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HAPA in Concert Feb. 12 With the same thing on their minds as ALL HAWAIIAN MUSIC LOVERS MORE FROM THEM SOON!
It's Grammy time again -- the music awards ceremony takes place next Sunday -- and for the first time the prestigious event is including a Hawaiian music category. "It's not like we've been hiding," joked Keali'i Reichel, one of five local nominees. "Hawaiians only have been playing music for 2,000 years, so I guess it's about time they discovered us."
The Brothers Cazimero playfully lamented that Hawaii's "special secret" is being revealed. "With all the publicity Hawaiian music will receive, we'll have to share it with the world," Robert Cazimero said, laughing. "It was inevitable."
Also nominated for the inaugural award are Ho'okena, Amy Hanaiali'i Gilliom and Willie K, and Charles Brotman for a slack-key guitar compilation disc. While there will be only one winner, all of Hawaii and its musicians stand to gain. The Grammys bring a crowd of journalists and publicists to the entertainment capital, which could translate into increased recognition, record sales, performance fees and publicity campaigns for the celebrated artists, and Hawaiian music in general.
"Every nominee can say for the rest of his or her life that they were a Grammy nominee or the winner," said Alan Yamamoto, president of the Hawaii Academy of Recording Artists. Being nominated will "pay" in other ways, he said.
"All will see a bump in records sales -- especially the winner -- and performance fees will definitely increase significantly for the winner, like they do for winners of the Hoku awards." (The Na Hoku Hanohano Awards are Hawaii's version of the Grammys and presented by HARA.)
"The mainland door for these nominated artists specifically, and Hawaiian music generally, is opening," said Matt Catingub, a former Grammy nominee and conductor of the Honolulu Symphony Pops Orchestra. "It's about time." Nominees, local entertainers and promoters admit frustration that it has taken so long for the genre to be recognized by awards officials and that there is only a single "traditional" Hawaiian music category.
"Baby steps," says Manu Boyd, vocalist for Ho'okena. "Eventually the child will run."
Catingub wants to see at least three Hawaiian music categories, as has happened with country music. He calls the single category "an important step in the right direction to eventually recognizing the real music." "Let's face it, no one since Don Ho or (Cecilio and Kapono) has really broken down that door and had mainstream acceptance. When they add a contemporary Hawaiian category, the door will be fully open."
Many in the Hawaii music industry agree that the first Grammy is a win for the Hawaiian people, culture and state. "At least this first time out, we're all ohana," said Willie K, who is nominated with Gilliom for "Amy and Willie Live." "This is not about just individual pride or recognition, but for all those musicians before us who kept the music alive." Gilliom agreed. "I wouldn't be here if not for them. I say mahalo to centuries of our people's music."
Na Leo Pilimehana's Nalani Choy said she knew the Grammy day would come, having seen Hawaiian music "grow and really develop" the last few decades. "A lot has changed since the early days of 'Hawaii Calls' and Don Ho, which created an interest and a feeling, but now it's time for the mainland to hear the new Hawaiian music."
Local entertainers and promoters pay homage to Alfred Apaka and Robin Luke, but especially Ho, who had four albums on Billboard's hit list in the 1960s but never earned Grammy recognition.
"It was great back then because it showed that America would listen to music from here," Ho said. "Over here, we were doing happy Hawaiian music with some Hawaiian words in it to make it Hawaiian." Ho won't concede any contribution he may have made to Hawaii's music scene. "That was then and this is now," he said. "Suddenly we have people who know how to get this category in the Grammys to prove still that we have all kind music here." Ho's influence over 40 years has been so strong that the mainland's impression of Hawaiian music is largely of him and the tiki-style exotica perpetuated in films and TV shows with Hawaii as a backdrop.
"It's still pretty much steel guitar, slack key and 'Blue Hawaii' stuff," Choy said. "Most of the contemporary Hawaiian music and certainly the traditional music we have here isn't being heard much on the mainland."
Entertainer Henry Kapono hopes those impressions will change. "Everyone used to only associate Hawaiian music with hula dancers, ukuleles, sweet-sounding melodies and hapa-haole stuff. Please, people across the pond, come visit and see how things have changed."
Ho singles out Reichel as being "as close culturally as you can get musically." "He gets lots of record sales and radio play, which is a key to getting your name out there, to sell records and to win awards, whether it's a Hoku or Grammy."
Although Reichel is appreciative of the Grammy recognition, he said it doesn't make the music more or less important than it's been for centuries. "It's wonderful that it's being recognized, but the music has always been credible," he said. "What's important is that the recognition may increase worldwide awareness of the Hawaiian culture, expand audiences and simply educate people about us."
GRAMMY RECOGNITION of Hawaiian music has been helped by Hawaii residents who have moved to the mainland and "took the culture with them," Kapono said. "They're like emissaries and are making people more aware of Hawaii's native arts and culture," he said. "It's creating a familiarity."
Popular mainstream artists who have incorporated Hawaiian music in their albums, including Kenny Loggins and Jimmy Buffett, have also helped spread the word. "It all helps to get the music out there and some respect from that side of the pond," Kapono sad. "It translates to 'I want to go there, and I want to hear more of that music.'"
Actor/singer Jim Nabors, who has recorded 46 albums and lived in Hawaii since the 1970s, compares the Hawaiian music evolution to that of country music. "It's not New York and it's not Hollywood, so where do we put it? The truth now is Hawaii and its music have become international, like country." Na Leo's Choy says country music was regional until it was accepted in the large markets of New York and Los Angeles. "Now it's crossed into adult contemporary radio where you hear artists like Garth Brooks and Shania Twain.
"When there's a contemporary Hawaiian music category, there'll be artists who can make that same crossover." Na Leo was ineligible for Grammy consideration because the trio's music is considered contemporary. The addition of such a category would likely attract a younger demographic, the majority of listeners for world music, Catingub said. "That's where most Hawaiian music has been shoved for so many years," he said.
Hawaiian music has had "an interesting place" on the mainland since the 1930s, beginning with Bing Crosby and the "Hawaii Calls" radio program, Nabors said.
"Hawaii has never lost its allure," he said. "It's still a dream, and people come to Hawaii to hear the music, learn about the culture, enjoy the scenery. Credit a lot of that to Don Ho." Catingub added, "He put it on the map, along with Alfred Apaka, but Don made it mainstream."
Ironically, Ho's success might also have hurt today's traditional artists. "So many people only remember Don Ho and still consider his music to be Hawaiian music," Catingub said. "The Grammy category will prove that there's something here besides Don."
Promoter Tom Moffatt points out that several Hawaii artists have been popular with mainland audiences, though not with Hawaiian music. They include Martin Denny, Yvonne Elliman and Bette Midler.
"Still if you ask just about anyone on the mainland to name a Hawaiian music artist, they'll say Don Ho," Moffatt said. "What does the average visitor want to do? See Diamond Head, Pearl Harbor and Don Ho. That's all great, but there is a lot of great music here ready to be shared and heard."
The Grammy does a lot to bring that about, he said. "Grammy recognition screams to the world that we're an entity that produces great music. Hopefully, this will make mainland record companies realize there's something big here just ready to break."
Handicapping the Grammys
Local music experts predict who'll win the first Grammy for Best Hawaiian Album
Tom Moffatt
Promoter"Keali'i Reichel should win it. His album best fits the traditional Hawaiian music criteria as the most Hawaiian. He's also pretty well known on the mainland, as are the Brothers Cazimero, who could take it, too."
Matt Catingub
Honolulu Symphony Pops conductor "I wouldn't be surprised if the Brothers take it. They've been around the longest, been recognized for so many years for what they've contributed to Hawaiian music and have a mainland following. Keali'i also has a following there. You have to remember all those transplanted Hawaii people who can vote. But bottom line is that the Grammys, when it's all said and done, is a popularity contest."Jim Nabors
Actor, singer "The Cazimeros are connected to Hawaiian music for a lot of those mainland people and Hawaii voters for their 30-plus years of performing. I think mainland voters will go for the 'Slack Key Guitar' album. I know the industry and I know how it thinks. Slack key is like jazz, and it has its own coterie of people who love it and are very loyal."Henry Kapono
Singer, composer "Well, Willie and Amy are more recent and her Hawaiian music is incredible, but I think Keali'i will win. He gets a lot of publicity, but then the Brothers have been around a long time and (mainland) people know them, too."Nalani Choy
Singer, Na Leo "Keali'i or the Brothers. Both are known album after album for the finest quality in songwriting, musical production, performances. You cannot argue with their success: the Brothers for decades, Keali'i more recently. But 'Slack Key Guitar' is a dark horse because there are loyal followers of the music, and it doesn't have that hindrance of the Hawaiian-language vocals, so some voters can gravitate to it easier."Alan Yamamoto
President of the Hawaii Academy of Recording Arts "My gut says Keali'i, but there's a lot of awareness for the Brothers Cazimero because of how long they've been around, though it's not supposed to be a career award. Slack key has made a lot of inroads in the industry and touched a lot of mainland people. Then you have the unquantifiable factors for voters, like, 'Which one of these (people's names) can I pronounce?'"Don Ho
Entertainer "Keali'i. He has a beautiful voice, is exquisite with the Hawaiian language and incorporates the culture into all of his music."
Posted on: Sunday, February 6, 2005
Every vote counts for Hawaiian Grammy
By Derek Paiva
Advertiser Entertainment Writer
Keali'i Reichel's Grammy nomination for best Hawaiian music album was only days old when his producer, Jim Linkner, got a phone call from a Recording Academy member with music up for vote in another folk category, suggesting a vote trade.
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| "Some Call It Aloha ... Don't Tell" The Brothers Cazimero (Mountain Apple Company) |
"It was basically 'We'll vote for you, if you vote for us,' " Linkner said. "We got a couple of those calls."
Linkner declined both offers. But the incident was a sobering introduction to the kind of behind-the-scenes bartering that goes on for the music industry's top prize.
Hawaiian music is up for its first Grammy this year, and more than 17,000 Recording Academy members are eligible to vote. So how will the winner be decided — and how fair is the process?
Vote trading and other odd quirks are part of Grammy's voting process, insiders say, but so are tough rules regarding publicity and lobbying.
Also, the sheer number of categories — 107 this year — tends to lead only informed voters to cast a ballot in niche categories such as Hawaiian music.
Of course, all of that doesn't mean that the best record in each category always wins. But where would the fun be if Grammy voters were predictable?
Weird Science
"As a voting member, I receive CDs with letters from people pleading for votes for their record," said Warren Wyatt, president of Worldsound, a Seattle-based international music promotion and distribution company. "You're not supposed to do that. But it happens ... every year."
Wyatt, a voting academy member whose clients include Grammy nominees Amy Hanaiali'i Gilliom, Willie K and Keali'i Reichel, said he had not been approached with an offer to trade votes.
He wasn't surprised it happens, though.
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| "Amy & Willie Live" Amy Hanaiali'i Gilliom and Willie K (Blind Man Sound) Various Artists, produced by Charles Michael Brotman (Palm Records) |
"People realize that there's an economic outcome to this, and that if you win a Grammy, it does, in fact, put money in your pocket," Wyatt said. "Anytime there's money involved in anything in the world, there's a sleazy factor."
"I'm sure (vote trading) happens a little bit. But is it a huge thing? I don't think so," said
Keith Olsen, a Recording Academy trustee and multi-Grammy-winning producer (Fleetwood Mac, Pat Benatar, Rick Springfield).
The Recording Academy does not release information on its membership to outside sources, and it does not condone mailing CDs to voters or contacting them directly.
Vote tampering
Still, unsanctioned gambits to get votes crop up each fall and winter during Grammy's two balloting periods, as the finalists, then winners, are chosen.
Olsen has witnessed several clever attempts at vote tampering.
A few years ago, several major labels enlisted staffers to sing in the choirs of Christmas albums in order to gain the creative credits that would allow them to vote for label product.
Recording Academy officials, including Olsen, put a cap on that immediately.
The motivation to try to affect outcome is obvious.
"Look at the dollars," Olsen said. "If you're nominated for album of the year and sold 2 million to 3 million copies beforehand, a 300 percent bump in sales (from a win means) all of a sudden you're talking about 6 to 9 million units at retail. And we all know how much we pay for albums at the retail store."
Publicize yourself
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| "Cool Elevation" Ho'okena (Ho'omau Inc.) Various Artists, produced by Charles Michael Brotman (Palm Records) |
Name recognition is key to winning votes. So what's a rule-abiding musician or record label with a Grammy-nominated record allowed to do to get the word out?
If you're in a niche category such as best Hawaiian music album, you'd better alert the media. "When you're a big star ... the media does that for you. But when you're a small independent label or artist, you have to alert the press ... otherwise it wouldn't even make the papers," said Tom Bee, owner of Albuquerque, N.M.-based Sound of America Records. "Jazz, polka, and all these small categories? We're all basically the same, in that sense."
Sound of America recording artists Black Eagle took home the prize for best Native American music album last year, and are nominated again this year. After nominations were announced, Bee alerted Native American press, national press and radio stations about Black Eagle's nomination and then waited for interview requests to come in.
All five Hawaiian music album nominees have done the same. "We sent press kits out to (national) press. We put stickers on our record. We called our buyers to tell them they should load up on the record because it's Grammy-nominated," said Linkner of Reichel's "Ke'alaokamaile." "And that's about the best you can do."
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| "Ke'alaokamaile" Keali'i Reichel (Punahele Productions) Various Artists, produced by Charles Michael Brotman (Palm Records) |
Ramping up media presence, live performances and having music samples available online on sites like iTunes educates potential voters, Wyatt said.
"And because the Hawaiian Grammy is a brand-new category within the folk music umbrella, it just makes sense to let people know who you are," he said.
Will the best win? Perhaps the better question is: Does the best record ever win?
Grammy voters do agree almost unanimously on occasion: Lauryn Hill's "The Miseducation Of ..." (1998) and OutKast's "Speakerboxx/The Love Below" (2003) obliterated all comers in their categories, and were critical and popular favorites.
But Grammy voters of varying ages, genders, income brackets, industry professions and musical tastes can turn out unexpected results. That's just part of the joy of Grammy watching.
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"Slack Key Guitar, Volume 2" Various Artists, produced by Charles Michael Brotman (Palm Records) |
More than 17,000 Recording Academy members are eligible to vote in the category for best Hawaiian music album. But Olsen roughly estimated that only one in 10 members votes in the folk field.
"The amount of voting you can do and the amount of time it takes is overwhelming," said Deborah Semer, former Recording Academy Pacific-Northwest chapter executive director. "And most voting members are overwhelmed. So they typically only vote in categories they're familiar with."
The Hawaiian music album category should be no different.
The whims of Grammy voters will decide who wins best Hawaiian music album next Sunday. But this first crop of nominees has already won one battle: making it to the finalists list in a category that recognizes the worldwide influence of their genre.
"You just have to count your blessings that you're even in there. I can't say that enough," said Sound of America Records' Bee. "You can't be an ungrateful fool. If you make it to the final five, accept it as a blessing
Monday, February 7, 2005
It might seem easy to dismiss Charles Michael Brotman's chances of winning a Grammy for his "Slack Key Guitar" compilation album, when compared with the veteran nominees in the new Best Hawaiian Music Album category.
But all the other nominees -- the Brothers Cazimero, Keali'i Reichel, Ho'okena, Amy Hanaiali'i Gilliom and Willie K -- know better.
"There are a lot of good players on that CD, not the least of which is John Cruz," Willie K says. "And most of them have also been around a long time. People know them."
There's another, perhaps even more important factor, says Robert Cazimero. "Slack key is very, very popular on the mainland," he said. "The fans are loyal to the music and could see this as an opportunity to reward their music of choice."
So while the Cazimeros and Reichel appear to be the favorites in the contest, Brotman's CD, made with 10 other notable Hawaii guitarists, is the dark horse. But Brotman, a soft-spoken musician, won't be seduced into analyzing his chances. "No bachi," he says, laughing. "It sounds trite, but all of us at Palm Records and every musician on this album feel proud to be in the same category with the others."
Brotman, an accomplished acoustic guitarist, recorded "Slack Key Guitar Volume 2" over a 10-month period at his Waimea, Big Island, studio. "None of the guys on this album, except for perhaps John Cruz, are superstar-type musicians, but all have had interesting careers and won lots of Hoku awards," Brotman says. "And they've all been instrumental in shaping contemporary Hawaiian music."
Musicians featured on the disc are:
Randy Lorenzo: An 11-time Na Hoku Hanohano winner, former member of the Peter Moon Band, Country Comfort and founding member of Olomana, who recorded with the Beamer brothers ("Honolulu City Lights") and Gabby Pahinui.
Bryan Kessler: (featured on our Na Leo Page) Another multiple Hoku recipient and former leader of the Hawaiian Style Band with Wade Cambern and Robi Kahakalau.
Jeff Peterson: The slack-key guitar solo recording artist is fluent in a variety of guitar styles, including jazz and classical. He's performed with Eric Clapton, James Galway, Michael Feinstein, the Honolulu Symphony, Hawaii Opera Theatre, shakuhachi master Riley Lee and soprano Dana Hanchard. He also teaches guitar at the University of Hawaii.
Keoki Kahumoku: The son of slack-key master George Kahumoku.
Sonny Lim: The multiple Hoku winner is a member of the Big Island's renowned musical Lim family.
John Keawe: Multiple Hoku winner received Hawaii's prestigious Ki Ho'alu (slack key) Award in 2002.
Charlie Recaido: A member of the Big Island's acoustic guitar trio Kohala.
John Cruz: The guitar virtuoso is a multiple Hoku winner.
Ken Emerson: Known for his steel guitar performances, he has toured and recorded with Taj Mahal, Pablo Cruz and Todd Rundgren.
Brotman himself is known for integrating classical technique and smooth-jazz compositions with Hawaiian influences.
He began musical training at age 8 as a violin student, then switched to the guitar performing as a teenager with various pop bands in Washington.
He came to Oahu from Mercer Island, Wash., to house-sit for a friend and ended up staying to teach guitar for nine years at the University of Hawaii.
Brotman's first two CDs -- "Mango Cooler" (1990) on the Global Pacific label, followed by "Pacific Rendezvous" (1993) on Brainchild -- both charted in the Top 10 on U.S. "contemporary jazz" radio.
He moved to the Big Island in 1993 with his wife and his sister Jody, with whom he co-founded Palm Records four years later with the aim of having more control over his music.
His plans included building the Lava Tracks Recording Studio in Waimea in 1998. The studio was designed by Chris Pelonis of Pelonis Sound & Acoustics, a four-time nominee for MIX magazine's TEC Award for studio design.
"Lava Tracks was designed to provide an ideal acoustic environment for recording classical and acoustic guitars," says Brotman, who calls the octagon-shaped studio "a carpenter's nightmare."
"The idea is for listeners to close their eyes and imagine that the guitar player is right in the room with them. That's the sound I'm after."
That's what he had hoped to achieve with "Slack Key Guitar," which he describes as "the cornerstone of our label."
"I wanted to get a wide range on the CD, from very traditional to contemporary, to cover what's being done in Hawaii with slack key," he said.
The album reflects the artists' varying personalities.
"Some are quiet and conservative, and others push the envelope all the time," said Brotman, whose compositions have been heard on radio, film and television, including "The Oprah Winfrey Show," "Dateline" and "Entertainment Tonight."
"I was surprised we were nominated, because there were so many albums in the category, but the popularity of acoustic and slack-key guitar on the mainland is incredible," he said. "Slack key is a buzz word, and everybody knows about it."
He credits pianist George Winston, who, through his Dancing Cat record label, has produced more than 30 solo guitar recordings of other slack-key musicians, including the late Sonny Chillingworth, Ray Kane, Keola Beamer, Ledward Kaapana, Cyril Pahinui, Leonard Kwan, Ozzie Kotani, Moses Kahumoku, George Kuo, James "Bla" Pahinui, Dennis Kamakahai, George Kahumoku Jr. and Cindy Combs.
"If the (final) voting had been done in Hawaii, we probably would not have made the ballot," Brotman said. "But on the mainland it's a different ball game, so I think the playing field now is pretty even, though we're not the big Hawaii superstars."
Things are starting to change for Brotman since the nomination. For the last few weeks, he's been doing daily interviews, mostly with mainland media outlets. There have also been several discussions about a mainland showcase tour.
"I'm getting very popular, but my wife is still making me take out the garbage," he said, laughing.
He's especially pleased about the exposure Hawaiian music is receiving beyond our shores because of the addition of the Hawaiian music category.
"It should expand the market because there's an appetite out there for music from different cultures," said Brotman, who insists he isn't thinking about winning. Brotman, his wife and sister, and guitarists Lim, Emerson and Peterson will attend the award ceremony Sunday in Los Angeles.
"We're just going to go and soak it all in," Brotman said. "Any of the nominees would be a great winner. ... All have dedicated their lives to music, and all are proponents of Hawaiian music. That's really what this is about."
Monday, February 7, 2005
47TH ANNUAL GRAMMY AWARDS
Brothers Cazimero: Long time coming
By Wayne
Harada
With 26 Hoku awards and dozens of CDs to their credit, churning out beautiful
music is as much a part of the Brothers Cazimero's life as air itself.
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| The Cazimero brothers remember having had to do a bit of artistic pruning to get their Grammy-nominated CD finished. |
And yet, should Robert and Roland take centerstage Sunday when the first Hawaiian music category winner is announced at the Grammys in Los Angeles, the Caz will reflect on their CD "Some Call It Aloha ... Don't Tell" as a labor of love — with emphasis on the word "labor." "I kept avoiding finishing the record," said Roland. "Some of the songs were OK, but I didn't feel there were even four good tunes. Then Robert got down, cutting the list, eliminating songs." The self-editing paid off, with the Caz one of five acts nominated for the first-ever Hawaiian Music Grammy.
"Losing still will be great," said Robert, "because this is going to do great things for Hawaiian music." Robert said the concept for the CD originated a few years back . "It was only after we rehashed the album, adding new songs, that we were able to finish up the session," he said. "Life is really uncertain. You never know when you may be singing your last song. So you need to give your best shot."
The brothers are hoping a Hawaiian Grammy award resonates with local musicians, sparking them to pursue Hawaiian music and, perhaps, withdraw from the Jawaiian sound that has permeated the Island music scene for a couple of decades. "I hope this new award category will inspire kids in Hawai'i to embrace Hawai'i rather than how we have been influenced by others, like the people of reggae," Robert said. "I don't see anyone on the other side of the world wanting to learn 'Kaulana Na Pua,' so I'm hoping for change." A small party of supporters is heading to Los Angeles with the Caz, but the brothers are leaving their instruments (fiddle bass for Robert, guitars for Roland) behind. Should they win Sunday, they will speak in English (Roland) and Hawaiian (Robert). As Robert said: "Three of the acts, at least, are capable of speaking Hawaiian." New markets are already opening. They expect to expand their Mainland touring, while maintaining their usual Wednesday night gig (7 to 9 p.m.) at Chai's Island Bistro.
They're even planning a new album.
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BIO Album title: "Some Call It Aloha ... Don't Tell" Artist/label: The Brothers Cazimero (Robert, 55, and Roland, 54), Mountain Apple Company Career Hoku awards: 26 Will you attend the Grammys?: Yes — with a party of six or seven, including Jon de Mello, Leah and Mark Bernstein, Leina'ala Kalama Heine Wearing what?: Tuxedo What kind of lei?: "Hoping for pikake, depending on weather," says Robert. " 'Ilima," says Roland. Where would you display the award if you win?: "As I've always done in the past with awards, put it where Roland wants," says Robert. "I think I only have one Hoku left at home," says Roland. What concerning the nominated CD are you most proud of?: "It got done — the biggest high; I was the one lagging," says Roland. "I echo Roland, to have it finally done. Being the oldest (nominee) in the category, I look at it as the finest work I've done," says Robert. Unknown factoid: "When we were recording 'Smooth Sailing' in the studio, Marlene Kamakawiwo'ole (Israel's widow) was listening; seeing the joy in her face, the tears in her eyes, made us imagine she was watching Iz," says Robert. Should have been nominated, and why?: "All are mentors: Alfred Apaka, Gabby, the Makaha Sons ... because the five nominees represent the teachers of the past," says Robert. Next up for you? May Day at the Waikiki Shell, more Mainland tours. |
For the first time in the history of the Grammy Awards, Hawaiian music will have its own category. But don't expect Don Ho or Tau Moe' when the awards are doled out Feb. 13. The breezy, gentle music is so much more than "Tiny Bubbles."
"Hawaiian music is so diverse," said Keali'i Reichel, whose Grammy-nominated "Ke'alaokamaile" ("The Scent of Maile") peaked at No. 1 on Billboard's world music charts. "Don Ho is just one visible segment of the community. There's so much more than that. There's contemporary Hawaiian. Traditional Hawaiian. Island music, which is a blend of both. And slack key.
"The diversity has been a source of controversy here: Who plays Hawaiian music? What is Hawaiian music?" Hawaii is the only U.S. state to have had a monarchy and a native language and culture whose music and dance traditions are centuries old. Roots can be traced to the 2nd century, when the first Polynesian explorers landed. The early Hawaiians had no written language and so used chants to record cultural traditions.
Rules for the first-time category stipulate that vocals must be predominantly in the Hawaiian language or instrumental. Along with Reichel, the other finalists are:
Slack key is a good entry point for this year's Grammy field. The slack key guitar was introduced to the Hawaiian islands in the late 1800s by Spanish cowboys. Accordingly, "Slack Key Guitar, Vol. 2" was recorded in the heart of paniolo(cowboy) country where the slack-key style originated. Native musicians devised the slack key so it could be used to accompany the hula. Slack key refers to the guitar's tuning. The guitar strings are loosened, or slackene. This permits an artist to play bass on the loose bass strings while playing melody on the treble strings. Slack-key tunings were handed down by generations of natives, who often hid the secrets of the tunings from each other.
By the 1940s, Bob Dunn of the Texas swing band Milton Brown and His Musical Brownies developed an amplified steel guitar after years of playing Hawaiian slack key in a swing setting. The late Curt Delaney of Chicago's beloved Sundowners was an ardent fan of the Hawaiian-influenced steel guitar. (Hawaii is the birthplace of the steel guitar.)
But "Slack Key Guitar, Vol. 2" does not feature slack-key legends like Keola Beamer, Ledward Kaapana and Cyril Pahinui, the son of the legendary Gabby Pahinui, the Hawaiian equivalent of Muddy Waters. (The elder Pahinui died in 1980, following a 47-year career.) The project has more of a new age direction and features veteran contemporary guitarists such as Sonny Lim (whose "Anuhea's Song" is anchored by unforgettable melody), Keoki Kahumoku and Brotman. Ken Emerson's "Hamakua Hale" absorbs slack key's country roots. (Hamakua is a former sugar plantation town about 30 miles outside Waimea.)
Each of the disc's 14 tracks are solo instrumental, with one person, one guitar, one microphone. No overdubs.
"None of the guys on this album, with the exception of John Cruz [who had a big solo record with "Acoustic Soul"], are part of the Hawaii superstars," Brotman said in an interview from Honolulu. "However, every person on the album has been playing music in Hawaii over a 20-, sometimes 30-year period. Every person has been a significant force in determining where contemporary Hawaiian music has gone." Randy Lorenzo's "Nai'o" features a traditional joyful shuffle that reflects his mentor Gabby Pahinui, with whom he played as a teenager. "Every musician on this album has been a multiple Na Hoku [Hawaiian for "star"] Awards nominee and winner," said Brotman, who has lived in Hawaii since 1976.
"The Na Hoku Awards are such a big thing for the local music industry that for a number of years there was a lack of interest in the Grammy. The organization HARA [Hawaiian Assoication of Recording Artists] that sponsors the Na Hoku Awards was very active, along with some of the local record labels, in trying to establish a Grammy category."
My odds on favorite to win the first Hawaiian Grammy is singer-songwriter Reichel. He has 25 Na Hoku awards, which include three honors for Entertainer of the Year. "Ke'alaokamalie" is a tribute to family lineage of Reichel's grandmother Kamaile Puhi Kane, who died in 2000 at age 83. Ohana (family) is a key theme in much Hawaiian music. Accordingly, Reichel, 42, is taking his mother to the Grammy ceremonies.
You don't hear much about ohanain hip-hop and rock 'n' roll Grammy categories. "I never thought of it that way," Reichel said in an interview from Maui. "For us, family is paramount. Who we come from tells us who we are. Decisions my grandparents made affect the decisions I make today. If Grandpa took a left turn instead of a right, I may not be here. We try to acknowledge that as much as possible in the traditional Hawaiian community. There is no line between the past and present. It's all continual."
The diverse material on "Ke'alaokamalie" ranges from "He Lei No Kamaile" (sung in English), a chant/ hip-hop-influenced track that commemorates events in his grandmother's life, to a tender cover of Sting's "Fields of Gold." Reichel even stretches out for a searing version of Babyface Edmonds' "You Were There," which features backing vocals by the Oahu Church of Christ Gospel Choir. "I recorded that in 1999 before my grandmother passed away," he said. "It was for a radio station here that was doing a compilation album of Hawaiian artists. They picked the song. I didn't do any arrangements or anything, except learn the words. It wasn't until I finished recording the song that I heard the original."
Reichel co-founded and directed Maui's first Hawaiian language school. His grandparents had been forbidden by Hawaii state law to speak the language. He also has taught chant and hula for 22 years. In 1994, he financed his debut album, "Kawaipunahele" by baking 40,000 cookies. "I teach at a large school with more than 100 students," he said. "We bake shortbread cookies for our regular fund-raisers, so we also did it for the album. They're popular in Maui. They're about an inch thick. They look like a tile slab. They're real sweet and made with real butter."
Although "Ke'alaokamaile" can be found in several Chicago-area record stores, Reichel and his eight-piece band have never been here. "We'd like to come to Chicago," he said. "It's difficult for us to tour because we live so far away. It's expensive. We're big in Japan and parts of Asia. We have a hard time putting a finger on our audience. It goes from new age to ex-patriots. Hopefully Grammy recognition will expand our audiences at least a little bit.
"Our culture and our people have been around for 2,000 years. We have a
certain viewpoint of the universe and want to bring our lifestyle and culture to
light, and those things can be encompassed by music."
Tuesday, February 8, 2005 By Derek Paiva
Willie K and Amy Hanaiali'i Gilliom: Grief, reconciliation bring joyous music
"Amy & Willie Live" documents a buoyant time in Amy Hanaiali'i Gilliom's and Willie K's long musical relationship. But the Grammy-nominated record was born of a more emotional one.
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| A collection of recordings by Willie K and Amy Hanaiali'i Gilliom has been nominated for the first Best Hawaiian music album. |
By late 2002 three years had passed since Gilliom and Willie ended their musical and personal partnership. And Gilliom's grandmother and musical mentor, Jennie Napua Hanaiali'i Woodd, was gravely ill. "It was a very hard time in my life because it was my grandmother and we were very close," said Gilliom. "She had Alzheimer's (disease) and would regress back to childhood. "All she would do is speak fluent Hawaiian. And all she wanted was to hear my Hawaiian music." Though in great pain in her final days, Woodd found peace in her granddaughter's music. When Woodd passed away in January 2003, Gilliom reflected on that peace and memories of an old friend. "It brought up all of these old feelings, even though Willie and I had both gone off on our own and were working on different projects," said Gilliom.
"I called him and said that I would be very honored if he would tour with me on behalf of my grandmother." Willie said yes. The duo embarked on a two-week West Coast tour, drawing more than 45,000 fans. And a collection of live recordings from that tour is one of five CDs nominated for the first Best Hawaiian music album Grammy. "Amy & Willie Live" is filled with the kind of goose bump moments that made the duo's musical pairing one for the ages.
Gilliom shows off her stunning vocal range on a robust "Hale'iwa Hula" and bluesy "Autumn Leaves." Willie charms the very vocal masses with "Katchi Katchi Music Makawao," "You Ku'uipo" and devastating guitar-and-vocal work on "Waterfall." Some of "the kolohe stuff" — Gilliom's tongue-in-cheek description of the duo's teasing, crowd-pleasing on-stage repartee — is also included. Gilliom recalled the tour as "a blast."
"We traveled on this huge rock star/country-western tour bus. It was like a five-star hotel on wheels ... showers, a Jacuzzi, beds ... rice cooker, skillets, the whole nine yards," said Gilliom. "We had a private driver who had rock star stories for days ... wild stories," said Gilliom. "What you hear on the CD is really the fun that we were having on tour. "We toured so hard. And we were playing markets that had never heard Hawaiian music." Every show on the tour was sound- and video-recorded. Post-tour, Gilliom and Willie got together and selected the best moments for the CD.
Gilliom was on Moloka'i when the Grammy nominations were announced in December. "I was hiking and writing music, and my cell phone didn't catch where I was," remembered Gilliom, laughing. "So I didn't really find out until later that evening." Among her voice messages was one from Willie "saying that he was very proud." (Willie was traveling in Israel and could not be reached for this story.) "We're very honored to be nominated," said Gilliom.
"We play very traditional roots Hawaiian music. So what I feel (most) honored about with the Grammys is that I'm coming from my own culture. It's not like I'm in a pop or heavy metal category. "The Grammy nominations are a voice for our Hawaiian people and especially Hawaiian music. I just hope that I can live up to the greats of Hawaiian music that paved the way for us like Aunty Genoa (Keawe) and Uncle Gabby (Pahinui)." Gilliom and Willie will both attend the Grammys. They'll be sitting together, too. "Everything's good," said Gilliom, of their ongoing friendship. "He and I are our own individual artists. We do things together, and then it's, like, 'OK, gotta go do my thing for a little while' and then we come back together. "But as far as the commitment and what we've gotta do, we know exactly where that is."
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"Amy & Willie Live" Ages: Gilliom, 36; Willie, 44 Career Na Hoku Hanohano Award wins: Gilliom, 8; Willie, 8 Attending Grammys? Yes, both. Wearing: (Gilliom) "I'll probably go pick something up at Roberto Cavalli in L.A." Lei: (Gilliom) "I don't have to sing so it'll probably be something fragrant, which I don't really wear when I'm singing." Display if won: (Gilliom) "I have my Hoku lined up, so probably behind my Hoku. The Grammy is just as important as the Hoku (but) my obligation, first and foremost, is Hawaiian music." Next up: (Gilliom) An all-Hawaiian language CD in May. A crossover album of original work — reminiscent of Bonnie Raitt and Norah Jones, with blues and bluegrass — out this summer. |
Tuesday, February 8, 2005
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COURTESY HO'OKENA
Ho'okena is nominated for a Grammy Award for its album "Cool Elevation."
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Manu Boyd leans back in his chair in a 12th-floor downtown Honolulu office and stares toward Diamond Head. The public information officer for the Office of Hawaiian Affairs seems to have something serious on his mind.
"I got it!" he tells friend and fellow Ho'okena musician Horace K. Dudoit III. "I'm thinking a kind an Armani aloha thing. I'm going for it." Boyd is the vocalist for the group, one of five nominees in the new Best Hawaiian Music Album category. This week, he'll travel to Los Angeles to attend Sunday's 47th annual Grammy Awards ceremony. "We're going to go contemporary ... but we will have lei. That will be our tribute to the culture."
"Armani?" says Dudoit, who hasn't thought about what to wear. "What if we hook up with some big star?" Boyd says. "I don't want to look like I'm from the country." Ho'okena -- including vocalist Glen H.K. Smith and bassist Chris Kamaka -- is nominated for its album "Cool Elevation," which is marked by a spare instrumental style that keeps the focus on the quartet's deep, rumbling baritone harmonies.
Ho'okena, which means "quench thirst" in Hawaiian, has been together for nearly two decades and tours the mainland and Japan annually. "The nomination is one of my biggest achievements because it's a national thing," says Dudoit. "It will give us the kind of exposure we couldn't reach before. And since it's the first time for the category, we can always say Ho'okena was one of the first." Boyd describes the recording sessions for the CD as "the best we've done as far as feeling and really functioning as a cohesive group." "We were amazingly in synch," Boyd says of the album that took just nine weeks to complete.
Ho'okena's reputation is that of a group that embraces the changing times for Hawaii's people and culture, taking the ancient and traditional, and "fusing it with where we once were and where we need to be," Boyd says. "I think our music has a kind of rejuvenating character," he says. "And when we lock into that groove, we all really come together." Dudoit is more subdued. "Every CD has its charm but this one was special," he said. The album was nominated last year for several Hoku awards, but the group came up empty. "I thought we were so done with 'Cool Elevation,' especially after that; I was very disappointed," Boyd said. "But then this nomination happened, and we didn't even know someone had entered us."
Ho'okena has recorded seven other albums: "Thirst Quencher" (1990), "Choice of the Heart" (1991), "Na Kai 'Ewalu" (1993), "Ho'okamaha'o" (1996), "Ho'okena 5" (1999), "Home for the Holidays" (2000) and "Treasure" (2001).
That's prolific considering every member has "a real job." Dudoit's other job is as a clerk for the U.S. Postal Service; Kamaka is production manager for his family-owned ukulele business, Kamaka Hawaii Inc.; and Smith is a production controller at Pearl Harbor Naval Shipyard. "We're all stable in our other careers, so we can totally focus on the art," Boyd said. "Music does not equal money to us. It is not an economic sustenance for us. I would give it away I love it so much." EVEN BEFORE the Grammy ballots are counted, Smith is a big winner. He appears on three of the five nominated albums: Ho'okena sang backup on Keali'i Reichel's CD, and Smith plays slack-key guitar on the Brothers Cazimero's album. There are other connections among the nominees. Boyd is a graduate of Robert Cazimero's Halau Na Kamalei and now kumu hula of his own school, Halau o ke 'A'ali'i Ku Makani. "Robert (Cazimero) was my teacher for 27 years," Boyd said. "(Ho'okena) has been very influenced by the Cazimeros. Roland was a guitar teacher of Horace's. We've worked with Keali'i since he started recording." Boyd can't hide his respect for the Cazimeros. "I know this is going out on a limb, but I would be so proud if the Brothers Cazimero won," he said. "They have done so much for Hawaiian music."
Then he jumps to his feet, grinning again. "But of course if we are talking about just one specific recording, well, for sure Ho'okena takes it hands down," he says. ASIDE FROM accolades, increased exposure and album sales for the group since its nomination, Boyd says there are equally important political benefits.
"OHA supports Hawaiians' right to self-determination, and we try to keep open the process of federal recognition," he says. "Hawaiians are struggling, at least officially, to be acknowledged as the indigenous people of this land with certain rights. Taking Hawaiian music and having the requirement that records must be predominantly in the Hawaiian language ... does a huge service in acknowledging native Hawaiian culture as being distinct and separate and beautiful." Dudoit says the Grammys' criteria might help separate genuine Hawaiian music from "the tacky, cheesy representation" often used in film and television.
"People will be able to see and hear and know what real quality and honesty is," he said. But they're not discounting the social benefits of the upcoming event. "All the nominees are friends, family really, and oh, my, we are definitely going to party up there," Boyd said.
Dudoit says he'll be "really surprised" if Ho'okena wins the award, but says, "Then again, I won't be. I guess that means no matter what happens, we're going to be surprised, and if we win, we're heading to Vegas to keep the party going."
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Tight harmonies and crisp acoustic instrumentation continue to be Ho'okena's hallmarks. Chris Kamaka's work on acoustic bass gives the arrangements on "Cool Elevation" a force that was absent in the years after founding member Bozo Hanohano left in 1991. Manu Boyd and Glen Smith distinguish themselves as singers, and although Boyd has said that Ho'okena is most interested in reviving and reinterpreting Hawaiian classics, the group's originals fit in perfectly. A bilingual rendition of "The Prayer" is a successful departure from Ho'okena's Hawaiian-language repertoire, but the use of electronic keyboards on "Enchantment" gives that song a New Age sound that would fit better on another album. By John Berger |
FOUR DAYS TILL THE GRAMMYS
Wednesday, February 9, 2005
Ho'okena: 'Cool' with the moonlighting
By
Wayne Harada
Little-known fact: Glen Smith of Ho'okena performs on three of the five
nominated CDs — including his group's "Cool Elevation" — in the Hawaiian music
Grammy Award to be announced Sunday.
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Ho'okena, from left: Manu Boyd, Glen Smith, Horace Dudoit III, and Chris Kamaka. |
Smith, who works at the Pearl Harbor shipyard, played guitar on Keali'i Reichel's "Ke'alaokamaile" disc and on The Brothers Cazimero's "Some Call It Aloha ... Don't Tell" album.
So in theory, Smith is the contender to watch in the first-ever Grammy Awards recognizing Hawaiian artists.
"Glen's work demonstrates that we all have other musical outlets in which we participate," said Manu Boyd, public information officer for the Office of Hawaiian Affairs when he's not wearing his Ho'okena badge. "He rightfully could have been on the slack-key nominee, too, or Willie and Amy's album, if he were asked. This simply illustrates the camaraderie, the sense of 'ohana, our group has."
Ho'okena members all have full-time day jobs. Horace Dudoit III is a postal clerk and Chris Kamaka is with his family's Kamaka 'Ukulele business.
This summer, the group marks its 19th year.
"Though we're part-time musicians, we take music seriously, as if it were full time," said Dudoit. "But being part time means we can pick and choose where and when to play. We don't have the stress of surviving and making the bills, because we all have day jobs. This keeps our music honest."
Still, music is more than a hobby: "the love, the experience of getting together ... we keep it all in good light, and don't do it for the money," said Boyd. "Our best performances and sometimes our best moments come during rehearsals, when we experiment with our art and create songs."
"If I have new material, I introduce the songs to the group," said Boyd, a prolific tunesmith. "We rehearse it, see how it's coming along."
"Manu and I pick the majority of the songs, but if I have an idea, I share it with the group," said Dudoit. "Like 'The Prayer,' where Maila Gibson was an easy pick, with the voice I was looking for, the spirit that carries the song. She was perfect."
Smith was initially dubious about how Ho'okena (previously a quintet) would manage vocally as a foursome. "I was afraid that vocally, we wouldn't be as strong and that we would have to rely on the magic of studio enhancements to maintain the same sound."
But the fears were unfounded.
"The Ho'okena signature is still there," he said.
Reach Wayne Harada at wharada@honoluluadvertiser.com, 525-8067 or fax 525-8055.
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'COOL ELEVATION' Artist/label: Ho'okena (Manu Boyd, 41; Horace K. Dudoit III, 41; Glen Smith, 48; Chris Kamaka, 48), Ho'omau Inc. Career Hoku awards: 6 (count varies; Boyd previously won for a Brothers Cazimero recording; Kamaka has won with Kealohi). What are you going to wear to the Grammys? "Probably tux or similar formal attire; no malo, slippers, board shorts," said Boyd. "Hopefully, our clothing sponsor, Tori Richard, will come up with something," said Smith. "Tori Richard and a black tie; more like a casual black-tie look," said Dudoit. What kind of lei? Pua kenikeni or pikake; "up to Mother Nature or Auntie Honey Ka'ilio," said Boyd. Where would you display the award if you win? "Right next to my 20-year-old son's picture, who's been in the Marines for about a year and will be going to Iraq in March," said Dudoit. What are you most proud of about the nominated CD? "The fact that we were able to put out a very good CD in two 12-hour sessions (at the Avex studio in Hawai'i Kai)," said Dudoit. "We have never been that fast in the past." Unknown factoid about the making of the CD: "Horace overslept the morning of our photo shoot at Nu'uanu Pali," said Boyd. Should have been nominated, and why: "Na Palapalai, for their first album; I enjoy their strength and harmonies," said Kamaka. "I would have loved to have seen the Makaha Sons included with us; they are the other group that has been doing (Hawaiian music) for a while," said Dudoit. Next up: Hana Hou! concert April 8 at Hawai'i Theatre; Merrie Monarch Festival (Ho'okena will perform for Boyd's Halau O ke 'A'ali'i Ku Makani). |
Wednesday, February 9, 2005
Amy Hanaiali'i Gilliom is standing just off stage in a dark corner at the Blaisdell Center, towering more than 6 feet in 4-inch heels and looking nothing less than intimidating as she prepares for a performance with the Honolulu Symphony Pops orchestra.
Like the Red Sea parting before Moses, men and women, girls and boys, even symphony executives step aside in every direction when this Hoku Award-winning singer moves.
Gilliom neither smiles nor grimaces nor speaks until conductor Matt Catingub introduces her. Then she springs to life, all grins and waves and shakas to an adoring sold-out audience. After a modest bow, Gilliom begins singing and the crowd goes silent. Her trademark hai -- female falsetto -- creates chicken skin all around.
"It's a voice that inspires dreams," someone says backstage.
And lots of recognition.
Gilliom and sometimes musical partner Willie K together are one of five nominees this year for the first Hawaiian music category in the Grammy Awards for their CD "Amy and Willie Live."
"I am just overwhelmed to receive such a high honor and to be with all those people who played (Hawaiian) music even before I existed," Gilliom says. "I think about my grandmother Jennie, auntie Genoa (Keawe), uncle Gabby (Pahinui), all these pioneers of Hawaiian music.
"This Grammy is a voice for the Hawaiian people."
That's the way the award must be considered, she says. "There's an understanding that the kupuna come first, no matter what; the culture comes first," says Gilliom, whose genealogy reveals a continuous thread of music.
Amy Hanaiali'i Gilliom and Willie K performed together at the Na Hoku Hanohano
Awards seven years ago.
While performing at the Lexington Hotel in New York City, Woodd met Gilliom's grandfather, Lloyd B. Gilliom, first trumpet with Swing and Sway with Sammy Kaye. He also played with Tommy Dorsey.
"I really had no choice of what I was going to do with my life because all my family were entertainers," Gilliom says. "I sang before I even spoke. My dad thought I was going to be a go-go dancer. Performing is my calling."
Gilliom grew up on Maui, at first hoping for a New York musical career. Her early Hawaii success came from performing the songs of 1930s and '40s New York, "the Golden Age of my grandmother's Hawaiian music," she says.
A versatile performer, Gilliom has done just about everything from a theater production of Eva Peron in "Evita," to singing in the Big Island's Pahoa Lounge, and was a house singer at Maui's Ritz-Carlton where she sang jazz, musical theater and Hawaiian for four years.
"My grandfather played straight-up jazz with big bands, so why wouldn't I emulate him?" she asks.
Gilliom studied European classical music and musical theater at the U.S. International University near San Diego as a voice major. That's where she met Jamie Foxx, nominated this year for two Academy Awards, and who Gilliom calls "my first serious boyfriend."
"We would go down to the practice studios all the time to play music together," she says. "Jamie taught me how to sing rhythm and blues."
But Gilliom returned home to Maui, without knowing what she wanted to do. "All I knew was I had this raw instrument."
Her grandmother inspired her to continue with Hawaiian music and arranged a meeting with Keawe, who introduced her to hai.
Gilliom recorded her first album, "Native Child," in 1995. Mountain Apple's Jon de Mello reportedly signed her after hearing her songs over the telephone. But he wanted to merge her vocal talents with Hawaiian music. That solution came one night when Gilliom sat in with "Uncle" Willie K.
"I was, like, shocked that this haole-looking lady could hold her own," Willie said. "I tried to shake her up musically, but there was nothing she couldn't handle. Amy knew the lyrics, and where I was going with my arrangements. No way could I trick her."
Their first album, "Hawaiian Tradition," which featured hai, made the World Billboard Charts, a first for an album written completely in Hawaiian.
"I was stunned," says Gilliom, who credits Willie for showing her how to connect with the audience beyond singing.
"Willie helped me make the audience laugh and cry," she said. "Some people called us the Sonny and Cher of Hawaii because of our interaction.
Gilliom hopes to release two CDs this year, a traditional Hawaiian album and a cross-over in English produced by "a major label." The demo tracks are being recorded in Hanalei with former Shaka Khan music director Michael Ruff.
"You'll definitely know I'm from Hawaii. I have a lot to say to the world about being Hawaiian and Hawaiian music.
"The hardest thing for me has been to myself," she said. "To sing music from where I come from in my own language, I realized a large part of my life I played a role, and now I'm playing myself."
Gilliom has other pressures: She must choose her Grammy gown from one of four designers, although she says she is leaning toward a Roberto Cavalli gown.
"They're Hawaiian contemporary and chic," she says. "Hey, it's not like I'm one of those anorexic haole babes. I've got meat on my bones."
Gilliom will also wear a "priceless" 200-year-old Niihau shell necklace from her great-great grandmother.
The hard part will be finding shoes for her "luau feet," she said. "That will be a feat in itself."
Subtlety isn't one of Grammy nominee Willie K's virtues. But honesty? Now you're talking. "I'm (a jerk)," the singer-songwriter says, using an expletive and laughing. "Really, I am. I've become one. I wasn't always this way. It's sort of a survival thing."
Since Willie K -- the K is short for Kahaiali'i -- was nominated for his live CD with Amy Hanaiali'i Gilliom, he's noticed some fans and friends are hesitant to congratulate him. "Being (the jerk) that I am, everyone seems to be extra careful of taking that last step to talk to me," Willie says from his Lahaina home. "People on Maui know I love my privacy; always have." It's got nothing to do with ego or the nomination. Like many entertainers thrust into the spotlight, he just wants to play "my music the way I want to play it and that's it."
"All I know is music, not this other stuff," he says. "My life has been music since like 8 when I performed with my dad."
Willie hesitates to answer when asked about the accolades and other trappings of fame. "OK, brah, here's the real importance of this nomination thing. Plain and simple, I think for all the nominees this is for all of those Hawaiian musicians like Gabby (Pahinui) who came before us; for every one of them."
Those who have seen Willie perform know that when he often pays tribute to slack-key legend Pahinui by performing "Ki Ho'alu Man" and the Pahinui classic "Hi'ilawe." This seems uncharacteristically sentimental for a self-proclaimed jerk known widely for an eclectic auditory appetite that has resulted in his being dubbed the "Hawaiian Hendrix."
Willie loves the Hawaiian slack-key guitar style, but his interests and influences include jazz, R&B, rock, reggae, blues and flamenco. Reflecting that versatility, he has shared the stage with performers including B.B. King, Willie Nelson, Bonnie Raitt, Prince, George Benson, Carlos Santana, Mick Fleetwood, Jimmy Buffett and Crosby, Stills and Nash.
Gifted with a three-octave range, Willie is the son of Manu Kahaiali'i, a musician who insisted that Willie perform with his brothers. By the time he graduated from high school, he was in as many as eight bands covering country and western, R&B, salsa, rock and Hawaiian. He lived in California for about eight years to advance his career, but eventually returned to his beloved Maui.
Willie became a major force on the Hawaiian music scene as a writer, musician and producer. His first three albums, beginning in 1990, won several Na Hoku Hanohano awards including Album of the Year, Song of the Year and Producer of the Year. Then, after performing as a duo with Gilliom for five years, both decided to go solo.
"Here was my life pre-Hokus," Willie says. "Wake up and go surf five or six hours, then come home and eat, sleep a bit, go watch the sunset or grab a sunset surf, then play music 'til, like, 1:30 a.m., then go back home to sleep," he says, grinning. "That was my life seven days a week. It was the bomb. "I was doing my own thing with my music and I didn't have to be the Willie K personality. I could just be Willie."
Willie liked the idea of recording "Amy & Willie Live," a product of their 2003 "Aloha Live Tour" of the West Coast.
"Everyone thinks when you go on tour all you do is come out and say a few alohas and mahalos, sing, then you go back to the hotel to party," he says. "This album and an upcoming DVD shows what happens behind the scenes."
The CD was recorded live in cities from San Francisco to Seattle. It's filled with Willie's jokes and Gilliom's family stories. Most songs are from their first album together, "Hawaiian Tradition." Others are "You Ku'uipo" and "Katchi Katchi Music Makawao" from 2000's "The Uncle in Me."
Willie says he hasn't thought much about how winning a Grammy would affect him. "Anything that falls my way, I guess, will be some career advantage," he said. "But there's no such thing as a free lunch, and one way or another an artist has got to pay, and for me the worse payment is my time. "Nominees do have that title forever and that's sort of cool." The "scary part," Willie says, is the likelihood of more performances, attention and pressure. "I really love what I do over here on Maui, a couple gigs a week, including a jam session. I love that jam session."
Then Willie shares his vulnerability over his fall from commercial grace years ago, and feelings of betrayal.
"For three years I tried to make all the fans happy and in the end a lot of people didn't appreciate it. Then when the career started to dwindle, everybody forgot about me." It sent him into "a major, major low, and deep depression."
"It took me over and when you're using substance ... to try to escape, it only gets worse," he said. Eventually, "you know you gotta grow up or die." He says it took four years to grow up and it helped that Mountain Apple Co.'s Jon de Mello called to ask if he would produce Hanaiali'i's album.
"My career started again." These days Willie rarely takes song requests but he does "talk story" with the audience about his background and his songs. "Maybe that's the new Willie K. But, still, people think if they bought your CD they own a piece of you, the right to ... your personal space." With the nomination, Maui's son is readying for another onslaught. "I guess it comes with the territory, but I'm the landlord of this territory and the landlord is (a jerk)," he says.
Then he backs off and laughs at himself. "Here's what's so ... funny about this nomination thing," he says. "Today, I'm more talented than yesterday and I'm still playing the same old (stuff)!"
After a bon voyage party with his brother and sister, Willie will arrive in Los Angeles on Saturday, and, as always, is packing light. "I'm gonna wear pants, aloha shirt and real shoes to the Grammys." And what will he say if he wins? Willie bursts into a long laugh:
"Thank you and good night."
THREE DAYS TO THE GRAMMYS
Thursday, February 10, 2005
Culture
guides,inspires Cazimeros
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Thursday, February 10, 2005
Keali'i Reichel guided by memories of beloved kupuna
By
Derek Paiva
Keali'i Reichel's wistful, revealing musical journal "Ke'alaokamaile" was
inspired by memories of kupuna who shaped his view of the world.
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Keali'i Reichel's three-year creation "Ke'alaokamaile" was released in 2003. Its title is a tribute to his grandmother, Kamaile Puhi Kane. Photo courtesy of KealiÎi Reichel |
In particular, great-aunt Lily Kekahuna, grandfather Moses Kane and grandmother Kamaile Puhi Kane. Though each had passed away before he began work on the Grammy-nominated record in 2000, Reichel felt their presence and guidance throughout its three-year creation.
Kekahuna raised her niece Kamaile from age 8 at her oceanside Pa'ia home. Reichel was 14 when Kekahuna passed away, but remembers her vividly.
"We'd converge in Pa'ia every summer from all around the state because she willed it. We'd have these huge family gatherings at her behest," said Reichel. "She was a link to a time before my grandmother's time. And so her view of the world — how she spoke, how she did things, how she breathed, everything — was from another time. "We were always in awe of that as young children." Kamaile was her aunt's caregiver before Kekahuna's passing in 1978, and remained in the Pa'ia home until her own death in 2000.
"My grandmother was everything to our family," said Reichel. "She was our glue. She was our inspiration. She showed us love unconditionally, especially us grandchildren — whom she spoiled rotten.
"She would sit for hours in her chair on the beach, watching us swim and making sure nothing happened to us."
Kamaile's husband, Moses, was a man of few words. "You didn't really speak to Grandpa unless he spoke to you," said Reichel, chuckling. "In my whole lifetime, I maybe heard him speak maybe 20 sentences."
But looking through his grandfather's personal effects after his 1987 passing, Reichel discovered a revealing fact he'd never known: His grandfather had been a musician, too.
"He'd stopped playing probably in the late 1950s or early 1960s. But he had been one of the most renowned steel-guitar players on the island," said Reichel, who found pictures of his grandfather playing with orchestras throughout the Islands. "And it freaked me out because he played sitting.
"He'd be in the center and the band or the orchestra would be all around him. And that's what I do. It was really weird. And it wasn't until after his death that I made that connection. It was, like, 'OK, there it is!' "
Full of rich lyrical imagery and Reichel's always evocative vocalese, "Ke'alaokamaile" is akin to a journey through the singer's memories — leisurely-paced, your hand held by a warm and friendly guide telling stories.
The gorgeous "Ka Nohona Pili Kai" recalls Kamaile's Pa'ia home so vividly, one can almost taste sea spray. On "Lei Hana I Ka Makani Ualau'awa," Reichel revisits his days as a tour van driver cruising Maui's remote northeast coast. "Lahainaluna" pays tribute to his Hawaiian language alma mater. Other tracks were drawn from fond memories of grandmother, grandfather and "tutu" Kekahuna.
Released in late 2003, "Ke'alaokamaile" hit No. 1 on Billboard's world music chart, and remains a local best seller. Its title is a tribute to Reichel's grandmother Kamaile.
"The memory of someone is like a scent to me," said Reichel. "It's there. It affects you profoundly. But you can't see it and you can't touch it.
"And so ke'alaokamaile — 'the scent of maile' — is the memory of my grandmother. It is always there. It is always lingering."
Reichel hoped that listeners would identify with the important role kupuna may have played in the shaping of their own adult lives.
"They don't do it consciously. And you don't take it in consciously," said Reichel. "You get it just through being with them ... almost like osmosis.
"They lay the foundation of how to act, how to be, how to talk, how to walk. And I think it's like that in every family."
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'KE'ALAOKAMAILE'
Artist/label: Keali'i Reichel, 42, Punahele Productions Career Na Hoku Hanohano wins: 25 Attending Grammys? Yes. Wearing: Probably Armani, though not a suit and tie, because "that's just not who I am. ... I wore a suit to my sister's wedding and that's it. Never again. Only my sister could get me to wear a suit. And Mr. Grammy cannot." Lei: Maile. "I've also gotta wear Polynesian bling ... so I'll probably wear Ni'ihau shell leis and/or black pearls. You gotta wear the bling." Where to display it, if won: Hidden around the house, above eye level, like the Hoku awards "so that they're not front and center when you walk in. ... It's an honor to have them and I cherish them. But they can be cherished quietly." Next up: No album this year, but concerts throughout and more time with his hula halau |
Friday, February 11, 2005
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Keali'i Reichel has, for more than a decade, often found himself caught between two worlds. "First and foremost, I am a Hawaiian, a culturalist, teacher, musician and dancer," he says from his home in Wailuku, Maui. "But then I'm also an entertainer and performer, and honestly, the limelight is something, you know, that I have never really been comfortable with."
Reichel, whose CD "Ke'alaokamaile" has been nominated for the first Hawaiian Album Grammy, is pragmatic about his mission, which he says "essentially" is to perpetuate the Hawaiian culture beyond Hawaii.
The Grammy will likely help.
"The overall benefits -- giving Hawaiian music a bigger voice in the world and having those outside of Hawaii learn about our culture through music -- is much more important than any one of (the nominees)," he says. "There's so much hype over this award, and that's a good thing, but what we do with this good thing determines whether it becomes a bad thing."
As one of the most popular and respected Hawaiian artists of the 1990s, Reichel artfully balances obligatory concessions to American pop music with the heartfelt qualities of traditional Hawaiian chanting, a style that places emphasis on conveying emotion with the intricacies of the human voice. "Ke'alaokamaile" -- Hawaiian for "the scent of the maile" -- was a tough album to make because "it's my most personal," he says. "Honestly, I was a mess doing it."
He adds: "There's a traditional Hawaiian saying about 'leaving your bones out to dry.' It warns us about exposing ourselves too much, and it's said to anybody who overly indulges the public with personal matters.
"For me, 'Ke'alaokamaile' meant having to straddle a fine line to be properly revealing but not show every skeleton in the closet."
The work paid off with Hoku awards last year for Best Male Vocalist, Album of the Year, Hawaiian Album, Song of the Year, Engineering, Graphics and Liner Notes. Its songs range from his original Hawaiian compositions to Sting's "Fields of Gold."
Reichel includes stories from his grandmother and "things in my own life that I wanted passed on." His aim was to inspire other local families to write down their own family stories.
"We all need to remember the actions of those who came before us and made us who we are today," says Reichel, who suddenly becomes playful, slipping into a pronounced pidgin. "Eh, if grandpa nevah turn right but turn left kind of thing, I no be here."
REICHEL GREW UP in Lahaina but spent weekends and summers at his grandmother's Paia house, where he learned the traditional values and ways of life.
He became one of the founding directors for Punana Leo O Maui, taught Hawaiian culture and language at Maui Community College and was the cultural resource specialist and curator at the Bailey House Museum in Wailuku.
Reichel began chanting at 17 and began formal training after studying Hawaiian at the University of Hawaii.
"I would sing at family get-togethers, but I was very shy about performing in public," he says.
That changed in 1994 when he recorded "Kawaipunahele" for friends. The album became an instant hit.
"I'm in a business where you have to be in front of so many people, and I hate that," he says. "The way I get around feeling so shy is by becoming a teacher onstage. A performer has to communicate, and you have to make sure everyone leaves with something, just like a teacher in a traditional classroom." REICHEL, WHO doesn't enjoy being interviewed, has had to answer several reporters the last few weeks. Several mainland reporters have been insulting, asking him how he feels about being "validated" by Grammy recognition.
"Excuse me! I have huge issues with that word," Reichel says. "I am a traditionalist, and this award does not make Hawaiian music more credible or less credible.
"Grammy doesn't validate our music! Hawaiians have been doing music for 2,000 years, and with or without the Grammy we will continue to do what we do and do it well."
The winner's challenge will be to balance commercial pressure with the desire "to remain as true to your culture and music and yourself as before," he says. "You've got to keep a level head, stay focused on what you've been doing. More eyes will be watching you and more ears hearing you."
Keeping to his pragmatic style, Reichel has kept Grammy hype from interfering with other aspects of his life. He will still perform in a concert tonight and tomorrow at the Maui Arts & Cultural Center, and has continued his halau classes.
"I try not to shoot ahead too far, because I've always been taught to pay attention to the breadfruit right in front of you on the tree, even though riper ones may be higher up," he says.
Keali'i Reichel has played Carnegie Hall and opened for Sting. Cuts from his album Ke'alaokamaile appear below.
The varied backgrounds of the members of Ho'okena range from making instruments to the postal service.
Classically trained Amy Hanaiali'i Gilliom has rejuvenated Hawaii's falsetto singing tradition.
Morning Edition, February 11, 2005 · When the winners are announced at Sunday's Grammy Awards ceremony, the list will include the category of best Hawaiian music, for the first time in the 47 years that the National Academy of Recording Arts and Sciences has given the awards.
The addition comes after years of urging from musicians, record labels and fans of Hawaiian music. As part of the wider category of folk music, the nominees for best Hawaiian album include both vocal and instrumental recordings.
The music chosen shows some of the range of Hawaiian music today, from traditional songs for guitar and ukulele to more modernized approaches. But one stipulation remains: that most of the singing be done in the Hawaiian language.
The five albums nominated:
• Some Call It Aloha... Don't
Tell -- The Brothers Cazimero
• Amy & Willie Live -- Amy Hanaiali'i Gilliom and Willie K.
• Cool Elevation -- Ho'okena
• Ke'alaokamaile --
Keali'i Reichel
• Slack Key Guitar, Volume 2 -- (compilation; produced by Charles Michael Brotman)
Monday,
7 June, 2004The Grammy Awards, which currently honour artists in 103 categories, is set to expand to 107.
New prizes will be added for the best Hawaiian music album, best gospel performance, best surround sound album and best electronic/dance album.
The three-and-a-half hour ceremony will last even longer when the next trophies gongs are handed out in February 2005.
This year, a record 26.4 million television viewers saw R&B singer Beyonce Knowles take five Grammys and hip-hop duo OutKast win the coveted album of the year title.
Christina Aguilera received a female pop vocalist Grammy and British group Coldplay took record of the year with Clocks.
Other categories in the awards ceremony are as diverse as best polka album, best album notes and best chamber music performance and best spoken word album for children.
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KAHULUI – Three of Maui’s best-loved musical artists are flying this weekend to Los Angeles, where they will be in contention for the first Grammy Award in the newly created category of Hawaiian music. The Maui nominees are Keali’i Reichel for “Ke’alaokamaile,” and Amy Hanaiali’i Gilliom and Willie K for “Amy and Willie Live.” Other nominees in the new category are the Brothers Cazimero for “Some Call It Aloha . . . Don’t Tell”; Ho’okena for “Cool Elevation”; and various artists who contributed to “Slack Key Guitar Volume Two.” Queen Latifah will host this 47th edition of the Grammy Awards, the music world’s equivalent of the Academy Awards. The ceremonies take place Sunday at the Staples Center and will be broadcast from 7 to 10:30 p.m. on KGMB Channels 9 and 3. This is the first year Hawaiian music has had its own category in the prestigious recording competition. Hawaiian recordings previously had to compete for the traditional folk and contemporary folk awards. The new division resulted in part from longtime lobbying by Jon de Mello, founder of Mountain Apple Co., a leading Hawaiian music label. Reichel described his nomination as “kind of surreal” when it was announced in early December. Winner over the last decade of numerous Na Hoku Hanohano Awards, Hawaii’s version of the Grammys, Reichel had to rearrange his traditional series of Valentine’s concerts previously scheduled for the Maui Arts & Cultural Center’s Castle Theater this weekend in order to be in Los Angeles on Sunday. He will perform at “Kukahi 2005” at the MACC tonight at 7:30 and on Saturday at 2 and 7:30 p.m., before catching the 11:30 p.m. red-eye flight from Kahului to Los Angeles. He called the new Hawaiian music category “a good foot in the door,” telling The Maui News that it “sheds more light on our culture, on our people, on our social situations here in the islands.” The sentiments were echoed by Gilliom, also a multiple Na Hoku Hanohano winner over the years in categories including best female vocalist. She called the new Grammy category “a very big leap for Hawaiian music” when the nominations were announced in December. “If it wasn’t for all of our kupuna paving the way – I’m talking about all the old-timers, especially the ones who traveled throughout the world – it’s something that never, ever would have happened,” she said then. “For me, it is more a celebration of all the work done throughout the years. The nomination is kind of an added cherry on the top.” |
Saturday, February 12, 2005
Editorial: An auspicious beginning for Hawaiian music
When the Grammy award for Best Hawaiian Music Album is announced tomorrow at the 47th annual event in Los Angeles, it will be a historical moment, not only for the winner and five nominees, but the state, Hawaii's indigenous culture and thousands of musicians who have kept the music vibrant and alive.
"It's so long overdue," said entertainment legend Do Ho. "Everyone in Hawaii should have chicken skin and stand proud. Maybe Hollywood is starting to understand us."
Many Hawaiian music artists, record companies and fans have wanted the Hawaiian music to be recognized in this prestigious music competition for more than 20 years.
Hawaiian albums were already eligible for Grammys, primarily through the traditional folk and contemporary folk categories. But finally, the governing National Academy of Recording Arts & Sciences, created a separate Hawaiian music category last May after years of lobbying by members of the local recording industry.
But Grammy category additions are part of a cumbersome, sometimes political process. New categories recommended by regional chapters across the country are reviewed annually by the NARAS' Awards & Nominations Committee. Final approval is by its Board of Trustees.
The criteria for any new selection is "an extensive process of much thought and discussion, after listening to what people are asking for," a NARAS spokesperson said.
Getting Hawaiian music included in the Grammys was no easy task. In the last two years, there were numerous, sometimes heated, discussions as to what constitutes Hawaiian music, should the traditional compete with the contemporary, and how much of the Hawaiian language, if any, would be required.
Last year, NARAS members -- primarily from Maui -- leaned toward no Hawaiian language requirement, said Alan Yamamoto, president of the Hawaii Academy of Recording Artists, which has about 600 members. (Yamamoto is also a member of NARAS.)
When Grammy officials learned that the Hawaii members seemed to not want a Hawaiian language criteria, they became "confused," Yamamoto said.
Additional meetings involving HARA and NARAS members on Maui and Oahu took place, with some members, primarily those from the Big Island, pushing for a 75 percent Hawaiian language requirement, which might have eliminated most potential nominees.
The group eventually agreed on a traditional category under the Best Hawaiian Music Album banner, vocal or instrumental, in which "Hawaiian language must be used in a predominance of the vocal tracks," or 51 percent or more, Yamamoto said.
The Best Hawaiian Music Album category is now one of four in the overall folk music field.
But just like country music supporters during its early Grammy years, Hawaiian music artists and record producers believe then category will grow over the next few years into several awards.
"These are baby steps," said Manu Boyd, vocalist with Grammy nominee Ho'okena. "Pretty soon, we'll be running."
SOON AFTER THE Hawaiian music category was announced in December, members and record companies submitted entries, which were screened for eligibility and category placement.
Reviewing sessions by more than 150 experts in various fields are held to ensure that entered recordings meet specific qualifications and have been placed in appropriate fields. The purpose of screenings is not to make artistic or technical judgments about the recordings, but to ensure that each entry is eligible and placed in its proper category.
The specific criteria is:
» Recordings and music videos must be released during the eligibility year. For this year's awards, recordings had to be released from Oct. 1, 2003 to Sept. 30, 2004.
» Recordings must be in general distribution in the United States.
The difference between an entry and a nomination is that entries are recordings submitted for Grammy consideration. Entries that meet all eligibility requirements are then voted on by NARAS' members, resulting in the nominations.
NARAS' approximate 12,000 voting members are all involved in the creative and technical processes of recording, including the nominating process that determines five finalists in each category. The final voting process determines the Grammy winner. Record companies do not vote.
NARAS voting members are professionals with creative or technical credits on six commercially released tracks or their equivalent. These may include vocalists, conductors, songwriters, composers, engineers, producers, instrumentalists, arrangers, art directors, album notes writers, narrators and music video artists and technicians.
Yamamoto said there are less than 100 NARAS voting members living in Hawaii.
NARAS does not release information about the entries submitted, but Yamamoto said there were about 25 Hawaii submissions, with another 20 missing the deadline because of confusion over the submission process.
FIRST-ROUND ballots with lists of eligible recordings -- except those voted on by special nominating committees -- are sent to voting members who return their ballots to an independent accounting firm for tabulation. To ensure the quality of voting, NARAS members are directed to vote only in their fields of expertise, although they may nominate in the four general categories of Record of the Year, Album of the Year, Song of the Year, and Best New Artist, and in no more than eight out of 31 fields on their ballots.
Because Hawaiian music is such an eclectic field -- at least at this point -- the number of actual voters is likely to be low.
Unlike the Oscar race, in which studios and public relations firms heavily promote their clients, NARAS strongly discourages record companies and artists from the practice, does not allow indiscriminate use of the Grammy Award logo, and does not provide mailing lists of its voting members.
But all artists and record company executives who attend the event are asked to stay for the entire event -- nearly eight hours long.
It will be interesting to see how our local nominees dress for the nationally televised black-tie event, a groundbreaking night for Hawaiian music.
Sunday, February 13, 2005
IN LOS ANGELES TONIGHT ARE THE GRAMMY AWARDS
OFF THE RED CARPET » "Aloha."
I'm standing in a small conference room in the massive Los Angeles Convention Center, where news media are receiving press passes for today's Grammy Awards. It's one of those rare sunny and blue sky L.A. February days with the temperature approaching 74 degrees, a virtual heat wave this time of year in the city of my birth.
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I'm wearing shorts and an aloha shirt and standing in front of a young dark-haired woman named Nora, who's wearing a black dress and matching heels and is talking to someone on a mobile phone. There are several other young men and women in the room, all in dark clothes and looking bored. "Aloha," I repeat.
Nora looks more through me than at me. There's a sign-in sheet on the table in front of her, on which I start to add my name. "Excuse me?" Nora says. "Signing in," I say. She removes the sheet. "I.D." Nora says.
I hand her my driver's license. She looks at the photo, then back at me a few times. "Hawaii?" she asks. "Uh yes. That's why I said 'aloha.'" I laugh nervously.
"Who's Dennis?" Nora says while thumbing through a list of pending media requests. "There's no Dennis Ryan on my list." "My middle name is Tim. See, on the license it says Timothy?"
Nora rescans the list until she finds my name and looks up. "So you're Tim Ryan. From Hawaii?"
"Alooooha," I say, laughing. Other workers stare at me. Nora slides me the sign-in sheet.
"Read the media restrictions, sign it and go over there to have your photo taken," she says.
I restrain myself from saying "Mahalo."
There are several areas where members of the media are allowed: the coveted Red Carpet, where nominees, Grammy members, and guests stroll; a photographers' area, also along the Red Carpet; and the backstage media room, where award winners and nominees are led for interviews.
When I sit down to have my photo taken for the media pass, a large Hispanic man in baggy jeans and FUBU sweatshirt taps me on the shoulder. "You're in my seat," he says, even though there are two empty chairs nearby. I move 5 feet to an empty chair where a young woman photographer asks a work companion, "God, how much longer are we going to be here?"
"Don't know," her work mate says. "6," I say. They both stare at me.
"What?" the woman in front of me says. "6 p.m. The media center is open to 6 p.m. I have the information sheet," I say. "God, six more hours!" she says. "Look into the camera."
"Should I smile or look like a serious journalist," I joke. Click.
"Well, that answers that," I say. A moment later, I have my laminated press pass with my face looking like it's been blasted by a blow torch.
I'm allowed in the backstage interview room at the Staples Center, where the Grammy broadcast will take place.
Unfortunately, the Best Hawaiian Album category -- my reason for traveling this far to be treated like a nuisance -- is a pre-telecast event that will be taking place across the street at the Convention Center. I want to see the Hawaii artists at least walk the Red Carpet and chat with them before they're brought to the media center, where I'll be one of 80 reporters.
I'm thinking that my reasoning is sound and practical, and because I've flown some 2,500 miles, I have a reasonable request to stand on the Red Carpet. I carefully tell Nora my concerns.
"Uh huh," she says several times before finally directing me across the room to Daisy -- her name has been changed to protect my access -- a PR rep handling media. The 20-something Daisy, who could easily be my daughter, also wears a dark dress. Her skin is the color of milk. She is pleasant and professional but doesn't smile much, at least at me, and makes sure I notice the media prohibitions on the back of my pass.
"No cameras, recording devices, tape recorders, pagers, cellular phones," it reads.
I repeat my requirements to Daisy, who seems to be evaluating my aloha shirt. Like Nora, her stock response is "uh huhs." "Can I stand along the Red Carpet just to observe the Hawaii nominees walking in?" "No," she says, "and it's not exactly like the broadcast Red Carpet over at The Staples.
"The non-broadcast nominees do walk a red carpet, but ... they basically are just dropped off and walk inside," Daisy says. "Can I hang out where they're being dropped off?" I say. "No."
"Is there any place where I can stand to just see what they're wearing?" "No," she says.
The non-broadcast awards are shown on closed-circuit TV, but just the acceptance speeches, no entrances, Daisy says.
"So Joan Rivers won't be there to criticize their aloha wear," I joke. Daisy is silent. "Can I stand in the photo line?" I say. "No."
"Daisy, here's an idea. I'll just squeeze into the bleachers with the public." "No," she says. "Why no?"
"The bleacher seats were won by people who entered a contest," Daisy says. "Is it too late to enter?" I joke.
She looks toward Nora, then back at me. "Anything else?" she says.
I want to bring an small point-and-shoot digital camera into the media area to get a photo of the Hawaii winner. "Nope," Daisy says.
"Trust me, the winner won't mind," I say. "No."
"If a winner has a camera, can I take a photo of them with that?" "No."
"Can he or she take a photo of themselves and give me the memory card?" "You won't be that close to them," Daisy says. "You'll be sitting at a desk like all the other media." "Daisy, I can't tape-record an interview from a desk in the middle of the room." "No tape recorders are allowed," Daisy says.
"This is the media interview room, but reporters can't use tape recorders?" "No," she says.
"OK, if I call the Hawaii winner on their cell phone from the desk, I could tape the interview that way." "No," Daisy says.
"I have this device that lets me tape off a cell phone," I say, showing her. She's noticeably unimpressed. "No cell phones in the media room," Daisy says.
"Daisy, I have to transmit my story over a cell phone attached to my laptop." "You're bringing a laptop?" an annoyed Daisy says.
"Uh, yeah," I say. "There's no high-speed hookup in there," she says. "That's why I need my cell phone." "Uh huh. Nope."
"You know Daisy, I was born in Hollywood and used to live in the house right under the Hollywood sign," I say, now trying to be an Angelino. "Uh huh." Daisy answers her cell phone, listening for a very long time. "No," she says, just before disconnecting.
Sunday, February 13, 20
Beyond the Grammy
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With first-time recognition of a top Hawaiian album, today's winner stands to reap many rewards yet to come |
By
Derek Paiva
When the winner for best Hawaiian music album is announced at the Grammy Awards ceremony today, all things related to the musical careers of those involved will get a boost.
Just ask last year's winner for best Native American album, Black Eagle.
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WILLIE K & AMY GILLION |
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THE BROTHERS CAZIMERO |
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BROTMAN |
The band saw an immediate jump in sales for its disc, "Flying Free," and requests for live appearances increased nationwide. After the Grammys, the 20-member drum collective was welcomed back to its Jemez Pueblo, N.M., village with a tribal police escort and a party hosted by nearly all 3,500 reservation residents.
"It brought Native American music into the mainstream," said Black Eagle member George Toya. "It brought the music to the rest of the world."
Now Hawaiian music takes its place at the podium for the first time in Grammy history today — and with the triumph, bought with years of groundwork by Hawaiian musicians and music industry professionals, comes reward and responsibility.
First, there is the Grammy recognition itself to celebrate. Next, worldwide sales and popularity should rise for the winner. Then the Recording Academy expects the local music industry to do its part by making records and signing up members.
"The Grammy gives the music credibility to the outside world. ... It means people look at it differently," said Leah Bernstein, president of the Mountain Apple Co., whose artists The Brothers Cazimero are nominated. "We won't. The nominees and people of Hawai'i (already) cherish their culture and their music.
"But it's going to put Hawaiian music in a better place.
"To have Hawaiian music recognized in the same award ceremony as the best music in the world is very flattering and very humbling for all of us."
SEAL OF APPROVAL
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"The bottom line is: If you win a Grammy award, it's like the Good Housekeeping seal of approval," said Warren Wyatt, president of Worldsound, a Seattle-based international music promotion and distribution company. "It focuses more attention and light on that artist and that album."
With dozens of Hawaiian titles in the world music section of, say, a Wal-Mart in Louisville, Ky., a buyer's choice may be decided by a "Grammy-winner" sticker.
A week after the multi-Grammy sweep last year by OutKast's "Speakerboxx/ The Love Below," its sales jumped 147 percent.
Black Eagle enjoyed a more modest 25 percent sales increase for "Flying Free" in the weeks following its nontelevised Grammy win. "But when you consider that this form of music isn't really in retail stores, and the normal outlets we service are specialty stores, that's good," said Tom Bee, owner of Black Eagle's label, Albuquerque, N.M.-based Sound of America Records.
Native American music is a sister category to Hawaiian music in the folk field, and Black Eagle's post-Grammy fortunes are a good barometer for our first winner.
But what about post-Grammy impact on CD sales at home?
Three of the five nominated Hawaiian music albums were released in 2003. And while Grammy nominations have helped increase sales in recent weeks, all five records' peak sales periods have long passed.
"I know that once we have a winner, even Hawai'i sales will increase for that particular release," said Alan Yamamoto, president of the Hawai'i Academy of Recording Arts. "There are going to be people who don't buy Hawaiian music who say, 'They won a Grammy. Maybe I should listen to it.' "
Yamamoto was more skeptical of Hawai'i's Grammy winner getting a sales boost outside the state.
"It's still one of many Grammy categories," said Yamamoto. "So are (consumers) really going to go, 'Oh, look, there's the Hawaiian music category!' if they're not already familiar with it? That's the big question mark.
What about hoku?
The Na Hoku Hanohano Awards have enjoyed status as the most prestigious prize in the Hawaiian music industry for 28 years. The veteran artists up for the Hawaiian music Grammy have taken home more than 75 Hoku between them.
But is it possible that the Grammy — as the premier music industry prize worldwide — might diminish the importance of a Hoku win? Yamamoto, whose Hawai'i Academy of Recording Arts' organizes the Hoku awards each year, thinks not.
"If anything, the Grammy enhances the Hoku awards," said Yamamoto. "We may end up with different results (for the Grammy), since a different group of people will be voting on it. ... (But) both (awards) are going to promote the music itself, and enhance awareness.
"We've always wanted more recognition for Hawaiian music. Our membership has been actively working toward this for a long time."
Former Recording Academy PacificiNorthwest chapter executive director Deborah Semer was a key representative for the Hawaiian music community in its push for Grammy recognition. She predicts that one very noticeable aftereffect of the new Grammy category — which requires a predominance of vocal tracks in Hawaiian — will be more musicians' using Hawaiian lyrics in their recordings, in an effort to qualify for Grammy consideration.
"That's a byproduct with big impact that's going to change the industry a little bit," said Semer. "And that's a great thing. It preserves the culture. It gets people back in touch with it."
KEEPING OUR GRAMMY
What the Recording Academy has given Hawaiian music, it can just as quickly take away. Just ask the musicians who didn't support the now-defunct best Remixer of the Year category, given from 1997 to 2000.
"The (Recording Academy's) maintaining the Hawaiian Grammy category depends on the amount of records entered into the voting process and number of voting members," said Worldsound's Wyatt. "If that's compromised, they're going to stop it."
The Recording Academy requires that a category produce at least 25 records annually, and that a sufficient number of those records be submitted for Grammy consideration each year. The academy also looks at how many members vote in each category, and expects to see growth on all counts in future years. "The industry has to participate," Semer said. There are about 90 Hawai'i-based Recording Academy members this year, out of 17,000 nationwide. Semer told academy officials the category would draw at least 200 votes in its first year.
"The Grammy is an award of peers in the industry," said Wyatt. "And if there aren't enough qualified Hawaiian music voters, the (Recording Academy) could become concerned that the award is not being properly juried or that there isn't a process they can rely upon to select a proper winner." Applying for membership is easy enough.
Voting members of the Recording Academy must have creative or technical credits on six commercially released tracks. The membership includes vocalists, songwriters, producers, engineers, art directors, technicians and others. Annual membership dues are as low as $100.
"That's roughly one-quarter of a good iPod," said Wyatt. "When you look at it from that perspective, musicians who want to make the right choice can make it affordable."
LASTING IMPACT
While local accountants — and interested musicians — measure Grammy's impact on music sales for the winner and nominees for best Hawaiian music album, the award's lasting impact will likely be measured by the worldwide respect it generates for Hawaiian music.
"The significance of the Grammy is that it lends us a louder voice," said best Hawaiian music album nominee Keali'i Reichel. "It opens doors ... It allows us to move into another place and make it easier to play with the big boys."
But while Reichel called Grammy recognition "a good beginning" for Hawaiian music as it moves onto the worldwide stage, he cautioned peers in the local industry about too much talk of it being about time. "Hawaiian music has always been here. ... We've been doing what we've been doing for a long time. Not just me, but the countless musicians that have come before all of us," said Reichel. "The Grammys are an opportunity for us to share with the world. But it is not a validation of what we do. It doesn't validate who we are.
"For me, that's really important to remember."
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February 14, 2005 6:00 PM
Slack key artists shine at Grammys
The local music industry is still celebrating the first-ever Grammy Award in Hawaiian music, which was open to both instrumental and vocals. Sunday, slack-key guitar stole the spotlight on music's biggest stage. The award was handed out in an untelevised ceremony before Sunday's prime-time event. "And the Grammy goes to 'Slack Key Guitar volume 2, Charles Michael Brotman producer," said the presenter before a small audience. The multi-artist collection beat out the Brothers Cazimero, Amy Hanaiali'i Gilliom and Willie K., Hookena and Kealii Reichel. "We know that we wouldn't be here today if it wasn't for past generations of musicians in Hawaii that dedicated their lives to music," said Brotman during his acceptance speech. The announcement meant a spike in sales for an album that was under the radar up until now. "Ever since it was nominated there was some buzz but not too much--this past week we did well but we bumped the order considerably today since they won," said Scott Ikei, the product manager at Tower Records. "As far as top 10 it hasn't really made our top 10 charts but I think after this week, it will." There's no question there's much excitement over the new category but not everyone is excited about the winning choice. "I was surprised; I was disappointed I couldn't believe it. I thought it was non-Hawaiians voting for the non-Hawaiians," said Lilakala Kameeleihiwa, a Hawaiian language instructor at the University of Hawaii-Manoa. Her colleague, Jon Osorio questioned the judges' definition of Hawaiian music. "For us slack key while important musically here it's been a feature of our music," said Osorio. "What has kept the art alive and what has really kept the whole genre alive has been original compositions with lyric and voice and harmony." "Anyone who understood Hawaiian music, who were judges of Hawaiian music would not have chosen slack key," said Kameeleihiwa. "Slack key is beautiful it doesn't cut it. It doesn't have the language it doesn't have the music that we have from those other entrants." But not everyone feels that way. "No, I'm proud of that," said slack key lover, Dukie Puahi. "Slack key, Hawaiian music in general is number one for us yeah and I guess it's all over the world." |
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