CD REVIEW

CD Review -'Ka Hula O Na Niu' - Various Artists (Rolltop Music) Honolulu Star Bulletin Entertainment Editor-John Berger Hawaiian musicians have been adopting and adapting haole (non-Hawaiian) music styles and musical instruments for two centuries, and as Hawaiian music has become known outside Hawaii, it has been adopted and adapted by others in turn. This compilation, assembled by producer/composer Tim Coffman, represents the latter tradition. He and his label are based in California; some of the performers are expatriate islanders. The adoption/adaptation aspect registers right away as Coffman and Herb Pililaau open with an old-style hapa-haole arrangement of John Cruz's signature, "Island Style." Emphasis on percussion and steel guitar gives the song a different feel from Cruz's version, but it works. Steel guitar also provides the nostalgic edge as Pililaau and Frank Leong harmonize on "Aloha Ia O Waianae" and "Hanalei Moon." Traditional Hawaiian instruments -- acoustic guitar, ukulele and bass -- reinforce the island ties on another local standard, "Pauoa Liko Ka Lehua." Women are also part of the project. Vocalist Sarah Maisel is featured on a subdued but charming arrangement of "Waikiki," and Marchand Melcher represents the Hollywood hapa-haole tradition with a bilingual synth-tracks-plus-live instruments arrangement of "Kalua" that turns out to be the most beautiful song on the album. Coffman takes the project in a different direction with three original instrumentals. Many of the world's great steel guitarists played pop music as well as Hawaiian and hapa-haole hits; Coffman's instrumentals are reminiscent of such non-Hawaiian work. CD Review by Dave Ish Ka Hula O Na Niu – The Dance of the Palm Trees Produced by: Tim Coffman My first exposure to Tim Coffman’s music was through his instrumental albums, Music from Beach Blvd., Beach & Guitar – Surf and Hawaiian Style and The Rhythm of Paradise. Consisting of all Coffman originals, each album elicits a certain facet of the beach and ocean life style; be it Californian or Hawaiian. It was all there; crystal clean California tubes, pounding Hawaiian mega surf, midnight drag races in the gas guzzling muscle car and the oh so mellow cruise up the coast in the tie dye painted micro bus. Coffman was there, I was there and you were too…maybe we still are! Ka Hula O Na Niu – The Dance of the Palm Trees, is a new venture for Tim Coffman. He departs from purely showcasing his own considerable songwriting and playing abilities to featuring a select group of accomplished musicians and vocalists. Coffman searched out individuals and groups with distinctive sounds and found them all close by his recording studio in San Diego. The common denominator among all is their deep roots and appreciation of the culture and music of Hawaii. The players on this cd may reside on the Mainland now, but one thing is for certain, they all carry their Hawaiian homeland deep in their hearts. Coffman continues his clean, polished and uncluttered production style on this project. Each song, while fitting into the overall theme has its own texture and flavor. With such diverse talents, he has been able to draw out the uniqueness of each artist and allows them to interpret the songs in their own way. All of the selections on the cd have their own special quality. I offer my own thoughts on a few of songs, not because they are my favorites (although some are) or they are particular stand outs, but because they bring out some special memory, experience or feeling that I have had of Hawaii…my own treat! Herb Pillilaau and Tim Coffman set the tone of the album by opening with John Cruz’s classic Island Style. Where John Cruz’s version brings out his feeling of homesickness and missing his family (he was living in New York when he wrote the first verse and chorus), Herb and Tim are a couple of happy beach boys heading home for some of Mama’s ono grinds (good food) after a fun day in the sun and surf. I met John Cruz at a concert we were doing in Seattle and he was amazing. That encounter and the fact that his brother Ernie Cruz, Jr. is my best Hawaiian bruddah, makes this song part of my Hawaiian dream. The second cut on the album, Aloha Ia O Waianae by Tropical Green is smooth, baby! You just know da boyz are hanging out in Waianae under a coconut tree by Poka’i Bay with the majestic mountain Ka’ala watching over. The fact that I have had the honor to strum ukuleles with Uncle Frank Leong and had his koku’a in promoting Hawaiian music helps to make this one of my favorites. Ka Hula O Na Niu (The Dance of the Palm Trees) is probably my favorite Tim Coffman instrumental. I don’t know why. Maybe because it sounds so familiar or maybe it’s the memories that it conjures up…walking along Waikiki Beach, gentle tropical breeze, sunset, the Pink Lady glowing, wearing my best Aloha shirt, a Maitai in hand…you get the picture! OK, I’m sucker for good clean ukulele playing and a pretty voice. Sarah Maisel’s interpretation of Andy Cummings’ 1938 classic Waikiki recalls the homesickness he was feeling one freezing foggy night while he was on tour in Lansing, Michigan. I have never met Sarah, but her voice and strumming warm me up just fine! I can’t let Pauoa Liko Ka Kehua by Na Mele O Pu’u Wai’ slide by. I can’t remember how many times have I played this song with Auntie Maelani and Uncle Jay with our Ohana Po’akahi (Monday night family). Bruddah Wayne Papac sings with a richness that transcends the double entendre of this song. (Many Hawaiian songs are written with a double meaning. Understanding this doubles your pleasure.) The album appropriately closes with Queen Lili’uokalani’s most famous composition, Aloha ‘Oe. She wrote the song in 1878 after witnessing a particularly affectionate farewell of two young lovers following a royal excursion to windward Oahu. An ensemble of the musicians appearing on this album joins together in singing the most famous part of this tune, the hui or chorus. Ka Hula O Na Niu brings back many memories, reflections, appreciations and most important the aloha I have felt from my visits to Hawaii, the friends I have made and the music I have played and heard. Music should touch one personally and for me this album has a personal touch. (Dave Ish has produced over 40 concerts in San Diego and along the west coast, primarily featuring Hawaii’s most well known musicians. He currently handles all booking and tour management on the mainland for Amy Hanaiali’i Gilliom. He can be reached at dish@san.rr.com)