Ka Wai Ola - Office of Hawaiian Affairs, Volume 10, Number 11, 1 November 1999 — Native artists produce a broad range of recordings [ARTICLE+ILLUSTRATION]

Native artists produce a broad range of recordings

Weldon Kekauoha: "Hawoiian Man" • Big lsland Conspiracy: "Street Tapestry, Vol. I"

By Manu Boyd WELDON KEKAUOHA'S debut of "Hawaiian Man," is an eclectic fare of old and new tunes. His musical resume begins with his fatherinspired first strum on an 'ukulele. Like many musicians, Kekauoha acquired discipline and experience with the Honolulu Boy Choir. Years later,

ne eonnnuea r with Nā Kāne Pono (Brown Bags winners), Ke Awāwa o nā Pilikua, Keonaona, Mana'o Company, Kawika Trask Productions and ' Keao Costa. Produced | by Robert Kekaula and

Danny Kennedy, the project features fresh arrangements of " Piukeona ," the kolohe classic masterfully dotted with kaona, and "Kahuki'aialo," Irmgard Aluli's tribute to Lahaina. The title cut, penned by Warren Kaiaka Adarna, is the project's stand-out, but eaeh song brings

out an impressive facet of Kekauoha's experience. His Hawaiian is elean throughout, and his instrumentation is excellent making him a contender in the ever expanding ring of island music champions. A full-time flight attendant with Hawaiian Airlines,

Kekauoha frequently travels to Tahiti, where "Loeal Boy," a rare English tune among the prevailing Tahitian and French songs, caught his ear. The only "cover" on the project is "Everybody Plays the Fool," rounding out selections as varied as the performer's background. " Hawaiian Man" is the result of experience, hard work and a passion for island music. Kekauoha is a fine example of a turn-of-the-millennium Hawaiian man, who is embarking on a new phase of a solid career in music.

KELI'I "SKIPPY" Ioane, composer of the Mākaha Sons' anthem, "Hawai 'i '78," has, along with Reggie Berdon, Wayson Ioane, Butch Ka'ili, Mili Kalāuli, Kaliko Kanaele Sr. and Noah Nihau, eonspired to bring you their message, powerful and animated, like their Hawai'i island home. Described as "reflective but unrepented," the disc is stamped with Public Law 103-150 saying, "The Congress apologizes ... illegal overthrow of the Kingdom of Hawaii on January 17, 1893 ..." A theme of nationalism and raw,

unabashed discontent with the poliūeal status quo prevails. The Pele tribute at the outset combines an original mele oli by Kumu Hula Pualani Kanahele and a moving song by Hilo Hōkū Award-winning composer Craig Kamahele. Originals by Skippy Ioane are "ln Fla

Grante Delicto," " Samuela Texas" "Realitivity at the Juncture," "Willy Bright," "Mary" (the wind cries) and "Kanaka Roach" "Honokahua," recalling the unearthing of ancient iwi at the northern Maui beach, is by Kamahele. Familiar songs like Dennis Kamakahi's "Lei Kō'ele" for the island of Lāna'i and the Nape / Montano classic, " Old Plantation," for the estate whieh onee occupied the site of the Blaisdell Center, make the provocative, neo-native project more palatable to the less radical. Reeeie Berdon. who recorded a

duet oi"Manu 'O'o" with Karen Keawehawai'i in the

late '70s, is reintroduced in "Waiulu." His vocal style is as pleasant as ever. While "reflective but unrepentent" is the underlying theme in this breakthrough recording, it is a feeling shared by a mueh larger population whieh is growing weary of the status quo where Hawaiians are wards of the government, and settlers are at the helm. A dose of Hawaiian history and culture ean go a long way in turning that around. "E iho ana 'o luna ..." ■

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