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Slack Key Guitar (Fortsetzung)[Bearbeiten | Quelltext bearbeiten]

Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride and cultural revival, drew rhythms from traditional Hawaiian beats and European military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American).

Popularization[Bearbeiten | Quelltext bearbeiten]

In the early 20th century Hawaiians began touring the United States, often in small bands. A Broadway show called Bird of Paradise introduced Hawaiian music to many Americans in 1912 and the Panama Pacific Exhibition in San Francisco followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced blues and country musicians; this connection can still be heard in modern country. In reverse, musicians like Bennie Nawahi began incorporating jazz into his steel guitar, ukulele and mandolin music, while the Kalama Quartet introduced a style of group falsetto singing. The musician Sol Ho'opii arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the Nashville sound of popular country music.[1] Lani McIntyre was another musician who infused a Hawaiian guitar sound into mainstream American popular music through his recordings with Jimmie Rodgers and Bing Crosby.

In the 1920s and 30s, Hawaiian music became an integral part of local tourism, with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the Kodak Hula Show, sponsored by Kodak, in which a tourist purchased Kodak film and took photographs of dancers and musicians.[1] The show ran from 1937 through 2002. In the first half of the 20th century, the mostly-young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the Waikiki Beachboys and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists.

Popular Hawaiian music with English verse (hapa haole) can be described in a narrow sense. Generally, songs are sung to the ukulele or steel guitar. A steel string guitar sometimes accompanies. Melodies often feature an intervallic leap, such as a perfect fourth or octave. Falsetto vocals are suited for such leaps and are common in Hawaiian singing, as is the use of microtones. Rhythm is mostly in duple meter. A musical scale that is unique to Hawaiian music imbues it with its distinct feel, and so is aptly named the Hawaiian scale.

Moderne Musik[Bearbeiten | Quelltext bearbeiten]

In den vergangengen Jahrzehnten erfuhr hawaiianische Musik eine Erneuerung, mit erneuertem Interesse von sowohl ethnischen Hawaiianern als auch anderen. Die Inseln beheimaten außerdem eine Vielzahl sehr bekannter Rock-, Pop-, Hip Hop-, Soul-, und Reggae-Künstler, sowie viele lokale Musiker, spielen in den Clubs von Waikiki and Honolulu draußen verschiedene "Hawaiianische" Genres. Hawaii hat seine eigene regionale Musikindustrie mit einigen markanten Stilen, aufgenommener Populärmusik. Hawaiianische Populärmusik basiert sehr stark auf Amerikanischer Populärmusik, allerdings unter charakteristischer Beibehaltung traditioneller Hawaii-Musik.[2]

Hawaiian Renaissance[Bearbeiten | Quelltext bearbeiten]

The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like Gabby Pahinui found their careers revitalized; Pahinui, who had begun recording in 1947, finally reached mainstream audiences across the United States when sessions on which Ry Cooder played with him and his family were released as The Gabby Pahinui Hawaiian Band, Vol. 1 on a major mainland label. Pahinui inspired a legion of followers who played a mix of slack-key, reggae, country, rock and other styles. The more traditional players included Leland "Atta" Isaacs, Sr., Sonny Chillingworth, Ray Kane, Leonard Kwan, Ledward Ka`apana, Dennis Pavao, while Keola Beamer and Peter Moon have been more eclectic in their approach.The Emerson brothers rekindled the classic sound of Sol Ho'opi'i with the National steel guitar on their vintage 1920's stylings. George Kanahele's Hawaiian Music Foundation did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert.[1]

Don Ho (1930-2007), originally from the small Honolulu neighborhood of Kaka'ako, was the most widely known Hawaiian entertainer of the last decades of the 20th century. Although he did not play "traditional" Hawaiian music, Ho became an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often combined traditional Hawaiian elements and older 1950s and 1960s-style crooner music with an easy listening touch.

Loyal Garner also embraced Hawaiian elements in her Vegas-style lounge act and in the songs she recorded. A third notable performer, Myra English, became known as the "Champagne Lady" after recording the song "Drinking Champagne" by Bill Mack in 1963 became her signature song in Hawaii, and she achieved considerable commercial success both locally and abroad.

Jawaiian[Bearbeiten | Quelltext bearbeiten]

Jawaiian is a Hawaiian style of reggae music, a genre that evolved in the late 1960s and early 70s in Jamaica. Reggae has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as Native Americans, Pacific Islanders, Maori, and Australian Aborigines. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1980s, although it was not until the late 1980s that it became recognized as a new genre in local music. By the end of that decade, it had come to dominate the local music scene, as well as spawning a backlash that the Honolulu Star-Bulletin compared to the "disco sucks" movement of the late 1970s.[3]

Reggae culture as a whole began to dominate Hawaii, as many locals can be seen sporting Bob Marley memorabilia, and lots of local merchandise and souvenirs have been emblazoned with the red, yellow, and green colors of the Ethiopian flag, a known symbol of the Rastafari movement. The Rasta colors have also become a symbol of local pride.

Jazz[Bearbeiten | Quelltext bearbeiten]

Vorlage:Expand-section Musicians

Some notable current jazz musicians in Hawaii include Gabe Baltazar (saxophone), Adam Baron (drums), David Choy (saxophone), Rich Crandall (piano), Dan Del Negro (keyboards), Pierre Grill (piano/keyboards/trombone), Bruce Hamada (bass), DeShannon Higa (trumpet), Jim Howard (piano), Steve Jones (bass), John Kolivas (bass), Ryan Kunimura (saxophone), Noel Okimoto (drums/percussion/vibes), Michael Paulo (reeds), Rene Paulo (acoustic grand piano) Robert Shinoda (guitar), Tennyson Stephens (piano), Betty Loo Taylor (piano), Tim Tsukiyama (saxophone) and Abe Lagrimas Jr. (drums/ukulele/vibes).

Among the greats on the local jazz scene who have since passed on are Richard Kauhi, Ernie Washington, Paul Madison and Trummy Young. Kauhi was born in Hawaii, the others settled in Hawaii after successful careers on the US mainland.

Notable jazz vocalists in Hawaii include Jimmy Borges, Rachel Gonzales, Azure McCall and I. Mihana Souza. Although Hawaiian vocalist Melveen Leed is known primarily for singing Hawaiian and "Hawaiian country" music, she has also earned good reviews as a jazz singer.

The most visible jazz group in Hawaii as of November 2007 was the Honolulu Jazz Quartet consisting of Baron (drums), Del Negro (keys), Kolivas (bass) and Tsukiyama (sax).

There are frequent performances by the two University of Hawaii jazz bands.

Locales

Regular venues to hear jazz in Honolulu include:
  • Ward Rafters [1], a residential home in Kaimuki (3810 Maunaloa Ave.) converted into an indoor stage with performances every Sunday afternoon
  • The Honolulu Club [2]: Robert Shinoda's rotating group is featured here. In the 1990s this group played regularly at the Music Union building.
  • Jazz Minds [3]: DeShannon Higa's gr00ve.imProV.arTiSts plays here, as well as other groups. Higa also formerly appeared regularly at the Music Union building in the late 1990s.
  • 39 Hotel [4]: Regular location of the Newjass Quartet.

Links

Ukulele[Bearbeiten | Quelltext bearbeiten]

The ukulele was introduced to Hawaii by the Portuguese immigrants near the close of the 19th century. The Portuguese brought small guitar-like instruments with them. These small guitars are called the cavaquinho. The instrument became a very popular one in Hawaiian culture, and a majority of Hawaiian songs involve the ukulele. In Hawaiian, ukulele literally means "flea (uku) jumping (lele)." (Note: The reason it was named this is unknown.) The are currently four types of ukulele tunings. They include: soprano, concert, tenor and baritone.

The ukulele can be played with simple strums to elaborate strums and what is called "picking," which is the act of picking the strings to make single sounds. There are multiple ukulele makers. The most popular ukulele maker is Kamaka Ukuleles, Inc.

Well known ukulele recording artists include Eddie Bush, Peter Moon, Benny Chong, Kelly "Kelly Boy" DeLima, Troy Fernandez, Canadian virtuoso James Hill, Raiatea Helm, Daniel Ho, slack key guitarist Ledward Kaapana, Jesse Kalima, Eddie Kamae, David Kamakahi, Israel Kamakawiwo'ole, Moe Keale, Ken Emerson, Bob Brozman, Pat Cockett, David Heaukulani [5], Kirby Keough, Gordon Mark, Herb "Ohta-san" Ohta, Herb Ohta Jr., Brittni Paiva, Lyle Ritz, Bruce Shimabukuro, Jake Shimabukuro, Bill Tapia, Byron Yasui, Abe Lagrimas Jr., and Uluwehi Guerrero.

The ukulele is mostly recognized as being Hawaiian, even though it is originally based on the Portuguese cavaquinho. Vorlage:Expand-section

Other[Bearbeiten | Quelltext bearbeiten]

Vorlage:Expand-section

The music that is considered popular or "underground" in Hawaii does not necessarily correspond to similar genres in mainland areas of the U.S.A. This is partly a result of Hawaiian music, which appeals to many generations over. Whereas music like heavy metal or punk rock appeals primarily to a more youthful generation, and is not considered as commercially attractive to tourism. Na mele paleoleo is an emerging form of Hawaiian rap.

It is difficult to promote popular acts from the mainland due to its geographical isolation, and the smaller group of people interested in the music.

Links

Quellen[Bearbeiten | Quelltext bearbeiten]

Anmerkungen[Bearbeiten | Quelltext bearbeiten]

  1. ↑ a b c Unterberger, pgs. 465 - 473
  2. ↑ Manuel, pgs. 236 - 241
  3. ↑ ’02 not the year Jawaiian dies, but look out. In: Honolulu Star-Bulletin. Abgerufen am 12. Januar 2006.

Weblinks[Bearbeiten | Quelltext bearbeiten]

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