Kumukahi’s self-portrait
an artful gem
Na Leo Kama'aina O Ku'u 'Aina Ho'oheno: Ku'uipo Kumukahi (Ho'oli Productions)
KU'UIPO Kumukahi's debut album, "Ka Hiwa Kupuna O Ku'u One Hanau," received five Hoku Awards in 1994. Among them were the two with the greatest cultural importance -- the Haku Mele and Hawaiian Album of the Year awards. The Hawaii Academy of Recording Arts Board of Governors now combines those awards for excellence in the use of the Hawaiian language into the Haku Mele award, and Kumukahi's long-awaited second album will likely be a strong contender for it in '98. Given HARA's commitment to perpetuating the music and culture of Hawaii she will certainly be on the final ballot in many other categories as well.
Taken simply as music the album is a gem. Kumukahi sings beautifully. Taken in context it is a perfect musical portrait of the artist. The songs share her love of family, kupuna and her home district of Ka'u. Some songs are originals or new work by other artists; others come from kupuna. Even the single hapa-haole selection, "Here in This Enchanted Place," fits the theme in that Ka'u is an enchanted place for Kumukahi and her ohana.
Hawaiian speakers will be able to appreciate her command of the language and comprehend at least some of the kaona, or hidden meanings, in the family songs. A 28-page booklet of liner notes provides everybody else with the necessary translations and background information. Even the items pictured in her cover art have significance.
Kumukahi closes with two songs celebrating the survival of the Hawaiian language (officially banned by the Republic of Hawaii in 1896).
Puakea Nogelmeier's "Leo 'Oiwi" tells of the importance of the Hawaiian language in linking Hawaiians to their heritage and their kupuna -- "'O ka leo 'oiwi ke ola mau nei" is translated as "The native language lives on and on."
Next comes an instrumental reprise that's highlighted by a series of untranslated statements by Hawaiian speakers. The two songs end the album on an optimistic note and convey a sense of what it will be like if and when the Hawaiian language regains its rightful place in mainstream society here.
Synthesizers are restricted to use in one song. Hawaiian acoustic instrumentation prevails. Beautifully conceived and beautifully executed, "Na Leo Kama'aina O Ku'u 'Aina Ho'o" stands as one of the year's landmark Hawaiian albums.
North Shore Dreams: Anuenue (West Maui Records)
CHET McCracken and Chris Pinnick check in from Maui with this collection of instrumental vignettes.
Pinnick is the guitarist; McCracken plays percussion, keyboards, drums and vibes. Studio guests Hank Mann (steel guitar) and Ben Armentano (grand piano) provide important support in developing the arrangements and adding texture.
The seminal influence of Martin Denny is acknowledged in Anuenue's electronic revision of "Quiet Village." Denny band alumnus Arthur Lyman gets his due with an similar reworking of "Yellow Bird." The originals fit in smoothly alongside the two standards in creating a cosmopolitan New Age/tropical suite.
John Berger, who has covered the local entertainment scene since 1972, writes reviews of recordings produced by Hawaii artists. See the Star-Bulletin's Home Zone section on Fridays for the latest reviews.
See Record Reviews for some of John Berger's past reviews.
