"Ukulele Jazz"

Benny Chong
(Ukulele Jazz)

If Benny Chong had retired from music and gotten a day job when Don Ho & The Aliis broke up in 1969 he would still deserve a Lifetime Achievement Award from the Hawai‘i Academy of Recording Arts. The sextet — Chong, Ho, Al Akana, Rudi Aquino, Manny Lagodlagod and Joe Mundo — was one of the biggest and most influential Hawaiian groups of the ’60s. Waikiki headliners, yes, but also one of the few Hawaiian acts to be signed by a national record label (Reprise) in the ’60s and then have a recording on any of the six major Billboard record charts. Ho was a brilliant emcee and accomplished vocalist but the Aliis’ talents as musicians were an essential part of the group’s success.

But Chong didn’t retire in 1969. He led the Aliis through a decade of success as showroom headliners, then a highly acclaimed Waikiki reunion engagement with Ho in 1981, and then several years of success as a Hoku Award-winning recording act. The other two major Waikiki show bands of the era — the Surfers and the Society of Seven — have already received HARA Lifetime Achievement Awards. That makes the Aliis several years overdue for the same honor.

And Chong didn’t exactly retire from music when the Aliis finally faded away in the mid-’80s. There were sold-out, one-night reunions of the original Don Ho & The Aliis, and he was working with Ho at the Waikiki Beachcomber when the iconic showman died in 2007.

Through all those years Chong was known as a guitarist. Few of the millions of people who saw him perform would have suspected that his first instrument was the ukulele, and one of his favorite styles of music is jazz. Chong stepped forward in 2005 with a full-length album of jazz melodies played on ukulele. The title was "Ukulele Jazz."

This one — same title, different contents — is a welcome addition to his discography. Recorded live in Hilo it captures highlights of a set by Chong (baritone ukulele) and

They open with a crisp arrangement of a classic television sitcom theme, "Bewitched." Chong takes off on it with Yasui providing a vibrant foundation; Chong then steps back to give his partner time in the spotlight.

"Satin Doll," also instantly recognizable, takes the set into mainstream jazz territory. Yasui takes possession of the melody line early into the number then yields to Chong. They continue to trade off as the arrangement continues. The result is a fine treatment of a jazz standard and an impressive demonstration of the musicians’ skill.

A zippy interpretation of "My Funny Valentine" stands out for the many liberties the duo takes with the basic melody. There’s absolutely nothing wrong with that, quite the contrary. Both guys stretch out and out and out — and then return from time to time to the familiar melody. It’s a delightful piece of music.

Exploration and improvisation also adds to the duo’s blues-tinged take on "Nearness of You."

www.ukulelejazz.com

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