‘Pure ‘Ukulele’
Herb Ohta Jr.
Lele Music Productions
Throughout his career, currently two decades and counting, Herb Ohta Jr. has emerged from the shadow of his father, internationally acclaimed ukulele virtuoso Herb "Ohta-san" Ohta, with a similar commitment to precision and technique.
There is certainly a place for experimentation as the ukulele continues to evolve — various sizes, additional strings, different materials and, of course, the full range of electronic effects used over the years by rock guitarists. Ohta Junior has left such things to others and concentrated instead on achieving everything he possibly can with the basics: four strings and an acoustic wooden instrument.
His musical odyssey includes solo albums recorded with studio musicians behind him and duet projects with other well-known artists.
With "Pure ‘Ukulele," Ohta steps out entirely on his own — no celebrity partners, no studio musicians, just the pure sound of a solo ukulele.
Nine of these instrumentals are original compositions. One that is not, "Always With Me (Itsumo Nandodemo)," is known to anime fans as the closing theme of Hayao Miyazaki’s Oscar-winning movie "Spirited Away." It will certainly appeal to his many fans.
Originals titled "Sunrise" and "Napili Slack Key" catch the ear with their faster, brisker tempos.
The Japanese song stands out as an example of Ohta’s skill as an arranger of other composers’ work. The beauty that can be achieved with a solo ukulele comes through on all of them. So does the range and precision of Ohta’s technique in playing what he describes as a "small and humble instrument."
www.lelemusicproductions.com
"Ka Makana"
‘Hanu ‘A’ala’
Kamaka Kukona
HANU Arts & Entertainment
Kamaka Kukona’s debut album is everything a Hawaiian album should be. The liner notes provide insight into who he is as a person and share the stories behind all but one of the songs. The annotation includes the lyrics for the Hawaiian songs and also English translations. The arrangements represent several styles of Hawaiian music and are played by top studio musicians. Kukona sings lead, does all the harmony parts and accompanies himself on pahu and ipu.
He opens with "Hole Waimea" performed as mele oli (chant), followed by "Waika" (he explains that the song’s lyrics were taken from the chant). Tempos and subject matter change with a zesty original, "Eo Hana," inspired by what he describes as "a very humid, hot, hazy afternoon in the company of great friends and even greater libations."
A softer and sweeter side of Kukona’s vocal range is revealed with another original, "No Uka ke Aloha," as he pays tribute to "three strong Hawaiian women." John Pi’ilani Watkins’ classic "Honomuni," celebrating the beauty of Molokai and the hospitality to be found there, is performed with a dash of old-style hapa-haole swing. Two other selections are performed in the real "old style" — either chant and traditional Hawaiian percussion, or as chant alone.
The only thing Kukona omits from this excellent first album is an explanation of why he included a remake of "You Look So Good in Love," a haole (non-Hawaiian) song that was originally a country hit for George Strait. Maybe it’s his favorite country song. Maybe it reminds him of a special time in his life. Whatever his reason for sticking in a song that on the face of it doesn’t fit, it would be nice to know.
"Eo Hana"
