Ka Wai Ola - Office of Hawaiian Affairs, Volume 16, Number 12, 1 Kekemapa 1999 — Diverse island musicans revive hapa haole tunes for a new generation [ARTICLE+ILLUSTRATION]

Diverse island musicans revive hapa haole tunes for a new generation

By Manu Boyd

ĪWO RECENT CDs revisit an era when Hollywood ruled and traditional Hawaiian music was on the wane, in part due to the declining populahon of Hawaiian speakers. With 20-20 hindsight and new flair, contemporary Hawaiians explore favorites of their parents' and grandparents' day. Like it or not, hapa haole music is a cornerstone of Hawaiian music and helped define our modern culture. In his "Hawai-

ian Music and Musicians, an Illustrated History" George S. Kanahele presents an article titled "Hapa Haole Songs," in whieh he analyzes criteria defining this genre, tlie general structure of whieh is tradihonal Hawaiian overlaid with popular trends

in American music. English lyrics contain just a smattering of Hawaiian and/or pidgin words; and typically, the subject matter is Hawai'i. An exception to this rule, says Kanahele, is "Beyond the Reef" whieh does not mention Hawai'i, nor does it feature Hawaiian or pidgin. Ameiiean styles incorporated into hapa haole music include ragtime, Dixieland, jazz, fox-trot, Latin, blues, pop, rock, country western or folk rock, all emphasiz-

ing the music, not the lyrics. Through a westernized arrangement, Piinee Leleiōhoku's lyrical " Kāua i ka Huahua 'i," a passionate Hawaiian love song, was transformed almost beyond recognition by Johnny Noble, and renamed, "Hawaiian War Chant." Over the past quarter century, however, the re-emergence of Hawaiian language songs has pushed hapa haole to the side — until now.

Moon Kauakahi, John Koko and Jerome Koko, the Mākaha Sons, have pulled a "fast one" with "Golden Hawaiian Melodies," an alter egoapproach to the their usual traditional Hawaiian fare. Thanks to Moon Kauakahi's arranging talents, the Mākaha Sons could sing virtually anything and be

recognized immediately, with sohd instrument work and simple, elean arrangements. Their presentation of "Sophisticated Hula," "Little Grass Shack" and "Red Sails in the Sunset" are familiar to kama'āina and malihini alike, invoking memories of the 1920s and 30s, and particularly the post-World War n era during whieh thousands visited the islands, including some who eame for mihtary R & R, and some to settle permanently. "This project was a long while in the making," said group leader Kauakahi, who cited singing in Enghsh as a chahenge. "Usually when we do Enghsh songs, we record them last because they're the hardest for me arrange. On ' Golden Hawaiian Melodies,' the majority are in English, so the whole project was a ehallenge," he said. Tunes in Hawaiian include a beautiful medley of "Keolaokalani," " Pua Carnation" and "Ho 'i Mai Malihini ." Hawahan music legend Nina Keah'iwahamana joins in duet with Jerry on "Ke Kali Nei Au" (I am waiting), better known as the " Hawaiian Wedding Song." "Kaimana Hila" recalls the heights of Diamond Head, Waikīkī Beach and Kapi'olani Park. Kui Lee's "Lāhainaluna." is a timeless pieee that says, "Maui nō ka 'oi" (Maui, indeed, is the best) and is done with the smooth precision characteristic of the seasoned Sons, now approaching their 24th year together, making them one of the longest, continuously performing ensembles in Hawaiian music history.

n their bold presentation of "Nostalgia," Amy Hānaiah'i Gilliom and Willie Kahaiah'i have taken both the hapa and the haole out of "hapa haole," with an imaginative approach to old standards. Acknowledging the history of language oppression in Hawai'i, they have given new form to classics ranging from Elvis Presley's "Rock-a-Hula" to Alfred Apaka's signature, " Beyond the Reef." What's bold about it, aside from excellent and varying vocals by Amy and virtuoso guitar work by Willie, is that, by performing the selections in Hawahan, they have created a whole new body of music. A key challenge in their effort was not only to interpret the originally Enghsh lyrics into Hawaiian, but to make them fit melodically. For example, the verse, " Beyond the reef where the sea is dark and cold, my love has gone, and our dreams grow old" has 20 syllables, but it has 43 when

translated as, "/ 'ō aku o ka hāpapa, kahi a ke kai lipo anuanu, ua ha 'alele ku 'u aloha, ua hele ao'o nā moemoeā." However, with the language know-how of Tony C., the lines were tailored to 27 syllables "Aia i kohola, ka

moana uli, hele aku aloha, i hala ka 'i'ini" No easy task, indeed. Executive Producer Jon de Mello has known these songs ah of his hfe, in part due to his mentor/father Jack de Meho, who has researched, arranged, performed and produced them for decades. Doubhng as graphic artist, Jon placed Amy on stage at the Hawai'i Theatre in a purple holokū carrying a scarlet eamahon lei, a visually stunning concept, reminiscent of Lena Machado, the "Hawaiian Songbird" of the 1930s and 40s " Nostalgia " is another Mounīain Apple Company gem, inside and out, and will make a unique addition to any CD eolleehon. ■ Editor's note: Last Month's KWO review ofBig lsland Conspiracy's "Street Tapestry, Vol. I" incorrectly identified Skippy loane as the composer of "Hawai'i '78." Mickey Ioane, Skippy's cousin, is the composer. E kala mai.

IS!flND M0SIC SDE1E — .'»* ■

Mākaha Sons: Moon, John and Jerome "Golden Hawaiian Melodies"

Amy Hānaiali'i and Willie K " Nostalgia "