Ka Wai Ola - Office of Hawaiian Affairs, Volume 15, Number 4, 1 ʻApelila 1998 — NĀNĀKULI SONS: [ARTICLE+ILLUSTRATION]

NĀNĀKULI SONS:

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By Manu Boyd Raymond Kāne, "Hawaiian Sunset Music Voi. 1" NĀNĀKULI SLACK-key master Raymond Kāne shines brightly with his latest compact disc, "Hawaiian Sunset Music Vol. 1," a collection of instrumental pieces showcasing the very best in Hawaiian guitar work. A master in kī hō'alu (slack-key) traditions, Kāne learned from Ni'ihau guitarists Albert Kawelo and Henry Kapauna while growing up in 'Ele'ele, Kaua'i. He also credits "Pops" Gabby Pahinui as an inspiration. Slack-key is a style of guitar playing that is uniquely Hawaiian. Influenced by Spanish-Mexican vaqueros (cowboys) who arrived in the islands in 1836, kī hō'alu is a blend of European guitar picking and traditional Hawaiian rhythms. In one of several styles, the strings are tuned in an open G chord by slacking (hō'alu) or loosening the keys (kī), thus the Hawaiian name of this § art form, a mainstay in Hawai'i for more than 160 years. In 1987, Kāne received the prestigious Heritage Fellowship Award from the National Endowment for thc jf Arts. In 1990, another career milestone was reali/ed when he performed at Carnegie Hall in New York City| Today, with the support of his loving wife El6dia and family, Ray continues to delight audiences with what he began leaming as a young boy. His easy-going. olu'olu persona add tō his charm as a musician. performer WĒ a storyteller. A composer himself, Ray Kāne expresses his aloha for his grandchildren in "Mo 'opuna I.ullahy. " a lilting waltz that soothes. "Ahi Wela," "Na Hoa īie'e Nalu " and "Ka Punahou" are familiar standards featured ōn the project. While Raymond Kāne is a noted solo performer, he also has combines his talents with many musicians over the years. 'Hawaiian Sunset Music Vol. 1 " debuts the talents of MieliaelLowe, Kāne's former

student. now, a performing partner and friend. Miehael Lowe's talents earn him regular spots in slack-key festivals throughout the islands and abroad. From an early age, Lowe's passion for kī hō'alu has put him in touch with some of the best in the field. The pairing qf Raymond Kāne and Lowe perpetuates the age-old tradition of mentoring. Kāne and various haumāna (students), have participated in the State Foundation on Culture and the Arts' Apprentjceship Program that encourages ohe-on-one study. , Indeed, lRaymond Kāne's style andthe legacy of theoriginal paniolo will live on well ihto the next millennium "Hawaiian Sunsft M^sic. Vol. 1 (CDHvS-604), was produced ānd manufāctlired5i^"Hula Records, and is distributed by Kona-Kai Distributihg Company. Danny Couch, "Almost Paradise" WHEN PEOPLE think of Hawaiian music, the name Danny Couch doesn't usually eome to mind. But Danny is Hawaiian, and his music is a reflection of an island world influenced by diverse forces. His voice soars over a collection

of well-produced contemporary tracks. Born James Daniel Couch, he is the son of a U.S. Navy sailor, Charles Couch, and Margaret Leilani Hau'oli. His Hawaiian family roots are through the Hau'oli and Melemai 'ohana; and he considers home the leeward areas of Nānākuli, Mā'ili and Mākaha. "Almost Paradise," the title cut written by Eric Carmen and Dean Pichford, is a duet featuring Couch and Ilona Irvine whose accompaniment compliments Couch's powerful stage voice. Couch's savvy as a composer surfaced in 1984 with the Ka'eo hit and award-winning song of the year, "From My Heart" whieh he co-wrote with Lorraine Ka'ai. Couch hits the mark onee again with "These Islands," a stirring anthem of the beauty of Hawai'i and its bountiful heritage. The tune is rumored to be a theme of the Miss Universe Pageant to be staged in May at the Stan Sherrif Center at the University of Hawai'i at Mānoa. "Hakuna Matata," from the Disney animated film "Lion King," says "don't worry for the rest of your davs," offering a temporary refuge from the comp!exities of the world. Kenny Nolan's "Love's Grown Deep " shows off Couch's vocal control in a gentle rendition. "Ka 'ena." also known as "Ku 'u Lei Momi," is the only selection performcd entirely in 'ōlelo Hawai'i. For those familiar with the Brothers Cazimero version, you 11 immediately recall Robert's performance in whieh he embellishes the simple two-line melody. Couch's re-make is almost exactly like Cazimero's, note-for-note. The difficult performance is pulled off with control and poise, but the original melody is missing. the rendtion is beautiful nevertheless. Danny Couch writes, "This album is dedicated to my relatives and ancestors, and to all the people I've met in my lifetime. And to the plaee I love the most, Hawai'i." "Almost Paradise" has broad appeal that should reach far beyond these islands. ■ •

Ki Ho'alu protege Miehael Lowe stands behind his kumu (mentor), master guitarist Raymond Kāne.