Category: Music

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HULA SHOW: HISTORY REPEATING

Something old is new again.

Several generations ago, the Kodak Hula Show was a must-see, must-do freebie attraction for tourists at the amphitheater adjoining the Waikiki Shell. The sponsor for 65 years  (from 1937 to 2002) was Kodak, the film- and camera-making company, which logically presented a mid-day hula attraction for visitors to catch a “Kodak” moment.

Remember, back then, when everyone eager to shoot photos needed a camera, plus film, making Kodak a logical player in this endeavor. When Kodak shut down, so did the hula show.

But nowadays, few tote a camera when taking pictures; an iPhone has become the camera of choice. And a new edition of the milestone hula show is expected to attract a new generation of fans, beginning Feb. 15, at the same amphitheater of the renamed Tom Moffatt Waikiki Shell, staged by the non-profit Council for Native Hawaiian Advancement., in partnership with the City and County of Honolulu.

Hooray, history is repeating itself, and for the better. The show will be staged from 9:30 to 10:30 a.m. Sundays through Thursdays, with veteran announcer Kimo Kahoano as host. He was the emcee of the original show in its later years.

Producers are CNHA and Roy Tokujo of Hawai‘i Entertainment Productions; Kipe Ebana will co-direct with Nā Kumu Hula  and Merrie Monarch winners Tracie and Keawe Lopes.

The show will embrace traditional and new mele that honor Waikīkī, featuring hula dancers from six award-winning hālau from across the state. And the historic cut-out letters will be returning, too, an update of the photo-moments of yesteryear.

Surely, there will be some fresh faces and newbies amid the cast. Perhaps a couple of recognizable tutu and kupuna types would embellish the roster and find appeal for the visitors. One name that ought to be considered, who brings a lot of personality, vocal dynamics and even humor to the plate, is Karen Keawehawai‘i. Just an opinion, from this corner. …

A touch of Hawaiiana at the Grammys

Island performers Kawika Kahiapo and Bobby Moderow are participating in a Grammys weekend showcase that began yesterday (Feb. 1) and continues today (Feb. 2) and tomorrow (Feb. 3) at Duke’s restaurants in  Southern California.

Kawika Kahiapo and Bobby Moderow

The events are a benefit for the Grammy Museum and TS Restaurants’ Legacy of Aloha. TS Restaurants operates Duke’s in Waikiki and the participating L.A. sites.

Yesterday’s event was at Duke’s Malibu, where Kainani Kahaunaele was guest performer.

Today’s show, from 6 to 8 p.m. at Duke’s Huntington Beach, and tomorrow’s, from 4 to 6 p.m., will be at Duke’s La Jolla.

Entrepreneur Alan Yamamoto organized the gigs…

‘Hamilton’ regains No. 1 slot

“Hamiton,”Lin-Manuel Miranda’s mega-hit, has bounced back to reclaim the No. 1 slot of Broadway grosses. It was a pioneering production that reigned as the enduring and first $1 million dollar attraction, and for a spell, was also a regular $2 million dollar blockbuster.

The Top 10:

1 –”Hamilton,” $1,725 million

2 –“The Lion King,” $1,1701 million

3—“Wicked,” $,163 million

4—”Merrily We Roll Along,” $1,598 million

5—”MJ The Musical,” $1,349 million

6—“Gutenberg! The Musical!,” $1,462 million

 7—“Moulin Rouge! The Musical,” $1,120 million

8—“Harry Potter and the Cursed Child,” $1,145 million

 9— “Aladdin,” $1,120 million

10—”& Juliet,” $1,058 million

The complete list of grosses, courtesy the Broadway Guild:

And that’s Show Biz…

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SHARI LYNN: ACTING SKILLS, STORYTELLING THRILLS

Vocalist Shari Lynn, whose artistry embraces a wide spectrum of musical styles, shared a mixed bag of gems last night (Jan. 27) at the Paradise Lounge of the Hilton Hawaiian Village. Backed by keyboarder Jim Howard, Shari embraced pop hits (The Beatles’ “In My Life” and Mary Hopkins’ “Those Were the Days”), bluesy ballads (Robert Flack’s “The First Time Ever I Saw Your Face”), a parody (Steven Sondheim’s “The Boy From,” with Hispanic hilarity) infusing her acting skills and storytelling thrill in the process.

 Natch, there were selections from the Great American Songbook and Broadway ditties. Alas, this was her closing night, as the Hilton is terminating its jazz-flavored format  in favor of relaunching Hawaiian music in the venue. An ending means a new beginning; Shari anticipates returning March 2 to Medici’s at Manoa Marketplace, with Howard and bassist John Kolivas.  Wherever she goes, her flock follow.

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JAZZ FORMAT ENDING AT HILTON

Singer Shari Lynn and her pianist companion Jim Howard launched a Saturday jazz format last year at the Hilton Hawaiian Village’s Paradise Lounge located in the hotel’s Rainbow Tower.

But all that jazz will come to an end this weekend, but appropriately, Shari (pictured below) and Jim will bring down the proverbial curtain this Saturday night (Jan. 27), since the hotel is changing to a Hawaiian format in the space in February.

In a town with many jazz stylists – vocalists and instrumentalists – but not enough jazz venues, it’s a shame. Hilton’s plan to resume Hawaiian music in the Paradise Lounge beginning February is not a bad tradeoff, since Waikiki hotels should offer island music, too. But the hotel doesn’t adequately promote the acts in this hide-away locale, so it’s rough going here.

The Paradise, clearly, is not so paradise-y, in that it is unabashedly a pass-through-corridor for visitors going to or coming from dinner. I’ve been there earlier when some walkers actually cross right in front of the performers. Further, the space has only a few seats where viewers can see the entertainers; two large pillars, which obviously help hold up the tower of hotel rooms, suggest that singers and listeners were not the intended tenants in the zone.

Word-of-mouth advertising – you know, the coconut wireless – has kept the club operational, with rotating jazz stylists like Ginai, Rachel Gonzales, Bruce Hamada, and  Tommy James on Saturday nights. Even vacationing warblers like Mary Gutzi has added credence and joy to the menu.

Jan Brenner has been the agent juggling the acts for gigs in the club for the past year. She’s looking for a possible jazz nook elsewhere. Meantime, Shari will set anchor at Medici’s at the Manoa  Marketplace, likely on March 2, with hopes of a once-a-month residency. Bassist John Kolivas will join Shari and Jim at Medici’s…

Pre-Grammy events at Kani Ka Pila Grille

Mahina Mele, a musical series from 6 to 9 p.m. Thursday, Friday, and Saturday (Jan. 25, 26 and 27) at Kani Ka Pila Grille at the Outrigger Reef Hotel, will be a preview of the forthcoming Grammy Week event in Los Angeles.

Ho’okena’s Horace Dudoit III, Glen H.K. Smith and Chris Kamaka, left, and Jeff Peterson, right.

The slate:

  • Thursday, Kawika Kahiapo and Kainani Kahaunaele.
  • Friday, Kahiau Lam Ho with Kala’e and Kalena Parish.
  • Saturday, previous Grammy nominees Ho‘okena with Jeff Peterson.

Pruden celebration of life is set

That earlier-announced celebration of life event for the late actress, Jo Pruden (pictured right) will be held at 2 p.m. Feb. 18 at Manoa Valley Theatre. The beloved actress, often known as “The First Lady of Hawaii Theater,” died Jan. 10 at her Mililani home following a long illness. She was 84.

Her husband, Jip Pruden, is creating a commemorative T-shirt featuring a Corky Trinidad cartoon of Jo, with proceeds to be shared by MVT and TAG (The Actors Group), where Jo did most of her late-in-life acting and Readers Theatre performances…

Samson service will be private

According to folks in the know, the family of the late Kit Samson (pictured), the versatile and likeable leader of the Sound Advice group, indicate that the service will be small and private, restricted to family. It was unknown, if the service has already been held, or coming up shortly.

Samson , who was 89, led his show and dance combo for nearly a quarter of a century at the original Kahala Hilton, and helped put the posh resort on the map, the first outside of the traditional Waikiki tourism zone. His keyboard dynamics and low-profile personality, coupled with Danny Kaleikini starring at the next-door Hala Terrace, made for a dynamic combo.

His first gig was at the Waikiki Biltmore, run by his family, which was eventually developed into the Hyatt Regency Waikiki by Chris Hemmeter on  prime Waikiki real estate. Samson moved to the Kahala resort , which was to become the hub for vacationing notables and continues to attract celebrities now.

Because Samson and his Sound Advice were anchored in the Maile Lounge, which had to be accessed to get to the fabled Maile Restaurant, the music quickly became a passport and passageway to the restaurant. With his vast repertoire and  ability to recognize a “name” walking through the corridors, Samson commonly played a theme song associated with the star.

The Sound Advice originally featured  Anna Lea, who was  followed by Connie Kissinger, though numerous female vocalists had the privilege to chirp in  his spotlight.

Samson became fast friends with another poet of the piano, Roger Williams, of “Autumn Leaves” success, who visited Samson at his Kahala home and autographed Kit’s piano, and Burt Bacharach, the composer of numerous hit songs, who obliged to man the keyboards one night…

‘Lion’ again is king of the Broadway jungle

“The Lion King” is back where it used to be, ruling over the Broadway jungle. Missing from the Top Ten: “Sweeney Todd, the Demon Barber of Fleet Street.” Eking in a slot: “& Juliet.”

Here’s the Top Ten grosses, for the week ending Jan. 21:

1 – “The Lion King,” $1,813 million.

2—“Hamilton,” $1,762 million.

3–“Wicked,” $1,695 million.

4—”Merrily We Roll Along,” $1,688 million.

5 –“MJ The Musical,” $1,436 million.

6—”Gutenberg! The Musical!,” $1,163 million.

7—”Moulin Rouge! The Musical,” $1,076 million.

8 – “Harry Potter and the Cursed Child,” $1,074 million.

9—” Aladdin,” $1,051 million.

10—”& Juliet,” $974 million.

The full list of shows and grosses, courtesy The Broadway League:

And that’s Show Biz …

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IT’S PRIME TIME FOR KEALI’I REICHEL

Keali‘I Reichel, the Maui-based superstar of Hawaiian mele, chant and hula, made a triumphant return to the Blue Note Hawaii stage Thursday night (Nov. 16).

He’s doing five shows over four nights through Sunday (Nov. 19) at the Outrigger Waikiki resort venue, in whatr constitutes his annual Honolulu residency.

Reichel, who admits he is in the midst of being 61, is eager to hit 62, so he can start collecting Social Security. Or not. He likely will continue concertizing, if the opportunity is there.

His debut album, “Kawaipunahele,” is nearly 30 years old now, and it made him a prime force in island music and dance. As a concert act, he’s still very much in his prime, too, though the venues in Honolulu have become disturbingly scarce. Thus, the Blue Note is red hot for local and visiting acts.

His casual, conversational, and cordial “act” is Reichel at his best. Who else can admit he has hairy toes (he’s always barefooted on stage), and he drops local-style references periodically in his 90-minute show. From gala-gala and hanabata (to non-locals, he says it’s phlegm…and spells out the word), and he’s unashamedly honest to confess and admit he was a “bad boy” at Lahainaluna High School and couldn’t graduate in 1980 until he completed work on one credit during the summer.

This kind of patter reflects his local-boy demeanor. He is clearly a proud Mauian and his cache of songs and dances depict his life, likes and artistry.

He started off his serenades with “Ode to a House,” an homage to his earlier Valley Isle home, as he weaves name songs with place songs in his repertoire to share the joys of his life.

Most tunes are in the Hawaiian language, with a few with inserts in English, but he wisely provides brief descriptions of what he’ll perform, so he’s savvy about engaging his listeners who may not speak or understand the Hawaiian language.

And because he is kumu hula of Halau Ke’alaokamaile, his wahine dancers are joyful with precision galore, providing motion and mana’o to his compositions.

For instance, “Maunaleo,” with dancers in light blue costumes, was about a beloved mountain on Maui depicted as a source of inspiration with its majestic currents. Reichel wrote the tune for his mother, Lei.

 “Kawaiokalena,” another place song, assembled his corps of dancers — clad in black and blue gowns this time — who provided a poetic painting of Piiholo, a secluded area above Makawao on Maui where Reichel and his husband Fred Krauss, now live. Its elevation and wilderness are home to grazing wild boars, cows and deer, and clouds hug the forestry. “You have to have fur BVDs,” Reichel commented about the temps, adding “You have to have big dogs you can put your feet on (presumably, when seated), not chihuahua.”

“Maile’s Song” was a sentimental moment – a tribute to Doris Maile Krauss, the late mother of Fred Krauss – and it reflected the affection he had for her. It’s also a rare instance when English lyrics were lovingly woven into the precious Olelo Hawaii (Hawaiian language).

Of course, being a ‘Luna, he delivered a splendid  rendering of “Lahainaluna,” tossing in a footnote about supporting and devoting kokua to the effort to restore normalcy and restoration of Lahaina, the historic beachfront community ravished by the wildfires.

Reichel’s last tune, on a roster of 15 titles, was “E Ku‘u Home O Kahaluu,” the trademark song composed by Jerry Santos whose career with Olomana soared with this lovely, nostalgic tune engineered by the late Jim Linkner, an award-winning veteran sound engineer who championed Reichel’s career with his engineering savvy. Reichel’s entire discography was engineered by Linkner, so the tribute was genuine and real.

At last year’s Blue Note residency, Reichel played to sold-out houses but left the stage without programming his signature hit, “Kawaipunahele.”

At last night’s show, the audience howled “hana hou, hana hou,” and he returned to the stage to dutifully respond to the request. If you no ask, you no get “Kawaipunahele.”

Lest you don’t know, Reichel’s appeal and following continue to astound; at the table I sat, a visiting Los Angeles couple flew to Honolulu expressly to see Reichel in action and they used airline and hotel points to make the overnight visit. That’s loyalty, for sure – and an indication that Reichel still is in his prime.

And that’s Show Biz…

Keali‘I Reichel

Where: Blue Note Hawaii, at the Outrigger Waikiki resort

When: Opened last night (Nov. 16); remaining shows:

  • Nov. 17, 6:30 p.m.
  • Nov. 18, 6:30 and 9 p.m.
  • Nov. 19, 6:30 p.m

Tickets: $125 for premium seating, $85 for loge seating and the bar zone; available at www.bluenotehawaii.com. Doors open at 5 p.m. all nights and 8:30 p.m. for Saturday’s second show.

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STREETLIGHT: BRIGHTER THAN EVER

Streetlight Cadence, the alt-rock band Hawaii adores, is brighter than ever with unparalleled artistic fervor. The expanded group of 10 — assembled in what was described as a reunion gig —  returned to Blue Note Hawaii Friday night (Nov. 3) delivering an astounding one-nighter, attracting a nearly full house which saw a stunning performance that ran for 2 hours and 10 minutes and even included a couple of hana hou treats. Whew!

Streetlight has been known for its busking on the sidewalks and its “Will Work for Food” motto to gain free meals and perhaps a couch for a night’s sleep.

Jonathan Franklin, on violin, and Jesse Shiroma, on accordion.

Well, the group –  currently a small trio – is led by Jonathan Franklin whose calls to former mates  to reunite succeeded. Franklin developed a production worthy of showrooms not sidewalks.

Ten take-aways from the one-nighter:

1 — Franklin is an indefatigable emcee. He is a genial host and a wonderful storyteller, and he plays an electric violin, often shelving the bow and plucking and strumming his instrument like an ukulele. How cool is that?

2 – The assembled instruments included the violin, along with two cellos, an accordion, two guitars, a bass, a drum, a banjo and a piano. Impressive!

3 – Two women – Clara Stegall on guitar and vocals and Maia Wolfe on cello – bring a rich warmth to the show. Hooray!

Usually a trio now, Streelight Cadence had 10 musicians for its first reunion show at Blue Note Hawaii. Pictured from left, Mariconda, Wolfe, Shiroma, Webb, Franklin, Stegall, Chai, Arashiro and Umamoto.

4 – The gents are all over the place: The players include Jesse Shiroma on accordion, Ben Chai on banjo, Brian Webb on cello, Chaz Umamoto on bass, Matt Mariconda on piano, and Evan Arashiro on drums. They jump, twirl, leap, demonstrating energy and mobility, and on one tune, two dudes – think they were Chai and Umamoto – were lying, back-to-back on the stage floor, and singing. Jiminy Cricket!

5 –Every tune delivered was an original, mostly composed by Franklin (with Stegall serving up one of her songs). There are no “covers” on the Streetlight jukebox!

6—However, a few songs are somewhat structurally repetitive, beginning with calm, and building up to a furious storm…but there’s no lack of communication and interplay when the troupers jam and get the juice flowing, with constant interplay, like partnering in cadence.

7—It’s not easy to categorize the Streetlighters’ music. Yes, primarily, alt-rockers, but flavored with a savory mix of folk, country, hard rock, and in one tune, rap. The mood is like a jam, a hootenanny, a contagious crossover of many genres of music.

8— Franklin opened up a window to his soul and heart; clearly, he’s had issues, which are resolved in a song, notably about his longtime conflict with a sister in Japan, reflected in an honest, revealing, and soulful apologetic letter of sorts, on “Learn to Love.” Sounded like a diary admission of making up to heal wounds.

9—The audience was a peculiar but homogenous mix of young, old, mostly locals; they are not always fully familiar to the Streetlight repertoire (me included) but they’re loyal and addictive to the party on stage, perhaps attracted to the  personalities, happily clapping along and offering an impromptu standing ovation at the end, and yes, howling “hana hou,” not fully satisfied with the earlier non-stop 2-hour-plus music fest. Geez!

10– With this kind of performance – pure, revealing, engaging – Blue Note ought to book the band again, which means Franklin will have to start convincing the ex-members to come back to Hawaii for a second annual reunion. Hana hou!

And that’s Show Biz. …