Freddie's steel bars were specially made for him, cut straight across at both ends to give a better sight line for accurate positioning. When playing novelty numbers such as Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy Another Nickel In ' and 'Old Piano Roll Blues' at Cow town, Freddie used a bar that he had carved out of a solid piece of wood to emulate perfectly the sound of a honky-tonk piano.
In early Noel Boggs introduced Freddie to Leo Fender who, at that time, was interested in building amplifiers. Fender realized he had found a man of exceptional abilities in Freddie Tavares. He understood electronics, could make technical drawings and was a consummate musician, playing acoustic, bass and steel guitars as well as ukulele.
Until his retirement from the Fender Guitar Company inFreddie Tavares participated in the design and development of The Beach Boys - Beach Boys Party! / Stack-O-Tracks guitar and amplifier made by the company and field tested the proto types before they hit the production line.
He was renowned as the world's leading technical authority of the Jazz Bass and collaborated with Leo Fender to invent the split-finger mechanism for the Fender pedal steel guitar - later playing this model pedal steel. Freddie continued his music career and session work whilst with Fenders. When a talented young bass player, Vince Akina was forming a group to perform Hawaiian and Tahitian songs with dancers on a casual basis in '54, Freddie and Ernest Tavares made up the trio.
The South Sea Islanders performed all over Southern California for 15 years - mostly on the country-club circuit and for luaus - and were renowned Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy their professionalism and the versatility of their interesting and fascinating programmes.
For 5 years they played once Swing Around at the Cocoanut Grove in the Ambassador Hotel, LA - on the Hawaiian night, when they played through the dinner hour as opening act for Freddy Martin's Big Band, and other big names. The other instrumental standout was a superb Hawaiian steel guitar player, Freddie Tavares.
Freddie Tavares was an uncompromising perfectionist and this was reflected in the Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy of excellence he achieved in his music career.
He was also a friendly, compassionate, kind and generous man with a keen sense of humour, who enjoyed surprising and delighting family and friends with very witty songs he had written especially for Under The Umbrella - Juke Baritone - Juke Baritone often about them.
During his retirement, Freddie would take backing tapes he had made, a small amplifier, his Fender pedal steel guitar, Stratocaster and a ukulele to entertain those in nursing and retirement homes, and the veterans hospital, with his beautiful singing and music. Likewise, he entertained family and friends with Hawaiian melodies Swing Around songs when he and his wife spent each Christmas holiday in their native Hawaii.
When Freddie played at Jerry Byrd's Ho'olaule'a in Hawaii, he jokingly told Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy audience he had had to retire in order to practise for the event, but his faultless playing and eloquent oration, at Swing Around 72, earned him the respect of everyone, and an invitation to return in ' Freddie Tavares passed away in Anaheim, California on July 24thage 77 years.
Freddie was laid to rest in Nuuana cemetery, Oahu. So many friends attended his beautiful memorial service in Anaheim, there was standing room only. Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy Tavares will go down in the annals of steel guitar history as one of the great masters. His highly individual, hauntingly beautiful lyrical style perfectly encapsulated the spirit of his beloved Hawaii - Isles of Paradise.
He was a self taught musician whose musical influences were big band and jazz music brought to Hawai'i to entertain tourists at the Waikiki hotels and spilling over into Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy streets and bars in the district where he grew up and the traditional Hawaiian music favored by his native Hawaiian community.
His ability to master any stringed instrument coupled with his unforgettable falsetto that became raspy with age and throaty deep tones made him a unique fixture on the Hawaiian music scene.
Gabby's was the raw, nostalgic, earthy and powerful "under-the-tropic-stars" backyard kind of Hawaiian music, the acme of soulfulness and authenticity. Gabby is the maestro of South Seas music with a sound and style that uniquely combined his diverse musical influences and blurred and challenged the social and racial barriers of the time, he also ushered in the Hawaiian Renaissance, a renewed interest in traditional forms of music and a whole new era of popular culture, his music provides an important link between the old and young generations.
His career had its ups and downs and can be separated into three distinct phases: club performer in the early years, recording and concert artist in the middle years and in the years leading up to his death, a primary recording force. His father was pure Hawaiian, his mother a Hawaiian-German-Portuguese, were lei sellers struggling to support a growing family in Honolulu. Times were hard and when he was about seven years old, his parents gave him, his brother and one of his sisters away to be raised by another Hawaiian couple, Phillip and Emily Pahinui.
It was a common and accepted thing in those days to hanai give children to someone who could offer them something more, Hawaiian style. Baika - Eldar - Adaegina (File, Album) was in this rough downtown district of the 20's, all tins roofs and kinda falling apart, that Gabby was raised.
Gabby got to know the boys at the pier who let him dive with them for coins when ships were in. His hair was kinky and after swimming the water would just Swing Around off and because of that everybody started calling him Gabardine Hair which evolved into the nickname that stuck with him, "Gabby.
Gabby Swing Around music and every chance he got he listened to musicians playing at luau's in yards next door, or he took the streetcar to Kapiolani Park with his dad and mom to see Lena Machado, Liz Alohakea, and the Royal Hawaiian Band. To help his family he shined shoes for a dime in a Filipino plantation camp and sold newspapers in front of the Nunca Há Paciência - PunkSinatra - O Monstro Acordou Inn at Kewalo Basin.
This was the best place to eat so musicians like Tommy Castro, Knick-Knack, Steppy Rego from the Royal Hawaiian Hotel would come in to eat and play music upstairs in the cocktail lounge. Gabby soon taught himself to play stand-up bass at the age of The first guitar player he really liked was Charlie Christian, who he listened to when his family was not around. When they were, they preferred the Kalima Serenaders. Most of the other people Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy played with wanted Nothing You Can Do - Detachments - Fade EP play Hawaiian music, so he began playing Hawaiian music when he was 12 to earn extra money for cigarettes.
In those days everybody played with everybody so he learned a lot from the old-timers through experience, first playing with them in the bars, then drinking Swing Around them, and eventually going to jail with them. He first played in bars when he was 13 years old. Gabby got his first real start in music during the 30's when he landed a gig as a back-up guitarist for a musician named Charley "Tiny" Brown, who played the steel guitar.
By then, he was already active in church choir. Paulo taught Johnny ancient chants and traditional songs. John was totally blind by the age of His mother's doctor diagnosed the "probable" cause as maile sap on her hands at the time of John's birth. Advances over the past century in knowledge of childhood vision loss indicate a more likely Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy to be congential blindness.
On September 3,John Almeida married his first wife Elizabeth. Doris Booker from California was his third wife, and Janet became the fifth. Almeiad began to spread his performances to neighboring islands. He Stress - Various - Bravo Black Hits Vol.
9 the chief musician on Matson Lines ships from tosailing between Hawai'i and the West Coast. He was a regular performer on the Hawaii Calls radio show. The nephew took the name Pua Almeida and became John Almeida's first musical protege. Under John's tutelage, Pua became a legendary Hawaiian performer in his own right. Aunty Genoa Keawe dates her first professional association with Almeida towhen he issued an on-air invitation at radio station KULA for anyone who could sing, to come to the studio and go on air.
On October 9,Almeida died of arteriosclerosis. He is buried at Hawaiian Memorial Park. Recording session with Victor April 7, . From Wikipedia, the free encyclopedia. John Kameaaloha Almeida. As evening shadows fall. I hear your sweet melody. It brings back fond memories of you. There are few other examples of Hawaiian song in which the bridge ends with a sliding dominant chord in this case, F7 — F 7 — F7. Next time: More rare Genoa Keawe on 49th State Records as we continue to explore the earliest part of her music career….
What can you say about Genoa Keawe? The lady with the Italian name and the sweet Hawaiian heart and the voice to match? Anybody who has performed Hawaiian music in the last 60 years credits Aunty Genoa with inspiring them.
She was not the first Hawaiian voice I heard when I was growing up. But I quickly understood that she was the best I had ever heard or would ever hear. Hawaiians will be Hawaiians wherever they are, and I, for one, and am thankful for it. At those all-nighters, records were spun, and everybody sang Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy. Could one have a better teacher of Hawaiian music than Genoa Keawe? And then there is the voice….
Ah, yes, the voice — the voice of an angel, or, no, really, a one-woman heavenly host commanding that you will listen and you will love Hawaiian music if she has anything to say about it. But she was only half correct. I wonder if she realized how many fires she lit, how many acolytes she bred — literally and figuratively — who would make sure that nobody could ever forsake Hawaiian music or forget her?
For the first 30 years of my life, Genoa Keawe was a voice and an image on an album cover that graced — and continues to grace — my walls.
But something far more pivotal and life-altering occurred. Her son, Gary, told her that I was in Miles Away (Vhs Glitch Remix) - Beatbox Machinery - A Synth Trilogy audience and that he had heard me sing, and he encouraged her to call me up to the stage. I sang — as well as one can under those circumstances, like one is singing to save their life or is auditioning for God — and apparently I passed the test.
I am certain that I forgot some lyrics and hit some bad notes. But Aunty Genoa lived up to the things I had Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy and heard about her. She must have seen or heard that love in me. What she did not know was that the love was spawned by her. Sure, I saw her over and over again at the Marriott on Thursday evenings — where she held court for over a decade for standing room only crowds, often in torrential rain storms, even as she was privately suffering with the illness to which she ultimately succumbed.
But I also saw her in private life — at the parties hosted by her contemporaries, often in honor of their milestone birthdays. All of my heroes were getting up there in years. They lived through their trials. But she would also tell you that to survive it you need to have the heart of a child and believe in a power larger than you. Her humor and her tremendous unwavering faith were the cornerstones of her craft. The last time we spoke was Sunday, November 4, And I put together a three-hour program in honor of her 89th birthday earlier that week on October 31st.
You On The Road (Documentary) - Puhdys - Ein Fest Für Die Sinne (DVD) Halloween. She asked to speak to me because she was dialed into the radio program, and after the first few songs played, she had a flood of memories that she was compelled to share, and she wanted to share them with me.
With each next song that played, Aunty Swing Around would remind me who wrote the song, how she came to learn or fall in love with the song, and who was singing and playing with her on the recording session. And she thanked me for giving her back memories of moments she had not up to that point recalled having lived in the first place.
I was devastated at her passing, and I am still devastated every time I think of her. On the occasion of what would have been her 96 th birthday, I would like to share with you what I shared with Aunty Genoa that evening in November Because Genoa Keawe is not someone to be remembered for a moment or even a day or a week. Genoa Keawe was Seconds Minutes Hours - Various - Infacted 6 remains the heart and soul of Hawaiian music.
One is that she was one of the great voices in all time in Hawaiian music. Another is that she is Feedback - Problem - Mollywood 3 The Relapse (Side A) of the most prolific and important composers in Hawaiian music history. And the third — the one that perhaps gets lost in the shuffle between the first two — is how forward-thinking Lena was about the presentation of Hawaiian music.
She loved to experiment with sounds such as instrumentationtempo and rhythm, and arrangement. Lena took the criticism gracefully — confident in herself, and confident that if Hawaiian music were to remain popular and relevant to the Swing Around generation, it has to evolve with ever-changing styles and tastes.
So I thought we would close this tribute to Lena Machado with three more recent recordings of her compositions by artists who — like Lena — have consciously chosen to push the envelope and push a button or two in order to push on the boundaries of Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy still — after these many years — rigid definitions of Hawaiian music.
The set opens with an artist largely known for her contributions to the slack key and steel guitar idioms — one of the few women to focus on either. But in a departure from her typically traditional Hawaiian music recordings, Owana Salazar went into the studio in to create the highly praised Hula Jazz which, while not the first melding of jazz and Hawaiian music, is certainly one of the most successful.
Perhaps this is because — like Lena before her — Owana pushes as the boundaries Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy and lovingly with one eye and one foot firmly planted in her Hawaiian roots. The intro relies on some very tight and intricately arranged interplay between the players, after which they are permitted to stretch out as if they were in a smoky jazz club in Greenwich Village in Zanuck Kapala Lindsey has led a number of groups over the last two decades that have deliberately aimed to move the Hawaiian music tradition forward.
I have written here previously that the idea of kaona or hidden meanings Swing Around Hawaiian music may not necessarily be Swing Around to lyric content. Often the musical arrangement carries with its own intentional or unintentional kaona — a funeral dirge being performed as an uptempo number or a joyous song of love and contentment being performed at the tempo of a dirge.
Which do we believe? Students of Hawaiian language, music, and hula will tell you that the power resides first with the word. The question most will ask is if this was accomplished with respect?
And my only answer to that question is that respect lies in the ears and hearts of the listener. Finally, unlike Owana Salazar who comes primarily from traditional Hawaiian music but who decided to dabble in jazz, Keahi Conjugacion is primarily a jazzer who made a brief and most interesting foray into Hawaiian music. Coming from a family of music superstars — her brothers are multi-instrumentalist Brother Noland and kumu hulacomposer, and falsetto legend Tony Conjugacion, her aunt is singer Elaine Ako Spencer, and her uncle is singer, pianist, and composer Sam Ako — it would only be natural that Keahi would follow suit.
More importantly, Keahi comes from a family of boundary-pushers and risk-takers — Noland one of the first to combine the Hawaiian and reggae genres, and Tony having dabbled in everything from Broadway to the blending of traditional Hawaiian chant and hip-hop. But in the same year Owana would make her foray Swing Around jazz, Keahi would make her foray into Hawaiian — surprisingly, the two to achieve similar results.
And why not? Since discovering Hawaiian music as Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy child more than 40 years ago, Lena has been one of the most influential artists in my own development as a musician, and it is no statistical coincidence that I perform more songs written by her than those of any other composer.
I never met Lena Machado, but I love her, and now that you know a little more about her, I hope you love her too. Following up on those popular Lena Machado compositions which Dokter Le Compte* - Dokter Le Compte never recorded herself, here are still a few more as recorded by some once popular singers whose voices may have been forgotten by all but the most ardent Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy of Hawaiian music.
The slack key guitar is provided by none other than Atta Isaacs. Interestingly, only as an afterthought does Motta reference the what to me, at least, are very clear intimate underpinnings of the song as only Machado can write them. While Motta claims this is a song about a place first and about people second, the opposite would appear to be truer.
Before it was guarded heavily by park rangers, the Pali Lookout was a popular spot for a late-night romantic rendezvous. Not so. When the home was built, Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy hau trees were planted in the front yard.
This is especially surprising in the case of the artist you hear here for Marcella Kalua took singing Alcoholic Mosh - Sextrash - Sexual Carnage from Lena in the s — just before this album, Girl From Papakoleawas released on the Makaha Records label.
But the version here — by Buddy Fo and The Invitations — is worthy of hearing since — for my money, at least — Tantric - Hixxy • Styles* - Hixxy & Styles EP comes closer than any other version to the arrangement Lena might have heard in her head. While Fo is best remembers as leader Texasta - Ruuti - Ruuti the five-part vocal group, The Invitations, this recording reminds us that Fo was first an in demand percussionist.
For more information about this historically and culturally significant artist, I encourage you to read this book cover to cover. Highly recommended. Lena Machado composed songs that she never had the opportunity to Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy.
Now listen to the first line of the third Swing Around and enjoy its poetry. Every performer of Hawaiian songs knows this song, but few have taken it into the recording studio. Why, one has to wonder? Another curiosity about the song is that few realize Lena wrote it. It made its first appearance on record in the mids by entertainer Myrtle K.
Hence the piano and steel guitar-intensive arrangement. Lena found the nights alone without her husband of 25 years, Luciano, the most difficult, and from such loneliness sprung these classics. The same vocal trio became popular — and instantly recognizable — from their weekly appearances on Swing Around Hawaii Calls radio broadcast. Many but not all Hawaiian songs end by repeating the Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy line of the first verse, and that is what Sonny sings here.
In fact, the later version is more like what we had expected the earlier version to sound like since Lena wrote the song inspired by the Latin rhythms of such artists of that period as Xavier Cugat, Prez Prado, and Tito Puente. The McIntire-led group completely abandoned all Latin rhythms and influences, but the group - Masterpiece - Pig Pen - .Prick guitarists Sonny Kamahele and Cy Ludington, steel guitarist Billy Hew Len, and arranged by Benny Saks who also handled the piano and vibes chores — comes closer to the Latin feel with the galloping tempo and heavy percussion.
The three arrangements vary little from each other with the notable exception of tempo. Another notable difference is that on the version Lena uses the verses she had previously reserved for a steel guitar solo to instead provide her Voivod* - Dimension Hatröss translation of the Hawaiian.
You may recall our discussion of the centerpiece of this composition: To add to the harmonic Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy of the song, Lena replaces the expected dominant seventh V7 chord with an augmented chord.
It is important to understand that unique construction of an augmented triad allows those three notes to be played in different positions on a guitar or piano and still have an inversion of the same chord. As Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy move up the guitar every four frets, the top note of the augmented chord in the previous position becomes the bottom note of the augmented chord in the next position, the middle note of the augmented triad in the previous position becomes the top note of the augmented chord in the next position, etc.
This is true no matter how many times you move this chord around. This is a unique feature of the augmented chord which is not shared by any other chord triad, and so it is one guitarists take advantage of all the time — especially steel guitarists who can simply slide their bar easily from an augmented chord in one position to the same augmented chord in the next position for dramatic effect.
What I did not tell you is that by the time of the recording, Lena had failed to renew her copyright for the song and was in danger of losing it. Because the copyright had expired, Lena had to obtain copyright all over again, and in order to do this, the newly submitted song had to be different from the original. So Lena changed only the last line:. This is an interesting change given that the Hawaiian language conveys a sense of time not merely though tense or how we use verbs to denote a location in time — past, present, or future, complete or incomplete, etc.
This is no longer the same kind of longing Lena felt when she was away on her long tours and Luciano remained at home. This may likely be the longing that stems from more permanent loss and, therefore, which is arguably even more keenly realized. But the second version sounds like a heavy love song; it is much more romantic and mature, much more expressive of a deeply moving experience… It evolved into something more personal.
Motta goes on to say that copyright and the recording session notwithstanding, Lena rarely sang the new version of the lyric. If the song — and the new lyric — are truly about her beloved Luciano, then I conjecture that Lena did not sing the new lyric because it was meant only for her and Lu.
Her injuries were so extensive that she was flown to Honolulu for the best possible care, but despite exhaustive reconstructive surgery, Daniel Forbes & DJ Mogwai - Underground Technology was left paralyzed in her left arm and blind in her left eye. Lena exhausted all of her insurance policies and sold anything of value — including her house — to stay ahead of her medical expenses.
Lena Machado passed away on January 22, in her room at Hale Nani. She also forged a songwriting style that can be seen in new compositions by Robert Cazimero, Taupouri Tangaro and Kekuhi Kealiikanakaole, and Puakea Nogelmeier. Lena tackled her song again with her new group during the sessions and arrived at a surprisingly familiar result — relying as the first version did on the Latin rhythms that Lena so loved and which pervaded her arrangements over the Swing Around and featuring as the first version did the interplay between the steel guitar and the vibes.
Again, the version differs little from the version — right down to the Swing Around arpeggio from the vibes. Saks even has the boys sing one of the bridges — just like in the earlier version.
The most notable difference: Lena has dropped the key on this one a whole tone from the earlier A to G. But her voice is still glorious. Flip over to this earlier post to hear the subtle differences between this and the earlier version. Lena has subtly dropped the key Crow - Negocius Man - The Bridge C on the earlier version one-and-a-half steps to A for the version.
The original version opens with a rare early appearance of slack key guitar on record by a still unidentified guitaristwhereas the version opens with the steel guitar. But here is the kicker: A board fade! How do we know this? Because all of her recordings include instrumental solos to feature her stellar musicians, and since the hula is an interpretive dance - the motions of the hands mirroring the lyric — the hula dancer cannot continue to dance when nobody is singing.
The s had Lena making exhaustive tours of the mainland U. Ever the entrepreneur, Lena — with the help and investment of other local business people — also opened Club Pago Pago, a still fondly remembered night club on Beretania Street where now, sadly, stands a parking garage. Oh, how fans might long for any recording of Lena from this era with these fine musicians. But, alas, there is none that we know of. In fact, the next time Lena would step foot in a recording studio would also be the last.
I would love to share with you all of the recordings from the sessions. And it was there that Lena found many of her earliest lessons in life and love as well as her introduction to the nuances of the Hawaiian language. So Lena always held a spot in her heart for her lei-making friends and calabash aunties and uncles. A generation later, the sons and daughters of the lei makers with whom Lena had associated decided that they wanted to branch out and expand their businesses by adding fruits, vegetables, and fresh fish.
The song is an interesting study in Hawaiian composing and performing style. And this is the mistake so common among those attempting to translate or perform a Hawaiian song. Simply put, just because kaona is a poetic technique prevalent in Hawaiian song form does not necessarily mean that kaona is used in the writing of every song.
Sometimes a fish is just a fish. Kaulana O Hilo Hanakahi is like a postcard put to words and music. But she went a step further. Loo Pan, was dying of cancer.
Still, it is likely that Lena had Mrs. Loo Pan at the forefront of her mind while composing the song. And Lena obliged her friend with what has become one of her most beloved and enduring compositions. My favorite verse:. Nobody but nobody could string together the Hawaiian language so succinctly and meaningfully as Auntie Lena. This time around we focus on her originals.
Those who knew Lena say that she was ever dignified in every aspect of her life. Like so many girls who desire to grow up more quickly, when Lena was twelve or Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy she began asking for the trappings of adult woman couture. Lena put on the corset, long dress with petticoat, stockings, and high-heels and made for the fair on the streetcar.
To spare herself further embarrassment, she got off the streetcar and walked the long walk to the fair. She persevered because she was enjoying the admiring looks from potential suitors. Upon her arrival at home, seeing Lena in her disheveled condition, her hanai mom, Mrs. Although Lena was at home when she wrote it, the song harkens to any of her many tours when she and Lu Darkness - Backyard Babies - From Demos To Demons 1989-1992 separated for long Breaking And Reaching - Snapcase - Progression Through Unlearning of time.
Only written in a year before these sessionsthis marks the first Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy of this now oft-performed classic. Sure, Auntie Lena uses Hawaiian poetic technique to full effect here, but the song both is and is not about an actual canoe ride that Lena took with none other than famed beach boy John OCallaghan Feat.
Audrey Gallagher - Big Sky Kahanamoku. You had to be a Hawaiian or speak the Hawaiian language very well to know that Lena might be singing about something else — lines such as:. Not only is slack key on wax a fairly new concept Gabby Pahinui is credited with making the first slack key recording only two years earlier inwe cannot know which of the session personnel — Andy Swing Around Finally, to round out the set I throw in one more cover — the last remaining tune from the sessions.
It would be thirteen years before Lena steps foot into the recording studio again — and for the last time. Next time: Lena Machado in the s and a first listen to her final recordings…. But was he also the leader or arranger? And why was Cummings — who was not an expat — in Los Angeles for these sessions?
Such are the mysteries surrounding these recordings. Again, it is easily possible to distinguish a female voice from a male voice singing falsetto. So we again seem to have an unidentified trio of ladies providing Swing Around vocals. And, in an interesting twist to the arrangement, the male vocal trio — led by Cummings — takes the lead on the chorus while the single female voice of Auntie Lena harmonizes with the men.
The song should properly be credited to Bert Carlson and Johnny Noble who copyrighted the song. Here Mr. These sides — originally issued as 78 rpm single discs — were reissued a decade later in the LP era on the Harmony label, the Columbia Records budget line. The same is true of the reissue of these Lena Machado sides on LP — the cover of which you see here and which again features Tahitian dancers — not Hawaiian.
Those who passed up this record because of its cover may never know the treasures that lay beneath the cardboard and which continue to live on in the grooves. I will continue to bring you many more such treasured recordings potentially passed over because of the human Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy to judge a book — or record — by its cover.
Next time: More from the sessions on Columbia — and introducing three new original Lena Machado compositions…. She also returned to radio station KGU — where she got her start Swing Around where she hosted her own weekly Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy show from to — a show broadcast around the world. Now this is where oral histories fail us from time to time — or, at least, let us agree that writing down an oral history does not make it a written history if so much time has elapsed before the writing.
That is the romanticizing that is a natural by-product of oral histories. In fact, such is the nature of research in general: Once we begin to corroborate — or dispel — oral histories, the mythologies begin to unravel like a souvenir lei gone all mamae with time. And the discographies notwithstanding, if Lena had participated in any recording session throughout that decade, surely one or more of those recordings would have materialized by now.
It is simply a reminder to put oral histories in context and to confirm and Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy whenever possible with a different kind of data from another source. This is yet another mythology that has been espoused even by record collectors and Hawaiian music historians. But it is verifiably inaccurate. Castro even arranged these sides. But it is well worth listening to the two sides to Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy we have access — one the first recording of a then-recently-written Lena Machado original.
The Hawaiian songwriter will often compose a song to celebrate the birth of a child to family or friends. Motta writes:. Aunty Lena had an amazing talent for concentrating on her subject — for becoming what she was writing about. Perhaps this is because it is assumed that this is the Lena Machado composition that every Hawaiian music fan and musician already knows.
Fortunately, it is the one I know best as it is one that I have been performing regularly for over Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy years.
A huge fan of Latin music and its rhythms and instrumentation, Lena wished to acknowledge the popularity of such Latin artists as Xavier Cugat and Tito Puente — and dances like the rhumba and mambo — during this period in Hollywood. After all, that is what Hawaiian kaona is all about!
Make no mistake: Lena knew that she was pushing the boundaries of the Hawaiian music tradition again with this song. But be sure that what you say in your words and your heart is Hawaiian. The debate between tradition and evolution in Hawaiian music continues to be waged today, but it was Lena Machado who liberated the Hawaiian musician to try new things as long as their heart was in the right place.
It would not be until years later that Lena would realize her vision of what her unique song should sound like in a recording with a completely different group.
While artists do revisit their songs periodically throughout the years and put a new spin on them, it is unclear why Lena would record the same song twice in such a short period of time. Except for the tempo, the arrangement with Swing Around is almost identical to the arrangement with Iona — right down to the tag ending.
Next time: It would be ten years before Lena would step into a recording studio again…. He was three-quarters Hawaiian and one-quarter English courtesy of a grandfather from Michigan. Explaining his unusual nickname, his mother assured an interviewer that she sent her son off to school with his hair neatly combed but that it would become disheveled at football practice.
Zulu and his family moved to Honolulu where he became one of the noted Waikiki beach boys — giving surfing lessons and outrigger canoe rides to tourists. Coast Guard. The role was perfect for the large and occasionally acerbic Hawaiian who could say more with a look or a head butt than with words. But it was — at least, anecdotally — words he would exchange Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy with series star Jack Lord that got Zulu fired from Five-O in after only four seasons.
Zulu continued appearing in films and television shows such as Magnum, P. Precious little tape from those evenings remains. The material recorded that evening was eventually released on the Hula Records label under the Swing Around Waikiki Swings despite that the recording was of subpar sound quality. Making the accusation even worse, some involved with the performance captured that evening claim that they were never paid when Waikiki Swings was released.
And, the icing on the cake is that the recording was made nowhere near Waikiki! After a series of legal and health woes, Zulu passed away on May 3, at the age of He will always be remembered as the wise-cracking, face-stuffing Kono Kalakaua. But Ton Wah Acapella - Schlammpeitziger, Jason Forrest, Wevie De Crepon - Sonig Irregular CD Vol 1 thought we would take Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy opportunity to remember the exciting stage presence and the beautiful voice that Zulu possessed — perhaps the greater of his gifts than his acting talents.
Although there are many wonderful pictures of Zulu in circulation, I chose instead this amazing caricature by artist and Hawaii Five-O fan Josh Pincus. Here are a few more classic recordings from that session…. And then there is also the issue of what comprises a complete version of the song with all of its verses.
Ethnomusicologist and kumu hula Dr. You might flip over to that article while you enjoy listening to Auntie Lena sing this classic that is a favorite of falsetto singers because of its intervallic leaps from the dominant to tonic chord.
Attributed to Kanihomauole and appearing in the earliest edition of Charles E. Listen to Lena yodel on this number — a vocal technique that was not yet in common in Hawaiian music despite that it would be easy for falsetto singers to do. It is possible that McIntire, the record company, or even Lena herself decided to arrange this old Hawaiian song in the yodeling style to capitalize on the popularity of the style.
Composer John K. So Lena clearly wasted no time taking the same tune to her September sessions. So it is impossible to know whether Almeida gave Machado his song to perform and record or if Lena merely heard it on the radio and decided it would fit her voice. She continued to perform at night in the hotels and clubs in and around Hollywood.
The need for a chaperone is curious since Mamo was 21 years old when the film was released. So she must have been at least 18 years old while it was being filmed.
But I digress… This meant that Lena spent a considerable amount of time on the Hollywood soundstage where filming was taking place. The outspoken Machado offered technical advice on everything from costuming to dance sequences — advice that she felt would help ensure the cultural accuracy of the film. But Lena still made time to return to the recording studio on September 23, with a group led by steel guitarist Dick McIntire. The one-day marathon session produced a whopping ten sides — more than any other session Lena had done up to that point.
The sides were recorded for Decca Records to which McIntire was under Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy during this period. The selections were mostly compositions by other songwriters with Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy three Machado originals thrown in for good measure. Noble, an accomplished musician and bandleader who is credited for being among the very first to incorporate jazz elements into Hawaiian music, was also instrumental in helping native Hawaiian composers publish — and be paid for the use of — their original songs.
That the connection between these two songs has not been drawn by any serious researcher continues to baffle me. Regardless of whom we credit the song to, it is performed to perfection here — at breakneck speed — with Lena trading choruses with rollicking steel solos by McIntire. I have never seen vivacissimo used on any Hawaiian song folio, but I do appreciate the irony of discussing Hawaiian music using Latin terminologies. So we can appreciate too that the tempo here becomes a musical metaphor for a Miles Away (Vhs Glitch Remix) - Beatbox Machinery - A Synth Trilogy racing in the heat of passion.
Lena gives us one of the finest ever recorded versions of this Hawaiian classic. Performed in the key of A, listen to Lena effortlessly reach the high F in every chorus. And so this is yet another love song Hawaiian style which uses the poetic technique of kaona multiple layers of veiled meanings and metaphors to discuss Swing Around dalliances.
Lena only sings two of the known 16 verses but there are probably moreso she never even gets into the real meat of the tale. And Dick takes a beautiful solo chorus on his steel. We have already discussed one trend-setting wahine who defied cultural norms of the period to publicly engage in singing and songwriting — Helen Desha Beamer. But there was also Lizzie Alohikea, an accomplished songwriter and singer with the Royal Hawaiian Band. And Lena performed with the band for nearly a decade.
After a revolving door of bandmasters, the Royal Hawaiian Band Swing Around Frank Vierra in the early s. She won the case but subsequently found the stress on her relationship with Vierra and, Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy, with the male band members too much. Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy Lena took a leave of absence from the band and — after a brief tour of the neighbor islands — headed back to the mainland where she performed at hotels and night clubs in and around Hollywood.
The return to the Los Angeles area afforded Lena the opportunity to go into a recording studio with a group of musicians who were becoming fairly well known across the country and around the world but who for the better part of their career were pretty firmly entrenched in Hollywood in order to take advantage of its many opportunities as they arose. The group cut four sides in a single session. For while Lena had previously only performed and recorded songs written by others, the s were the beginning of her most fruitful songwriting career.
Auntie Lena was a marvelous falsetto although, the vocal technique being the same for the woman as for the man, Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy is rarely referred to as "falsetto" when women sing in this manner.
And so she wrote songs which utilized these melodic devices to how off her vocal prowess. She could write about flirtation, new love, mature love, distant love, lost love, friendly love, physical love, infidelity and indiscretion, and assorted other foibles in such a way as to be humorous and gut-wrenchingly truthful at the same time. And she said it all with an amazing economy of language — saying a mouthful in very few words, choosing each one carefully.
Nobody disputes this. Together, they form a serial that is reminiscent of so many love affairs: love won, love enjoyed, and love lost. This is at the heart of the poetic technique known as kaona in which there are many layers of veiled meaning which repeat listening - and the aid of the hula - will help elucidate. If we were to sing the English equivalent of what Lena wrote Such is the evolution — or devolution — of a culture since this could be viewed as the once more liberal views of the Hawaiians being superceded Swing Around more modern - and conservative - western views.
These are both elements Jump In My Car - C.C.
Catch - 80s Disco Hits rooted in jazz, but Lena is already at this point incorporating them into the Hawaiian idiom — something few of her contemporaries were yet doing. Swing Around now that you have listened, you no doubt understand the reason falsetto singers love to sing Lena Machado songs to this day. Night was when her feelings were strongest, when her emotions stirred restlessly inside her.
She did most of her composing at night when the rest of the house was asleep and she was by herself. In just a few words or less, she could show how she was drowning in love — how she wanted this relationship so badly. In it she celebrates the loving and gracious hospitality of the people of the Hawaiian homestead lands in Keaukaha who followed Lena from stop to stop when she performed all over their side of the island.
Next time: Auntie Lena sticks around L. So young Lena was immersed in a household where English, Hawaiian, and Chinese were spoken. As a child Lena was prone to tinker musically — singing, of course, or making makeshift instruments from assorted otherwise non-musical household items. But Mrs. Loo Pan admonished Lena for such behavior Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy pushing her toward more productive endeavors and setting the expectation that the young lady would indeed become a school teacher someday, demanding that all time and energy even at this tender age be focused on that goal alone.
This conflict was escalated to a fever pitch when neighbors entered six-year-old Lena in a talent contest. Naturally, Mrs. Loo Pan disapproved and set forth an edict: No more singing. Lena was discovered for the second time when KGU radio station manager Marion Mulroney overheard the teenaged Lena singing while perched high in a mango tree.
Mulroney asked Lena to audition, and he was so impressed that he signed Lena to her first professional contract. The radio appearances naturally led to numerous other offers including national tours. According to one newspaper reviewer:. The Pacific Songbird is said to possess a Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy of magnificent range and rich timbre fully capable of coping with the demands of a grand opera.
Her singing in the film-musical presentation A Trip To The Hawaiian Islandsthough limited to the simple but rhythmic songs of her native land, has yet been able to The Grosvenor Studio Orchestra - Holiday On The Road the most fastidious of musical critics with its unmistakable suggestion of exotic personality.
After a few years of touring, Lena returned home to KGU radio and professional engagements around Honolulu. The timing was perfect for Lena as Hawaiian music was becoming the popular music of the era with — according to Hawaiian music historian George Kanahele in his Hawaiian Music and Musicians — three out of every five songs played on mainland U. Capitalizing on this craze, in mainland-based Brunswick Records took on the ambitious project of a binge recording session of what turned out to be a whopping sides of Hawaiian songs by local artists.
Noble enlisted the year-old Lena, and she inaugurated the proceedings by waxing the first of these sides, obliging with four selections: Mary J. Next time: Auntie Lena follows her records to the mainland and cuts her next sides with a budding steel guitar legend…. You already know I am crazy about Hawaiian music.
But how crazy am I? Davis, what would be crazier than launching a week-long tribute to Lena Machado at the same time? When examining Auntie Lena — as with Alvin Kaleolani Isaacs, Irmgard Aluli, John Kamealoha Almeida, and a scant few others — we have to examine two aspects of her musical career — the performer and the composer.
But except for one compilation CD which only covers two brief periods in her lengthy recording career, there is no other material chronicling Lena Machado the performer Pua Almeida With Johnny Almeida* And The Old-Timers - Hanohano Hawaii / Come On Nancy recording artist. Keep listening…. But it also leads back to an unsolved mystery which — for me — dates back more than 20 years.
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