Ka Wai Ola - Office of Hawaiian Affairs, Volume 21, Number 12, 1 December 2004 — New kids on the old block [ARTICLE+ILLUSTRATION]

New kids on the old block

'Ale'a's third alhum, Kaulupono, is rooted in traditions By Sterling Kini Wong

The release of a third CD usually marks a band's maturation from up-and-coming artists to established stars. Yet the members of 'Ale'a, the 2001 Nā Hōkū Hanohano Award winners for group of the year and most promising artist, still feel like the new kids on the traditional Hawaiian music hloek, even with their latest alhum, Kaulupono (Poki Records). "We've been together for seven years; that's not long compared to the legends," says Chad Takatsugi, who lends his voice and guitar to 'Ale'a. "We'll be 50 years old, and people will still be calling us the young generation of Hawaiian music. But it's an honor; it shows that they know we are able to retain the music."

There are a number of young bands embracing traditional Hawaiian music styles, but Takatsugi, Kale Hannahs and Ryan "Gonzo" Gonzalez - the 20-somethings who make up 'Ale'a - are among the leaders of this new generation and surely one of the best, although they themselves won't admit it. "Whether we are at the forefront of the generation or not, that doesn't register with us," says upright bassist Hannahs, who points to Nā Palapalai and Holunape as other young bands helping to carry the mantle of traditional Hawaiian music. "We just do what we know how to do." Takatsugi adds, "It's refreshing that there are so many young bands playing new compositions in the old style. It's niee to know that we are not alone." Hannahs says that Kaulupono (to grow in a way that is right) - the follow-up to 'Ale'a's previous albums Take Me Home and Kinohi/Origins - is rooted in the group's desire to develop their music according to a Hawaiian sense of propriety. "Kaulupono was about honoring the people and kūpuna who eame before us," he says. "We wanted to show that we still remember where we eame from, and we made a conscious effort to do things in the proper way." An integral part of that, he says, was doing research: "We talked to the eomposers of the songs and got their mana'o (thoughts). We asked them what they were going through when they composed the songs, and we tried to capture that. Then we added our 'Ale'a flare and energy to the interpretation." Kaulupono represents a full day's journey across the Hawaiian archipelago. The alhum starts off with Takatsugi chanting as the first sun rays hit Kumukahi, the eastern-most point of Hawai'i island, with an oli he composed called He Ala

Kamaha 'o i ka Lewa. The CD ends with 'Ale'a singing the John Fogerty classic Long as I Can See

the Light, whieh then fades into waves crashing on the sands of Polihale, as the sun sets on Kaua'i's western shore. Between those tracks, listeners travel through time and the evolution of Hawaiian music, from the traditional mele Hula o Makee to the "Hawai'i Calls"-era Hapa-Haole Med.Iey, whieh features the elegant voice of noted soprano Nina Keali'iwahamana. The alhum also includes new Hawaiian language songs written by budding composers Kalikolīhau Hannahs (Ka Lehua Pūnono) and Kapalai'ula de Silva ( Kekahao'iolani ). 'Ale'a also recorded several pop hits on Kaulupono, including The Best of My Love, the bittersweet Eagles tune that has been a mainstay in the band's Monday night performances at The Willows restaurant. In the end, Kaulupono is a reminder that progress doesn't have to eome at the expense of tradition, a notion that the members of 'Ale'a believe is not lost on the younger generation of Hawaiians. The group says in the liner notes, "we are heading out to make our mark in the world, but home will always beckon our hearts. Just leave a candle in the window for us ..." Consider it lit. ■