“A Hawai‘i Interlude”

Makana

Makana Music

Professional wrestler Felipe Hahn Lee, one of Hawaii’s favorite “good guys” during the golden era of “50th State Big Time Wrestling” in the 1960s and early 1970s, famously said to wrestling promoter Lord James “Tallyho” Blears during a locker-room interview that the man he’d be meeting in an upcoming match was: “A very clever man, you know. You never know, you know, what he is going to do, you know.” Change “clever” to “innovative” or “imaginative,” and Hahn Lee’s idiosyncratic observation accurately describes the work of soft-spoken slack key guitarist Makana.

In the 27 years since he opened a late-night engagement at Duke’s in the Outrigger Waikiki Beach Resort, Makana’s knowledge of Hawaii’s “ki ho‘alu” (slack key guitar) traditions has been the bedrock foundation for imaginative exploration of other types of music. “A Hawai‘i Interlude,” released in late April, in digital download formats only, shows that Makana is as unpredictable as ever — and an imaginative contributor to the evolution of Hawaii’s music.

And, more than imaginative. Makana’s soothing, meticulously crafted, instrumental arrangements are even more welcome as a form of musical stress relief during the ongoing coronavirus pandemic.

Notable across the 20-song program is his effective use of diverse tempos and textures in creating 19 distinct new compositions. In the opening song, “Anahola Sunrise,” acoustic guitar takes a delightfully animated journey over a landscape of darkly atmospheric ambient tones; restrained use of Hawaiian percussion instruments reinforces the ties to Hawaii.

Several songs later, Makana uses the banjo to set “Arakawa’s of Waipahu” apart from everything else. The banjo gives a recognizable country feel to his musical salute to the Waipahu landmark Honolulu residents always thought of as being “out in the country.”

Guests sit in with good results. DeShannon Higa brings the smooth warmth of solo trumpet to a dreamy creation titled “Pu‘uale‘ale (Bliss Hill).” The participation of Jeff Peterson (on slack key guitar) and shakuhachi (bamboo flute) master Riley Lee on “Haiku Zen” has significance that goes beyond the notes they play; the shakuhachi has ties to a Zen Buddhist sect that go back centuries.

Makana’s skill as an arranger is demonstrated with his treatment of “Aloha ‘Oe.” He starts it off as an unidentifiable exercise for electronic keyboards and percussion — and then introduces the instantly recognizable melody on piano. Guitar and steel guitar add their magic to the beloved melody as he continues. It all comes into focus as a beautiful and fresh arrangement of what is arguably the best known Hawaii song in the world.

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