Ka Wai Ola - Office of Hawaiian Affairs, Volume 17, Number 3, 1 March 2000 — ISLAND MUSIC SCENE [ARTICLE+ILLUSTRATION]

ISLAND MUSIC SCENE

Bata Alimootr a "Happy Hawaiian," detuts CD

By Manu Boyd WITH MĀNANA (Rabbit Island) poised in the background, William Kupaianaha "Baba" Alimoot launches his recording career, first, with a tribute to Makapu'u and the well-known surf spot known colloquially as "Kakaroach Bay" (traditional name is Kaupō). The sound is upbeat, fresh and, as suggested by the project title, happy. A native of Kāne'ohe, the 1978 Castle High School graduate has been playing music casually for 20 years, and gigs around town touting a big voice suitable for a big showroom. But his preference for simplicity and his country upbringing make Makapu'u Beach a more likely venue for Alimoot whose

V:, ., :. zest for Hawaiian music is anything but laid back. Instrumentation is elean throughout, thanks to guest guitarists and fellow Kāne'ohe residents Dwight Kanae and Ellsworth Simeona. Herbert Mahelona's soothing eello adds elegance to Alfred 'Alohikea's

"Pua Lilia," and Johnny Spencer's haunting melody in " Waikā ." (The lyrics are from the well-known mele inoa for Kamehameha I, " Hole Waimea," recalling the king's band of Kīpu'upu'u warriors from Waimea, Hawai'i). The notable roster of guests also includes Brian Tolentino, John Porlace, David Choy, Rick Rickard, Chris Kamaka, Harry Koizumi, Ku'uipo Kumukahi and Greg Sardinha who provide ample support. His treatment of "Ua Noho Wau A Kupa" " Pauoa Ka Liko Lehua ," and "Na Ka Pueo" is pure "back yard"

style that pertpetuates songs one generation fo the , L next. "Soft Green Seas" is presented with samba flare, a departure from its usual languid, legatto per- J formance, yet its touch of romance emerges, enhanced by Sardinha's trademark steel guitar. Similarly, Den- m

nis Kamakahi's "Pua Hone" L|takes on an entirely new feel. M ■ " Happy Hawaiian" was m: produced by Kinonui Produc- m. tions ine. ■ * F;