Posted on: Sunday, November 6, 2005
ISLAND SOUNDS
'Hear' polished instrumentals by Na Hoku winner
By Wayne Harada
Advertiser Entertainment Writer
Brittni Paiva lives up to her "most promising" laurels with a sophomore album that soars.
SUGah DADDY is sweet on making the ordinary special.
Benny Chong finds his place on the 'ukulele mantel.
"HEAR ..." BY BRITTNI PAIVA; TALMIDIM PRODUCTIONS
Genre: Instrumentals.
Distinguishing notes: Brittni Paiva, an extraordinary instrumentalist, won a Na Hoku Hanohano Award for most promising artist earlier this year. This second CD confirms her power and polish as a budding star as she expands her repertoire and her posture as a multitasking 'ukulele soloist, guitarist, bassist and keyboardist. One moment she's rendering a ki-ho'alu co-composition with Keoki Kahumoku on "Blue Slacks Slack Key;" the next she's sizzling on her original " 'Ukulele Boogie." She reinterprets a local fave like "Lahaina Luna," not forgetting her Island roots, and adopts an international manner on "El Condor Pasa." She dares to revisit Leonard Kwan's signature " 'Opihi Moemoe," and her eloquence is her strength — bringing new emotion and breadth to " 'Akaka Falls," waltzing through the jazz seas on "Take Five," even venturing into a quick vocal on "E Lohea Mai," singing a translation by Keoni Kelekolio of a Hawaiian and Hebrew selection from Deuteronomy 6:4-5.
The outlook: Paiva continues to develop her skills as a performer, making good on her Na Hoku Hanohano victory. With youth on her side, she has a remarkable future ahead.
Our take: The bud is blossoming into a full flower.
"SUFFEREIGNTY" BY SUGAH DADDY; DADDY LEOPARD RECORDS
Genre: World music.
Distinguishing notes: SUGah DADDY offers an eclectic roster of original music, mostly from the pen of member Mat Kalani Souza, with chum Darrell Aquino contributing a title or two. The group, which also features Michael Cueva, Jason Nobriga and Chris Luke, mixes folk styles with Hawaiiana, pop with blues, in projecting tales of the 'aina, the culture, the political climate, the everyday lessons of life. "Pali Uli" sets the tone of wonder and timelessness, linking past with present; "Corner of Kuhio" typifies the group's ability to take something mundane and give it meaning; "Wai'opuka" blends lore with hope; "Office of Hawaiian Despair" is a somewhat sardonic view of divisive decision-making. Quite a heavy load to peruse and ponder.
The outlook: A personal journey, with songs that share real-life meaning once you get beneath the surface.
Our take: Just a spoonful of SUGah will get you humming, if not thinking.
"UKULELE JAZZ" BY BENNY CHONG; MUSIC BEN PRODUCTIONS
Genre: 'Ukulele instrumentals.
Distinguishing notes: Over the years, Benny Chong has been many things to many people. Guitarist with The Aliis for many years; musician with Don Ho in more recent times; a closet 'uke soloist to his family. Now he's "outed," with an impressive, if simple, serenade of solo and ensemble strumming, on a patchwork of tunes that ultimately forms a quiltwork of his livelihood. His touch and his sound blend harmoniously as Chong sashays from one genre to another, tackling Broadway favorites ("Happy Talk," "Summertime"), world classics ("Meditation," "Night in Tunisia"), pop titles ("Cry Me a River," "Spicks and Specks") and Hawaiiana ("Ka Wailele O' Nu'uanu," which he adores so much, he includes a rhapsodic ensemble version along with an intimate solo rendering). Listen to his phrasing, his handiwork; he's up there with the more established faves of the day.
The outlook: Underrated and under the radar for years, Chong's coming-out party should be welcomed enthusiastically. This, clearly, is a belated labor of love.
Our take: Chong delivers a bull's-eye.
Reach Wayne Harada at wharada@honoluluadvertiser.com.
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