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Robert Cazimero now is essentially a single act who keeps reinventing himself.
For decades, he was half of The Brothers Cazimero with his late brother Roland; they headlined showrooms, lounges and theatrical stages with a formulated show graced with hula.
When Roland faced extended health issues before his death July 16, Robert had no option but to move on, shift gears, re-establish himself.
Alone.
Watching him in two December shows, at separate venues, made me realize he’s more than ever a dedicated wizard of the concert stage, and also an astute one-of-a-kind specialty act: a piano-bar style raconteur with center-stage magnetism. In short, he’s a showman with a riveting personal style and franchise, sprouting anew.
Consider: He remains a vocalist, but he also is a one-man orchestra; he’s the top banana, minus the bunch; he’s the emcee, but the principal star. OK, he periodically summons halau dancers and guests, but virtually he’s a soloist, bar none.
There are challenges in this journey: Seated at his grand piano, with no accompaniment, he can no longer spontaneously burst into hula, his beloved “other” talent. So he leaves the hula to one or more from his elite halau. (He used to throw in a hula when Roland played guitar.)
Because of his devotion to and knowledge of Hawaiian music, he relates tales and details about a particular melody, momentarily paying tribute to his allies past and present. For example, at the Moana Surfrider, he served up a Mahi Beamer song and heaped praise on his peer (Beamer sang and frequented piano bars).
At the Blue Note, a retinue of male dancers doubled as singers, with one also playing bass; a hula stylist was aboard, too.
Neither space is a “piano bar,” but because Cazimero was stationary behind the keyboard, he performed like a traditional bar keyboarder but elevated the craft not only with his outreaching style but by eliminating the obvious piano bar requests and folks seated around the instrument.
To his credit, this format works, begging a question: Could he transit his art into plush restaurants or zones where there’s a tad more atmosphere than a lounge?
He tweaks this formula in monthly gigs at Chai’s Bistro on Kapiolani Boulevard, where halau dancers augment the master and his piano as diners soak in the culture with menu delights prepared by Chai Chaowasaree.
Singer-pianist Jay Larrin made this agenda work in lounges like the Ship’s Tavern. Ditto the late Charles K.L. Davis, at Kemoo Farm. Ron Miyashiro mastered this concept at La Mariana. Those days are gone, but a new beacon shines. …
FAITHFUL DEVOTION
Randy Hongo, a devoted and faithful performer and composer of Christian music who died Dec. 16 at age 70, worked on an inspirational musical, “Glory in His Soul,” for Kalihi Union Church’s mission fair a few years ago.
The show, with 18 scenes and two songs, recounts the short life of Henry Opukahaia, a hero of the Christian faith who traveled by ship from Kealakekua to New England and converted to Christianity, hoping to share the gospel when he came home. He died of typhus fever at age 26 in Connecticut, but his testimony to Christians in New England triggered the first arrival of missionaries in 1820. Feb. 17 will mark the 200th anniversary of his passing.
The musical, inspired by Edwin W. Dwight’s biography on Opukahaia, will be staged at 6 p.m. Feb. 17, 18, 24 and 25 at Kalihi Union, at 2214 N. King St. Admission is free, but a love offering will be accepted for the Hongo Music and Life Center, a school for the creative arts that will be ensconced at the church. …
And that’s “Show Biz.” …
Wayne Harada is a veteran entertainment columnist. Reach him at 266-0926 or wayneharada@gmail.com.
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