5 04, 2014

“Aftermath of Aloha”

2014-04-05T04:53:20-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends



“Aftermath of Aloha”

 After events, volunteers are generally tasked with picking up recyclables and trash; not so for EKK Volunteers. The morning after the final night of EKK, 23 of my 40 EKK volunteers showed up at the Kaua’i Beach Resort Naupaka Terrace for a big mahalo breakfast. To the surprise and delight of the volunteers, Raiatea Helm and her two “tough” aunties joined us for the final season get-together. It was cool to see her dressed informally and in a relaxed non-performing mode. I asked each person to share with the group one specific incident of Aloha that they encountered during their ten weeks of meeting, greeting, and servicing the many new and longtime participants who make up the audiences for the Hawaiian Music Program. The stories were heart-warming and a testimony that we were doing it right at EKK. One story in particular stood out because the players are so recognizable to EKK attendees. Two guys in wheelchairs stood out as they showed up each week with faces beaming, scurrying around the ballroom at top allowable speed, dodging pedestrians and greeting all their new friends with giant smiles on their faces — Wendell Sandobal who has been coming for several years and Eric Lazar who is new to EKK. 

 It was a story shared by Lyn McNutt who was instrumental in securing donations of ten new ‘ukulele from the Kamoa ‘Ukulele Family who work out of Larry’s Music in Kapa’a town. Each week Lyn and Mizu accepted donations from anyone wishing to help the EKK program by buying tickets for the ‘ukulele drawing. Two gentlemen, Wendell and Eric, who each week made it a point to donate for a chance of winning the ‘ukulele seemed to have their own thing going on as they enjoyed the process of making the donation, verbalizing their hopes of becoming the winner. Sometime during the ten weeks, Wendell inherited an old ‘ukulele but he kept making donations each week. Eric, who borrowed an ‘ukulele each week, was hopeful that he would win the ‘ukulele. Lyn suggested to Mizu, “We should take up a donation and buy Eric an ‘ukulele,” only to find that some other friends had already done that during the week. Eric, however, gave his donation as usual . . . only thing is that this week he did not write his own name on the tickets; he wrote in Wendell’s name on the tickets. How’s that for true aloha?

 Peter Sterne hit it on the head with his description of Eric as “a guy who is so full of life that you could not tell he is anchored to a wheel chair.” After the first-hour ‘ukulele session Peter saw him plunging his wheel chair through the cluster of white plastic chairs in order to reach Raiatea before she went on stage. Peter helped him move some of the chairs so he could get by; his huge smile of appreciation was because he got there in time to pose with Raiatea for a “selfie” on his I-Phone. At the end of the evening, he swung by me holding up his I-phone and asked me if we could take a photo. I said, “But we took a photo last week!”  He flashed his irresistible smile and said, “But I have a new shirt this week!” I asked Raiatea to get into the photo with us so his big prize for the evening was his I-phone “selfie” with Raiatea on his right and me on his left.


Monday, March 24, 2014  

“Ending on a Very High Note — Raiatea, Jeff, Bryan”

 The beauty in the final EKK performance was the simplicity in presentation of each performer standing in the spotlight with all eyes and attention focused on their solo sets — first with  Raiatea followed by Bryan Tolentino and Jeff Peterson. They then performed together with the combined power and charisma of their individual talents and artistry.  No need for extra bells and whistles; there is no need to improve on perfection. That summed up the whole evening and the audience just loved it.

Raitea started off her set with songs of her birth island Molokai —Kalama’ula and Molokai Nui A Hina. Kalama’ula, the place Raiatea calls home, was composed by Emma Kala Dudoit, one of the first to receive Hawaiian Homelands. Raiatea’s soaring voice is like that of an angel reaching out over the crowded ballroom. Her twinkling eyes and gentle expression reached out to the audience from under her lauhala hat with lei papale. Dressed simply and smartly in a purple print dress with a purple scarf and niihau shell earrings and bracelets, she moved with ease and grace while strumming her ‘ukulele. The audience was thrilled to hear her sweet falsetto in the high octaves.

Molokai Nui A Hina is a fast-tempo upbeat song that brings to mind the stunning pa’u riders in the Aloha Week parades. She sings it effortlessly with impeccable pronunciation of the lyrics, something that is not a given these days. Raiatea likes to perform her favorite songs, most of them popular in the ’20’s, ’30’s, ’40’s and still much loved to this day.  She loves the music of Lena Machado, John Almeida, and Helen Desha Beamer — songs which focus on and reflect their life of hospitality, Ho’okipa, and their embrace of Hawaiian values.

Kimo Hula is a great example of this hospitality as Helen Desha Beamer composed it for her friend James Henderson, a Scottish gentleman  who lived in Pi’ihonua near Hilo. The songs help her to vicariously live the moments of hospitality in which the songs were composed. Everything about Raiatea shouts out the Hawaiian values that she dearly embraces.

Raiatea introduced her good friend Bryan Tolentino and expressed her appreciation that he could fit her into his busy schedule. As a Downtown Honolulu postman; “he has to go to work after this performance at 2:00 a.m.”  With his dimpled smile, Bryan joked, “I was going to sing all the songs that Rai sang, but since she is doing such a excellent job, I will just stick to my ‘ukulele.” And that he does very well as he has been around for quite awhile finding his own voice with the little instrument. Bryan is of the generation that preceded the current ‘ukulele explosion among the younger set; there is a certain quiet finesse about how he picks and strums his favorite instrument. Close your eyes and his instrument paints a sound image of the subject matter. When he played Akaka Falls, you can hear the water fall rippling and cascading all the way down. Pu’uanahulu conjures up a musical picture of the rolling hills of Kamuela on Hawai’i Island.  He played his own version of the very popular Somewhere Over the Rainbow.  Even with all the riffs you can definitely get the melody; his timing is awesome. He must have loved this first EKK stint because he asks the audience, “This is kinda fun, yuh?” They sure loved him.

Jeff Peterson needs no introduction to the EKK audience as he is one of the EKK favorites and has appeared on this stage many times – first with his cowboy dad Bard, once with a String Quartet, once as a solo artist when Chino Montero, the other artist, could not make it, several times in concert, once with Nathan Aweau with whom he cut a CD called Mamo. One of the songs on that CD is a kiho’alu number written while visiting Olinda above Makawao Town. ‘Aluna Ahiahi is a traditional song with new arrangements. Ka Wai o Kaupo is a song about a place in Maui for which Uncle Dennis Kamakai wrote lyrics but Jeff never recorded it with the lyrics because it was so good as an instrumental, he decided to leave it as it is. He acknowledged Uncle Dennis and his wonderful spirit when they worked on a CD called Amy Hanai’ali’i and Slack Key Masters of Hawai’i.

He recalled his first EKK in the Island School cafeteria and expressed his amazement  to see how much EKK has grown since those early days. He shared with the audience, “Events like this do NOT happen on other islands, this is very SPECIAL!” From his Maui On My Mind CD, the song Hawaiian Skies is one of his compositions included on the sound track of the movie The Descendants.  However, in order for the song to fit what was happening in the movie, he was asked by the sound editor to rearrange the music; this is the version that he performed for us.

The three performers are separately so good that all they needed to do was straight forward playing with no extra tricks or embellishment; they are that good.  Together they performed Ka’ano’i and Pua Mae’ole (Never Fading Flower) by John Squeeze Kamanaa beautiful falsetto in which Raiatea sang in the ha’i style, holding her breath very, very long.  It was really quite thrilling as many of the first-timers had not experienced this type of singing before. The pace of the program was relaxed and enjoyable; I guess you can take the girl out of Molokai, but you can’t take the Molokai out of the girl.

Following the intermission, the three artists performed together doing a set of traditional favorites such asAmazing Grace,Taking a Chance on Love, At Last, and Dreams.The audience really dug Raiatea’s rendition of these classics and jazz numbers. Bryan’s delicate ‘ukulele instrumentation was the perfect accompaniment for Amazing Grace.  It was amazingly beautiful. Taking a Chance on Love was a lighthearted jazz number from Raiatea’s third CD; Jeff and Bryan both accompanied her on this song. At Last was sweet and sensuous with great pa’ani by both Bryan and Jeff. Dreams is a song she performed when she was with a rock band on Maui about six-seven years ago. She admitted she did not know or recognize a very tall drummer she met, until he asked to meet her. It turns out he was Mick Fleetwood. He started the Mick Fleetwood Island Rumours Band with the Barefoot Natives Willie K and Eric Gilliom; Raiatea did her stint as a rock band singer and went the whole nine yards on dressing the part.

One of the most beautiful songs of the evening is a song that she had sung with Keola Beamer from a play called “Dr. Doolittle.” I Kilohi Aku Au (Look Into Your Eyes) is a chicken-skin haunting melody and Jeff’s masterful guitar stylings captured the mood of the song. She loves songs by John Almeida. Because of his blindness, he writes about the scent of women rather than how they looked. Maile Swing is a lively song Raiatea loves to perform as it brings back the memory of her uncle George Helm, one of Hawaii’s greatest falsetto vocalists, who was actively resisting the bombing of Kaho’olawe island with the Protect Kaho’olawe ‘Ohana. Unfortunately, he disappeared in 1977 while protesting the bombing, but his music lives on.

The anticipated ‘ukulele giveaway minute arrived; Raiatea teased the audience with some suspense. The lucky winner for the final instrument was Rick Copeland. Big cheers for him. Ten weeks of tickets were shaken in the bottle and the lucky winner of the Na Mele Songbook signed by all the 2014 artists was Greta Ephraim of Montreal, Canada.

Raiatea sang Kauoha mai (Keyhole Hula), a lilting kolohe song by Songbird Lena Machado. Lena’s CD was the first recording given to Raiatea by her Dad. She has been in love with Lena’s songs ever since and singing this song is her way of honoring the old songs with their lilting falsetto. Growing up in Molokai as a tomboy hula dancer, Raiatea knew nothing about Hawaiian music until she attended the Kamekameha Song Contest where her brother attended high school. They were honoring Aunty Genoa Keawe, Alfred Apaka and Nina Keali’iwahamana that year. When she heard Nina singing, she fell in love with Hawaiian music and told herself she wanted to sing like that. At age 15 she asked her parents for an ‘ukulele for Christmas. She said they were irritated that she just locked herself in the bedroom to practice the ‘ukulele; it wasn’t until she sang at her Mom’s birthday party that they even had a clue that she was able to sing. The rest is history. Next year she would have been singing Hawaiian music for half of her life and her growth from age 15 to the way she sings today is pretty phenomenal.

The One They’d Call Hawaii by Lloyd Longakit is a song Raiatea loves because it’s simple and you can really get the message; she invited the audience to sing along. “We can’t take for granted the message of this song”. She obliged a hana hou request from the audience; she admitted it was a tough song to sing because it’s the signature song of a wonderful woman who put her stamp on it. But she agreed to perform it in honor of Aunty Genoa Keawe and the ha’i style of singing. Jeff and Bryan were so in sync with Raiatea, letting her shine as she sang Alika.

 As everyone joined hands for Hawai’i Aloha, tears were flowing. It was a very special evening with a very special performance and everyone there could feel it.  It’s always good to end at the peak; it leaves everyone hanging in anticipation for what is to come the next season.  Of course, everyone’s parting shot was “When is EKK 2015 going to start?” or “Now what am I going to do on Mondays?”


Who’s Coming Up for the Next Week for EKK? — Monday, March 31, 2014

I went to the hotel on Tuesday morning, April 1, and the friendly valet walked up to me and said, “Guess what?  Some guys showed up with their ‘ukulele cases last night. I asked them if they were there for EKK and I had to tell them that last week was the final week! They were disappointed. I’m glad I caught them in time before they got to the empty ballroom.”


(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 37 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

23 03, 2014

EKK: “The Hawaiian Islands in Song”

2014-03-23T16:21:35-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends



“Recapping the 2014 EKK Season — Continuing the Legacy”

The Legacy of Hawaiian Music is definitely alive and well in the hands of the many artists who have graced the E Kanikapila Kakou stage over the past 31 years. We have witnessed so many examples of artistic excellence being nurtured through mentorship, group support, and the passing on of musical styles, dance, stories and cultural traditions and endowment. 

The traditional musical styles of artists such as Cyril Pahinui, Kimo Hussey, Jack Wilhelm, Gabby Manintin, George Kahumoku Jr, Bobby Moderow and Maunalua and the Beamer ‘Ohana are crowd favorites because EKK audiences seek out the traditional styles.  By joining forces with the younger artists, the traditionalists enhance their music with the new contemporary sounds and musical skills of the younger generation.  

Edward Punua, Jeff Au Hoy, Alan Akaka have mastered the skills of the steel guitar, taking us back to the days when the haunting strains of steel was the sound associated with Hawaiian music. The ‘ukulele has gained much prominence in the musical arena with artists who dedicate themselves to making the ‘ukulele an instrument to be reckoned with. Kimo Hussey, Peter Moon Jr, Herb Ohta Jr, Brittni Paiva and Axel Menezes took us to places where few ‘ukulele have gone before, and on this coming Monday night, we get to hear the ‘ukulele styling of veteran ‘ukulele artist Bryan Tolentino.  

Slack key guitar is huge in Hawai’i and gaining momentum and audiences worldwide; Jeff Peterson is acknowledged as one of the slack key greats and he will be sharing his music this coming Monday.  Representing the growing numbers of slack key artists at EKK were Cyril Pahinui, John Keawe, Kevin Brown, Danny Carvalho, Bobby Moderow, Richard Gideon and Paul Togioka, each artist with their own recognizable style.

Another Hawaiian Music tradition that has been passed on from generation to generation is the art of Leo Ki’e Ki’e or Hawaiian falsetto singing. Raiatea Helm, who erupted onto the music scene at the tender age of 13, has matriculated into one of the finest falsetto singers in Hawai’i and stands today as one of the vanguards of this Hawaiian style of singing; she will return for her second EKK Monday on the final night of EKK 2014. This season we enjoyed the falsetto singing of Gabby Manintin, Uluwehi Guerrero, Bobby Moderow and Kamakakehau Fernandez.

Hula is so much a part of EKK. We got a taste of the Hawai’i Island hula by Hope Keawe and her Aloha Music Camp ‘ohana. We were fortunate to see the return of Maka Herrod, Puna Dawson, Nathan Kalama, Doric Yaris, Beverly Kauanui with their respective halau; their Aloha for each other sets the bar high in the way that halau nurture and support each other. A hula highlight was the concert sharing the hula legacy of Leina’ala Pavao Jardin. Of course, we need to acknowledge all the hula dancers who popped up on the stage and in the aisle, dancing their hearts out to the wonderful live music by all the EKK artists; they add so much color and joy to the Monday night programs.

As we sadly come to the final night of EKK, we thank the growing number of supporters who take their kuleana seriously and make sure their friends and families get to EKK Mondays at least once in their life.


Monday, March 17, 2014

“The Hawaiian Islands in Song”

Opening the evening program with an ‘oli is proper protocol and Kamakakehau is well trained in the proper way that things are done in Hawai’i as he has lived in the islands for most of his life, attending Hawaiian language immersion school and speaking the Hawaiian language all his life. Born in Little Rock, Arkansas and adopted as an infant, he feels blessed to have grown up with parents who dedicated their lives to raising this kolohe boy “in the culture that I know and love.”

Tonight we are “Nakani ‘o Hea” … not o dea (pidgin for ‘over there’) as he introduced his two musicians Kapono Na’ili’ili on guitar and Will Yokoyama on bass.

Kamakakehau shared that he started to sing falsetto in 2003 when he stretched and let out a yelp in the high school courtyard.  His classmate told him, “You should sing like that.”  He did exactly that.  He practiced and practiced and finally entered Uncle Richard Ho’opi’i’s Falsetto Contest on Maui with the Leo Ki’e Ki’e song Kila Kila o Maui.  Winning the contest set him off on a journey that led him down a musical path that was unexpected but rewarding for him. He’ui Bandmann got up and danced the hula. He followed this with a jazz version of Haleakala, which is on his new album. A beautiful rendition of Kamakani Ka’ili Alohabrought up hula dancer Elena Gillespie from the audience.

Hele ‘o Nani Oe, which means ‘it’s a beautiful voice’, represents the Elepaio bird whose voice is that of his mother who always called him “po’o pakiki” or hard head but provided him with guidance throughout his young life. Being adopted into the Hawaiian family as an infant has been his biggest blessing in life and he holds his adopted mother dearly for all the opportunities with which he has been blessed.

As an introduction to a special part of the program, Kamakakehau sang Puahonecomposed by the Reverend Dennis Kamakahi as an anniversary gift to his wife Robin. Recent news that Uncle Dennis is in Queen’s Hospital for pneumonia and the diagnosis of lung cancer prompted us to do a special “shout-out” video for Dennis by having the entire audience stand up and sing Dennis’s most famous Kaua’i song Koke’e with the ‘ukulele circle playing the song. How he came to compose this song has been often relayed by Dennis as he has been on the EKK stage for many years. Most recently, as one of the instructors for the GIAC Koke’e Music Camp, Dennis shared the story and sangKoke’e amidst the whirling mist on Kalalau Lookout for the campers.

Honoring the host island, Kamakakehau sang the Kaua’i favorite Nani Kaua’i. The Kamoa ‘ukulele which was to be given away was brought to the stage while the audience oooooo’ed and aaaahh’ed over the beautiful ‘ula’ula instrument. Kamakakehau played and sang a lively falsetto number to much applause.

Hi’ilawe must rate as one of the most popular song among musicians as each artist chooses to give their own version of this song about the secret love affair behind the waterfalls of Hi’ilawe in Waipio Valley on the Big Island. “Because everyone now sings about the affair, it’s not a secret anymore,” jokes Kamakakehau. He’ui, our lovely Kaua’i hula dancer, stepped up to dance the hula in her camouflage print jacket. Maybe that was to keep her presence undetected in the forests of Waipio.

Our next stop was on the island of Maui where Kamakakehau sang Lahainaluna, a song composed by Queen Kapiolani for King Kalakaua. Although he is labeled as a Hawaiian falsetto singer, he likes to sing in other styles. He thanked his musicians for their music; “they bring out the brother in me” as he sang the song with a lot of soul, throwing in riffs here and there.

The island-hopping continued to Kaua’i as March 17 is not only Saint Patrick’s Day, it is also the birthday of Prince Kuhio. Kamakakehau sang Ipo Lei Manu with so much feeling. This he followed with Alika,a falsetto song most closely associated with the legendary Aunty Genoa Keawe. It is definitely one of Kamakakehau’s favorite and he soared in the upper octaves and held the note on and on and on. Huge applause for this number.

During the intermission, as always, eight lucky individuals were rewarded with CD’s by some of our most popular Hawaiian music artists. All they had to do was to sign in and they had a chance to win the CD’s.

Wishing to give his blessing to Akua for this beautiful opportunity to be at EKK, Kamakakehau opened the second half with Majesty, a beautiful gospel song. Shifting gears from the gospel to the rambunctious, Kamakakehau sang the crowd-pleasing ‘A’oia or Rocking Chair Hula and called on Kapono for a pa’ani on his guitar.

Our musical tour took a quick stop on ‘Oahu to one of the best known places worldwide . . . Waikiki. When Kamakakehau was performing for the first time in Waikiki at the Princess Kai’ulani Hotel, he actually forgot the words to the song Waikiki and kept motioning to his family to help him with the lyrics but no one knew the words. “But today I remember the words so I want to sing for you Waikiki.” He get ‘um dis time.

Kamakakehau gave a new twist to his version of Ei Nei, a song not often heard in Jawaiian style, but that is what he did. “I learned Jawaiian from Kapono,” he said. Kamakakehau called on his guitarist Kapono Na’ili’ili to play a song from his new CD ‘Ala’iki, a project inspired by his grandparents who encouraged him to sing. It wasn’t until he got his first $100 tip that he took their encouragement seriously. His rendition of Makalapua is definitely a song that makes me want to hear the rest of his songs on his CD. I have heard that song many time, but Kapono’s version was definitely a winner; he makes the silent spaces between the words count . . . not something that one hears often.

Shouts of hana hou greeted Kapono’s singing.  “If you hana hou me, I will make Kamaka gets up and dance,” and so Kamakakehau danced to Papalina Lahi Lahi, the sexy seaweed song by Aunty Edith Kanaka’ole.  Standing tall and erect but moving ever so gracefully with his bright smile sparkling out of his dark mahogany skin, he captured the essence of that hula. Boy! can that bruddah move . . . so sensuously suggestive, there was no question about the kaona of the song.

A big part of what makes EKK special is that the audience is often included as part of the show. Not all the 30 dancers in Kamaka’s hula workshop were brave enough to get up on stage, but the dancers who did get up to dance the upcountry favorite Ulupalakua certainly did not look like amateurs; plus he is a wonderful hula teacher. As the ‘ukulele players played, ten hula dancers got up on stage and danced to the lively mele. I had a private show of my own as feisty Walt McConnell who sat next to me in the front row was bucking his stallion and roping his lasso as he danced the hula in his seat with the happiest expression I ever saw on anyone’s face.  I kept telling him, “Go up there!  Go up there!” but he was happy with his noho hula. Next time, Walt….you won’t be let off the hook so easily. Kapono called up the ‘ukulele circle to play ‘Uhe’uhene and Holo Holo Ka’a, both songs taught them in the ‘ukulele circle.

It was time for the anticipated Kamoa ‘ukulele giveaway. Mizu brought the ‘ukulele to the stage; Kamakakehau drew out one ticket; I tried to read the name but could not figure out the spelling . . . so I read the number . . . no answer. I could figure out the address as “Saskechuan” but the name was a mystery. I read the number over and over and was just about to move on to the next number when a voice in the second row called out, “I got it!”  It turns out the guy had to check all thirty of his tickets to find the right number so it took him awhile. When the elated young man came up to claim his ‘ukulele, Mizu was so happy to see that someone who bought so many tickets won the prize that she jumped on him, wrapped her legs around him with a whole body embrace, and everyone cheered for the young man. I still don’t know his bad handwriting name but I know he is originally from Ukraine and now living in Saskechuan. You never saw a happier man.

As the musical tour of the island chain drew to a close, Kamakakehau made it a point to include the friendly isle of Molokai as the group sang He Mele No Hina, a song that we do not hear often. He ended the program with a Bob Marley song, Turn Your Lights Down Low.  Hawai’i Alohabrought the  the tour of the islands to an end with no extra Hawaiian Miles but a great deal of satisfaction.


Who’s Coming Up for the Final Night of EKK?

Monday, March 24, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou “Continuing the Legacy”

Raiatea Helm; Jeff Peterson; Bryan Tolentino

6:00 – 7:00:  Ukulele Circle with Raiatea and Bryan; Guitar Circle with Jeff

7:00 – 9:00:  Performance


 If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.

(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 37 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

16 03, 2014

“The Show Must Go On”

2014-03-16T18:30:21-10:00EKK 2014, Uncategorized|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends



“The Show Must Go On”

Historically March has been a challenging month for E Kanikapila Kakou, mostly due to extreme weather conditions … nothing like the polar vortex, but the heavy rains do not go easily ignored on this island. We have had past performances barely attended because the radio stations told everyone not to be on the roads unless very necessary; we have had to cancel a night of EKK four hours before start time because the hotel was flooded and the parking lot had become a lake, and the closing of the gates on the highway have kept some communities on lock-down. Once we found out an hour before our program started that there was no electricity in the building, so at the last minute we switched to a nearby facility on super short notice, which was a miraculous save in itself, and was able to have our program after all. After the steady rains of this past week-end, I looked at my “teru teru bozu” doll hanging from the corner of my roof and sang the Japanese nursery rhyme asking for god weather, “Teru teru bozu, teru bozu, ashita tenki wo mite okure!” and woke up glad that the rain had subsided a little, but because it’s March, it could be anything.

This past Monday, I found out just two hours before our program that a medical emergency dictated that I shift some gears and then, an hour before the start, that a second medical emergency might seriously affect our program, and after the program started, yet another medical issue was going to affect the program. I looked up and asked, “Can you help me get through this night?”  Nathan Kalama, one of the two presenters, and nearly all of the expected halau hula dancers showed up looking bright-eyed and bushy tailed and ready to put on a show. Nathan is a true gladiator; he calmly carried on like the trooper he is. No one could even tell, unless he mentioned it, that he is sight-impaired, or as he laughingly puts it, “maka po” or blind. Doric Yaris showed up just minutes before the program began; no one even knew he had been sequestered in the emergency room for hours because he was joking, joking as always. The biggest unexpected surprise is that Puna Dawson who was supposed to be en route from Europe to Japan, showed up just minutes before her halau’s scheduled number. They all really understand and embrace the theatrical concept — “the show must go on” — and no one in the audience even had a hint of the challenges that were overcome to do just that.  Way to go, gangy!

Monday, March 10, 2014

“A Legacy of Aloha”

Due to the unexpected tardiness of his father Doric Yaris, DJ Yaris stepped up to the plate and became kumu DJ to the ‘ukulele circle. It was tricky as the song came with no chords, but DJ had them all strumming and singing in no time, leading them with his beautiful voice. Nathan called for interested hula students to step up to the stage; Nathan and his halau dancers had the twenty-five plus ladies swaying to the song Kenui Aloha Style, a mele inoa Nathan composed about his long time friend, the late Kenui Kasparovitch whose job was to greet folks at the airport with leis. Nothing like performing on stage for your first hula lesson. The ladies did have a chance to go back up onstage during the second half to perform for the whole audience.

Nothing seems to stop Doric. Right on cue he appeared in the ballroom and pulled himself up on the stage with his ipu heke and said, “My voice is loud enough so I won’t use the mic.” After he chanted an ‘oli he began the program with three ladies and three men of his halau dancing two kahiko numbers. Swishing hula skirts and the synchronization of pu’ili and ‘uli’uli hula implements with the chants was a good way to begin the program.

He introduced the first of his two guests for the evening. Aunty Beverly Kauanui and her ladies danced to a medley ofNani Hanalei and Koula. What a heartwarming sight to see twenty-two tastefully attired ladies in two piece sheath-like hula dresses in soft moss green and violet, hair pulled back and topped with huge floral head pieces. Each woman glowed, looking and feeling beautiful as they danced for the appreciative audience shouting hana hou. Kamawailualanii (the original name for Kaua’i) is a love song about their romantic westside rendezvous composed by Momi Yaris, Doric’s late wife,choreographed by Aunty Bev and elegantly danced by the halau. Again, huge applause and shouts of appreciation.

On February 19, 2014, as part of the Waimea Town celebration at the historic Waimea Theater, Puna Kalama Dawson was honored as Kaua’i’s first Ambassador of Aloha for her work teaching hula in Europe, Japan and Kaua’i. She and her hulau did an evening performance after which she was presented with many gifts, among which were a proclamation from Mayor Bernard Carvalho, an ipu heke from Bank of Hawai’i, an ‘oli composed by Kumu Hula Maka Herrod and chanted by his halau, two hula numbers by Kumu Hula Doric Yaris’s halau, and the mele inoa He Aloha No E Puna E composed by Nathan Kalama.

Nathan taught He Aloha No E Puna E to the whole audience. He prefaced the interactive “lesson” with an explanation of the purpose and format of the early days of E Kanikapila Kakou, a program that he hosted for ten years. In the early days of EKK, it was easy to get the 100 – 125 folks in attendance to learn to sing a song, but attempting that with over 350 audience members took a lot of guts. He taught them how to pronounce each word, gave its meaning, and had everyone repeat it over and over until they got it. Then on to the singing. They sang the song over and over until all the voices were synced, and by the time they got through the last refrains, the singing sounded like a Hawaiian choir. It was beautiful and heartwarming. Just as they sang the last refrains of the song, who should arrive next to Nathan but Puna herself. She told me she would be flying from Europe to Japan at this time so was unable to be at EKK . . . but here she was. She had delayed her trip to be with her husband who was in Wilcox Hospital.

As always, before the intermission, we give the audience a sample of how the “giveaway” Kamoa ‘ukulele sounds. Lady Ipo, the ‘ukulele lady of Kaua’i, asked, “Shall I sing?” Applause of approval was reciprocated by Lady Ipo and Garrett Santos harmonizing in parts a Kaua’i favorite Lei I Ka Mokihana by Henry Waiau, which began as a traditional chant Maika’i Kaua’i (How beautiful is Kaua’i). The Kamoa ‘ukulele giveaway at the end of the evening is always exciting and no one was more excited than Izzy from Kapa’a; she jumped up from her seat in the front row and gave her dance of joy when her name was pulled by Uncle Nathan. Very cool . . . it’s never to late to learn to play the ‘ukulele! A big mahalo shout-out to Kamoa ‘Ukulele for their generosity.

After the intermission, Nathan called on the participants of his hula workshop to take the stage for Kenui Aloha Style. It never fails to amaze me that folks can pick up on hula moves that quickly; I never could. Nathan’s story of his kupuna halau is that he started at the Neighborhood Center and then moved to a new location and then to his home. His dancers followed him everywhere and to this day dance together as a halau. In addition to his six gracious ladies, most of them are septuagenarians or octogenarians, he introduced EKK Patron Alice Fix, who danced with him for many years; she is 90 years old but definitely does not look it. Wearing white lace shawls over their hula dresses, the kupuna danced to Nani Helena, a song written for the wife of Henry Owen by Alvin Issacs and choreographed by Beverly Muraoka. Later Nathan’s kupuna halau, attired in dark purple shawls and long strands of white pupu leis, danced a hula to Ka Beauty A’o Mililani, composed by Nathan for his sister when they traveled to Europe with Aunty Puna’s halau.

Backed by the musical talents of Garrett Santos and DJ Yaris, Iwalani Ka’auwai Herrod represented Kumu Hula Maka Herrod’s halau with a song written by Napua Makua of Maui. The song Lawakua is about Napua’s kumu hula sister, a person that Napua greatly admires. Three ‘opio dancers from Maka’s halau performed to the music sung by Iwalani and her daughter Anuhea. Maka is currently teaching hula in Japan and could not be here.

Puna Kalama Dawson came racing in with Mayumi, one of her key hula dancers, who Puna picked up en route to the hotel. Fortunately, Jeremy Brown, Puna’s halau musician, was on standby and together they sang a beautiful rendition of her cousin Frank Kawaikapu’okalani Hewett’s song Ka Pilina about three birds — the Elepaio who represents his grandmother, the Apapane who represents Puna’s mother, and the I’iwi Polena who represents Aunty Emma De Fries, Frank’s hanae mother and sister of Puna’s mother. Such a small world.

Nathan introduced Doric for his auana numbers. “I met Doric when he was still in high school and playing drums for Kapu Kinimaka; it’s so wonderful to watch him growing through the years!” Doric joked, ” . . . and growing . . . and continue to grow and grow and grow!” making reference to his substantial girth. Nani Wai’ale’ale is a Kaua’i favorite danced by the six members of his halau. Doric’s second guest was slack key artist Paul Togioka who accompanied Doric’s recent halau trip to Japan. Together they sang a song written by Makana for his mentor Sonny Chillingworth – Song for Sonny. Halau Hula o Haleili’o brought the evening to a close with two lively hula numbers. Celebrating the Hawaiian sailing vessel Hokule’a as it embarks on its sailing journey around the world, Doric and his musicians sang Na Pe’a O Hokule’a. Ha’a Hula was their final number for the evening. It was a couples dance in which there was quite a bit of dosey-do and the couples danced around each other much like the western square dance with hula skirts and bare feet instead of bandana and boots.

Instead of the usual Hawai’i Aloha ending, the hui chose to end the program with the solemn Pilipa’a. With all the voices raised in unison, it was truly a fitting ending to an evening of hula, singing, stories and a wonderful display of the close-knit hula ‘ohana whose signature style is to include and embrace others. Bound by their alliance as Hui O Kalama’ola, these four kumu hula support each other and their separate endeavors; it is very special for them to be together at EKK because all four of them are very busy traveling all over the world to spread their Aloha.


Who’s Coming Up Next at EKK?

Monday, February 24, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou “Continuing the Legacy”

Kamakakehau Fernandez, William Yokoyama and Kapono Na’ili’ili

6:00 – 7:00:  Ukulele & Hula Circles

7:00 – 9:00:  Performance


 If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.

(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 37 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

9 03, 2014

“The Maunalua Effect”

2014-03-09T18:55:14-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends



“The Maunalua Effect”

“Contagious” is a word and condition that we all know too well. When someone is coughing, we shy away from them; when someone gives out bad vibes, we move away from the source; when a group is laughing and having a great time, we try to slide into their circle; when someone is having unparalleled good luck, we try to rub against their elbow . . .  never fails, everything seems to affect people and things around them. Such was the case on Monday EKK — the animated action of the musicians and hula dancers, the full of humor give-and-take between the artists, the full rich harmonious in-the-rafters falsetto singing definitely was contagious due to what I would dub the “Maunalua Effect.” 

Everyone standing in the porto cochere waiting for the valets were in high spirits, laughing, joking, talking about the evening and just extending their fun time inside the ballroom to their trip home. Great thing is that it works both ways. My volunteers rushing Bobby Moderow to catch the last plane out reported that he was so elated from the effect of the best and most appreciative EKK audience, that he could hardly be contained and practically spilled out of the car. Bobby writes, “Aloha my dear. First of all let me thank you for a most wonderful event. We really enjoyed ourselves. Hoping everyone enjoyed as well!  Looking forward to the next time. . . We really had a nice time with you all!!!!!”

What a great way to spend a Monday night — spreading love and aloha — on this gorgeous island we call home. 

Monday, March 3, 2014

“An Evening Packed with Songs”

With no hesitation, the three-man group called Maunalua launched into an evening of great music and good-humored joshing between Bobby Moderow Jr. and Kahi Kaonohi while the newest member of the group, young baby-faced Richard Gideon looked on with an amused smile. They led off with three songs, each sung by a different artist — Hilo One by Bobby, Hula O Makee by Kahi, and Kalena Kai, a chant by Liholiho put to music by Charles E. King, by Richard.

Throughout the performance Bobby kept up the chatter Portugee-style with Kahi throwing out funny barbs at him with a dead-pan expression. “Once you partake, once you are a part of it, you are doing your kulueana in perpetuating the culture. Nowhere will you feel the love like at EKK,” pointing out that he is the “white kid” who plays Hawaiian music. Kahi volunteers, “You ARE white. Now you are red.”  Bobby attributes that to catching some sun because he came in earlier than the others and adds, “Lucky I did not show up in my speedos.” Kahi retorts, “That would have scarred me for life!”

Kawai Lehua, one of Frank Kawaikapu’okalani Hewett’s exquisite hula compositions was beautifully harmonized by the group. It was so emotionally uplifting that it made you want to get up and dance. Na Ka Pueo is a song from Maui sang by Richard while playing on his 12-string guitar.

The first Maunalua CD with “music of our land and our people” was released in 2000 and garnered the Hawaiian Album of the Year award at the Na Hoku Hanohano Competition. In those days there were only about 3 – 4 Hawaiian albums but today there are about 15 – 20 each year; that says a lot for the resurgence of Hawaiian music. On that CD is one of their favorite songs from Hawai’i Island “where my Mom lives” — Hi’ilawe; sung in their exuberant style of singing.

Bobby and the group is very much influenced by the 1970’s music of Hui ‘Ohana with Ledward and Nedward Kaapana with cousin Dennis Pavao. One of their most beautiful songs which Maunalua, at first, did not want to approach because it was perfect as sung by Hui ‘Ohana. However they tried singing it and really liked the way it came out, so they shared with us Ku’u Pua Mae’ole (never fading flower). They sang it proud with their beautifully harmonizing leo ki’eki’e voices and Richard’s ‘ukulele pa’ani.

Bobby invited He’uilani Bandman, one of the sweetest hula dancers on Kaua’i, to join them for a couple of hula numbers. They had been good friends since they worked at the Waikiki Duke’s Canoe Club where the hula dancers showed up everyFriday to add their beauty to the show. Nani Kaua’i followed by Aloha Kaua’i were the two Kaua’i hula numbers that He’ui danced; in the second hula, seven more hula dancers emerged from the audience and each danced with their own choreography, much to the pleasure of the appreciative audience. “I should dance the hula because I studied under the hula lineage of Aunty Ma’iki Lake,” said Bobby. “I’m glad you did not bring your malo,” sighed Kahi, feigning relief in his dead-pan expression.

As a hula dancer Bobby experienced an amazing spiritual experience at the Halau Hanalei and also loved playing for a wedding at Wilikoki, the Wilcox home on Hanalei Bay. To share his deep feelings for Hanalei, he wanted to sing a song learned from the Brothers Cazimero. Nani Hanalei, a chant-like song, is haunting and memorable.

To put in a plug for the Kamoa ‘ukulele donated and given away each week, Richard was asked to show how terrific the ‘ukulele sounds. He played a complicated version of Nanakuli E A. During the first hour, Kumu Richard Gideon taught the ‘ukulele group how to play Nanakuli E A a song composed by “Professor” Richard Iliwa’alani for a special program for keiki. Although it was his first stint at teaching ‘ukulele, he did a stellar job “because the ‘ukulele students are so good and so serious about learning,” said Richard. He had to go beyond the simple basics because the students wanted to push the envelope. After the intermission, the huge group of ‘ukulele aficionados who learned how to play Nanakuli E A on the ‘ukulele stepped up to the stage and played the song in parts. Bobby warned them not to overshadow Maunalua, but they were determined to perform and they did a great job; the audience gave them well-deserved applause.

The second half of the program was packed with songs and shouts of hana hou past the closing time. A rousing Hele On to Kaua’i kept the audience on their toes. Nani Niihau featured the smooth falsetto and bass instrumentation by Kahi. Ku’u Home O Kahalu’u, composed by Bobby’s famous uncle Jerry Santos, is always a crowd favorite and with three voices hitting the rafters, the song sounded wonderful.

One of Bobby’s signature falsetto tunes is Sanoe. He shared the story about Queen Liliu’okalani’s lady-in-waiting who nightly, after she heard the Queen snoring, opened her window to let in her young man to do what they enjoyed. Kahi said, “Yeh, they were playing Monopoly.” Of course, the wise all-knowing Queen, in her discreet fashion, composed the song Sanoe, the mysterious mist of the night, which undoubtedly referred to the young man who nightly climbed in through the window.

Because his two daughters are ages 14 and 12, Bobby said he put bars on this window. Kahi corrected him, “You put bars on your own window by mistake.”  “Yeh, now I can’t get out,” admitted Bobby. However, he does not worry about his daughters because he makes sure that the young boys calling know that he has his landscape architect father’s chipper-shredder handy.

As the evening drew to a close, the drawing for the Kamoa ‘ukulele made everyone sit up in their chairs.  Richie drew a ticket out of the bottle and when Ethel Kauahi’s name was announced, the audience exploded into cheers for her. Now she has to take ‘ukulele lessons from her husband Melvin Kauahi who teaches seniors at Kalaheo Neighborhood Center. Longtime supporters of EKK, the Kauahi’s walked out happy.

To give hula dancer He’uilani another chance to dance the hula, Maunalua launched into Aunty Edith Kanaka’ole’s famous hula about the seaweeds, Ka Uluwehi O Ke Kai.  Of course that was the signal for all the hula dancers in the house to jump up and dance their hearts out….and they did.

Although they had to make a quick get-away on the last flight out, it was hard for Maunalua to let go of the love and aloha from the audience so they gave themselves a hana hou with Two Shadows into Ku’u Lei Awapuhi; this put the whole audience into a great mood for their ride home. Topping off the program with Hawai’i Aloha, everyone walked out beaming with the “Maunalua Effect” on their faces.


Who’s Coming Up Next at EKK?

Sunday, March 9, 7:00 – 9:00 pm

E Kanikapila Kakou 2014

EKK CONCERT:  Leina’ala Pavao Jardin 

& Halau Ka Lei Mokihana o Leina’ala

Music by Na Molokama

Kauai Beach Resort Jasmine Ballroom

Tickets:  $35 Reserved Section (buy at EKK)

$25 Advance; $30 at door

Outlets:  Hawaiian Music Kiosk in Princeville & Coconut Marketplace;

Kauai Music & Sound; Kauai Beach Resort Counter;

Island Soap & Candleworks; Scotty’s Music, Banana Patch Studio

Contact:  <giac05@icloud.com>



Monday, February 24, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou “Continuing the Legacy”

Hui O Kalama’ola Hana Hou with Doric Kaleonui Yaris & Nathan Kalama & Five Halau

6:00 – 7:00:  Ukulele Circle

7:00 – 9:00:  Performance


 If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.


(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 37 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

4 03, 2014

“A Full Circle Story”

2014-03-09T18:58:33-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends


Monday night’s EKK program was dedicated to Tutu Connie Velarde who discovered EKK about six years ago. Since then it has been a highlight in her life. She brought her hanae grandson, Kainalu Palama to EKK. Toting the ‘ukulele that Grandma bought him, he attended EKK each week, sitting in the ‘ukulele circle and absorbing all the music, stories, hula, and culture that the hundreds of musicians shared on the EKK stage. Tutu Connie continued to attend EKK, gradually adding to her entourage of attendees because she felt that EKK was just the very best thing going. A young curly-haired 13-year-old boy named Axel Menezes began to show up at EKK. On Connie’s persuasion, we asked Axel to get up on stage and play a few songs. Not only did he play the ‘ukulele, he demonstrated a talent that begged to be nurtured. In the years that followed, he entered ‘ukulele contests and often came away with the first prize which was often an ‘ukulele. When opportunities arose for workshops, GIAC coordinators made sure that Axel and Kainalu were scholarshipped into the workshops so they could be exposed to artists such as Dennis Kamakahi, Richard Hoopi’i, and George Kahumoku Jr.  

Being the generous benefactor that he is, George saw the introduction as an opportunity to encourage the young boys to move up to the next level. He offered the two boys $1,000 scholarships to his week-long Kahumoku ‘Ohana ‘Ukulele & Slack Key Workshop in Maui, a program that brings together musicians of all levels to learn together from the best instructional talents in Hawaii. With the help of GIAC members, the Malie Foundation and individual contributors, we were able to send Kainalu, Axel, and chaperone Tutu Connie to attend the workshop. Being scholarship attendees, the boys and Connie had to put in their share of kokua during the workshop, but they came away with an extraordinary experience of musical immersion. Kainalu went on to join Leina’ala Pavao Jardin’s hula halau, and Axel continued on his quest to become a better ‘ukulele player. A couple of years ago, George contacted me to see if Axel would be able to attend a pilot music immersion course at Maui Community College which he was coordinating. Taking on Axel as yet another one of his numerous hanae sons to live and work on his farm and attend the MCC program, Uncle George was making sure that Axel had the opportunity to further his musical studies. Six years since Tutu Connie first showed up at EKK, young Axel, now 19 years old, appears on stage with his mentor and teacher, Uncle George Kahumoku, Jr.

Note:  See email message from Uncle George at end of wrap:

Monday, February 24, 2014

“A Seasoned Performer and His Protege”

Whenever I mention George Kahumoku to Dennis Kamakahi, Dennis says, “I like to go on stage after George because he’s so good at getting the audience into the right mood.” That is so true; George has a way of engaging the audience. As he sings the opening hymn, he calls out the lyrics line by line in his storyteller’s voice, so everyone can join in the singing.

Uncle George has performed many times at EKK, but this week, his performance was definitely geared to featuring Axel’s ‘ukulele artistry. He confessed that he and Axel did not have any rehearsal time . . . just get up and jam. Whenever appropriate he called on Axel for a pa’ani or musical interlude between the verses. Kawikawas a fishing song based on a chant written for King David Kalakaua.

As many times as George has performed at EKK, he varies his choice of songs and the related stories, so one gets a different show each time. He also throws in many tidbits of information for interest, humor, or just a way to relate to the songs he was singing.  For example, before he shared a chant he learned from Aunty Edith Kanaka’ole, one of his first teachers, he threw in a comment about the Edith Kanaka’ole Tennis Stadium which ended up being two inches too short for regulation tennis matches due to the failure of the architects and builders to account for the shrinkage of the building. Also, he added, “I never seen Aunty Edith play tennis!” However, it’s big enough for the Merrie Monarch Hula Festival, and Aunty Edith definitely did dance the hula.

Apparently he had spent a lot of time learning from Aunty Edith.  At one gathering, she whipped out two songs in about ten minutes. He told 14 year old Ernie Cruz Jr., “If Aunty can compose two songs in ten minutes, we should be able to come up with our own songs.” So they got a speckled composition book with 200 pages and began to compose songs. After ten days, they had filled the book with their own compositions.  “Here is Song #187 — Kamakani – Blow My Wind.” The audience sang along call-and-recall style; it was easy for everyone because the second verse was the same of the first and the third verse was the same as the second.

George prompted Axel to share a song that he had composed; he obliged with a song he wrote for his girlfriend.  “It’s been a year so I wrote her a song … because I’m capable of doing it.” Parts of the song were in falsetto which he delivered quite beautifully. When George questioned him, he said that thus far he has written 15 to 20 songs. “Let me know when you reach song #187,” kidded George.

The soundtrack of the movie “The Descendents” features many of Hawai’i’s fine musicians. George’s version of Hi’ilawe, a song made famous by Gabby Pahinui, gave Nancy Kahumoku a chance to dance the hula. George’s intro of his wife was as off beat and funny as George is. He said that most local guys would say, “Eh! Stay away from my sister!” but he said that Nancy’s brother, the illustrious George Winston, told him, “Hey George, I got this sister; you want to check her out?” Once a swing dancer, she is now a hula dancer “so she can go on the road with me,” said George. Together they make their home in Kahakuloa on the top side of Maui where they farm and make music with their extended ‘ohana.

Uncle George has done it all, first on the rocky soil of Kona and later on the rock-free soil of Maui — he has farmed taro, papaya, coffee, mac nut, ti leaves, pigs, cattle, goats and just about any crop that puts food on the table; he has taken into his home and parented over a dozen youngsters in addition to raising his own children. Besides performing Hawaiian music all over the mainland and recording many albums, he has for many years coordinated a Hawaiian music program at the Kapalua Resort featuring many of Hawai’i’s top musicians, he has coordinated and carried out the Kahumoku ‘Ohana ‘Ukulele and Slack Key Workshop on Maui and done this all while working on his day job as art teacher at the famous Lahainaluna High School. The story of how he came to be an art teacher was shared.

At age 18 he was driving home alone along the very spooky old Pali Road on a dark rainy night when he saw an old man on the roadside. He stopped to help the stranded gentleman fix his flat tire and while doing this he relayed his entire family genealogy, thanks to his great-grandmother, all the way back to Adam and Eve (pun intended). The next morning the Principal at Kamehameha Schools, the formidable Gladys Brandt, called him into her office. “She’s Hawaiian; I could not lie to her so before she asked, I started to confess to her all the bad things that I had done, such as sneaking in over the fence with the help of the security guard.”  Ms. Brandt told him to shut up and listen. It turned out that the old gentleman he had helped on the old Pali Road was Richard Lyman, the head trustee of the Kamehameha Schools. He asked the Principal to offer George a full four-year scholarship to a college of his choice. He was accepted at Rhode Island School of Design, Kansas State, San Francisco Art Institute, and LA Art Institute. He chose CCAC in Oakland because he could get round-trip airfare back to Hawaii for $69 in those days plus there was a lot of “oooooooommmmmmm” activity in that area. So he ended up with his Bachelor of Fine Arts and has been teaching art sculpture at Lahainaluna for his entire teaching career. Since retiring, he piloted a special music course at Maui Community College which Axel was fortunate enough to attend.

He shared a song about the island of Molokai written by his daughter Sara Hall-Trapp. At that time George was running an alternative school in Honaunau where he mentored over 100 problem youths using fishing, hunting, planting, farming, surfing, canoeing, hula, halau building, and stonewall building as part of the curriculum. The great thing about that school was that nobody cut out of class. His 33-year-old daughter today lives in Japan with her husband from New Orleans who is in charge of Amazon.com for the whole Pacific Rim area.  “I really wanted her to marry a pig farmer, but you know the young kids these days…..” The upbeat song was written in English and gave Axel a chance to shine with his pa’ani.

Giving hula dancers a chance to show their stuff on stage is a big part of EKK.  For this he chose to sing a hula favorite that he learned from Aunty Edith Kanaka’ole — the seaweed song or Kaulu wehi o Kekai.  Sure enough, with little prompting, six hula dancers emerged out of the audience and each one shone with six entirely different choreography. It’s always interesting to see how the lyrics are interpreted by the dancers, and for sure everyone could guess the kaona or hidden meanings behind the lyrics as the motions were very explicit.

To show the audience how good the Kamoa ‘ukulele was that was being given away before the end of the evening, Axel ripped through the lively song called Body Surfer. Later in the evening, Axel was asked to pull out the winning ticket and who should win it but Donna of Hanapepe. George encouraged Donna to get ‘ukulele lessons from Axel because he lived just about five minute away from her town.  How great when everything just flows together so effortlessly.

After intermission, George gave away four CD/DVD’s; participants who filled in EKK attendance sheets had a chance to win eight CD’s from top Hawaiian artists. Several folks in the front row were lucky to have their names pulled, so George jokes, “Check under your shoes and see what you stepped on before you came in.” (I had forgotten about that sign of good luck). Another funny quip from George was when he held up his camera to take a video of the huge audience, “Smile, everybody! If you are here with someone you’re not supposed to be with…DUCK!”

When George sang the O’opu song, he compares the instincts of the catfish with suction cups on its belly to get back up the river to spawn with the natural instincts of humans to do the same action over and over…hana hou….hana hou…hana hou. All of this he does in his story teller voice — relaying the story, singing a verse, continue the story, sing another verse…he really is a master of this technique.

The second half of the program was one continuous medley of songs — Makalapua, a Hawaiian classic by Queen Liliu’okalani; Wai’ulu by Kaua’i composer George Kaleiohi, Kalapana by Ledward Kaapana, one of Hawai’i’s greatest slack key artists. The fast-paced Guava Jam, filled a request for an ‘ukulele solo by Axel.

The ‘ukulele circle learned a slack ‘ukulele version ofKu’u Hoa. Out of the sixty or more students in the circle, only five graduated themselves to play on the stage. Of course, our resident hula dancer, Vern Kauanui, was more than happy to fill up the rest of the stage with his graceful dancing.

George composed a song for his home at the top end of Maui — Ku’u ‘Aina Aloha ‘O Kahakuloa (My Beloved Land of Kahauloawith Hawaiian translation by Kehaulani Shintani. Legend has it that the rock formation above his home, shaped like the rock of Gibralta, is the afterbirth when Hina, Goddess of the Moon, gave birth to demigod Maui.

The EKK evening always ends on a high with the singing of the uplifting song Hawai’i Aloha. George gave a bit of history about the song written by the Reverend Lorenzo Lyons who was trying hard to figure out a way to get the Hawaiians out of the hills to come out and attend church. He translated the lyrics as we sang and encouraged everyone to learn the lyrics as it is a song of the people.

Normally Hawai’i Aloha wraps up the evening, but George requested that everyone who learned theHanalei Moon hula earlier in the evening come up for a hana hou.  25 ladies got up and danced the hula led by Madeleine Guyett, who was last week’s lucky winner of the Kamoa ‘ukulele. It really is very lovely to see so many ladies moving gracefully and happily to the beautiful songs of our island.

A warm synchronistic evening, masterfully presented by one of Hawai’i’s outstanding composer-musician-storyteller and showing off the talents of a budding ‘ukulele star; that is truly a great example of “Continuing the Legacy.” Tutu Connie Velarde was smiling and flashing the shaka sign from her heavenly perch, glad to see that her favorite activity was being enjoyed by so many.

Over the past 30 years we have seen every manner of passing the musical torch from generation to generation — from parent to child, friend to friend, from tutu to grandkids, from family to family, from idol to fan, from mentor to apprentice — the desire to share and the desire to learn lays the groundwork for the incubation of talent to sprout into artistry that deserves attention. Thanks to the unselfish mentors like Uncle George.

Email from Uncle George:

Aloha to our many Friends on Kauai 3-2-14

Blessings sent from cold & rainy Kahakuloa where we live!

Nancy & I had a wonderful weekend on Kauai last Week thanks to Carol Yotsuda & our many friends there!. Sorry if we did not get to see everyone or spend more time. Found out that Carol was suppose to go to Lahainaluna HS in her younger days ! Who knows? We might have met & married each other?( smiles )

We also had a great time with Axel & Vera, playing music in Waimea for their annual Celebration. Thanks to Carol’s great planning ,we made time for Tutu Connie’s Celebration of life on Sunday, sharing Songs, stories, fellowship. & food by Salt ponds near Hanapepe!

Carol Yotsuda & EKK was the bomb  on Monday nite! We shared Slackkey ukulele & guitar & hula songs, more Stories & more music with Axel & hula by our Tahitian friend. We were blessed to visit Carol’s Art compound  in Niumalu, & several farms & friends in the Kilauea area & Share food from Dani’s & the BBQ place in Lihue & JJs shave ice had Azuki beans with vanilla ice creme just like my hanabata Days in Pauoa valley on Oahu growing up! Mahalo to Masami & Jill for the Kauai Pa’akai. We shared our Kauai Bounty & planted Kauai Wauke in our gardens & have been blessed yesterday with twin sheep birthings. It was pounding rain all night & throughout the day, but I was determined to finish fencing in the 3 acres above our place ( my neighbors lot ) for our many goats & sheep & as usual got up at 3am to do emails & paper work & dug holes for corner posts & pounded T posts Till it was too dark to see in the rains of Kahakuloa Maui. Was too hot for my regular raincoat, so I made one homemade one out of one extrA large trash bag! Much lighter!

Please help support one of my many projects below if you are able to. Aloha to all!

Mahalo Nui Loa from Nancy & George


Who’s Coming Up Next at EKK?

Monday, February 24, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou “Continuing the Legacy”

Maunalua – Bobby Moderow, Richard Gideon, Kahi Kaonohi

6:00 – 7:00:  Ukulele Circle

7:00 – 9:00:  Performance


 If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.


(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 37 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.


24 02, 2014

EKK: “Youthful Musicians Herald New Music”

2014-02-24T10:31:49-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends


“A New Breed of Musicians”

 Many months ago I asked Brittni Paiva to participate as one of the artists at EKK and she quickly obliged. I flew on Hawaiian Air to Honolulu and saw the issue of Hana Hou magazine featuring Kamakakehau Fernandez who will come to EKK on March 17; my return flight fell into the new month with a new issue of Hana Hou. I was surprised and pleased to see that both Brittni Paiva and Taimane were featured as the ‘ukulele stars on their cover story. Taimane, along with Aldrine and Kalei, topped off EKK 2013 with their brilliant ‘ukulele performance; EKK was privileged to share these up-and-coming young stars on Kaua’i.

 Taimane, Kalei and Brittni opened up Na Hoku Hanohano Awards 2013 program with their collective ‘ukulele talents. These young stars are catching a lot of attention not only in Hawai’i but beyond our shores. Music is opening doors and connecting young folks the world over, and young ‘ukulele and slack key guitar artists are right in the thick of this phenomenal worldwide movement. Undoubtedly, like the perfect storm and the polar vortex, unimaginable changes will be resulting from these movements. It’s inevitable.

Monday, February 17, 2014

“Music — A sign of the times; Music — instruments of change; Music –  passport to new dimensions”

It should be interesting to have a slack key artist along with an ‘ukulele artist, I thought, so I called Danny Carvalho to share the stage with Brittni. I was surprised to learn that Danny and Brittni were friends from way back. Brittni’s ‘ukulele teacher, Keoki Kahumoku, wanted Danny Carvalho to meet her when he visited Hilo. As musicians would, they took the introduction as an opportunity to jam together for hours.

Young Danny Carvalho, at age 23, had already presented at EKK when he was 17 years old, together with his teacher and mentor, the talented Ozzie Kotani. Danny was a kid back then, accompanied by his Dad, but on stage this time was a confident young slack key artist who had acquired singing skills, had expanded his knowledge of Hawaiian culture as a student of Hawaiian studies and was showing new directions in his style of slack key music and his own compositions.

He sang a song from his home island,Hi’ilawe, which was also the song he shared with his guitar circle earlier in the evening. To honor the host island, he sangKoke’e composed by one of his teachers, Dennis Kamakahi. He composed a beautiful mele inoa or name song for a dear friend with whom he spent much time studying Hawaiian culture, surfing, and sharing family time. Kaumoana was a song that he never had a chance to play for his friend who passed away too soon.

Hula o Makee, made famous by Gabby Pahinui, was played in a style that came out of his experiences and inspirations as a child born in the 1990’s. It shows that, although mentored by a number of outstanding traditional Hawaiian musicians, Danny was finding his own path and creating his own slack key journey.

His own story is impacted by his Japanese lineage and reflects the maternal side of his family who came generations ago to work on the sugar plantation. His Japanese American grandfather fought in WWII as a soldier while his cousins were sequestered in Japanese internment camps. The irony and the injustice of this situation affected Danny. A song he wrote two days after his grandfather passed is called Nissei, a poignant and emotional song written not only for his grandfather but for a whole generation of Japanese Americans who shared the Nissei experience. The influence of his mentor, Ozzie Kotani, could be seen in this quietly exquisite composition.

Danny introduced Brittni Paiva who, as earlier stated, he had met through her ‘ukulele teacher Keoki Kahumoku. Brittni performed at both a concert and EKK in 2007 when she was 18 years old along with Ledward Kaapana, Brother Noland and Mike Kaawa. She was every bit the virtuosa back then as she is today, but her current music now reflects her expanding world of influences and musical collaborations. Tell U What CD album and song, co-written with Tom Scott of LA Express, won both the Na Haku Hanohano 2013 Award for ‘Ukulele Album of the Year and Instrumental Composition. She was also invited to play with Carlos Santana on stage in Honolulu a year ago as seen on UTube. 

She shared her ‘ukulele compositions as if we were all invited into her recording studio where she demonstrated how a “tech junkie” like herself can create multi-instrument songs by playing all the instruments herself on the Ipod and looping them into real-time performance on stage. She demonstrated these explorations with Teenage Dreams andFirework by Katy Perry, Billie Jean by Michael Jacksonand her Bela Fleck influenced Lochs of Dread, a combination of reggae, Irish and banjo rhythms.

After the intermission, Danny and Brittni showed their adventurous spirit with one massive improvisation including Alive by Krewella, the Brazilian bossa nova songThe Girl from IpanemaHere Comes the Sun by the Beatles, Ain’t No Sunshine by Bill Withers, and Europa by Santana.

Clearly, the 18 year old ‘ukulele player back in 2007 has since taken giant strides in exploring new directions to see what the little instrument is capable of doing. Just as Brittni reaches out of her comfort zone to find her own voice, the journey of the ‘ukulele reflects diverse and colorful influences from all kinds of musicians in all parts of the world.

Over the years the ‘ukulele, a simple charming instrument with four strings and two octaves, has made indelible marks on the direction of music. Historically, it is relatively new and still seeking its place as a legitimate musical instrument in the world of music, but it has had an interesting and colorful development over the years.

Many of us grew up just strumming and singing Hawaiian and other songs in our backyard kanikapila with the ‘ukulele as the simplest and most direct accompaniment of choice. It’s very common to see folks gathered around picnic benches singing and strumming their ‘ukulele. Today school students walk around with their backpack and ‘ukulele hanging off their shoulders.

When they emmigrated to Hawaii, the Portuguese brought with them their culture among which was this tiny instrument resembling a guitar. The Hawaiians took to it immediately and called it “uku” (head lice) “lele” (jumping) because the fingers looked like “jumping fleas” or “jumping head lice”. Another story is that Queen Liliuokalani reputedly translated it as “uku” (gift) “lele” (come) or as the gift brought to Hawaii by the Portuguese.

Local luthiers took their instruments to the1914 Pan Pacific Expo on the west coast; its popularity took off with Tin Pan Alley featuring the new and exotic instrument; it made a hit in New York where the “ragtime band” was the rage in the 1920’s.

During the 1950’s the ‘ukulele enjoyed huge popularity in Hawai’i and everyone seemed to own one, but the tides of change brought huge shifts to the music scene, and the tiny ‘ukulele was affected with the ups and downs of popular taste. Popular music of the country has always influenced what is played in Hawai’i as many Hawaiian musicians love and play many genres of music.

Rock ‘n Roll and the electric guitar overshadowed the acoustic string instruments in the 1960’s, so the ukulele, banjo, mandolin, guitar found its place in the smaller music genres. The ‘ukulele experienced periods of attention when Tiny Tim went tip-toeing through the tulips, George Harrison of the Beatles loved the ‘ukulele, musical ambassador Bruddah Iz swept everyone away with his version of “Somewhere Over the Rainbow”.

In Hawai’i, Sunday Manoa – Peter Moon, Palani Vaughan, Brothers Cazimero – called attention to the ‘ukulele as an important instrument in Hawaiian music. During the 1980’s, reggae-based Jawaiian music found the ‘ukulele perfect for keeping the beat. Eddie Kamae of the Sons of Hawai’i influenced scores of young students with his ‘ukulele workshops. One of them was none other than Jake Shimabukuro who showed the world the versatility of the ‘ukulele because he could play any genre of music on the simple ‘ukulele . . .not only Hawaiian. Today, Jake’s name is synonymous with the ‘ukulele and he continuously reaches out to encourage everyone to learn to play the instrument.

During the 1990’s, ‘ukulele festivals attracted huge crowds in Thailand, Rome, Japan, Korea, US, Taiwan, and today is still growing exponentially. Roy Sakuma has for over four decades produced the ‘Ukulele Festival in Hawai’i; it is now on every major Hawaiian Island. Cross cultural exchanges among young students is impacting the music of the younger generation.

Many young folks are introduced at a very early age to the ‘ukulele. With so many idol influences they are compelled to experiment with all manner of picking, strumming, chord changes, beats, rhythms, strokes, melodies, genres.

These young musicians can play many different instruments, often writing their own songs, increasingly producing their own CD’s with simple computer technology or sophisticated sound studios, performing under varied conditions and to many different kinds of audiences. The search for their own unique sound has resulted in an explosion of variations on the basic ‘ukulele.

Taimane never thought of it as a Hawaiian instrument but just as an instrument so she has the entire genre of music at her disposal…by not limiting herself to the idea that the ‘ukulele was a Hawaiian instrument.

Today, big pop stars such as Pearl Jam, Bruno Mars, Jason Mraz, Taylor Swift and others bring increased legitimacy to the very simple instrument that Jake says, “Anybody can play; all you need is to go out and get one.”

Who’s Coming Up Next at EKK?

Sunday, February 23, 2014, 3:00 pm – Salt Pond in Hanapepe
Tutu Connie Velarde “Celebration of Life” Gathering
George Kahumoku Jr & Axel Menezes play music from 4:00 – sunset
Monday, February 24, 2014, 6:00 – 9:00 pm
E Kanikapila Kakou “Continuing the Legacy”
Uncle George Kahumoku & Axel Menezes
6:00 – 7:00:  Ukulele Circle — Slack Key ‘Ukulele – Key of C;
plus Slack Key – Guitar F Tuning; plus hula by Nancy Kahumoku
7:00 – 9:00:  Performance
 If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.

(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 37 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

10 02, 2014

“Exceptional Music, Mah-valous Stories, and so much Aloha”

2014-02-10T13:11:13-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends

“Exceptional Music, Mah-valous Stories, and so much Aloha”

What a night it was!

Emotions were running high, excitement was in the air, the Jasmine Ballroom was buzzing with an overflow crowd, and there was an intangible feeling of Aloha in the air. No one complained while we scurried around for seats; folks were patient when things had to be remedied. It must have been the presence of the150, give or take a few, Aloha Music Campers and staff who were bussed in from Marriott Courtyard, to experience the wonderful program by the artist instructors of the Aloha Music Camp. Kaliko Beamer Trapp, in his inimitable charismatic style, taught the ukulele circle how to play “Kawaeiki” while the musicians did their sound check on stage as an unexpected bonus music for the early birds. My Dream Team of volunteers graciously welcomed and helped the new comers to find their way into the fray; no one complained the entire evening about the little annoying things that sometimes cropped up. It was almost as if “complaining” would be an embarrassment.

So….from the get-go until the last person left the hall, it was an evening of so much aloha, wonderful camaraderie, great music, and stories to cherish.

Monday, February 3, 2014

“Community Aloha Night with the much extended Beamer ‘Ohana”

There is something uniquely special about the Aloha Music Camp held twice a year by the Mohala Hou Foundation. It’s the intangible that is difficult to explain but very palatable and can be felt by anyone with any degree of sensitivity to what is happening all around them. It might be the graciousness of Keola and Moanalani Beamer who exude the same brand of aloha for which Aunty Nona Beamer was much loved. It might be the uplifting charisma and down-to-earthness of hanae brother Kaliko Beamer Trapp who can be seen bouncing all over the place with his faithful alakai Kona Bob Stoeffer, inventor of a stick bass that resembles a legless praying mantis. It might be the incomparable camaraderie and supreme talent of their teaching staff who go overboard to see that each Camper leaves the Camp enriched with new skills, accomplishments and experiences. It might be the overall joyousness of their Happy Campers; how can one be anything but happy when sequestered on the gorgeous Garden Island of Kaua’i and immersed in Hawaiian culture coming at you from all angles?

I have been to their summer camp twice and I would go back at the drop of an ‘ukulele tuner; it is that much fun. You leave enriched with the Hawaiian perspective on the world in music, hula, Hawaiian language, poetry, oli, and crafts. This year, they are holding it at Marriott Courtyard next to the Coconut Marketplace with a huge turnout of participants. How fortunate are we at EKK to be able to experience some of this Hawaiian cultural immersion program with that distinctive Beamer trademark. If you have never been in attendance at AMC, add it to your bucket list and send me an email to thank me for turning you on to this.

Calling such a huge crowd to attention was not easy but for the powerful ‘oli by Liko Puha; his chanting brought about the much need hush so the evening performance could begin. Keola and Moanalani Beamer graciously introduced the Aloha Music Campers and gave a brief introduction about the Aloha Music Camp. Keola shared a humorous in-a-nutshell version of how Kaliko Trapp from the Isle of Wight in England came to be their hanae brother Kaliko Beamer Trapp. In her wisdom, Aunty Nona was convinced the family would all embrace Kaliko once they met him. Keola’s parting shot was, “Now I think it’s Wight but back then I thought it was Wong.”

Kaliko, first and foremost, thanked the kupuna of Kaua’i for
so graciously allowing their group to descend upon Kaua’i and Kapa’a. He introduced the consummate musicians on stage — Alan Akaka, Herb Ohta Jr, Kevin Brown, John & Hope Keawe, Uluwehi Guerrero, Liko Puha, Kona Bob Stoeffer — plus luthier Dennis Lake of Ka’u who has been teaching ‘ukulele-making since AMC first began.

All the artists took the stage together rather than one by one. That was a brilliant decision because the power of all of them collectively adding their instrumentation, vocals and pa’ani to enhance each artist’s performance made for a powerful performance. Kanikapila- style, each artist had his moment to shine as steel guitarist Alan Akaka kept the program moving along swiftly, calling on each artist to share.

Kevin Brown, who comes from a long line of Maui musicians, set the tone with a slack key standard Maunaloa. Alan’s romantic steel and the rest of the guitars and ukulele strumming along put everyone into relax mode. Close your eyes and you are lying in a hammock, swinging gently in the breeze and sipping on an icy tropical drink topped off with an umbrella. Kevin, who is not a newcomer to EKK, shared a very short version of a song he was requested to play by one of the inmates at Maui Correctional Center. The song entitled Jail Break, played so competently on his guitar in the key of G, was the unmistakable sound of a hack saw grating on metal bars. Huge applause.

Later in the program Kevin shared his unorthodox introduction to slack key. Not liking numbers he cut his math class from Freshman year and hid under the tree. Fortunately, his Hawaiiana teacher Henry Myers played the guitar in a nearby classroom. So intrigued by the sound of the guitar, he asked Mr. Myers to teach him. For four years, he secretly practiced on his Dad’s guitar, tucked away under his bed. Rushing home from school, he had a two-hour window of time to practice each day’s lesson before his Dad came home from work. When Dad asked him what he wanted for graduation, he asked for a guitar. “Why? You donno how to play guitar,” said his Dad. He surprised his Dad by playing “Ulupalakua” in slack key. With tears in his eyes, he told Kevin, “Boy, if I buy you this guitar, you promise me never to stop playing.” His Dad gifted him his first guitar from the Sears Roebuck catalog.

Herb Ohta Jr, son of the famous ‘ukulele artist Ohta-san, started playing the ‘ukulele at age 3. His Dad had him practice by lying on the floor so he could not look at his fingers and could feel and hear what he was doing. All that early training paid off as today he is one of the most accomplished ‘ukulele players and ‘ukulele instructors in Hawai’i. E Ku’u Morning Dew rippled off his ‘ukulele effortlessly. Embellished by the steel sounds and accompanied by two guitars, three ‘ukulele and a bass, the richness of the music made you feel like you were sky-diving or soaring over the island in a helicopter. Later, Herb was asked to play a song on the ‘ukulele that was donated by Kamoa ‘Ukulele to be won by one lucky person. When he played the lively “Glass Ball Hula” on the beautiful red ‘ukulele, everyone definitely wanted to win that instrument. Unfortunately, Herb did not come with the ‘ukulele. One of the Aloha Music Campers, Doctor Kam, was the lucky winner of the ‘ukulele. Hope he’s in Herb’s workshop.

Na Hoku Hanohano and Grammy awardee John Keawe who hails from North Kohala, “the land where kings are born”, shared his story about how he came into music, or perhaps, almost missed coming into music. Missing his first day in 7th grade, his music teacher handed him sheet music and asked John to play the clarinet. Without much interest or success with either, John got a B- for music. The teacher told him. “I don’t think music is your forte.” In spite of the early lack of encouragement, his interest in rock-and-roll and a guitar from Sears Roebuck set him off on his musical journey. Deadpan in expression but bubbling with quiet humor, he announced his song Punahele with a loud, “This is for you, Miss Iwasaki!” It’s a good thing he gave up on the clarinet because his slack key guitar playing is pretty phenomenal. Later, his wife Hope, a kumu hula, and their mo’opuna danced the hula to Hana by the Sea. What lucky granddaughters as they get to experience AMC every year with John and Hope.

Alan picked up on John’s discouraging introduction to music and shared his similar experience in 5th grade where, unable to read music and unhappy with the violin, Alan was told by his teacher, “You know what? I don’t think you will ever make it in music.” John pipes in, “Was her name Miss Iwasaki?” The playful banter between the artists had everyone in tears. But when it came to music, Alan’s version of Nawiliwili was spot on; you could feel the excitement of this bustling little port village nestled in the shadow of Mount Haupu where so much is going on all the time — ships, sailboats, barges, tugboats, sampans, tour buses, coast guard, fishermen, surfers, bikers, tourists, and me chasing wild chickens out of my garden. There is something very magical about the sound of the steel guitar, and Alan is a master on the steel. He credited his mentors for all their help and introduced one of them who was in the audience — the illustrious and legendary Hawaiian entertainer Ed Kenney. He thanked Ed for showing him how to put a show together.

Alan introduce Liko Puha as “a big man with a big heart and a hearty laugh.” Liko replied, “It’s called a giggle, man!” Indeed, with his perpetual smile and happy demeanor, he looks like a
Hawaiian version of the Hotei Laughing Buddha. His virtuoso Mom’s style was “Watch and follow!” but the young Liko asked too many questions so she slammed her ‘ukulele case shut. He had to go to his friend’s house to learn the ‘ukulele. Born in Kalihi, he was the eldest in the family so he had to move to California to work, but “It’s never too late to ‘olelo Hawai’i,” said Liko as he shared his late-in-life introduction to the Hawaiian language. Mentored by language specialists and musicians like Kaliko, Keola Donaghy, Kenneth Makuakane, he is finding his niche in chanting the oli. In his low, soft but powerful voice he sang “Kaulana ‘o Kawaihae” inviting the audience to join his song in call and recall style; he made you want to sing along. The sweeping sounds of the steel guitar made you feel like you were on a giant catamaran sailing around in Kawaihae Bay.

In the spirit of Kanikapila, Kaliko invited the ‘ukulele circle to the stage to share the song they learned in the first hour workshop. He thanked Aunty Nona Beamer for putting him on the right path and making him do all this for he had truly “come home” when he joined the Beamer clan. “Keawaiki”, the small bay, is a song penned by Helen Desha Beamer on the occasion of her visit to Francis I’i Brown. She wrote it on her way to Keawaiki and gave it as a gift to her host; many a song has been composed in this manner. Kaliko, who has taught at the EKK Koke’e Music Camp several times, knows just about every Hawaiian song and rattles off in Hawaiian like it’s his first tongue.

After the intermission, Alan introduced Uluwehi, who laughingly said in perfect pidgin, “I was waiting for my ‘chanch’!” Uluwehi Guerrero, noted kumu hula and singer with a voice like a bird from heaven, thrilled the audience with Pauao Liko Lehua. Hailemaile Village in upcountry Maui was home to Uluwehi. As a troubled seventh grader, he had to spend a lot of time in detention writing 300 times, “I will not tilt my chair.” His back door introduction to music and his love for the ‘ukulele was credited to Mr.Yabui, his math teacher, who played the piano and ‘ukulele. He spent a lot of time listening to the ‘ukulele while doing detention. The silver lining in this story is that, years later, when he was helping a local school to raise money to go to Disneyland, he thanked Mr. Yabui as his mentor. The event was publicized in the newspapers. He later received a call from the family of the late Mr. Yabui who had kept all his music, thousands of songs printed in purple ditto ink, which Uluwehi laughingly referred to as the “first drug of the school where students was getting high sniffing on their printed papers.” He expressed his gratefulness for all the mentors that helped a bratty kid in detention to what he is doing today. Yes! Uluwehi’s one of the most sought after kumu hula who spends a lot of time in Japan. I know. I have been asking him to EKK for over 11 years. Finally! He came with AMC.

Whenever he went to Honolulu, he would go to hear Aunty Genoa Keawe sing. He shared another funny story that made you feel like you were right there listening to the dialogue between Aunty and Uluwehi. During her performance, Aunty waved at Uluwehi and said, “Uluwehi, sing one song for us.” After his song, she looked at him lovingly and said,”Uluwehi, that is a beautiful song! Can I have the words!” He answered, “Yeah! You taught me this song. I would be glad to share the words with you.” Two weeks later at the Monkey Pod Tree event in Maui, he gave her the words; she sang the song and Uluwehi danced the hula. That was the last time they performed together as she passed away shortly after. At EKK, one of his dancers from Hokkaido, Kealani Iwase, graced the stage with a hula to Ku’u Milimili, the song that was taught to him by Aunty Genoa Keawe. What a beautiful treat!

EKK audience is undoubtedly one of the best audiences to perform for. Alan noted how warm and friendly the audience was, how great the sound team was in making them sound good, and how much it affects the way the artists perform. Alan asked each artist if they ever played to a “dead audience … as if performing for dead people or zombies.” The answers were as unexpected and different as each artist. Kevin said that once he and his brother were playing at a hotel, but they looked around and found they were playing to only tables and chairs. Herb Ohta mused, “Hmmmmmm?” He once had a gig at a department store for the “Aloha Yokohama Festival.” Just when he did his strum, “I heard someone snoring” right on cue. “If I can make a Japanese businessman relax, sleep, snore, I feel really good about that” as high-stress Japanese businessmen reputedly have high suicide rates. Uluwehi shared that as kids in Hailemaile, they took long walks upcountry, stopped to play, and found themselves performing right in a graveyard. Alan asked, “Did they clap?” Uluwehi replied, “Thunderous applause!”

And it was thunderous applause all night long as the EKK audience loved every minute of the generous and genuine sharing of their talents, their stories, and their Aloha. Happily Alan ventured, “Please invite us back again!” You can bet on that.

Who’s Coming Up Next at EKK?

Monday, February 10, 2014, 6:00 – 9:00 pm
E Kanikapila Kakou “Continuing the Legacy”
Kalama’ola — Kumu Hula Maka Herrod & Kumu Hula Puna Dawson
6:00 – 7:00: Ukulele Circle & Hula Circle
7:00 – 9:00: Interactive Performance

If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.

(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 36 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2013 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

3 02, 2014

Blending Traditional and Contemporary.

2014-02-03T15:23:22-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends


 A new twist at EKK:

The usual 6:00 – 7:00 ‘ukulele hour was expanded in last week’s EKK to take advantage of the presenters scheduled for the evening.  Peter Moon Jr. took on the lion’s share of teaching the ‘ukulele circle which often numbers between 50 – 60 folks; Cyril Pahinui held captive a circle of slack key aficionado; Jeff Au Hoy shared his steel guitar artistry with an ever-expanding circle of steel guitar enthusiasts. He even had Mary Neudorffer showing off her newly acquired steel skills.

A comment from the rank and file:

“Peter Moon Jr is one of the finest ukulele players I’ve ever seen.  He is not as showy as Jake or Aldrine, but I loved his subtlety, skill and creativity.  He did not know he was going to teach a class until the day of the show so he was winging it.  He was pretty good for not being prepared.  He was able to make the class useful for players of all levels of ability.  His friendly, gentle personality added to the enjoyment.  I would love to be his student.” Vigil

 Monday, January 27, 2014

“Blending Traditional and Contemporary”

“Sit Back and Relax … This is Hawaiian All the Way”

Cyril Pahinui, one of the many sons of the legendary Pops Gabby Pahinui, began a relaxing evening of old-style Hawaiian Music blended and enhanced with contemporary instrumental artistry by the two youthful members of his team — Peter Wook Moon, Jr. who rips on his ‘ukulele and multi-talented Jeff Au Hoy who excels on steel guitar but also plays piano, cello, banjo and ‘ukulele. The three of them perform each Wednesday night at “Kani Ka Pila Grille” in Waikiki.

True to Pahinui tradition, he called his long-time friend from westside, Charlie Iona, “You get red shirt?  Come jam with us at EKK!” Amazingly, Charlie showed up, toting his fancy bass guitar, with the perfect shade of red shirt. No musician in his right mind would be without a red shirt just in case a Pahinui appeared and asked him to join the jam. Charlie said in typical westside lingo, “It’s not everyday that I get to cross over the Waimea Bridge.”

Truly the evening unfolded just as it might have in the Pahinui’s back yard in Waimanalo where Cyril and his nine siblings played music for hours/days with their famous musical legend Dad Gabby Pahinui and the often over 100 drop-in musicians who showed up for Mama’s stew/rice and an evening of old style Kanikapila jamming. One can only imagine what those week-end sessions were like beginning on Friday morning straight through to Monday morning; we have heard enough Hawaiian musicians talk about being there to experience it. Cyril’s specific task was to make sure all the instruments were perfectly tuned and ready to play.

There was no saving the best for last. The four of them launched into the melancholy best of their repertoire; many of the songs were from their recent CD Kani Pu Kolu. The audience loved the familiar tunes of Hula O Makee, Holei, He’eia, Ka Makani Ka’ili Aloha, Nanakuli ‘ea, Makee ‘Ailana, Meleana E, Hi’ilawe, Lullaby for Pops, Waialae, Mana’o Ke Aloha, and many more.

Cyril made sure that many of the standards featured the virtuosity of both Peter and Jeff. Watching Peter’s flying fingers was an absolute turn-on as he picked and strummed with such ease, bringing out sounds from the ‘ukulele that are playful, rhythmic, rock-and-roll-like, and whatever the song demanded.  Being the son of Peter Moon Sr, one of Hawaii’s most innovative and influential musicians, Peter Jr demonstrates a natural ease and amazing innovation and versatility with the ‘ukulele that was amazing to watch and hear. Pa’ani after pa’ani coupled with the nahenahe standards sang and played in the Pahinui style was just plain exciting and brought out a lot of applause.

Cyril recalls his father dressing up in his tux and playing Yellow Roses on the steel guitar with Ry Cooder and Atta Isaacs.  He asked Jeff to play Yellow Roses; he did with such clarity and improvisational riffs. The big surprise was when Jeff started to sing in his huge voice. Shades of Pat Boone! Jeff has a powerful voice and one can actually hear all his lyrics clearly…something that is not so common these days.  He dedicated the song to Aunty Joyce in the audience. Mentored by Bobby Ingano, an outstanding steel guitar artist, Jeff was introduced to steel in 2000 when his Uncle Olu Iao built him a steel guitar.  He has performed with artists like Genoa Keawe, Na Palapalai, Keola Chan, the Brothers Cazimero, and the cast of Hawaii Calls (at the Carnegie Hall in 2004). So young and so talented; he has the sky at his disposal. Way to go, Jeff!

Cyril did not share as much talk story as the audience had hoped, but he dropped a few quick insights into his past and present life as a musician.  He’eia is a song about surfing 30 – 40 foot waves; Cyril quips, “I rather take a shower!”  He spent seven years in Nashville playing music with Chet Atkins, a good friend of his father. Slack key is called “drop tuning” in Nashville. Although there are many slack key tunings, Cyril favors the Open C tuning.  Although as a youngster, he was drawn to rock-and-roll, he has taken on the responsibility to keep the Pahinui musical legacy continuing for new generations.

When he was a teenager, he made his first CD with Peter Moon Sr. with whom he had developed a close personal and professional friendship, and now he is here playing with his son Peter Jr.  He also recorded with Palani Vaughan of Sunday Manoa, and earlier in the evening he had met Palani’s son Kilipaki.  He reminisces on the full circle of his musical life.  “Right now I rather be playing on stage with young folks like Peter and Jeff, because in ten years I might be sitting down there with all of you.”  His love of music is evident and with music in his life, he is bound to live a long and fruitful life entertaining, sharing music, and teaching in the schools on Hawai’i Island…which is why he has to hop on board a plane immediately after the performance and fly back to his island.

Before the intermission, we asked Peter to play the ‘ukulele donated by Kamoa ‘Ukulele for the giveaway.  Peter launched into some very fancy Peter Moon style picking of a complicated melody and Cyril quips, “Now he is showing off!”  Well, when you have it, just flaunt it.  Later in the evening, Cyril was asked to pull out a ticket from the ‘ukulele donation jar….and the lucky winner was…..Esther Solomon of Kapa’a.  Thank you for your generosity Kamoa ‘Ukulele!  They will donate eight more ‘ukulele for the EKK Mondays ahead.  Don’t miss out!

Who’s Coming Up Next at EKK?

(We highly recommend that you show up early if you want a seat!)

Monday, February 3, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou “Continuing the Legacy”

Aloha Music Camp Artists Share “Community Aloha Night”

Keola & Moanalani Beamer present their AMC Artist-Instructors

Kaliko Beamer-Trapp, Alan Akaka, Herb Ohta Jr,

John & Hope Keawe, Kevin Brown, Uluwehi Guerrero

  If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.

(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 36 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2014 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

24 01, 2014

“The Essence of Kanikapila” captured by Kimo Hussey and the Kaua’i Kama’ainas.

2014-01-24T14:33:05-10:00EKK 2014|0 Comments

Mahalo to Anne E. O’Malley for the great photos and putting up everything for our Facebook Friends


“These guys are hot!”
It was homecoming night in the Jasmine Ballroom at the Kaua’i Beach Resort as “snowbirds” and residents enthusiastically greeted each other after about nine month’s absence. Many new faces directed by family and friends to be at EKK — it’s a “must” when you travel to Kaua’i — looked on with anticipation while old friends greeted each other warmly. Aunty Fran Nestel was on hand with dozens of leis made with loving hands to welcome visitors with a sweet scented token of Hawaiian friendship. Yes!  It was the inaugural night of EKK 2014 and the place was buzzing.
Aunty Angeline Locey, always front and center at EKK, kept leaning over toward me every few songs; with twinkling eyes and glowing smile, she kept whispering, “These guys are hot!” “Where did you find them?” At the end of the magical evening before heading home to Anahola, she whispers, “What a hot, hot way to begin Kanikapila!”
With Hawaiian music coming in so many different styles and packaging, it’s not always easy to find a group that delivers music that captures that very special sound that takes us back to the early days. With the masterful touch of artists caressing their sophisticated instruments, their music is current and at the same time, timeless.
Monday, January 20, 2014
“The Essence of Kanikapila” captured by Kimo Hussey and the Kaua’i Kama’ainas
Artists like to start their programs singing a song from the host island and what better way to open the show than with Gabby Manintin singing Nani Kauai in his flawless falsetto. Voice of an angel so easily flowing from, of all things, the lips of an engineer.  “How can?” Gabby’s Hawaiian falsetto or leo ki’e ki’e, is so much a part of the Kama’aina’s sound that Gabby was featured in several of the best-known melodies such as Akaka Falls from Hawai’i Island, Kalama’ulu from Molokai and several others. Genoa Keawe would have been pleased to hear Gabby singing her signature song. Not to be locked into one style only, his final solo rendition was The Hawaiian Cowboy and he did the paniolos proud with his yodeling.
I was amazed to learn after the program that Kimo Hussey and the Kama’ainas were winging it without any rehearsal except for a couple of songs during sound check.  Nodding to each other, the program effortlessly evolved with a beautiful blend of the best of old Hawaiian melodies.
For many years, the Kama’aina’s with their leaders, 93-year-old Amby Smith and David Sproat (who unfortunately had to be on the mainland tonight) entertained every Thursday evening in the restaurant at Waimea Plantation Cottages.  Performing tonight were Edward Punua on steel guitar, Gabby Manintin with his guitar and soaring falsetto and Jack Wilhelm on his ‘ukulele which has been transformed into a bass. Joining his good friends and toting his favorite ‘ukulele, jazz ‘ukulele soloist Kimo Hussey hails from the island of O’ahu.  It took a lot of effort to finally get him to our island as Kimo is sought after in many countries.  He has a gift for reaching out and touching his audience emotionally.
Kimo conducted the ‘ukulele circle during the first hour and loved the dedication and interest of everyone in the group because they really wanted to learn to play. He offered to return to Kaua’i to give an ‘ukulele workshop, so look for the sign-up sheet next week.
Artists are often multi-talented in many arenas. Ed Punua, the newest and youngest member of the Kama’aina group is a talented visual artist who spent many years in my high school art classes exploring every fun art project i sent his way; he excelled in everything. Of course, as a member of the Victor and Mary Ann Punua family where generations start performing on stage while still in training pants, Edward is no stranger to the stage.
His Mom, the famous late kumu hula Mary Ann Punua, made sure he got the best instruction when he expressed interest in learning to play the steel guitar. So while attending the University of Hawai’i, he took steel guitar lessons from Barney Isaacs and quickly moved up in the ranks of steel guitar players in Hawai’i. The magical sounds of this musical instrument was discovered in 1893 by an accidental drop of a comb onto the strings. Haunting and exotic, the sound of the steel became the rage and is reminiscent of early romantic Hawai’i.  Steel experienced a slump for awhile but with so many dedicated proponents of this instrument, the steel guitar has made a major comeback in Hawai’i. In addition, it has found its way into country music and is played in many foreign countries.  Edward shared Sand, a steel guitar standard by Andy Aiona and Billy Abrams and How D’ya Do? as well as added the smooth sweeping sounds to all the songs sung by the group.
Continuing with music of the host island, Kimo gave an upbeat jazz ‘ukulele version of Ka’ualoko. The group followed with a lively rendition of Hanohano Hanalei. Another beautiful song, A’oia, sung and played with an up-tempo beat had folks on the fringes dancing and bopping. Kimo, whose last name is anything but Hawaiian, traced the migration of the Hussey name from England, a land of many “Husseys” to Nantucket, from which one Hussey, a missionary, sailed to Waipio where he was asked to build a church. That Hussey loved Kohala a lot, and everyone in Kohala loved him so much, they encouraged him to stay by offering him the “pick of the litter.” She eventually became Kimo’s great-great-grandmother. Hence, the emergence of the Hawaiian Husseys. He sang Maikai Kamakani O Kohala to honor the place in Hawaii where Husseys took root.
Hawai’i Island is a place with beautiful songs speaking of distinctively different little towns. Our presenters took us on a musical tour of that island. Close to Kohala is Kamuela or Waimea with its distinctive green rolling hillsides. Nani Waimea speaks of this unique and charming little town. Tucked away on the north shore is a jewel of a place called Waipio, where the legendary waterfall harbored lovers in their secret hideaway. Of course they called on Gabby to sing Hi’ilawe. Moving down the coast toward Hilo town we stopped to take in the breathtaking majesty of Akaka Falls, another unforgettable falsetto song.
Just as the ‘ukulele is so much a part of Hawai’i, pidgin English is also very much Hawai’i, so Jack sang the Pidgin English Hula. Born and raised in Maui, Jack Wilhelm shared a medley of songs about the Valley isle with a jazz beat that had everyone tapping and swaying.  Haiku, Paia, Pu’unene, Waikamu, and a number of little plantation towns found their way into the songs of the island. Waikiki by Andy Cummings, a song that takes us back to the days of “Hawaii Calls”, was a song that Jack wanted to share. He also gave pointers to Hawaiian music lovers to check out “Huapala” website to find any song lyrics and melody. Another great site is “Onsong” for anyone trying to transpose to another key and expand one’s grasp of playing music.
One of the highlights of the evening was the ‘ukulele giveaway. A beautiful ‘ukulele donated by Kamoa ‘Ukulele of Kapa’a was to be won by one lucky donor to the ‘ukulele kitty.  Before the name was drawn, Kimo was asked to play on the Gift ‘Ukulele…and did he ever play!  It sounded awesome with his magical fingers just strumming, strumming, strumming.  Boy!  He is good!  Drum roll……a name is picked out from the jar by audience member Sandra Rice….and the lucky winner of  the Gift ‘ukulele is…..Mike Horning of Kalaheo!!!  Lucky guy! Huge mahalo to the generous folks at Kamoa ‘ukulele who will be donating nine more instruments…one for each week. Another good reason to show up at EKK!
As folks hugged each other good bye for another week and started exiting the ballroom with that “warm and fuzzy” look on their faces, the group continued to play and sang a beautiful himeni, I Call Him Lord, wishing everyone safe driving home. The akamai ones came back in to their seats because this party was not quitting. Jack asked Gabby to play a slack key number requested by my older brother Claude Kouchi of Westminster who finally made his way to EKK; so Gabby slacked his keys and played The Poi Song made famous by Uncle Led Kaapana. Shouts of hana hou!  
To be continued next week…..with yet another fabulous group!
Who’s Coming Up Next at EKK?
Monday, January 27, 2014, 6:00 – 9:00 pm
E Kanikapila Kakou “Continuing the Legacy”
Cyril Pahinui (slack key guitar) with Jeff Au Hoy (steel guitar) & Peter Moon, Jr. (‘ukulele)
6:00 – 7:00:  Peter will lead ‘ukulele circle; Jeff will share techniques on steel guitar; Cyril will have a slack key circle for guitar players.
 If you have a disability and need assistance please email Carol Yotsuda at <giac05@icloud.com> for Monday events.

(s) Carol Kouchi Yotsuda, www.gardenislandarts.org — “Celebrating 36 years of bringing ARTS to the people and people to the ARTS”

E Kanikapila Kakou 2013 Hawaiian Music Program is funded in part by the Hawai’i Tourism Authority, the County of Kaua’i Office of Economic Development, and the Garden Island Arts Council supporters with support from the Kaua’i Beach Resort.

Garden Island Arts Council programs are supported in part by the State Foundation on Culture and the Arts through appropriations from the Hawai’i State Legislature and the National Endowment for the Arts.

16 01, 2014

E Kanikapila Kakou Schedule 2014

2014-01-17T00:04:00-10:00EKK 2014, NEWS! Arts & Cultural Events on Kauai|0 Comments

Monday, January 20, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #1 (Mondays, January 20 to March 24)

Kimo Hussey and the Kaua’i Kama’ainas (Edward Punua, Jack Wilhelm, Gabby Manintin)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, January 27, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014  Week #2  

Cyril L Pahinui, Jeff Au Hoy, Peter W Moon Jr

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, February 3, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014  Week #3 

Aloha Music Camp Artist-Instructors
“Community Aloha Night”
Keola Beamer & Moanalani Beamer (not performing but will speak)
Kaliko Beamer-Trapp, Alan Akaka, Herb Ohta Jr.,
John & Hope Keawe, Kevin Brown, Uluwehi Guerrero

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, February 10, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #4 

Hui O Kalama’ola (Maka Herrod, Puna Dawson & their Haumana)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, February 17, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #5 

Brittni Paiva (ukulele) and Danny Carvalho (slack key guitar)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, February 24, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #6 

Uncle George Kahumoku, Jr. & Axel Menenzes

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, March 3, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #7 

Maunalua (Bobby Moderow Jr, Kahi Kaonohi, Richard Gideon)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Sunday, March 9, 7:00 – 9:00 pm

E Kanikapila Kakou 2014 Week 

EKK Concert:  Leina’ala Pavao Jardin & Halau Ke Lei Mokihana ‘o Leina’ala 

Music by Na Molokama (Fred Aki, Bradford Nelmida, Kahanu Smith, 

Alberto Genovia, Pali Carbonel)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>

Tickets:  $25 Advance; $30 at door


Monday, March 10, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #8 

Hui O Kalama’ola Hana Hou (Nathan Kalama, Doric Yaris and Their Haumana)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, March 17, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #9 

Kamakakehau Fernandez & Band (Kapono Na’ili’ili & William Yokoyama)

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


Monday, March 24, 2014, 6:00 – 9:00 pm

E Kanikapila Kakou 2014 Week #10 

Raiatea Helm with Jeff Peterson & Bryan Tolentino

Kauai Beach Resort Jasmine Ballroom

Contact:  <giac05@icloud.com>


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