers demonstrate the hyper-speed picking, interwoven me!odies and originality in both style and material that have made them headliners at the Mauna Kea Beach Hotel where they have performed for more than 10 years.

The Kahumoku Brothers began their recording career in 1978 by producing an album of songs and chants for renowned Big Island kumu hula Aunty Edith Kanaka'ole, for whieh they also provided the instrumentation. This recording, whieh in 1979 received the prestigious Na Hoku Hanohano award, was followed in 1985 by "Kai Malino" (Peaceful Sea) and in 1986 by "More Than Words Can Say," both of whieh showcase the Kahumoku's original songs. The Kahumokus also produced the recent 1988 release "Sounds from the Mauna Kea Beach Hotel" to commemorate the hotel's 25th anniversary Raised in Kealia, Kona and in Pauoa Valley, the Kahumokus learned slack-key by observing their

father, George Kahumoku, Sr. This indebtedness is lovingly acknowledged in the Sweet and Sassy cut entitled simply "Dad's Slack Key." Other influences include Gabby Pahinui and Raymond Kane, but perhaps the most significant step in the Brothers' musical development was years of evenings spent "jamming" with eaeh other and other friends after long days spent working the land as farmers.

Both brothers feel that their life-long involvement with the 'aina (land) and kai (sea) provides the profound sense of unity with God, man and nature whieh illuminates āll their music. Traditional values of hard work, 'ohana and reverence for the sea and land tie their music closely to the heritage passed on to them by those who eame before and whose music they admire.

The Kahumoku Brothers, left George Kahumoku, right Moses Kahumoku.

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