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Speaker 1: A centeral is the protection of I heard radio. It's

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Speaker 1: a song that Ray Anthony played many years ago. See

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Speaker 1: if you can remember the tumb just named that to him. Aloha.

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Speaker 1: The following is my interview with steel guitar ambassador, teacher, performer,

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Speaker 1: and legend Alan Akaca anybody. Portions of this interview appeared

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Speaker 1: in our episode titled Kakila, which if you haven't heard yet,

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Speaker 1: we'll give more context on the Hawaiian Islands. The lone

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Speaker 1: stringed instrument that originated there hint it's not the ukulele,

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Speaker 1: but more on that later that also recorded it. Alan's

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Speaker 1: abilities are virtuosic. He can play any instrument in the band,

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Speaker 1: and his office at the k Kula Mela School on

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Speaker 1: Oahu is crammed full of them. But the steel guitar

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Speaker 1: is his passion. It's a craft he spent a lifetime mastering.

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Speaker 1: By ear, he'll retune in the middle of a song.

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Speaker 1: When I asked him about older styles of playing, he

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Speaker 1: approximated the sound by swapping his steel bar out for

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Speaker 1: a nut raiser to slide on the strings. We're listening

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Speaker 1: to our air view. One of the things that stands

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Speaker 1: out to me is how similar His musical origins are

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Speaker 1: to Joseph K. Kuku, inventor of the stew guitar. Both

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Speaker 1: began his children experimentally running objects up and down guitar strings.

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Speaker 1: You hear Allen drop a lot of names here, and

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Speaker 1: that's because from the time he was a teenager onward

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Speaker 1: he studied and played with everyone, contemporary masters of the instrument,

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Speaker 1: legends from decades before him, and artists who were rethinking

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Speaker 1: still guitar style. During the Hawaiian Renaissance of the nineteen seventies,

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Speaker 1: as it proliferated in other genres, most notably country, the

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Speaker 1: Sioux guitar became dissociated with Hawaii and fell out of

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Speaker 1: the popular imagination. The instrument and its practitioners became an

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Speaker 1: endangered species. Alan is the central figure in bringing Kika

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Speaker 1: Kila back to prominence, and it's working all across the

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Speaker 1: world now. Steel guitar enthusiasm and musicianship are on the rise.

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Speaker 1: At his school, Kaku Lamele, Alan trains the next generation

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Speaker 1: of Hawaiian musicians, and he teaches lessons in all corners

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Speaker 1: of the world via Skype. Mr Akaka is full of

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Speaker 1: amazing stories, but the most poignant are his experiences working

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Speaker 1: with kids, teaching them about the Hawaii they live at,

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Speaker 1: tying them into traditions that very well could have been

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Speaker 1: lost if he and the steel Guitar had not found

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Speaker 1: each other. Without further ado, here's my interview with Alan

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Speaker 1: Akaca and his steel guitar. My name is Alan Akaka.

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Speaker 1: I'm the director and owner of the school of wine

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Speaker 1: music called Kula Melee, and it's located on the island

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Speaker 1: of Oahu in Kailua Town. I've been a teacher for

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Speaker 1: more than thirty years. I taught concert band, marching band,

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Speaker 1: I started a choir at another school that I worked at,

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Speaker 1: and also a Hawaiian ensemble since uh that middle school

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Speaker 1: didn't have any of that, and I understand even though

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Speaker 1: I'm no longer at the school, that the program still continues,

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Speaker 1: which is very good to know. I'm very happy with that.

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Speaker 1: I've been playing music ever since I was in elementary school,

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Speaker 1: at least learning how to play the kalle i. I

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Speaker 1: taught myself how to play that along with all the

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Speaker 1: other instruments I know, the upright bass, the guitar, and

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Speaker 1: my number one love, the Hawaiian still guitar, and I

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Speaker 1: taught myself to play the piano and so on. But

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Speaker 1: since since I was into music, I could read music

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Speaker 1: and so on, I could say, you know, I could

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Speaker 1: play a number of instruments. Plus I could teach it

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Speaker 1: as a band director. So um, that's pretty much my life. Still.

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Speaker 1: Guitar started when I was going into high school, so

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Speaker 1: like from eighth grade to ninth grade around there. And

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Speaker 1: the story is that this is back in the Renaissance,

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Speaker 1: the new Renaissance period for Hawaiian culture and music, and

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Speaker 1: that would be in the midst in the seventies, early seventies,

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Speaker 1: and and so um, my brother started learning how to

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Speaker 1: play the slacky guitar. He was teaching himself, and so

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Speaker 1: I wanted to play another instrument. At the time, I

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Speaker 1: you know, I could play the clarinet. You know, I

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Speaker 1: took the beginning band and intermediate band in middle school.

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Speaker 1: And then, um, so, as he was in the living

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Speaker 1: room playing, you know, practicing his slack key guitar technique,

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Speaker 1: I grabbed my my father's Martin guitar. I laid on

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Speaker 1: my lap and I grabbed the barrel of the clarinet.

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Speaker 1: I used that as that as a bar and I

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Speaker 1: started sliding across the strings. And I was really fascinated

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Speaker 1: with that song. And for some reason, you know, I

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Speaker 1: did that. Why. I thought about it later and I

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Speaker 1: understood why. But anyway, my my father came up to

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Speaker 1: me and asked if I knew what I was playing.

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Speaker 1: I just said, oh, slide guitar. He says, it's called

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Speaker 1: the steel guitar. Really, so he encouraged me to go on.

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Speaker 1: My father, by the way, at the time, was the

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Speaker 1: director of music at our church, kwai Hold Church, which

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Speaker 1: is the mother of Hawaiian churches. Anyway, he had a

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Speaker 1: large choir, like a hundred voices it was. It was

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Speaker 1: a very good choir too, So so anyway, um, he says, yeah,

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Speaker 1: you know, you should practice learn how to play this instrument.

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Speaker 1: So I did. I took it too hard, and because

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Speaker 1: I could read music, I put out a book, a

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Speaker 1: Hawaiian songbook, and I started flipping through the pages and

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Speaker 1: they said, oh, this one looks interesting. So I start

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Speaker 1: figuring it out on a on a slacky tuning. You know,

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Speaker 1: I didn't know the tuning, but you know, I just

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Speaker 1: kind of figured out the notes reading the music and

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Speaker 1: so on. And that first song and they tell a

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Speaker 1: lot of People was written by our Alexanderson, who wrote Melicali,

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Speaker 1: Kimaka and Lovely Who Has. But this song was what

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Speaker 1: Ginger Blossoms, and there was something about it, and I'll

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Speaker 1: play you a little bit of it, so as part

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Speaker 1: of the song white Ginger Blocks. Of course, it didn't

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Speaker 1: sound like that way back then. So anyway, I I um.

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Speaker 1: I would listen to recordings I'll try to copy. The

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Speaker 1: one that was the easiest one for me to learn

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Speaker 1: was by a still guitarist named David Fete Rogers. He

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Speaker 1: was in the group called the Sons of Hawaii and

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Speaker 1: at that time the Five Faces album by the Sons

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Speaker 1: of Hawaii or what many of us called the Red

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Speaker 1: Album because of the cover, was released and it was

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Speaker 1: quite popular with with the young musicians. It was a

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Speaker 1: new sound. It wasn't like the older traditional groups. It

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Speaker 1: was different, but they were all traditional songs, but it

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Speaker 1: was something about the still guitar. It was such a

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Speaker 1: simple style. I could pick up on it a lot quicker.

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Speaker 1: And the good thing about that is because my brother

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Speaker 1: and his friends what would practice in our living room

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Speaker 1: and they were practicing those the songs off of that album,

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Speaker 1: and so I could sit in the back and I could,

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Speaker 1: you know, practice you know, plugging into you know, one

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Speaker 1: of those stereo systems. You know, I could plug in

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Speaker 1: and I could play soft least I could hear myself.

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Speaker 1: And I didn't know they could hear me, you know.

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Speaker 1: In fact, I was wearing a headset because I thought, Okay,

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Speaker 1: if I plug in, they won't hear me. But they did.

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Speaker 1: They could hear what I was doing. Just so everybody knows.

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Speaker 1: Two of my brother's classmates who would come over. The

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Speaker 1: bass player is Aaron Mahi, who later became the longest

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Speaker 1: serving band master for the Aurora Hawaiian Band, and he

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Speaker 1: was an associate conductor or assistant conductor for the Honolululu Symphony.

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Speaker 1: And the other classmate was Dennis Kamakahi, who wrote many

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Speaker 1: songs that are considered classics today. He's passed done, but

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Speaker 1: his music still goes on and many people, many people

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Speaker 1: play his songs. I was actually with these people, you know,

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Speaker 1: I could play along with them and and so on.

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Speaker 1: So so it's like, wow, I played with these legends

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Speaker 1: and my brother. I would consider him about a legend too,

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Speaker 1: because he's in great demand as um not not necessarily

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Speaker 1: for music, although he plays a lot of music where

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Speaker 1: he's at at the Mountani. But because he's a ca

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Speaker 1: who and a ca who is like a minister, a priest,

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Speaker 1: and his services are requested all over the world, including

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Speaker 1: by the Disneys. So he's flown to the mainland, He's

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Speaker 1: flown to um To, to Asia, to Japan, to China,

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Speaker 1: to Korea, um, all over the place. In fact, he's

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Speaker 1: in San Francisco right now. Um. He just arrived there

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Speaker 1: last night to do a blessing. He does blessings all

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Speaker 1: over Hawaiian blessings. Anyway, that was quite a group, you know,

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Speaker 1: Aaron Mahi, Dennis Kamakahi, my brother Daniel Kaka Jr. I

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Speaker 1: went on with still guitar. I practiced. Um. I remember

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Speaker 1: there was a member of the church who said, hey,

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Speaker 1: you're you're you're playing still guitared here, I'll let you

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Speaker 1: borrow mine. I went, wow, a real still guitar and

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Speaker 1: not just a Martin um so, so he showed me

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Speaker 1: a few things. So I practiced and so on, and

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Speaker 1: I would go to the music shop, uh down at

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Speaker 1: our main shopping center, Ala Moana, and the music start

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Speaker 1: at that time had a number of LPs that anybody

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Speaker 1: could pick up. They were already opened, and we could

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Speaker 1: go into the carol and and listen to it. If

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Speaker 1: we liked it, I guess we could purchase it. I

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Speaker 1: would go there just to listen and I would pull

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Speaker 1: an album out, listen to it. They put it back

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Speaker 1: next one. What I was seeking was was really, you know,

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Speaker 1: different still guitar styles and players. And the people knew

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Speaker 1: me there. You know. UM. One of the women there,

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Speaker 1: I would call her Auntie. I saw her, I saw

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Speaker 1: her all the time. The owner of the shop UM,

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Speaker 1: a nice man also recording producer. UM. He would say

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Speaker 1: hi along the way and so on. But but you know, UM,

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Speaker 1: I I learned a lot of stow guitar just by

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Speaker 1: listening to those albums in what was called the household

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Speaker 1: music right in the center of the of the shopping center.

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Speaker 1: When I was in high school, UM, I was an

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Speaker 1: independent student. For another what should I call her? I

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Speaker 1: would call her a legend. Her name was Winona Biemer.

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Speaker 1: She collected to wine music and so on, and so

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Speaker 1: I was studying under her. So it was in her

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Speaker 1: office where I could collect like three photos of music

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Speaker 1: Hawaiian music, three three like two inch photos filled with

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Speaker 1: Hawaiian music. And then one day I was sitting there

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Speaker 1: to her desk and I saw this book by Jerry Bird.

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Speaker 1: I didn't know who Jerry was yet, um and and

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Speaker 1: so I flipped through it and there was music, and

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Speaker 1: I went, oh, my gosh, his diagram system for still

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Speaker 1: guitar is a lot easier to read than all these

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Speaker 1: male Babe books that I purchased. And um, the only

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Speaker 1: Hawaiian song in the male Baby books was a lohawaii,

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Speaker 1: you know. Otherwise there were all these other tunes that

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Speaker 1: you know, I didn't relate to. And so in Jerry's

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Speaker 1: he he had a lot of Hawaiian tunes. And so,

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Speaker 1: you know, she let me borrow the book forever and

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Speaker 1: I took it home. I went on my still guitar

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Speaker 1: um and started, you know, reading through his music, and

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Speaker 1: I didn't believe that I could play more, you know,

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Speaker 1: um and and actually sounds so much better just by

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Speaker 1: reading that music. I learned so much from that book.

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Speaker 1: And then when I got to meet Jerry finally, I

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Speaker 1: was so excited. Later on, you know, I was approached

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Speaker 1: by a member of the Hawaiian Music Foundation and he

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Speaker 1: asked if I wanted to take private lessons with somebody.

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Speaker 1: I said sure, especially when he mentioned the name Poor

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Speaker 1: al Mada, Poor al Mada, and he was a famous musician.

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Speaker 1: He was on what he calls he was a great musician.

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Speaker 1: And so I waited, and unfortunately, since he was in

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Speaker 1: such demand, he was too busy to even get me started.

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Speaker 1: And and and then he passed. Um he had a

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Speaker 1: heart attack. He passed, And so I never had a

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Speaker 1: chance to to sit down with him. I've heard him

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Speaker 1: live and on the still guitar he was. He was

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Speaker 1: an animal. Oh my gosh, I was. I was hoping

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Speaker 1: to study with him. And so months passed by and

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Speaker 1: I was approached again if I wanted to study with

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Speaker 1: another person who who just moved to Honolulu, And that

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Speaker 1: person was Jerry Bird, And so I said sure. By

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Speaker 1: then I knew who Jerry Bird was because I had

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Speaker 1: I listened to his Bird of Paradise lp. And then

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Speaker 1: my uncle, who was a vice president of the Musicians Union,

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Speaker 1: had mentioned to me. He says, yeah, you know, Jerry

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Speaker 1: Bird came in with his still guitar and he could

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Speaker 1: play two voices at the same time, and and go, wow, gee,

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Speaker 1: who is Jerry Bird? And so anyway, everything was set up,

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Speaker 1: and I met Jerry for the first time in the

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Speaker 1: what he calls office of all places, because I was

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Speaker 1: such a big fan of what he calls Still. So

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Speaker 1: he sat me down. He says, play me something. I

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Speaker 1: was holy the skinny bar, and I was playing the

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Speaker 1: still guitar. At the end of the song, he says,

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Speaker 1: give me that bar. So I handed it to him reluctantly,

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Speaker 1: of course. And then here under wrapped this brand new bars,

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Speaker 1: brand new bar. It was wider, and it was to

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Speaker 1: his specs. He says, here, I'm going to show you

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Speaker 1: how to hold this now, and and and that was

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Speaker 1: a start of my lessons with with Jerry. And and

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Speaker 1: he was an incredible teacher. He taught me, you know,

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Speaker 1: a lot of things, technique musicality, which to me is

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Speaker 1: the most important, how to play musically rather than plain notes.

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Speaker 1: This is about when I was graduating. Yeah, and the

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Speaker 1: year after that. I believe I had lessons for two summers,

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Speaker 1: which seems kind of sharp. I wish I could have

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Speaker 1: taken more lessons, but my scholarship, I guess had run

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Speaker 1: out by then. But I started going out there and

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Speaker 1: playing with the others and sometimes I played still guitars.

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Speaker 1: Sometimes I played the upright bass, and lucky I knew

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Speaker 1: how to play upright bass because I had the opportunity

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Speaker 1: to play with many other legends and even travel with them.

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Speaker 1: One of them was Billy Hill. An interesting thing about

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Speaker 1: Billy hillnn he only had one hand. His left hand

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Speaker 1: was severed in the shop accident in high school. You know,

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Speaker 1: he was an aspiring musician. I mean, he came from

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Speaker 1: a musical family. But luckily somebody was able to develop

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Speaker 1: a glove going over his wrist that had a bar

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Speaker 1: attached to it, and so so Billy Billy practiced and

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Speaker 1: so on, and he became a monster on the still guitar.

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Speaker 1: I mean I would play bass and I would be

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Speaker 1: watching him, and he was incredible. He was he was

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Speaker 1: a tiny guy, but he was just a fantastic musician.

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Speaker 1: I mean, when when it came to singing parts, he

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Speaker 1: could choose to go above or below the melody. I

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Speaker 1: mean he was well so cood to his brother, but

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Speaker 1: on the still guitar, he was just he had all

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Speaker 1: these ideas. He liked to play swing and jazz, you know,

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Speaker 1: and incorporated into Hawaiian music. And I love that the best,

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Speaker 1: but you know he was he was. He was a

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Speaker 1: real perky guy, the first one to wake up, the

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Speaker 1: last one to go to bed. But I noticed he

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Speaker 1: popped a lot of vitamin E too. He had so

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Speaker 1: much energy on the stage. He taught me a few

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Speaker 1: things other than me just observing him. But you know,

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Speaker 1: like when it came to singing songs, especially if there

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Speaker 1: was a trio, every voice counted. You know, he says

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Speaker 1: sing I said, I don't know the words. He said,

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Speaker 1: follow my lips. And I always remember that, you know,

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Speaker 1: because I tell my my students that, you know, if

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Speaker 1: they're on the stage and I tell them follow my lips.

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Speaker 1: You know, he didn't go to music school or anything.

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Speaker 1: Everything was you know, learned in in the back alley

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Speaker 1: at home someplace. But yeah, he truly is a legend.

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Speaker 1: Uh And and then you know he has a grandson,

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Speaker 1: Casey Osen, who also is quite a monster on the

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Speaker 1: still guitar. He's really good. Um so, so Billy left

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Speaker 1: the legacy, you know, through his grandson. His son in

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Speaker 1: law is also a great guitarist and singer. Billy also,

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Speaker 1: you know, when it came to rhythm, he was stickler

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Speaker 1: for rhythm, so on those occasions when I had to

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Speaker 1: play the guitar, he would he would say no, no,

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Speaker 1: no like this. You know, he couldn't play it himself,

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Speaker 1: but he he showed me what he wanted. I would

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Speaker 1: go to the nightclub where he played down in the

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Speaker 1: White Kicking. It was called the Blue Dolphin Room, and

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Speaker 1: he played with other legends, and really I do mean legends,

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Speaker 1: um recording artists and so on. You know, even though

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Speaker 1: I was under age, you know, you know, I tried

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Speaker 1: to go wherever there was a still guitars. He would

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Speaker 1: take his break, his break, not the musicians break. He

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Speaker 1: would say, it comes plays still guitar. So he let

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Speaker 1: me play his still guitar while he was drinking, you know,

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Speaker 1: at the bar and so on. By the way, he

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Speaker 1: wasn't the only one that did that to me. They

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Speaker 1: were others. They would take a break. Sometimes it's you know,

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Speaker 1: one or two songs, and then it would later on

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Speaker 1: it would last the whole set while they drinking. Yeah,

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Speaker 1: in those days, the musicians drank a lot. Things have changed.

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Speaker 1: Times have changed a lot of musicians don't drink nearly

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Speaker 1: nearly half as much as what those old timers used to.

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Speaker 1: So Billy would nor play a six string fry pan

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Speaker 1: by Rick and Becker at gigs, but at that Blue

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Speaker 1: Dolphin Nightclub he had a Fender four hundred, which is

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Speaker 1: a single neck, eight string pedal steel guitar, but I

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Speaker 1: think for uh foot pedals, and so that was my

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Speaker 1: chance to figure out, you know, how to get cards

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Speaker 1: on that pedal still guitar. I just loved it, uh

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Speaker 1: you know, just that opportunity to to to play on

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Speaker 1: the pedal still guitar and to play on Billy Hill

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Speaker 1: and still guitar. And then um, I remember going out

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Speaker 1: to to a spot right along Kla Kaua Avenue, the

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00:22:44,800 --> 00:22:49,080
Speaker 1: main drag through Wiki and there was a singer, Eddie Kikalala,

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Speaker 1: who was selling his LPs right on the street and

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Speaker 1: doing very good in fact risk business because he was

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Speaker 1: the only one on the street in those days, and

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Speaker 1: he had his mike set up and everything, and two

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Speaker 1: backup musicians and guitarist and still guitarists. The still guitarists

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Speaker 1: was David Kelly, who had returned home. He was living

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Speaker 1: in Vegas prior to that, but he was a renowned

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Speaker 1: still guitarist and revered by many, including some of the

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Speaker 1: famous pedals still guitar players from country music. I mean

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Speaker 1: they told me they used to listen to David Kelly

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Speaker 1: when they were learning still guitar. So David Kelly wasn't young,

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Speaker 1: but I would listen to him, and I remember standing

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Speaker 1: and watching him and he was playing, and then I

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Speaker 1: would see him turning his keys. By the end of

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Speaker 1: the song, he was in a different tuning. So I

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Speaker 1: learned that from David. So I do that myself because

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Speaker 1: it can be done. I mean, just by watching him,

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Speaker 1: I knew it could be done. And then you know,

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00:23:57,080 --> 00:24:02,520
Speaker 1: when talking to him, um his advice that I'll always remember.

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00:24:02,600 --> 00:24:07,560
Speaker 1: He said, see your hands, keep them in your pocket.

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00:24:08,680 --> 00:24:15,520
Speaker 1: Their gold protect him. So all these all these artists,

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00:24:15,600 --> 00:24:19,400
Speaker 1: these legends had you know a little tip for me

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00:24:20,640 --> 00:24:24,320
Speaker 1: that that I share with my students. You know. Going

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Speaker 1: back to David feet Rogers, whenever I could, I would

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00:24:28,320 --> 00:24:32,000
Speaker 1: go out in and watch him. I remember he played

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Speaker 1: an instrumental um between verses of a song, and so

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00:24:36,800 --> 00:24:38,920
Speaker 1: later I asked him, do you play the same one

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00:24:39,080 --> 00:24:41,080
Speaker 1: or does it change, you know, from day to day,

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00:24:41,880 --> 00:24:46,680
Speaker 1: or get to gate and he says, play from your heart.

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Speaker 1: I mean he was, he was, he was a simple

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Speaker 1: man to six ft something. Um had one glass eye.

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00:24:54,480 --> 00:24:56,080
Speaker 1: I didn't know which was to look at, you know,

349
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Speaker 1: when I was talking to him and kind of intimidating looking.

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Speaker 1: You know, you wouldn't want to meet him in the

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00:25:02,440 --> 00:25:07,280
Speaker 1: dark alley. You know, he looks scary. But when he played,

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Speaker 1: oh my gosh, it was like it was like sweetness.

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Speaker 1: We have a Hawaiian word for that. It's nah nah

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Speaker 1: soft and sweet. And so he's to play from your heart.

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Speaker 1: You know, I understand what he meant by that. But

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Speaker 1: I tell my students, you know, the still guitar, you know,

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Speaker 1: when you're playing, it's a feel thing. The same idea

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00:25:34,040 --> 00:25:37,520
Speaker 1: played from your heart. It's a feel thing. Whatever you do,

359
00:25:37,600 --> 00:25:41,639
Speaker 1: you learn my tab. When you got it down pretty well,

360
00:25:42,280 --> 00:25:45,960
Speaker 1: then close the book and to play it. You don't

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00:25:45,960 --> 00:25:48,920
Speaker 1: have to play every single note I wrote. Just feel

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00:25:48,960 --> 00:25:53,120
Speaker 1: your way through it. It's a feel thing. David feet

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Speaker 1: Rogers was actually my first teacher off of his LP

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Speaker 1: and I followed him through the years and and and

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Speaker 1: so on. I just loved his playing, and every now

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00:26:04,200 --> 00:26:07,120
Speaker 1: and then, depending on the style of Hawaiian music, I'll

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00:26:07,160 --> 00:26:12,760
Speaker 1: kick into his style whatever fits that style and his

368
00:26:12,840 --> 00:26:16,640
Speaker 1: works especially with the more contemporary Hawaiian music because it's

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00:26:16,680 --> 00:26:22,119
Speaker 1: so simple it fits right between the cracks. Musically, he

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00:26:22,240 --> 00:26:25,199
Speaker 1: was incredible. I mean, you know, he played only a

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00:26:25,240 --> 00:26:27,320
Speaker 1: six string, not a h string, not a double neck,

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00:26:27,400 --> 00:26:30,480
Speaker 1: not a triple neck, just a six drink still guitar.

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Speaker 1: And it wasn't even a seventh tuning or minor tuning

374
00:26:35,920 --> 00:26:39,800
Speaker 1: or anything. It was a straight D tuning D major.

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Speaker 1: That was enough. That was enough. His uncle, Bennie Rodgers,

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00:26:46,520 --> 00:26:51,040
Speaker 1: was also an influence on me. Bennie Rodgers um played

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00:26:51,080 --> 00:26:55,639
Speaker 1: with Genoa Cave, who many years later I played with

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00:26:55,880 --> 00:26:59,080
Speaker 1: since the eighties until she passed away almost ten more

379
00:26:59,119 --> 00:27:02,560
Speaker 1: than ten years ago. Well he's still guitar, He's on

380
00:27:02,640 --> 00:27:04,959
Speaker 1: many of her albums, and so I would listen to it.

381
00:27:05,200 --> 00:27:09,920
Speaker 1: I'll try to copy so so unlike feet Rogers, Bennie's

382
00:27:10,000 --> 00:27:14,680
Speaker 1: style was a little busier, but but it still had

383
00:27:15,800 --> 00:27:19,520
Speaker 1: that Roger's flavor in there. And so so I studied

384
00:27:19,600 --> 00:27:22,760
Speaker 1: that and everything. I got to the point where if

385
00:27:22,800 --> 00:27:26,439
Speaker 1: I was listening to the radio and I heard a

386
00:27:26,520 --> 00:27:30,760
Speaker 1: turnaround or still guitar vamp, I knew exactly what song

387
00:27:31,600 --> 00:27:35,679
Speaker 1: it was, you know, I just knew. I studied his

388
00:27:35,760 --> 00:27:37,840
Speaker 1: style a lot. So when I started playing with the

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00:27:37,840 --> 00:27:42,439
Speaker 1: Anti Genoa, I kicked into that Bennie Rogers style. I

390
00:27:42,520 --> 00:27:44,399
Speaker 1: read turned one of my still guitars, and I played

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00:27:44,400 --> 00:27:48,919
Speaker 1: that along with her along the way too before I

392
00:27:49,040 --> 00:27:52,240
Speaker 1: ended up being her still guitars. I would go over

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00:27:52,320 --> 00:27:57,080
Speaker 1: to a nightclub called the Aloha Grow. It was right

394
00:27:57,160 --> 00:28:01,240
Speaker 1: in downtown, and so she would play there on the weekend.

395
00:28:01,359 --> 00:28:04,879
Speaker 1: So I would go there. Again. I think I was underage,

396
00:28:05,760 --> 00:28:08,160
Speaker 1: but I would go there and then she would call

397
00:28:08,200 --> 00:28:11,080
Speaker 1: me up the still guitars would step down. He had

398
00:28:11,119 --> 00:28:14,400
Speaker 1: a trip on that. I said, oh my gosh, this

399
00:28:14,480 --> 00:28:18,320
Speaker 1: is my opportunity to try out his two needs. So

400
00:28:18,400 --> 00:28:20,240
Speaker 1: I did. So, you know, at the beginning, it was

401
00:28:20,480 --> 00:28:24,560
Speaker 1: two songs. As time went by, I would be up

402
00:28:24,600 --> 00:28:27,639
Speaker 1: there the whole set and I would be playing with

403
00:28:27,680 --> 00:28:32,400
Speaker 1: the Jena Calvi Anti Jenna Calvi. Oh, by the way,

404
00:28:32,520 --> 00:28:36,359
Speaker 1: that that picture behind my upright base, that's her Anti

405
00:28:36,400 --> 00:28:40,120
Speaker 1: Genoah's great granddaughter. By the way, is uh one of

406
00:28:40,120 --> 00:28:43,400
Speaker 1: my star students. She's what a sophomore in high school

407
00:28:44,360 --> 00:28:49,240
Speaker 1: and she has quite a voice, and she's a demon

408
00:28:49,320 --> 00:28:52,840
Speaker 1: on the still guitar. Whatever I teach her, she soaks

409
00:28:52,920 --> 00:28:56,520
Speaker 1: up and she starts using some of those ideas. I mean,

410
00:28:57,480 --> 00:28:59,600
Speaker 1: and I just watched her. She just keeps on going

411
00:28:59,640 --> 00:29:03,280
Speaker 1: in I rarely hear her play a wrong note. You know,

412
00:29:03,440 --> 00:29:06,000
Speaker 1: she's going all over the still guitar and then going

413
00:29:06,240 --> 00:29:11,400
Speaker 1: WHOA a sophomore? Well, I mean, I mean she was

414
00:29:11,440 --> 00:29:13,960
Speaker 1: playing my still guitar when she could hardly reach it.

415
00:29:14,080 --> 00:29:17,320
Speaker 1: You know, that was seven years ago. I got upon

416
00:29:17,560 --> 00:29:19,680
Speaker 1: the stage. She couldn't her feet didn't even reach the

417
00:29:19,760 --> 00:29:23,280
Speaker 1: floor with the still guitar in her lap. And she

418
00:29:23,280 --> 00:29:25,600
Speaker 1: she played a song. She sang it, and she played

419
00:29:25,600 --> 00:29:30,000
Speaker 1: a solo. I mean, she was in elementary school. Man,

420
00:29:30,240 --> 00:29:33,640
Speaker 1: it's so you know, Yeah, she's incredible. Her name is

421
00:29:33,720 --> 00:29:37,720
Speaker 1: Molly and Lyman. I bring her to my still guitar

422
00:29:37,800 --> 00:29:42,640
Speaker 1: festivals whenever she's available. Oh and and an adult, you know, chaperone,

423
00:29:42,680 --> 00:29:47,040
Speaker 1: either her mother or her grandparents or somebody. Could you

424
00:29:47,080 --> 00:29:50,720
Speaker 1: give me, like as if I had never heard or

425
00:29:50,800 --> 00:29:54,160
Speaker 1: seen a steel guitar before, what is it? What makes

426
00:29:54,160 --> 00:29:57,240
Speaker 1: the stell guitar what it is? What makes it different

427
00:29:57,320 --> 00:30:01,640
Speaker 1: from a guitar? Is that Number one, you play it

428
00:30:01,720 --> 00:30:06,560
Speaker 1: horizontally normally on your lap unless it has legs or stand.

429
00:30:07,360 --> 00:30:10,880
Speaker 1: Then the nut is raised so that the strings are

430
00:30:10,920 --> 00:30:14,160
Speaker 1: not so close to the fret board. It has to

431
00:30:14,160 --> 00:30:17,920
Speaker 1: be that way because we use a metal bar to

432
00:30:18,040 --> 00:30:21,600
Speaker 1: slide across the strings. If we use a standard guitar

433
00:30:22,000 --> 00:30:24,760
Speaker 1: will bump into the raised frets. In the case of

434
00:30:24,800 --> 00:30:28,920
Speaker 1: the still guitar, with the raised nut, um I could

435
00:30:28,960 --> 00:30:39,280
Speaker 1: just glide. I'm not structed. Of course. In the early

436
00:30:39,400 --> 00:30:43,880
Speaker 1: days it was a wooden guitar acoustic and I'm talking

437
00:30:43,880 --> 00:30:47,720
Speaker 1: about the turn of the century. Twenty century later on

438
00:30:47,920 --> 00:30:50,200
Speaker 1: National came out with the try Cone, dough Brow of

439
00:30:50,280 --> 00:30:53,240
Speaker 1: cars came out Worth theirs. Uh. There was a Wisen

440
00:30:53,320 --> 00:30:56,680
Speaker 1: Barn company that came out with their wooden guitars and

441
00:30:56,800 --> 00:31:01,600
Speaker 1: acoustically produced more sound than some of the other guitars.

442
00:31:01,920 --> 00:31:05,360
Speaker 1: The doll Brow and the National with their cones. You know,

443
00:31:05,680 --> 00:31:08,600
Speaker 1: it amplified the sound to a degree, so you know

444
00:31:08,760 --> 00:31:12,000
Speaker 1: it could be heard more. Later on, you know, in

445
00:31:12,040 --> 00:31:17,240
Speaker 1: the thirties the electric amplifier was developed and then the

446
00:31:17,320 --> 00:31:22,080
Speaker 1: electric guitar, and the first electric guitar was a still guitar.

447
00:31:23,440 --> 00:31:28,840
Speaker 1: A big difference was one amplification to sustain. When I

448
00:31:28,840 --> 00:31:31,760
Speaker 1: play on my acoustic, I gotta pick more. There were

449
00:31:31,760 --> 00:31:35,080
Speaker 1: certain things that the acoustic players did besides picking more,

450
00:31:35,160 --> 00:31:46,520
Speaker 1: but they would do rows like this. They would just

451
00:31:46,600 --> 00:31:51,960
Speaker 1: pick more, you know, things like that. Still guitars today,

452
00:31:52,080 --> 00:31:55,000
Speaker 1: you know, you don't have to pick as much. You

453
00:31:55,040 --> 00:31:59,840
Speaker 1: can make each note sing more. Its The sustain is

454
00:31:59,880 --> 00:32:03,880
Speaker 1: so much better. One huge difference with the still guitar

455
00:32:04,120 --> 00:32:06,880
Speaker 1: is the different sounds you can get out of it,

456
00:32:07,280 --> 00:32:11,840
Speaker 1: especially the lisandos. No instrument can do lisando like a

457
00:32:11,960 --> 00:32:19,560
Speaker 1: still guitar. Maybe if you get a pinky slide on

458
00:32:19,600 --> 00:32:21,440
Speaker 1: the guitar, you you can play a card and you

459
00:32:21,440 --> 00:32:23,400
Speaker 1: can slide. But I tell you it's not the same.

460
00:32:24,240 --> 00:32:27,280
Speaker 1: The tone is not the same. Hopefully, if you're doing

461
00:32:27,320 --> 00:32:30,360
Speaker 1: on the one octave slide, you'll reach the octave before

462
00:32:30,560 --> 00:32:33,880
Speaker 1: the violent fades away. Yeah. On the electric still guitars,

463
00:32:34,000 --> 00:32:37,120
Speaker 1: the sound doesn't decay so quickly. Yeah. Well, it depends

464
00:32:37,160 --> 00:32:42,880
Speaker 1: on the pickup, right or maybe the player. What are

465
00:32:42,920 --> 00:32:47,920
Speaker 1: some of the the different styles of steel guitar music. Well,

466
00:32:47,960 --> 00:32:52,000
Speaker 1: you have bluegrass, you have country, you have Indian classical,

467
00:32:52,360 --> 00:32:57,080
Speaker 1: you have Japanese, you name it, getting to Hawaiian. There

468
00:32:57,080 --> 00:33:00,120
Speaker 1: are different styles and it's regional, believe it a not.

469
00:33:00,840 --> 00:33:03,960
Speaker 1: You go to Europe, uh, I find that many of

470
00:33:04,000 --> 00:33:09,800
Speaker 1: them love love to um use the reverb. I mean

471
00:33:09,840 --> 00:33:12,880
Speaker 1: it's really wet, a lot of reverb, and they go

472
00:33:13,560 --> 00:33:17,520
Speaker 1: too much. I'm drowning. And yet you know, when you

473
00:33:17,600 --> 00:33:20,880
Speaker 1: listen to some of the older Hawaiian recordings, you know,

474
00:33:20,920 --> 00:33:22,960
Speaker 1: like the seventy eighth and so on, if somebody is

475
00:33:22,960 --> 00:33:27,400
Speaker 1: playing an electric steel uh, those amplifiers didn't have reverb,

476
00:33:29,400 --> 00:33:32,960
Speaker 1: and and maybe the highs, so you know you have

477
00:33:33,080 --> 00:33:39,040
Speaker 1: this this nice, you know, thick, robust, dark, um, food

478
00:33:39,080 --> 00:33:43,840
Speaker 1: bodied sound coming out of a steel guitar versus nowadays,

479
00:33:43,880 --> 00:33:45,920
Speaker 1: you know, with the amplifiers, you know, you can raise

480
00:33:45,960 --> 00:33:50,080
Speaker 1: the highs up as you know, pretty pretty high uh,

481
00:33:50,320 --> 00:33:52,640
Speaker 1: and so on, you know the mids as well as

482
00:33:53,240 --> 00:33:57,760
Speaker 1: but you know, I I like the darker tone. So anyway, um,

483
00:33:57,760 --> 00:34:00,840
Speaker 1: getting back to styles, then you know there's a different

484
00:34:01,320 --> 00:34:05,480
Speaker 1: substyles of the Hawaiian music genre. There's the more traditional

485
00:34:06,000 --> 00:34:09,640
Speaker 1: and the more traditional again you know that dark, that

486
00:34:09,760 --> 00:34:14,440
Speaker 1: food bodied, rich sounding, and then you get into um,

487
00:34:14,680 --> 00:34:18,719
Speaker 1: more of the more contemporary. Talking after the seventies, yeah,

488
00:34:19,200 --> 00:34:24,560
Speaker 1: the where the Hawaiian music was influenced by another genre

489
00:34:24,920 --> 00:34:29,400
Speaker 1: from the mainland. Okay, from the mainland, Hawaiian music was

490
00:34:29,480 --> 00:34:33,000
Speaker 1: always influenced by what was going on in the mainland,

491
00:34:33,040 --> 00:34:36,480
Speaker 1: from the missionaries bringing over their New England books from

492
00:34:36,520 --> 00:34:41,080
Speaker 1: the Hymn Knows to Henry Berger bringing music from Germany.

493
00:34:41,120 --> 00:34:43,840
Speaker 1: He was from outside of Berlin, so bringing that style

494
00:34:44,000 --> 00:34:48,839
Speaker 1: to the islands, and the Hawaiian Royalty studying under him.

495
00:34:48,880 --> 00:34:51,839
Speaker 1: So there was that. And then you know, at the

496
00:34:51,840 --> 00:34:56,799
Speaker 1: turn of the century into the nineteen hundreds, you know

497
00:34:56,880 --> 00:34:59,879
Speaker 1: that then you have um that style of music come

498
00:35:00,040 --> 00:35:03,640
Speaker 1: in from the mainland. Plus some of the composers actually studied,

499
00:35:03,680 --> 00:35:06,239
Speaker 1: you know in the mainland and then they came home.

500
00:35:06,480 --> 00:35:10,799
Speaker 1: And then later on, you know, there was swing from

501
00:35:10,840 --> 00:35:13,800
Speaker 1: big band to so on. I I love to play swing.

502
00:35:13,920 --> 00:35:15,719
Speaker 1: I mean, you know how what you cause was my thing,

503
00:35:15,800 --> 00:35:18,400
Speaker 1: So I played more of that style. And then you

504
00:35:18,400 --> 00:35:21,799
Speaker 1: know there were the other groups like Genoa, Kava and

505
00:35:21,840 --> 00:35:26,600
Speaker 1: so on. Then later when things started to change, you know,

506
00:35:26,800 --> 00:35:29,719
Speaker 1: around the seventies, the Renaissance, and that was you know

507
00:35:29,760 --> 00:35:33,160
Speaker 1: they hate Ashbury days too, you know, Vietnam War. So

508
00:35:33,680 --> 00:35:36,680
Speaker 1: things were changing in America. So was the style of music,

509
00:35:37,880 --> 00:35:41,600
Speaker 1: and I could hear it in the Islands. Here. Some

510
00:35:41,600 --> 00:35:45,200
Speaker 1: some recordings that are considered classics today. They're from that era.

511
00:35:45,360 --> 00:35:48,080
Speaker 1: In those days, I you know, I didn't want to

512
00:35:48,600 --> 00:35:51,160
Speaker 1: I didn't want to listen to them. I couldn't relate

513
00:35:51,200 --> 00:35:54,560
Speaker 1: to them. They were not the traditional Hawaiian music that

514
00:35:54,719 --> 00:35:58,920
Speaker 1: I grew up with and loved. But today I listened

515
00:35:58,960 --> 00:36:00,799
Speaker 1: to it. I I know the people who sang it,

516
00:36:00,880 --> 00:36:03,959
Speaker 1: you know, um, they're all friends and so and and

517
00:36:03,960 --> 00:36:09,520
Speaker 1: and it's like beautiful, you know. And and yet now

518
00:36:09,640 --> 00:36:15,000
Speaker 1: you know, in in Um there's more music being written,

519
00:36:15,360 --> 00:36:18,680
Speaker 1: but the style is very different from the fourties and fifties.

520
00:36:19,000 --> 00:36:21,360
Speaker 1: The style, you know, the strumming of the guitar, the

521
00:36:21,520 --> 00:36:24,200
Speaker 1: used to ukulele, just you know, even the melody of

522
00:36:24,239 --> 00:36:28,640
Speaker 1: the songs or even even the lyrics in Hawaiian is

523
00:36:28,719 --> 00:36:32,440
Speaker 1: different from before. So when it comes to the still guitar,

524
00:36:32,520 --> 00:36:36,840
Speaker 1: like I said, it's a feel thing, it's like, okay,

525
00:36:37,080 --> 00:36:39,200
Speaker 1: you want to make sure that you enhance the music,

526
00:36:39,280 --> 00:36:41,560
Speaker 1: so you make it. Whatever you do, you make it fit.

527
00:36:42,680 --> 00:36:47,600
Speaker 1: Are you gonna do something like this that might not fit?

528
00:36:47,640 --> 00:36:52,399
Speaker 1: But if I do this just a simple try at

529
00:36:52,440 --> 00:36:56,640
Speaker 1: an archego that might fit better. And and and the

530
00:36:56,680 --> 00:37:00,480
Speaker 1: reason for that is because now some of the rhythm

531
00:37:00,600 --> 00:37:04,440
Speaker 1: instruments are are are busier they're they're playing some of

532
00:37:04,480 --> 00:37:09,520
Speaker 1: their own licks rhythmically, unlike before where the rhythm players

533
00:37:09,560 --> 00:37:13,040
Speaker 1: just played rhythm. Nowadays it's like they're doing that, but

534
00:37:13,280 --> 00:37:15,400
Speaker 1: you know there's a lot of stuff going on or

535
00:37:15,480 --> 00:37:18,160
Speaker 1: maybe the lookal Alan players picking in the background or

536
00:37:18,200 --> 00:37:22,600
Speaker 1: whatever it is, you know, a different times. And so

537
00:37:22,760 --> 00:37:25,680
Speaker 1: with the still guitar, you know, scaling back is is

538
00:37:25,719 --> 00:37:29,400
Speaker 1: a good idea again for for a musician and artists.

539
00:37:29,400 --> 00:37:34,759
Speaker 1: It's it's it's fitting in. Yeah, not not not just

540
00:37:34,920 --> 00:37:43,560
Speaker 1: squeezing in, but fitting in. When you get a news student,

541
00:37:44,400 --> 00:37:46,600
Speaker 1: what are some of the basics that you show them, Like,

542
00:37:46,600 --> 00:37:48,800
Speaker 1: what are the things you need to learn? This first?

543
00:37:48,840 --> 00:37:51,399
Speaker 1: And then this And the first thing is the bar

544
00:37:51,560 --> 00:37:54,960
Speaker 1: the left hand. You gotta learn how to hold the

545
00:37:55,000 --> 00:37:58,919
Speaker 1: bar between your thumb and your middle finger. Then pinch

546
00:37:59,000 --> 00:38:01,000
Speaker 1: it or squeeze it what every bird would say, pinch

547
00:38:01,080 --> 00:38:04,640
Speaker 1: it and flat the bar over, place it on, the

548
00:38:05,000 --> 00:38:10,640
Speaker 1: place it on the strings, and and and hold it

549
00:38:10,680 --> 00:38:13,279
Speaker 1: down and make sure that the bar is even with

550
00:38:13,360 --> 00:38:17,240
Speaker 1: the frets. Now, oh, here's another difference between the guitar

551
00:38:18,200 --> 00:38:22,760
Speaker 1: and the still guitar. We placed the bar over the line,

552
00:38:22,960 --> 00:38:27,720
Speaker 1: not between the lines, over the line. Uh, and then

553
00:38:28,080 --> 00:38:31,000
Speaker 1: when you're sliding the bar, yeah, keep the bar even

554
00:38:32,840 --> 00:38:38,360
Speaker 1: you can hear that, keep it even with the frets.

555
00:38:39,880 --> 00:38:42,279
Speaker 1: And then when you're exercising going from one threat to

556
00:38:42,360 --> 00:38:44,560
Speaker 1: the other, make sure you stop right there, right over

557
00:38:44,600 --> 00:38:52,680
Speaker 1: the fret the second right hand. Eventually I get into this,

558
00:38:52,719 --> 00:38:56,120
Speaker 1: But one of the most important things is palm muting,

559
00:38:57,239 --> 00:39:00,560
Speaker 1: because if you don't palm mute, you're going to get

560
00:39:00,600 --> 00:39:09,319
Speaker 1: what I call ghost notes. For example, got all those

561
00:39:09,360 --> 00:39:12,200
Speaker 1: ghost notes in there, you know what them. Harmonically they

562
00:39:12,200 --> 00:39:18,399
Speaker 1: don't fit. But if I pomute correctly, that melody line

563
00:39:18,400 --> 00:39:35,759
Speaker 1: will come out, big difference. So the right and left

564
00:39:35,760 --> 00:39:40,120
Speaker 1: hand technique very very, very important. I know that there

565
00:39:40,120 --> 00:39:44,200
Speaker 1: are other styles of technique from other players, and you

566
00:39:44,239 --> 00:39:47,120
Speaker 1: know it works for them, but Jerry Bird taught me

567
00:39:47,360 --> 00:39:50,040
Speaker 1: this system, and this is a system I used today

568
00:39:50,400 --> 00:39:54,400
Speaker 1: and it works very well. So that you know, you know,

569
00:39:54,480 --> 00:39:58,120
Speaker 1: people when they're playing they're playing music and not not

570
00:39:58,280 --> 00:40:07,200
Speaker 1: you know, well yeah and savory stuff. So technique hand

571
00:40:07,200 --> 00:40:10,000
Speaker 1: technique is very important. The next thing is they gotta

572
00:40:10,160 --> 00:40:13,880
Speaker 1: they have to learn how to read the tablature. Even

573
00:40:13,920 --> 00:40:17,600
Speaker 1: if they never studied music before. Tablature is quite easy

574
00:40:17,640 --> 00:40:21,880
Speaker 1: to understand. Because it's a system where you know, in

575
00:40:21,920 --> 00:40:26,160
Speaker 1: the staff um there are lines that represent every string

576
00:40:26,360 --> 00:40:29,720
Speaker 1: on the still guitar. I normally go with six lines

577
00:40:30,560 --> 00:40:33,440
Speaker 1: because I teach six strings still guitar. If somebody has

578
00:40:33,480 --> 00:40:36,000
Speaker 1: eight strings, well they can forget about the bottom two

579
00:40:36,400 --> 00:40:41,760
Speaker 1: uh before. Now on the staff there are numbers, and

580
00:40:41,960 --> 00:40:47,360
Speaker 1: the numbers represent the frets. So if I say okay

581
00:40:47,680 --> 00:40:50,440
Speaker 1: in the music, that is okay, put your bar on

582
00:40:50,880 --> 00:40:57,760
Speaker 1: string three, fret three. Okay, Now slide up to fret

583
00:40:57,840 --> 00:41:03,399
Speaker 1: five and pick on string one, same string, fret three,

584
00:41:05,440 --> 00:41:16,480
Speaker 1: same string, fret six. By the way, that's an opening

585
00:41:16,520 --> 00:41:19,640
Speaker 1: line for Beyond the Reef, a classic tune. Can you

586
00:41:19,640 --> 00:41:22,080
Speaker 1: give me the next little bit of beyond? I'll play here.

587
00:41:53,440 --> 00:41:57,680
Speaker 1: So that's the first verse. That is that one of

588
00:41:57,719 --> 00:42:00,440
Speaker 1: those songs that if you're a still guitar player you

589
00:42:00,520 --> 00:42:02,560
Speaker 1: just have to know it. What would be good to

590
00:42:02,560 --> 00:42:04,920
Speaker 1: know it? But it's one of the one of the

591
00:42:04,960 --> 00:42:09,600
Speaker 1: first songs I teach because with that one we can

592
00:42:09,640 --> 00:42:12,880
Speaker 1: work on what I call the patta. The patta is

593
00:42:12,880 --> 00:42:17,040
Speaker 1: when you're going from one string to another string on

594
00:42:17,160 --> 00:42:20,359
Speaker 1: two different threats. If I don't do the pata, it's

595
00:42:20,360 --> 00:42:22,839
Speaker 1: going to sound like this. Remember I mentioned ghost notes.

596
00:42:25,560 --> 00:42:29,400
Speaker 1: But if I do pata, which is pick, slide the

597
00:42:29,440 --> 00:42:44,279
Speaker 1: bar to your target, freat then mute, or if I

598
00:42:44,320 --> 00:42:52,080
Speaker 1: do it in temple, the important thing is having that

599
00:42:52,239 --> 00:42:56,760
Speaker 1: slide between the two notes. It's like what people sing,

600
00:42:57,480 --> 00:43:00,600
Speaker 1: you know, the great singers, their notes are all connected.

601
00:43:02,719 --> 00:43:04,560
Speaker 1: We have to do the same thing with this voice

602
00:43:05,239 --> 00:43:55,919
Speaker 1: on the still guitar. Is it the sound that drew

603
00:43:55,960 --> 00:43:58,680
Speaker 1: you to the instrument in the first place? Alan, The

604
00:43:58,760 --> 00:44:03,040
Speaker 1: sound did draw me there. You know, growing up, I

605
00:44:03,080 --> 00:44:08,320
Speaker 1: would go to functions, you know, parties with my parents,

606
00:44:08,640 --> 00:44:11,480
Speaker 1: you know lou Ow's, you know, the Hawaiian fees. There

607
00:44:11,520 --> 00:44:14,480
Speaker 1: would be the you know the baby baby loue Oh,

608
00:44:14,800 --> 00:44:18,160
Speaker 1: there would be whatever, you know, wedding and so on

609
00:44:18,280 --> 00:44:21,040
Speaker 1: birthday party. You know. Being a child, you know, I

610
00:44:21,040 --> 00:44:24,399
Speaker 1: didn't really focus on the music, but it was there.

611
00:44:24,440 --> 00:44:27,520
Speaker 1: It wasn't there. It was you know, ringing through throughout

612
00:44:27,520 --> 00:44:31,719
Speaker 1: the hall. And so I remember hearing you know this,

613
00:44:34,360 --> 00:44:40,680
Speaker 1: hearing all of that, and and I wish I you know, today, yeah,

614
00:44:40,800 --> 00:44:42,719
Speaker 1: I wish I had paid attention. But you know, as

615
00:44:42,719 --> 00:44:45,120
Speaker 1: a kid, you know there are other things going on,

616
00:44:45,200 --> 00:44:48,800
Speaker 1: including you know, the food and and playing with the others,

617
00:44:48,920 --> 00:44:52,000
Speaker 1: you know, you know, music is is was not on

618
00:44:52,120 --> 00:44:57,000
Speaker 1: my mind. But anyway, hearing also, you know recordings my

619
00:44:57,040 --> 00:45:00,520
Speaker 1: parents would play, you know, their LPs at home or

620
00:45:00,640 --> 00:45:04,880
Speaker 1: you know, in the car, my dad would switch on

621
00:45:04,960 --> 00:45:07,480
Speaker 1: the radio to the Hawaiian station. We didn't have very

622
00:45:07,520 --> 00:45:10,839
Speaker 1: many stations, but the Hawaiian station, and so I went

623
00:45:10,920 --> 00:45:14,000
Speaker 1: to hear that. And in those days, almost other recordings

624
00:45:14,040 --> 00:45:17,680
Speaker 1: had still guitar on them, compared to today where you

625
00:45:17,760 --> 00:45:22,680
Speaker 1: hardly hear still guitar. I sort of absorbed all of

626
00:45:22,719 --> 00:45:27,479
Speaker 1: this and learned drasmosis. So when I when I first

627
00:45:27,480 --> 00:45:32,720
Speaker 1: started playing you know, the slide guitar as I called it, um.

628
00:45:32,760 --> 00:45:37,359
Speaker 1: You know, it's like wow, I recognized the sound. So

629
00:45:37,400 --> 00:45:39,840
Speaker 1: I started sliding all over the place, and you know,

630
00:45:40,000 --> 00:45:43,759
Speaker 1: then my father you know, approached me and said, yeah,

631
00:45:43,800 --> 00:45:47,480
Speaker 1: you're playing the still guitar, you know. And it was

632
00:45:47,520 --> 00:45:51,520
Speaker 1: at that point, you know, um, I said, why, you know,

633
00:45:51,520 --> 00:45:54,919
Speaker 1: I'm so intrigued by this, you know, I just want

634
00:45:54,920 --> 00:45:58,520
Speaker 1: to learn this, you know, And so so you know,

635
00:45:58,600 --> 00:46:02,359
Speaker 1: you could tell those who do really well, they seem

636
00:46:02,400 --> 00:46:07,160
Speaker 1: to have this this passion from within, this passion, this drive,

637
00:46:07,239 --> 00:46:10,160
Speaker 1: and I had it, the passion and drive I mean

638
00:46:10,160 --> 00:46:12,120
Speaker 1: to the point where I would go down to the

639
00:46:12,120 --> 00:46:15,640
Speaker 1: shopping center by myself for hours. I would listen to

640
00:46:16,000 --> 00:46:20,480
Speaker 1: LPs um just picking up on whatever I could, or

641
00:46:20,600 --> 00:46:24,520
Speaker 1: going to the state library and barring some LPs and

642
00:46:24,560 --> 00:46:27,880
Speaker 1: going home and sticking them on the the record player,

643
00:46:28,760 --> 00:46:33,520
Speaker 1: you know, the old silvertone record player, silver toned by

644
00:46:33,560 --> 00:46:37,279
Speaker 1: Sears anyway, so and and and just listening to it.

645
00:46:37,600 --> 00:46:40,560
Speaker 1: At times, I would even just to slow down so

646
00:46:40,600 --> 00:46:44,160
Speaker 1: I I could you know, catch that that that riff

647
00:46:44,280 --> 00:46:48,920
Speaker 1: or that fill. I would place my hand on on

648
00:46:48,920 --> 00:46:51,520
Speaker 1: on the record, somewhere on the label and and I

649
00:46:51,520 --> 00:46:54,719
Speaker 1: would just slow it down so I could pick it up.

650
00:46:54,760 --> 00:46:58,279
Speaker 1: And I would do several times. Yeah, as Jerry Bird

651
00:46:58,320 --> 00:47:01,879
Speaker 1: told me what in his days of listening to seven eight,

652
00:47:02,360 --> 00:47:06,640
Speaker 1: you know, I've done war out the grooves, you know.

653
00:47:06,680 --> 00:47:08,880
Speaker 1: I mean I kept picking up the needle and putting

654
00:47:08,920 --> 00:47:10,960
Speaker 1: it down, picking up the need putting it down, and

655
00:47:11,040 --> 00:47:14,120
Speaker 1: so on. Or I would even um. I remember I

656
00:47:14,160 --> 00:47:16,800
Speaker 1: had a cassette player. I would call it the radio station.

657
00:47:16,840 --> 00:47:18,520
Speaker 1: In those days. You know, you could call in your

658
00:47:18,560 --> 00:47:23,760
Speaker 1: requests and I would say, could you play this song?

659
00:47:24,120 --> 00:47:27,520
Speaker 1: Because I couldn't find that song in the music star

660
00:47:27,960 --> 00:47:30,520
Speaker 1: so I knew the radio station had it, so I

661
00:47:30,520 --> 00:47:34,520
Speaker 1: would be ready to hit the record button on my player.

662
00:47:35,600 --> 00:47:38,480
Speaker 1: Um so the announcier, you know, DJ would come on

663
00:47:38,520 --> 00:47:42,600
Speaker 1: and says, oh, here's one for alan Okaka. It's a

664
00:47:42,680 --> 00:47:46,080
Speaker 1: Milo Lei, or it's Hawaiian Cowboys whatever, and then or

665
00:47:46,160 --> 00:47:48,840
Speaker 1: it's hit oh no, and then I would press that

666
00:47:48,920 --> 00:47:52,560
Speaker 1: record button, get the whole song, and then um at

667
00:47:52,600 --> 00:47:54,200
Speaker 1: the end, I would play it back and try to

668
00:47:54,200 --> 00:47:57,800
Speaker 1: pick up you know, try to learn some of those uh,

669
00:47:57,920 --> 00:48:00,200
Speaker 1: some of those notes that you know, the solo or

670
00:48:00,440 --> 00:48:05,359
Speaker 1: or even fails, you know, and you know I wasso

671
00:48:05,440 --> 00:48:07,839
Speaker 1: in gross and all of that, you know, just learning

672
00:48:07,840 --> 00:48:10,920
Speaker 1: how to play the still guitar and did I was

673
00:48:11,040 --> 00:48:14,480
Speaker 1: very lucky to be at the end of end of

674
00:48:14,520 --> 00:48:17,960
Speaker 1: an era where I could play with so many different

675
00:48:18,000 --> 00:48:24,080
Speaker 1: still guitarists, so many. Um. I remember Merle Kikuku, who

676
00:48:24,160 --> 00:48:27,640
Speaker 1: is a grand nephew of the originator of the still guitar,

677
00:48:29,719 --> 00:48:36,840
Speaker 1: told me he says, learn one tuning, well, learn one tuning. Well.

678
00:48:37,920 --> 00:48:40,279
Speaker 1: I always remember that. So yeah, I have my one

679
00:48:40,320 --> 00:48:44,319
Speaker 1: tuning and I can play a number of other tunings.

680
00:48:45,080 --> 00:48:49,600
Speaker 1: So um yeah, all these little tips and tricks from

681
00:48:49,640 --> 00:48:52,440
Speaker 1: all of these people, you know, helped to groom me.

682
00:48:53,880 --> 00:48:57,640
Speaker 1: Is it a C six tuning or uh, it didn't matter,

683
00:48:58,400 --> 00:49:01,160
Speaker 1: he says, learned one tuning was using to C six.

684
00:49:01,600 --> 00:49:04,719
Speaker 1: Actually that night when he he told me that I

685
00:49:04,800 --> 00:49:07,719
Speaker 1: was playing the still guitar, and I thought, I'm gonna

686
00:49:07,719 --> 00:49:10,279
Speaker 1: try different tuning. Of course, you know, I'm still learning

687
00:49:10,280 --> 00:49:14,960
Speaker 1: how to play you and these were yeah, old timers

688
00:49:15,200 --> 00:49:18,040
Speaker 1: and then use so many old songs. And so they

689
00:49:18,040 --> 00:49:21,120
Speaker 1: told me to take an instrumento you know, in between

690
00:49:21,440 --> 00:49:24,720
Speaker 1: the verses, and I was screwing up because I didn't

691
00:49:24,719 --> 00:49:28,400
Speaker 1: know the tuning so well. Um. And that's when he

692
00:49:29,680 --> 00:49:32,400
Speaker 1: took me to the size of learning when tuning well,

693
00:49:32,520 --> 00:49:39,040
Speaker 1: because he was still guitarist himself. Um and and uh

694
00:49:39,200 --> 00:49:44,880
Speaker 1: he played a totally different tuneing you so um. So

695
00:49:46,360 --> 00:49:48,279
Speaker 1: you know he had learned that tune in really well

696
00:49:48,320 --> 00:49:50,640
Speaker 1: because he would talk to me about the tuning and

697
00:49:50,680 --> 00:49:54,520
Speaker 1: I went, wow, yeah, this is really different, um and

698
00:49:55,040 --> 00:50:00,160
Speaker 1: so on. So um. I took that too heart. But

699
00:50:00,239 --> 00:50:02,120
Speaker 1: then you know, I didn't let it stop me from

700
00:50:02,200 --> 00:50:06,880
Speaker 1: learning other tunings. So I I could do a show,

701
00:50:08,520 --> 00:50:12,200
Speaker 1: and I could do three or four different tunings in

702
00:50:12,239 --> 00:50:16,040
Speaker 1: the show. So which which would mean, since I'm using

703
00:50:16,040 --> 00:50:19,560
Speaker 1: a single next still guitar, I would be retuning my

704
00:50:19,640 --> 00:50:22,640
Speaker 1: still guitar. In a few seconds, i'd be in a

705
00:50:22,680 --> 00:50:29,960
Speaker 1: different tuning. Um, you know that's my thing. Yeah, because

706
00:50:30,320 --> 00:50:34,320
Speaker 1: you know, Um, I find that there are certain songs

707
00:50:35,680 --> 00:50:42,800
Speaker 1: where a certain tuning would sound great. I'll give you

708
00:50:42,840 --> 00:50:48,839
Speaker 1: an example. Here's a song called hannah Le Moon and UM,

709
00:50:49,080 --> 00:50:52,239
Speaker 1: I'm gonna play it on the C six tuning. Then

710
00:50:52,280 --> 00:50:55,000
Speaker 1: I'm going to try it in the ninth tuning and

711
00:50:56,280 --> 00:51:04,400
Speaker 1: see if you can hear a difference. I'm okay. On

712
00:51:04,560 --> 00:51:44,360
Speaker 1: the late Moon written by Robert Nelson, Robert Bob Nelson. Okay,

713
00:51:44,400 --> 00:52:49,319
Speaker 1: and I'm gonna change it. Okay, good night. So so

714
00:52:49,400 --> 00:52:52,799
Speaker 1: there's a knife card right there at that spot. That's

715
00:52:52,800 --> 00:53:02,560
Speaker 1: a big difference here to see six. You know, when

716
00:53:02,600 --> 00:53:05,720
Speaker 1: I write tabs out, I'll write it and see six,

717
00:53:06,160 --> 00:53:08,320
Speaker 1: and then along the way I'll go, wait a minute,

718
00:53:08,880 --> 00:53:13,120
Speaker 1: mm hmm. What if I what if I change it

719
00:53:13,200 --> 00:53:19,040
Speaker 1: to this tuning? It normally works out. I said, Wow,

720
00:53:19,239 --> 00:53:22,000
Speaker 1: I could do it in this tuning instead. Pedals still

721
00:53:22,000 --> 00:53:24,400
Speaker 1: guitar stud all the time, right they step on pedals.

722
00:53:24,480 --> 00:53:27,640
Speaker 1: They can change the tuning for a wine stone guitar.

723
00:53:27,719 --> 00:53:31,120
Speaker 1: We normally stick to one tuning, play the whole song

724
00:53:31,160 --> 00:53:33,960
Speaker 1: in their tuning. So that's a big difference from that

725
00:53:34,080 --> 00:53:37,280
Speaker 1: genre and our genre, I should say for still guitar.

726
00:53:38,160 --> 00:53:40,920
Speaker 1: A big difference with Hawainian music too, is you know

727
00:53:41,000 --> 00:53:48,560
Speaker 1: those glissandos Yeah um again yeah, you know, and and

728
00:53:49,560 --> 00:53:53,480
Speaker 1: you know, people come up to me at my gigs

729
00:53:53,800 --> 00:53:57,719
Speaker 1: or at the festivals and they say, or even at

730
00:53:57,960 --> 00:54:01,160
Speaker 1: an emails or or tests. You know, I just saw

731
00:54:01,280 --> 00:54:05,400
Speaker 1: one where where somebody says, you know, I was so bummed.

732
00:54:05,520 --> 00:54:07,480
Speaker 1: You know, I was in Hawaii and I found only

733
00:54:07,520 --> 00:54:10,480
Speaker 1: one still guitars and he wasn't so good, you know.

734
00:54:10,920 --> 00:54:14,520
Speaker 1: And then they reply from another person was well he

735
00:54:14,640 --> 00:54:17,359
Speaker 1: had mentioned me. He says, yeah, you know, I'm developing

736
00:54:17,560 --> 00:54:21,279
Speaker 1: the next generation. Uh and so on. But you know,

737
00:54:21,320 --> 00:54:25,960
Speaker 1: there's there's a lot of really find still guitars in Hawaii.

738
00:54:26,280 --> 00:54:32,360
Speaker 1: Many Bobby and Ghano, Greg Sardina, Casey Osen, Jeff Alhoi.

739
00:54:32,880 --> 00:54:35,239
Speaker 1: He's a young one that's been playing about two years,

740
00:54:35,280 --> 00:54:38,759
Speaker 1: and and he's incredible for somebody who's been playing for

741
00:54:38,840 --> 00:54:43,799
Speaker 1: two years. Uh Capono Lopes. In fact, I take them

742
00:54:43,800 --> 00:54:47,239
Speaker 1: to my festivals because not only can he play the

743
00:54:47,400 --> 00:54:50,960
Speaker 1: still guitar quite well, but he has an angelic voice.

744
00:54:51,800 --> 00:54:55,960
Speaker 1: It's like wow. And then I have my kids, Mallya Lineman,

745
00:54:56,600 --> 00:55:02,680
Speaker 1: Ethan Gore, he Joey Beside need this, Pao Fernandez, I

746
00:55:02,760 --> 00:55:06,719
Speaker 1: have whole Ilana Mahuka. She's an elementary school. Yeah. I

747
00:55:06,719 --> 00:55:09,480
Speaker 1: have some elementary school students too, but all of my

748
00:55:09,719 --> 00:55:13,840
Speaker 1: next gender are all in school because of I guess,

749
00:55:13,880 --> 00:55:16,600
Speaker 1: you know, the moment that you were born and sort

750
00:55:16,640 --> 00:55:18,800
Speaker 1: of like the musical tradition that you were born into.

751
00:55:18,920 --> 00:55:21,880
Speaker 1: You were kind of in this special place to be

752
00:55:21,920 --> 00:55:24,560
Speaker 1: a link from the past of still guitar, through the

753
00:55:24,560 --> 00:55:27,920
Speaker 1: Renaissance and to the present. When you're teaching these kids,

754
00:55:27,920 --> 00:55:30,520
Speaker 1: I mean, do you sort of feel like like you're

755
00:55:30,520 --> 00:55:36,319
Speaker 1: really linking them into this amazing past. Absolutely, absolutely, not

756
00:55:36,440 --> 00:55:41,120
Speaker 1: only the kids, but also any adult students. I I

757
00:55:41,239 --> 00:55:43,399
Speaker 1: do mention the past a lot, or I'll bring out

758
00:55:43,440 --> 00:55:47,320
Speaker 1: stories you know about people I knew, or stories I

759
00:55:47,400 --> 00:55:52,400
Speaker 1: heard of people you know of past musicians. You know.

760
00:55:52,440 --> 00:55:56,120
Speaker 1: I think it's important, especially for the young ones to

761
00:55:56,200 --> 00:55:59,279
Speaker 1: understand and you know what the young ones are teaching them.

762
00:55:59,280 --> 00:56:01,400
Speaker 1: A lot of the more traditional or some of the

763
00:56:01,440 --> 00:56:05,360
Speaker 1: older songs, Uh, not so much the newer songs, although

764
00:56:05,480 --> 00:56:08,319
Speaker 1: they're learning that too, but I think it's it's it's

765
00:56:08,320 --> 00:56:13,759
Speaker 1: important too to keep these other songs alive because they're beautiful,

766
00:56:14,280 --> 00:56:20,279
Speaker 1: the messages, the poetry, the melodic line, the use of

767
00:56:20,320 --> 00:56:25,560
Speaker 1: the chords, the beautiful. Um My student Joey who also

768
00:56:25,640 --> 00:56:28,880
Speaker 1: has a lovely voice, but I always asked her to

769
00:56:28,920 --> 00:56:33,200
Speaker 1: do a certain song called Nunny. Nanny means beautiful, and

770
00:56:33,239 --> 00:56:37,480
Speaker 1: it was written by this teacher who had these young students,

771
00:56:37,560 --> 00:56:39,400
Speaker 1: and she worked for the parts in the recreations, so

772
00:56:39,440 --> 00:56:42,080
Speaker 1: I guess it was a summer program. But you know,

773
00:56:42,160 --> 00:56:44,680
Speaker 1: she fell in love with her young students and so on,

774
00:56:44,760 --> 00:56:48,839
Speaker 1: so she wrote this song, you know, beautiful Nunny. And

775
00:56:48,880 --> 00:56:51,560
Speaker 1: the way Joey sings it is like, oh gosh, we

776
00:56:51,600 --> 00:56:55,359
Speaker 1: say over here, you know, chicken skin. Chicken skin is

777
00:56:55,600 --> 00:57:01,200
Speaker 1: like goose pimples. Yeah, chickens. We said chicken whenever I

778
00:57:01,239 --> 00:57:02,880
Speaker 1: hear her singing. And you know, she's only in the

779
00:57:03,000 --> 00:57:05,520
Speaker 1: ninth grade, you know, I mean, she just made the

780
00:57:05,640 --> 00:57:08,839
Speaker 1: ninth grade, you know, And when Malas sing some of

781
00:57:08,840 --> 00:57:12,200
Speaker 1: her songs, and I you know, I'm teaching her some

782
00:57:12,239 --> 00:57:16,080
Speaker 1: of the songs her great grandmother sang, you know, and

783
00:57:16,200 --> 00:57:19,560
Speaker 1: and she has the same range. And then I have

784
00:57:19,680 --> 00:57:23,720
Speaker 1: another girl in elementary school and I'm teaching her songs.

785
00:57:23,760 --> 00:57:29,439
Speaker 1: That's her great great grandfather, wrote Alvin Isaacs, who played

786
00:57:29,560 --> 00:57:32,200
Speaker 1: with the Royal Hawaiian Serenaders, and he wrote a lot

787
00:57:32,320 --> 00:57:38,160
Speaker 1: of classic tunes a lot. So I'm sharing these songs

788
00:57:38,160 --> 00:57:40,640
Speaker 1: with her. And I said, okay, this, these are all

789
00:57:40,680 --> 00:57:43,720
Speaker 1: your family songs. We're going to learn them. So she is.

790
00:57:43,800 --> 00:57:47,760
Speaker 1: She's learning them, you know, to keep up the family tradition. Yeah,

791
00:57:47,800 --> 00:57:49,800
Speaker 1: she's the only one in the family playing still guitar.

792
00:57:51,000 --> 00:57:54,800
Speaker 1: And yet her her grand or great granduncle was on

793
00:57:55,040 --> 00:57:58,200
Speaker 1: what you calls was a famous still guitarist, Bartney Isaacs.

794
00:57:59,080 --> 00:58:02,919
Speaker 1: I said, you gotta keep this going no matter what.

795
00:58:03,120 --> 00:58:08,920
Speaker 1: You are the link to the past. Yeah, you're keeping

796
00:58:09,120 --> 00:58:13,560
Speaker 1: your rich family heritage. You know all that music, I

797
00:58:13,600 --> 00:58:16,600
Speaker 1: mean a lot of music that's amazing. I read, you know,

798
00:58:16,640 --> 00:58:19,600
Speaker 1: I read about I think there was a movement in

799
00:58:19,640 --> 00:58:24,760
Speaker 1: Hawaii to make the ukulele the national instrument, the state instrument,

800
00:58:24,800 --> 00:58:29,960
Speaker 1: state instrument, Like we have a state fish right right. Uh?

801
00:58:30,000 --> 00:58:33,320
Speaker 1: I know that Hawaiians state not a nation and uh,

802
00:58:33,600 --> 00:58:38,160
Speaker 1: and then someone's feel that it should be a nation. Well, yeah, okay,

803
00:58:38,200 --> 00:58:41,000
Speaker 1: so there's that way into that. I'll stay out of

804
00:58:41,040 --> 00:58:45,240
Speaker 1: that one. But I read about that you that you know,

805
00:58:45,560 --> 00:58:48,680
Speaker 1: you came forward and and you know, suggested that the

806
00:58:48,720 --> 00:58:52,920
Speaker 1: steel guitar maybe was a better reflector of Hawaiian traditions

807
00:58:53,440 --> 00:58:57,640
Speaker 1: or maybe you know, shouldn't be seconded by the ukulele. Yeah,

808
00:58:57,680 --> 00:58:59,880
Speaker 1: that was a few years ago, a handful of years

809
00:58:59,880 --> 00:59:03,160
Speaker 1: of When I found out about that, I ran down

810
00:59:03,160 --> 00:59:05,680
Speaker 1: to the state Capitol where they were having the meeting

811
00:59:05,760 --> 00:59:09,920
Speaker 1: at that time. Members of uklelea company. We're just walking

812
00:59:09,920 --> 00:59:13,280
Speaker 1: out the door, go to the elevator, and you know,

813
00:59:13,320 --> 00:59:16,919
Speaker 1: I know them and so on their friends, and they said,

814
00:59:16,960 --> 00:59:19,800
Speaker 1: oh yeah, they just gave the testimony. And I went, damn,

815
00:59:19,880 --> 00:59:23,240
Speaker 1: I better run in there. And and I got there

816
00:59:23,280 --> 00:59:25,439
Speaker 1: just a little late, because you know, I got wind

817
00:59:25,480 --> 00:59:28,320
Speaker 1: of the meeting so late. I got in there and

818
00:59:28,800 --> 00:59:32,200
Speaker 1: they were still willing to listen to me, and you know, um,

819
00:59:32,280 --> 00:59:34,240
Speaker 1: nobody said, okay, you know, we're going to vote on

820
00:59:34,280 --> 00:59:37,200
Speaker 1: this now. And I said, wait, may I say something? Said?

821
00:59:37,240 --> 00:59:40,680
Speaker 1: You know, the still guitar is only string instrument modern

822
00:59:40,760 --> 00:59:45,240
Speaker 1: day string instrument invented here in Hawaii. The ukalele was

823
00:59:46,280 --> 00:59:51,120
Speaker 1: adopted and adapted in Hawaii from a Portuguese instrument. Um.

824
00:59:51,200 --> 00:59:54,840
Speaker 1: Although the kalala is well known more than the still

825
00:59:54,840 --> 00:59:58,640
Speaker 1: guitar today, but it was a still guitar that actually

826
00:59:58,720 --> 01:00:03,200
Speaker 1: lured a lot of people to the islands, and in

827
01:00:03,240 --> 01:00:07,040
Speaker 1: some cases it still does. And not only that, a

828
01:00:07,040 --> 01:00:09,320
Speaker 1: lot of still guitars, most of them here in Hawaii

829
01:00:09,320 --> 01:00:13,680
Speaker 1: play Hawaiian music. The ukulele, a lot of you see

830
01:00:13,680 --> 01:00:16,680
Speaker 1: it at festivals, you see it in videos. A lot

831
01:00:16,720 --> 01:00:21,720
Speaker 1: of the locals play non Hawaiian music. So um, the

832
01:00:21,800 --> 01:00:26,040
Speaker 1: motion was, maybe we'll ask the students in the schools.

833
01:00:26,080 --> 01:00:29,320
Speaker 1: I said, wait a minute, they only know the ukulele.

834
01:00:29,920 --> 01:00:32,880
Speaker 1: They probably don't know the still guitar. And so um

835
01:00:32,920 --> 01:00:35,120
Speaker 1: the chairman says, you know what, Okay, we're gonna table it,

836
01:00:35,240 --> 01:00:38,959
Speaker 1: and uh, let's let's you know, um do a little

837
01:00:38,960 --> 01:00:42,280
Speaker 1: more research. A lot of people rolled in in favor

838
01:00:42,360 --> 01:00:45,840
Speaker 1: of the still guitar and so on. Well, the next

839
01:00:45,880 --> 01:00:48,400
Speaker 1: year came about. I didn't you know, I hadn't kept

840
01:00:48,480 --> 01:00:52,280
Speaker 1: up on the schedule at the legislature. But they had

841
01:00:52,280 --> 01:00:57,600
Speaker 1: another meeting and they did they made ukulele the state instrument.

842
01:00:58,760 --> 01:01:04,640
Speaker 1: And it's like mm hm, you know, um okay, well

843
01:01:06,000 --> 01:01:10,720
Speaker 1: said said, but you know what that that got me thinking, okay,

844
01:01:10,920 --> 01:01:16,760
Speaker 1: we're induce something still guitar festivals, still guitar vessels. So

845
01:01:17,080 --> 01:01:20,000
Speaker 1: I was attending the Maui Still Guitar Festival. It was

846
01:01:20,000 --> 01:01:22,920
Speaker 1: called the Henry Allen Still Guitar Festival at the time,

847
01:01:23,440 --> 01:01:25,520
Speaker 1: and then at one point a few years later, the

848
01:01:25,600 --> 01:01:29,040
Speaker 1: hotel approached me and asked me would you take over

849
01:01:29,080 --> 01:01:32,840
Speaker 1: the festival, which I did, and so I renamed it

850
01:01:32,920 --> 01:01:35,840
Speaker 1: the Maui Still Guitar Festival. That same year, I was

851
01:01:35,880 --> 01:01:41,320
Speaker 1: approached by one of the senators. He says he could

852
01:01:41,320 --> 01:01:44,840
Speaker 1: you do one in Waikiki, and so I started that one.

853
01:01:45,800 --> 01:01:48,320
Speaker 1: So I had these two festivals, Maui and White Kiki

854
01:01:48,400 --> 01:01:51,800
Speaker 1: Still Guitar Festival happening. So all of a sudden, I

855
01:01:51,840 --> 01:01:55,840
Speaker 1: was running two still guitar festivals. And that's when I

856
01:01:55,880 --> 01:01:59,919
Speaker 1: started my nonprofit Hide Malley, which is the Hawaiian instan

857
01:02:00,040 --> 01:02:05,280
Speaker 1: too for music enrichment and learning experiences. So it's Himili

858
01:02:05,480 --> 01:02:10,440
Speaker 1: that coordinates and operates all of these still guitar festivals. Today,

859
01:02:10,480 --> 01:02:14,720
Speaker 1: in at least this year, we have eight scheduled still

860
01:02:14,760 --> 01:02:18,400
Speaker 1: guitar festivals throughout the state. I just had my Hawaiian

861
01:02:18,400 --> 01:02:22,000
Speaker 1: Island Still Guitar Festival. Three weeks later, we'll have the

862
01:02:22,080 --> 01:02:25,000
Speaker 1: Kawaii Still Guitar Festival. Three weeks later, we'll have our

863
01:02:25,680 --> 01:02:29,160
Speaker 1: Hawaiian Still Gutar Festival on the west side of Oahu.

864
01:02:30,040 --> 01:02:33,120
Speaker 1: The following month I'll fly up and I'll attend my

865
01:02:33,240 --> 01:02:40,320
Speaker 1: Friends Still Guitar Renaissance in Yokohama, Japan. And then a

866
01:02:40,400 --> 01:02:43,240
Speaker 1: month after that then I have my mom Still Guitar Festival.

867
01:02:43,400 --> 01:02:48,640
Speaker 1: In June, I have my um Hawaiian Still Guitar Festival

868
01:02:48,880 --> 01:02:53,080
Speaker 1: on the windward side of this island. Then in July

869
01:02:53,320 --> 01:02:58,000
Speaker 1: we have our Waikiki Still Guitar Week from Monday through Saturday,

870
01:02:58,080 --> 01:03:00,520
Speaker 1: Still Guitar in the Heart of White Kiki at the

871
01:03:00,600 --> 01:03:05,840
Speaker 1: Royal Hawaiian Center. Then in August we have All Children

872
01:03:05,960 --> 01:03:10,280
Speaker 1: Still Guitar Festival. You have to be school aged two

873
01:03:10,840 --> 01:03:17,400
Speaker 1: to be featured, so no doubts. And and then in

874
01:03:17,480 --> 01:03:21,400
Speaker 1: December we'll do the Hawaii Island Still Guitar Festival again.

875
01:03:22,400 --> 01:03:24,959
Speaker 1: This year also I'll be doing a couple of conventions,

876
01:03:25,600 --> 01:03:29,600
Speaker 1: one in Indiana and one in New York City. And

877
01:03:29,640 --> 01:03:33,240
Speaker 1: then I'll have my Still Guitar Symposium in the Bay

878
01:03:33,320 --> 01:03:38,160
Speaker 1: Area come August, and maybe in October down in l A,

879
01:03:39,120 --> 01:03:43,600
Speaker 1: Los Angeles. After the ukulelea became the state instrument, you know,

880
01:03:44,400 --> 01:03:47,680
Speaker 1: it was like this fire was burning inside of me.

881
01:03:48,480 --> 01:03:50,600
Speaker 1: I wanted to do whatever I could to bring this

882
01:03:50,640 --> 01:03:56,240
Speaker 1: still tired back to prominence because you know, UM, at

883
01:03:56,280 --> 01:04:00,680
Speaker 1: one time, throughout half of the twenty century, the still

884
01:04:00,680 --> 01:04:03,960
Speaker 1: guitar was a prominent instrument in the Hawaiian band, and

885
01:04:04,080 --> 01:04:08,680
Speaker 1: it was so popular that at one time Oahu Publishing

886
01:04:08,960 --> 01:04:15,240
Speaker 1: in Cleveland, Ohio, actually gave certificates to two hundred thousand

887
01:04:16,160 --> 01:04:20,360
Speaker 1: of the still guitar students, a certificate of completion. Two

888
01:04:20,480 --> 01:04:27,040
Speaker 1: hundred thousand. That's incredible, and so little by little we're

889
01:04:27,040 --> 01:04:32,040
Speaker 1: reaching out the still guitars more visible. We have people

890
01:04:32,080 --> 01:04:36,120
Speaker 1: playing that home or going to you know, backyard parties

891
01:04:36,200 --> 01:04:39,200
Speaker 1: and and playing there. And then we have all these

892
01:04:39,320 --> 01:04:44,840
Speaker 1: youngsters we call them kakekke are youngsters in Hawaiian. We

893
01:04:44,920 --> 01:04:48,560
Speaker 1: have all these cake who are playing still guitar and

894
01:04:48,560 --> 01:04:51,520
Speaker 1: and seeing adults in the audience with their jaws dropped,

895
01:04:52,400 --> 01:04:55,520
Speaker 1: if you can imagine. UM. On the last day at

896
01:04:55,560 --> 01:04:58,640
Speaker 1: the Hawaiian Island Still Guitar Festival, we played at the

897
01:04:58,680 --> 01:05:03,360
Speaker 1: Morning Branch, and um, the bar is right across the lawn,

898
01:05:03,720 --> 01:05:07,880
Speaker 1: very close to the dining area, close enough, and so

899
01:05:08,040 --> 01:05:11,960
Speaker 1: we're playing on these tall stools at the bar facing

900
01:05:12,800 --> 01:05:15,520
Speaker 1: the restaurant, and the people are eating in this open

901
01:05:15,600 --> 01:05:19,600
Speaker 1: area restaurant, and and and and they're just loving it.

902
01:05:19,600 --> 01:05:23,800
Speaker 1: It's like, wow, Hawaiian music, you know, featuring kids and adults.

903
01:05:23,840 --> 01:05:26,000
Speaker 1: And I mean it was it was just a jam.

904
01:05:26,280 --> 01:05:31,120
Speaker 1: We call it Connie Kapila in Hawaiian Connie Capila strike

905
01:05:31,200 --> 01:05:36,440
Speaker 1: the band. And so we're doing this jam session, switching musicians,

906
01:05:36,440 --> 01:05:40,920
Speaker 1: switching the instruments and so on. Uh, and it was

907
01:05:40,960 --> 01:05:44,040
Speaker 1: it was beautiful. I was just loving that. I mean

908
01:05:44,080 --> 01:05:46,200
Speaker 1: I played the first half and then I sat down

909
01:05:46,240 --> 01:05:49,480
Speaker 1: to eat and listening to the others plan it was like, oh,

910
01:05:49,520 --> 01:05:52,080
Speaker 1: this is so nice. This is how I eat. To me,

911
01:05:52,400 --> 01:05:56,120
Speaker 1: And that's what many people told me, many people over

912
01:05:56,160 --> 01:06:01,000
Speaker 1: the years. Oh that's still guitar. I I I cut

913
01:06:01,000 --> 01:06:04,320
Speaker 1: to the islands to hear the still guitar. After all

914
01:06:04,320 --> 01:06:07,360
Speaker 1: the still guitars and signature sound of Hawaii of the

915
01:06:07,400 --> 01:06:14,040
Speaker 1: Islands signature sound, and many people relate the still guitar

916
01:06:14,120 --> 01:06:25,400
Speaker 1: to Hawaii as they should it originated here. I would

917
01:06:25,400 --> 01:06:27,600
Speaker 1: love to get an idea of some of the older

918
01:06:27,680 --> 01:06:30,400
Speaker 1: style of songs. You know what what kind of that

919
01:06:30,600 --> 01:06:34,000
Speaker 1: sound was like? Are you talking about more of the

920
01:06:34,040 --> 01:06:39,080
Speaker 1: twenties thirties, going into more of the forties, fifties and

921
01:06:39,120 --> 01:06:46,200
Speaker 1: then today? Yeah? Well okay, well again, I'm doing this

922
01:06:46,280 --> 01:06:49,160
Speaker 1: on an electric still guitar. So you know in the

923
01:06:49,240 --> 01:06:53,840
Speaker 1: in the twenties and thirties, you were on on acoustics, right, Oh,

924
01:06:53,880 --> 01:06:58,760
Speaker 1: I tell you what, No, okay, so I'll just play

925
01:06:58,880 --> 01:07:02,960
Speaker 1: basically the style won't be the sound, um unless I

926
01:07:02,960 --> 01:07:07,880
Speaker 1: have a bar that I can use under Okay, this

927
01:07:07,960 --> 01:07:12,680
Speaker 1: is not a bar, but you know, okay, this emulates

928
01:07:12,680 --> 01:07:16,200
Speaker 1: the sound more than my my my metal bar. This

929
01:07:16,280 --> 01:07:19,440
Speaker 1: is actually a nut raisor this is what I was

930
01:07:19,480 --> 01:07:22,400
Speaker 1: talking about. I'm not raising which which will raise the

931
01:07:22,440 --> 01:07:27,840
Speaker 1: strings on a guitar. So you know you could buy

932
01:07:27,840 --> 01:07:31,880
Speaker 1: this for a few pennies way back then. Raising strings

933
01:07:31,880 --> 01:07:34,240
Speaker 1: on your guitar with a bar in hand, you could

934
01:07:34,520 --> 01:07:37,680
Speaker 1: you know, play those you could play them Hawaiian tunes.

935
01:07:38,920 --> 01:07:43,959
Speaker 1: So anyway, okay, so uh, you know in those days

936
01:07:43,960 --> 01:08:08,600
Speaker 1: he probably used a different tuning to okay, so I

937
01:08:08,640 --> 01:08:11,720
Speaker 1: don't know I'm going to do this. Yeah they're okay,

938
01:08:12,240 --> 01:08:19,680
Speaker 1: So okay. So so so here's an example of what

939
01:08:19,800 --> 01:09:06,840
Speaker 1: it might have sounded sounded like before. So that was

940
01:09:07,000 --> 01:09:09,360
Speaker 1: you know, more, you know, a lot more picking, right,

941
01:09:10,320 --> 01:09:14,679
Speaker 1: you know, So that's that's way back then. Then then

942
01:09:14,720 --> 01:09:23,320
Speaker 1: you had you know, um, mortal white calls, you know,

943
01:09:23,439 --> 01:10:41,000
Speaker 1: forties and fifties. Okay, and then there we go, oh

944
01:10:41,080 --> 01:11:28,240
Speaker 1: so in this tuning, Um, they don't even play this

945
01:11:28,320 --> 01:11:34,920
Speaker 1: song today. I don't know. Today they might play a song.

946
01:11:36,400 --> 01:11:39,360
Speaker 1: Well maybe, Okay, if I were to play the same song,

947
01:11:39,439 --> 01:12:09,559
Speaker 1: I'll try to play it more. Today's so simpler, huh again,

948
01:12:09,600 --> 01:12:11,840
Speaker 1: because probably the band is playing all these riffs and

949
01:12:12,080 --> 01:12:15,519
Speaker 1: swing them on their kulas or guitars, you know, so

950
01:12:15,920 --> 01:12:19,479
Speaker 1: kind of kind of different. What what songs were those?

951
01:12:20,640 --> 01:12:26,000
Speaker 1: It was the same tune. It's called Maui Girl, Okay

952
01:12:27,880 --> 01:12:30,600
Speaker 1: it was it was written I'm not exactly sure, but

953
01:12:30,640 --> 01:12:35,400
Speaker 1: it was early nineteen hundreds, so the song is close

954
01:12:35,439 --> 01:12:40,920
Speaker 1: to a hundred years old. Yeah, it works. All there was?

955
01:12:40,960 --> 01:12:43,479
Speaker 1: That was that an example of that you were talking about,

956
01:12:43,560 --> 01:12:47,200
Speaker 1: like Hawaii calls, like swing playing really spoke to you

957
01:12:47,200 --> 01:12:52,360
Speaker 1: when playing, or just a lot more you know, cording. Yeah,

958
01:12:52,760 --> 01:12:57,519
Speaker 1: fatter chords and so on versus single note or or

959
01:12:57,560 --> 01:13:10,519
Speaker 1: you know, bouncing over you know, yeah, maybe you wanna

960
01:13:10,520 --> 01:13:21,200
Speaker 1: hear it this way. Yeah, you know absolutely, I can

961
01:13:21,240 --> 01:13:24,320
Speaker 1: totally hear the difference with with the nut. I hear

962
01:13:24,360 --> 01:13:27,879
Speaker 1: that old sound. Yeah, I'm not really doing it total justice,

963
01:13:28,000 --> 01:13:31,640
Speaker 1: but you know, you know there there are differences. You know,

964
01:13:31,760 --> 01:13:35,120
Speaker 1: you you pull out on seventy eight and then you

965
01:13:35,160 --> 01:13:40,280
Speaker 1: pull out you know, I'm a an MP three, you know.

966
01:13:40,600 --> 01:13:43,799
Speaker 1: I mean you're gonna hear differences with the styles today

967
01:13:44,000 --> 01:13:47,960
Speaker 1: versus way back, you know, a hundred years ago. But

968
01:13:48,200 --> 01:13:52,799
Speaker 1: you know, whoever is playing still guitar should always uh

969
01:13:53,040 --> 01:13:55,600
Speaker 1: fit and conform with the style of the music. It

970
01:13:55,640 --> 01:13:58,320
Speaker 1: doesn't matter if it's you know, the old traditional or

971
01:13:58,520 --> 01:14:04,360
Speaker 1: the new contemporary. Yeah, it should conform um or else

972
01:14:04,520 --> 01:14:07,760
Speaker 1: or else you're not feeling it? Are there some like

973
01:14:08,040 --> 01:14:10,760
Speaker 1: standards that you're sort of expected to know as a

974
01:14:10,800 --> 01:14:16,160
Speaker 1: Hawaiian steel guitarist? Standards? Um, well, okay, I'll put it

975
01:14:16,200 --> 01:14:20,320
Speaker 1: this way. There's a song that people would like to hear,

976
01:14:21,200 --> 01:14:24,960
Speaker 1: so maybe they expect that you can play it and

977
01:14:25,040 --> 01:14:28,640
Speaker 1: it starts like this, you know, Um, see if you

978
01:14:28,720 --> 01:14:45,120
Speaker 1: recognize even this opening line. Yes, yeah, I mean sleepwalk.

979
01:14:46,000 --> 01:14:48,519
Speaker 1: I mean, even my kiddies want to learn Sleepwalk. It's

980
01:14:48,600 --> 01:14:54,040
Speaker 1: such a popular tune by Santan Johnny. Right. There's an

981
01:14:54,040 --> 01:14:58,240
Speaker 1: interesting story behind that song. By the way, So Johnny, uh,

982
01:14:58,479 --> 01:15:01,160
Speaker 1: you know, he shared the story with me. Yeah. So

983
01:15:01,200 --> 01:15:05,040
Speaker 1: we sat down and we were chatting, and I asked him,

984
01:15:05,120 --> 01:15:07,599
Speaker 1: how do you get the title sleepwalk? He says, well,

985
01:15:07,760 --> 01:15:10,800
Speaker 1: you know, um, sometimes, you know, as teenagers, you know,

986
01:15:10,840 --> 01:15:13,439
Speaker 1: we couldn't sleep at night, so we'd go downstairs and

987
01:15:13,520 --> 01:15:17,400
Speaker 1: we'd we'd be jamming. Their father, you know, asked, hey,

988
01:15:17,400 --> 01:15:20,519
Speaker 1: what are you guys doing. He says, oh, we're fooling around.

989
01:15:21,200 --> 01:15:25,960
Speaker 1: So dad went out and bought a taper carter. He said,

990
01:15:26,040 --> 01:15:30,680
Speaker 1: next time you fool around, switch us on. And so

991
01:15:30,800 --> 01:15:34,960
Speaker 1: he did. And so they developed this tune, this tune

992
01:15:35,800 --> 01:15:40,519
Speaker 1: little by little, and then they thought wow, instead of okay,

993
01:15:40,560 --> 01:15:46,040
Speaker 1: it's you know, the standard progression was one six, two

994
01:15:46,120 --> 01:15:52,040
Speaker 1: or four. Yeah, one six, let's say one six, four five. Well,

995
01:15:52,080 --> 01:15:55,320
Speaker 1: what he did is he made for a minor mm hmm.

996
01:15:56,080 --> 01:16:00,200
Speaker 1: That was that was different mhm. And until today the

997
01:16:00,280 --> 01:16:04,240
Speaker 1: song is the most popular still guitars solo ever, the

998
01:16:04,280 --> 01:16:09,479
Speaker 1: most popular Yeah, yeo. And and where the title comes from. Well,

999
01:16:09,800 --> 01:16:12,520
Speaker 1: because at night when they couldn't sleep, they would go downstairs.

1000
01:16:12,520 --> 01:16:22,439
Speaker 1: Therefore they thought, oh sleep walk Yeah. Interesting, Sorry about yeah, Johnny. Yeah. See,

1001
01:16:22,479 --> 01:16:26,280
Speaker 1: I I got to meet all these people or even

1002
01:16:26,320 --> 01:16:30,440
Speaker 1: through stories, you know, some of these these legends icons

1003
01:16:30,479 --> 01:16:33,320
Speaker 1: that passed away before I even started playing the still guitar.

1004
01:16:33,640 --> 01:16:36,120
Speaker 1: But you know, I'm hearing it secondhand from or I

1005
01:16:36,120 --> 01:16:41,320
Speaker 1: should say from primary sources, the people who actually knew

1006
01:16:41,360 --> 01:16:45,559
Speaker 1: them and played with them. And I used to share

1007
01:16:45,560 --> 01:16:50,639
Speaker 1: a ride from kai Lua to Waikiki with another musician.

1008
01:16:51,600 --> 01:16:54,639
Speaker 1: You know, we played at one of the the shows

1009
01:16:54,640 --> 01:17:01,280
Speaker 1: in Waikiki, and he was Alfred Opaca's music director and

1010
01:17:01,320 --> 01:17:04,439
Speaker 1: also the ranger of music director for what he calls,

1011
01:17:05,760 --> 01:17:11,040
Speaker 1: and he was an incredible musician vocalist. For example, we'd

1012
01:17:11,080 --> 01:17:14,839
Speaker 1: be driving towards Waikiki and I would have the Hawaiian

1013
01:17:14,920 --> 01:17:18,200
Speaker 1: radio going down, or I would stick in a a cassette.

1014
01:17:18,960 --> 01:17:22,320
Speaker 1: Well sometimes um, when the song came up, he would

1015
01:17:22,320 --> 01:17:26,720
Speaker 1: start humming an obligato part, just making it up, and

1016
01:17:26,720 --> 01:17:30,800
Speaker 1: I go, oh my god. Well, and yet I hear

1017
01:17:30,880 --> 01:17:33,439
Speaker 1: that on Alfred the Paca albums and also what he

1018
01:17:33,520 --> 01:17:38,040
Speaker 1: calls these the single note obligado parts. You know that

1019
01:17:38,120 --> 01:17:41,080
Speaker 1: we'ves through the melody and the chord. I don't know

1020
01:17:41,080 --> 01:17:45,920
Speaker 1: what obligato means. Well, abligado is a line. Well, like

1021
01:17:45,960 --> 01:17:50,760
Speaker 1: I said, it weaves between the melody and so on,

1022
01:17:50,800 --> 01:17:53,639
Speaker 1: so it kind of harmonizes at some point. But it's

1023
01:17:53,680 --> 01:17:57,800
Speaker 1: also a sort of like a vocal riff. It would

1024
01:17:57,840 --> 01:18:01,240
Speaker 1: be like the cello line in the in in an orchestra,

1025
01:18:01,640 --> 01:18:05,200
Speaker 1: Hollywood orchestra playing this line down below, or the violence,

1026
01:18:05,240 --> 01:18:08,800
Speaker 1: you know, all of the violence playing this this one

1027
01:18:09,240 --> 01:18:14,040
Speaker 1: line behind the singer. That's an obligado. Also, you know,

1028
01:18:14,160 --> 01:18:17,880
Speaker 1: if somebody was singing or something, he would say, oh yeah,

1029
01:18:17,960 --> 01:18:20,240
Speaker 1: you know, he would chuck. I said, you know that person,

1030
01:18:20,920 --> 01:18:24,960
Speaker 1: and these stories would come out. He said, oh yeah,

1031
01:18:25,000 --> 01:18:28,000
Speaker 1: you know, let me tell you about you know, and

1032
01:18:28,040 --> 01:18:31,519
Speaker 1: then go WHOA. Some of these things I better not

1033
01:18:31,600 --> 01:18:34,680
Speaker 1: leak out that. You know, they're not good stories, not

1034
01:18:34,840 --> 01:18:38,800
Speaker 1: for the person that if a lot of people revere them.

1035
01:18:38,880 --> 01:18:42,040
Speaker 1: But but you know, it's like, oh yeah, Benny, you're

1036
01:18:42,080 --> 01:18:44,800
Speaker 1: sharing all these stories with me. You know, I love it.

1037
01:18:45,000 --> 01:18:49,080
Speaker 1: You know, um he and the Alfred Apaca group, you know,

1038
01:18:49,120 --> 01:18:53,519
Speaker 1: the Hawaiian village Serenaders under Henry J. Kaiser, they traveled

1039
01:18:53,560 --> 01:18:56,719
Speaker 1: a lot, and so they would meet a lot of people,

1040
01:18:56,960 --> 01:19:01,160
Speaker 1: you know, Andy Williams or sat More whatever. So Benny

1041
01:19:01,240 --> 01:19:03,280
Speaker 1: met him and you know, he had his opinions about

1042
01:19:03,320 --> 01:19:05,200
Speaker 1: each one of them and say, wow, this guy was

1043
01:19:06,080 --> 01:19:08,479
Speaker 1: he was the nicest guy, you know, and so on,

1044
01:19:08,600 --> 01:19:11,960
Speaker 1: and this guy was so down to earth it. You know,

1045
01:19:12,000 --> 01:19:16,400
Speaker 1: I was like, wow, I'm you know, I'm hearing it

1046
01:19:16,439 --> 01:19:18,599
Speaker 1: from him. The same thing with Jerry Bird. You know,

1047
01:19:18,760 --> 01:19:22,720
Speaker 1: he told me many stories like with them. You know,

1048
01:19:22,800 --> 01:19:27,479
Speaker 1: the father of bluegrass, Bill Monroe, and he was from

1049
01:19:27,520 --> 01:19:29,400
Speaker 1: what I understand, kind of honorary. You know, he was

1050
01:19:29,439 --> 01:19:32,679
Speaker 1: a task master and so on. But you know those

1051
01:19:32,720 --> 01:19:35,639
Speaker 1: guys in in country land, they used to put pranks

1052
01:19:35,640 --> 01:19:39,439
Speaker 1: on on each other. So one time Bill Monroe walked

1053
01:19:39,479 --> 01:19:41,439
Speaker 1: up to the mic. He was ready to you know,

1054
01:19:41,840 --> 01:19:47,200
Speaker 1: start his show. Jerry Bird put out the mike cable.

1055
01:19:48,160 --> 01:19:51,599
Speaker 1: So when we started talking there was nothing. And then

1056
01:19:51,880 --> 01:19:53,960
Speaker 1: and then he looked at the side he saw Jerry

1057
01:19:54,000 --> 01:19:57,599
Speaker 1: with the mike cable. Yeah, and he's a damn bird.

1058
01:19:58,240 --> 01:20:01,320
Speaker 1: You know. Things like that, or or they would go

1059
01:20:01,400 --> 01:20:05,920
Speaker 1: up and cut somebody's strings right on stage. They would

1060
01:20:05,960 --> 01:20:10,960
Speaker 1: do that on stage. Yeah, I've seen Jerry doo it.

1061
01:20:11,040 --> 01:20:13,280
Speaker 1: I've seen it. He did it to another still guitars

1062
01:20:13,320 --> 01:20:16,360
Speaker 1: in Hawaii. That's what they did in you know, country

1063
01:20:16,439 --> 01:20:21,840
Speaker 1: Land in Nashville, and song you know, and and so

1064
01:20:22,040 --> 01:20:24,479
Speaker 1: so you know all these stories, you know, I I

1065
01:20:24,560 --> 01:20:28,120
Speaker 1: remember and and or even um Jena Calvia Anti Jenna,

1066
01:20:28,560 --> 01:20:31,519
Speaker 1: she had many stories too. Of course I had my

1067
01:20:31,520 --> 01:20:39,040
Speaker 1: own experiences with different entertainers, gosh, so many. I was

1068
01:20:39,080 --> 01:20:43,000
Speaker 1: wondering if if maybe you could um play us through

1069
01:20:43,200 --> 01:20:48,120
Speaker 1: some of uh, maybe some some of your favorite players,

1070
01:20:48,160 --> 01:20:51,640
Speaker 1: some of your favorite songwriters or or people that were

1071
01:20:51,680 --> 01:20:54,760
Speaker 1: influential to you, anything that you could, you know, show

1072
01:20:54,880 --> 01:20:57,479
Speaker 1: us on the on the still guitar that would help

1073
01:20:57,560 --> 01:20:59,679
Speaker 1: us get a sense of maybe some of the influence

1074
01:20:59,720 --> 01:21:01,120
Speaker 1: you've had add or some of the history of the

1075
01:21:01,320 --> 01:21:06,439
Speaker 1: of the craft writing for that instrument. Well, let me

1076
01:21:06,520 --> 01:21:10,760
Speaker 1: let me switch still guitars. UM funny because this is

1077
01:21:10,760 --> 01:21:13,320
Speaker 1: a different tuning, so I won't have to change totally

1078
01:21:13,400 --> 01:21:17,479
Speaker 1: change the tuning on the one I had. Um, So,

1079
01:21:17,520 --> 01:21:19,920
Speaker 1: what tunings have we used today? You did some C six,

1080
01:21:20,000 --> 01:21:24,400
Speaker 1: some D nine, A A six, This is a B

1081
01:21:24,520 --> 01:21:28,320
Speaker 1: E leven. Now this canopus still guitars from Japan and

1082
01:21:29,320 --> 01:21:34,680
Speaker 1: it was given to me back in seven by the Um,

1083
01:21:34,720 --> 01:21:37,320
Speaker 1: the owner of the company. In fact, he gave me

1084
01:21:37,439 --> 01:21:40,519
Speaker 1: almost his whole line of still guitars, you know, just different,

1085
01:21:40,600 --> 01:21:44,200
Speaker 1: you know, from single neck to triple neck to acoustic

1086
01:21:45,160 --> 01:21:47,280
Speaker 1: and so you know I I used that I like

1087
01:21:47,400 --> 01:21:55,479
Speaker 1: to still guitars. Yeah, yeah, Well here's the song I

1088
01:21:55,520 --> 01:21:59,519
Speaker 1: remember hearing UM on an album called Evening in the

1089
01:21:59,520 --> 01:22:04,120
Speaker 1: Islands featuring two still guitarists, Barney Isaacs and Eddie Pang.

1090
01:22:04,960 --> 01:22:08,240
Speaker 1: While one played the other one played driffs for fields.

1091
01:22:09,120 --> 01:22:12,640
Speaker 1: Out of all albums I heard that featured more than

1092
01:22:12,720 --> 01:22:17,640
Speaker 1: one still guitarist playing together, yeah, tour more, this is

1093
01:22:17,760 --> 01:22:20,800
Speaker 1: probably the finest for because of the blend both still

1094
01:22:20,840 --> 01:22:25,240
Speaker 1: guitars blen very well. Um. The tone of the instruments

1095
01:22:25,600 --> 01:22:30,840
Speaker 1: are very similar. And the churches songs. Oh I loved it.

1096
01:22:31,080 --> 01:22:49,559
Speaker 1: Here's one song. It's called Hannah you no oop So

1097
01:22:49,600 --> 01:23:23,720
Speaker 1: sorry that's it to me? Okay, yeah, that's more like it.

1098
01:23:25,080 --> 01:26:00,760
Speaker 1: Or so that's one song. Another song, UM. The first

1099
01:26:00,760 --> 01:26:05,840
Speaker 1: song was called Paradise Farm. This song is called Hula Heaven,

1100
01:26:05,880 --> 01:26:10,519
Speaker 1: which is a recording UM done by Joelsasi who was

1101
01:26:10,680 --> 01:26:15,040
Speaker 1: one of my great influences, Uh, I mean my influences

1102
01:26:15,080 --> 01:26:20,200
Speaker 1: were like again, Um, the early one was David Fete

1103
01:26:20,280 --> 01:26:24,120
Speaker 1: Rogers and his uncle Benny Rodgers. Then of course Jerry

1104
01:26:24,160 --> 01:26:28,479
Speaker 1: Bird and then um Julsa See from what he calls

1105
01:26:29,760 --> 01:26:32,000
Speaker 1: huge influence. And you know I got to play with

1106
01:26:32,360 --> 01:26:35,320
Speaker 1: two members of what you calls. You know, I played

1107
01:26:35,320 --> 01:26:38,559
Speaker 1: at the Helekulani for twenty three years, so um, it

1108
01:26:38,720 --> 01:26:41,439
Speaker 1: was my trio and these two guys played with me.

1109
01:26:41,520 --> 01:26:44,240
Speaker 1: They were much older than me. They knew a lot

1110
01:26:44,280 --> 01:26:48,240
Speaker 1: of songs. And then that style Joosa See style fit

1111
01:26:48,360 --> 01:26:51,320
Speaker 1: in with their style because why they all played together

1112
01:26:51,400 --> 01:26:53,479
Speaker 1: and what you calls and the Alfred the Packet show.

1113
01:26:54,000 --> 01:26:56,320
Speaker 1: So I could play to my heart stay like you

1114
01:26:56,360 --> 01:26:59,400
Speaker 1: know all you know, the Julsa See style. But then

1115
01:26:59,439 --> 01:27:01,880
Speaker 1: when I went anti Gennal, you know, on another night

1116
01:27:01,920 --> 01:27:04,960
Speaker 1: of the same week, I would change through the Benny

1117
01:27:05,120 --> 01:27:10,000
Speaker 1: Roger style like a chameleon changing colors. And why because

1118
01:27:10,000 --> 01:27:14,800
Speaker 1: it's a feel thing. I felt that playing that's a

1119
01:27:14,840 --> 01:27:17,879
Speaker 1: certain style with a certain group made a big difference,

1120
01:27:19,439 --> 01:27:25,320
Speaker 1: huge difference. So oh, here's another song. I guess, um,

1121
01:27:25,320 --> 01:27:30,160
Speaker 1: this is the one that people ask for and it

1122
01:27:30,280 --> 01:28:00,880
Speaker 1: goes something like this is called whispering lullaby. Ah, so

1123
01:28:00,920 --> 01:28:05,479
Speaker 1: it's it's all harmonics on the single string, which mean lullaby.

1124
01:28:06,840 --> 01:28:09,519
Speaker 1: And I'd like to play this one, um, something from

1125
01:28:09,520 --> 01:28:35,800
Speaker 1: the twenties. Yeah, and so on, go to Tall Street. Reg.

1126
01:28:36,760 --> 01:28:38,640
Speaker 1: I should ask you this earlier, but you want to

1127
01:28:38,640 --> 01:28:42,200
Speaker 1: just explain what Hawaii Calls was? How About Your Calls

1128
01:28:43,000 --> 01:28:46,320
Speaker 1: was a show that was broadcast for about forty years

1129
01:28:46,720 --> 01:28:50,400
Speaker 1: from pre war all the week to about nine. It

1130
01:28:50,520 --> 01:28:53,479
Speaker 1: was a showcase of the talent in the Islands. They

1131
01:28:53,520 --> 01:28:59,720
Speaker 1: had top musicians and every week, every broadcast, weekly broadcast,

1132
01:29:00,080 --> 01:29:02,880
Speaker 1: they would have a different show, different lineup of songs.

1133
01:29:03,640 --> 01:29:06,720
Speaker 1: At one point there were a lot of stations across

1134
01:29:07,000 --> 01:29:10,960
Speaker 1: the United States that would er what he calls. Of

1135
01:29:11,000 --> 01:29:13,439
Speaker 1: course it probably would be one week later. So they

1136
01:29:13,439 --> 01:29:18,640
Speaker 1: would have these large, large discs, you know transcriptions. Yeah,

1137
01:29:18,840 --> 01:29:22,240
Speaker 1: that would be sent out all over and even in Japan.

1138
01:29:22,840 --> 01:29:26,160
Speaker 1: I remember a friend saying, as a kid, I guess

1139
01:29:26,160 --> 01:29:29,880
Speaker 1: this was in the fifties, he would run home just

1140
01:29:29,960 --> 01:29:32,360
Speaker 1: in time to sit in front of the radio to

1141
01:29:32,479 --> 01:29:35,800
Speaker 1: listen to what he calls? How are he calls? Uh?

1142
01:29:36,120 --> 01:29:40,240
Speaker 1: Featured Alfred Opaca, I mean the great voices, Uh, how

1143
01:29:41,120 --> 01:29:44,679
Speaker 1: by Danny Kinni lau Benny Kalama. I mean, the list

1144
01:29:44,720 --> 01:29:46,280
Speaker 1: goes on and on. Oh I know one of the

1145
01:29:46,400 --> 01:29:53,720
Speaker 1: singers um was snatched up by Arthur Godfrey beautiful voice

1146
01:29:53,760 --> 01:29:55,599
Speaker 1: and he says, oh, would you like to go back

1147
01:29:55,640 --> 01:29:58,600
Speaker 1: to New York with me? So she sang on his

1148
01:29:59,680 --> 01:30:05,000
Speaker 1: his show. Yeah, many many fine fine players and artists

1149
01:30:05,680 --> 01:30:07,720
Speaker 1: the top and then they would come out with this

1150
01:30:07,960 --> 01:30:11,680
Speaker 1: these songs and sometimes even introduced songs. It became so

1151
01:30:11,760 --> 01:30:17,719
Speaker 1: popular that Hollywood or the international actors are artists would

1152
01:30:17,720 --> 01:30:20,519
Speaker 1: come to the show and so the m c Webley

1153
01:30:20,600 --> 01:30:23,360
Speaker 1: Edwards would introduce him and called him up to the

1154
01:30:23,400 --> 01:30:26,280
Speaker 1: stage and they would say a few words. So it

1155
01:30:26,400 --> 01:30:31,280
Speaker 1: was quite a popular show in this heyday. UM. And

1156
01:30:31,400 --> 01:30:36,360
Speaker 1: you know the government at that time, the territory government

1157
01:30:36,680 --> 01:30:39,439
Speaker 1: did support it. Why because it brought people to what

1158
01:30:41,880 --> 01:30:44,040
Speaker 1: and and then later on, you know what, the advent

1159
01:30:44,120 --> 01:30:48,000
Speaker 1: of TV, television and and so on. You know, the

1160
01:30:48,080 --> 01:30:52,599
Speaker 1: radio started to go down, yeah, downhill, and so you

1161
01:30:52,600 --> 01:30:56,120
Speaker 1: know what, you cause kind of lost its audience even

1162
01:30:56,120 --> 01:30:59,439
Speaker 1: though they tried to do a TV special, but yeah,

1163
01:30:59,520 --> 01:31:04,320
Speaker 1: they to keep up. So it finally closed. But but

1164
01:31:04,439 --> 01:31:07,599
Speaker 1: still the music, the recordings are. Oh, there's so many

1165
01:31:07,640 --> 01:31:13,240
Speaker 1: recordings out there, LPs and and their masterpieces, great singing,

1166
01:31:13,320 --> 01:31:17,400
Speaker 1: great music, arrangements by Benny Klama. Still guitar, Oh yeah,

1167
01:31:17,800 --> 01:31:22,040
Speaker 1: lots of still guitar. And they had the best Josassie Barney,

1168
01:31:22,080 --> 01:31:25,559
Speaker 1: Isaac's um. They had j K. Lee called, they had

1169
01:31:25,680 --> 01:31:29,799
Speaker 1: David Kitley who was the first still guitarist. They also

1170
01:31:29,880 --> 01:31:34,439
Speaker 1: had Eddie Pang for a little while, Danny Stewart UM,

1171
01:31:34,920 --> 01:31:40,840
Speaker 1: Joe Christino, Jerry Bird. Yeah, the top still guitarists. I

1172
01:31:40,840 --> 01:31:42,320
Speaker 1: want to ask you. We kind of covered this a

1173
01:31:42,400 --> 01:31:45,960
Speaker 1: little bit, but um, what is what's the mission of

1174
01:31:46,000 --> 01:31:49,080
Speaker 1: your school? And what what all do you teach? What

1175
01:31:49,120 --> 01:31:52,080
Speaker 1: other instruments do you teach, including still guitar. Kick Coola

1176
01:31:52,120 --> 01:31:56,599
Speaker 1: Millery was started because I could see that other ukulele schools,

1177
01:31:57,040 --> 01:31:59,599
Speaker 1: we're not really teaching Hawaiian. They were teaching everything else

1178
01:32:00,200 --> 01:32:02,320
Speaker 1: along with, you know, using the uk le as a

1179
01:32:02,360 --> 01:32:06,880
Speaker 1: primary instrument. Maybe they're they're learning, um, some rock and

1180
01:32:06,960 --> 01:32:09,120
Speaker 1: roll song, you know, some song on nukual ele that

1181
01:32:09,200 --> 01:32:14,839
Speaker 1: has four chords, rock and roll style chords, you know, one, six,

1182
01:32:15,640 --> 01:32:19,559
Speaker 1: four or five, and that's it. So I said, yeah,

1183
01:32:19,880 --> 01:32:22,120
Speaker 1: I want to bring back some of the old songs,

1184
01:32:22,479 --> 01:32:25,920
Speaker 1: some of the songs that talk about the islands, you know,

1185
01:32:26,000 --> 01:32:31,439
Speaker 1: like like being power points of the past. So so

1186
01:32:31,479 --> 01:32:34,519
Speaker 1: in my class, the way I have a design for

1187
01:32:34,600 --> 01:32:40,200
Speaker 1: my uk l A classes is that every six months

1188
01:32:40,280 --> 01:32:43,200
Speaker 1: I produced new songs, and then I teach them about

1189
01:32:43,200 --> 01:32:46,759
Speaker 1: the islands, about the lifestyle, about the culture through the songs,

1190
01:32:46,880 --> 01:32:51,559
Speaker 1: even history through the songs. Or I'll even take out

1191
01:32:51,560 --> 01:32:53,719
Speaker 1: a map and say, okay, do you know where such

1192
01:32:53,720 --> 01:32:56,519
Speaker 1: and such a place is, Especially for the young ones,

1193
01:32:56,560 --> 01:32:59,680
Speaker 1: you have no clue. Second show them and then I

1194
01:32:59,760 --> 01:33:02,240
Speaker 1: let them interact, you know, and they say, oh, yeah, yeah,

1195
01:33:02,280 --> 01:33:04,439
Speaker 1: my grandmother lives out there, you know, you know, things

1196
01:33:04,520 --> 01:33:09,240
Speaker 1: like that. So because very concrete for them, you know,

1197
01:33:09,280 --> 01:33:11,400
Speaker 1: I wanted to learn about the Hawaii they live in.

1198
01:33:12,240 --> 01:33:14,960
Speaker 1: And I don't care if they're they're from Hawaii or not,

1199
01:33:15,400 --> 01:33:17,840
Speaker 1: because you know, there there's a military base here, and

1200
01:33:17,880 --> 01:33:21,800
Speaker 1: I have students whose parents are military, so they can

1201
01:33:21,920 --> 01:33:24,599
Speaker 1: learn about the Hawaii they live in and wherever they

1202
01:33:24,600 --> 01:33:28,880
Speaker 1: moved to next perhaps they'll always remember that or they'll

1203
01:33:28,960 --> 01:33:33,280
Speaker 1: share it with somebody else. I have still guitar classes

1204
01:33:33,320 --> 01:33:38,200
Speaker 1: as well. I teach all the instruments, guitar upbrak Bass.

1205
01:33:38,600 --> 01:33:40,080
Speaker 1: I mean, I have a girl who was a third

1206
01:33:40,080 --> 01:33:44,599
Speaker 1: grader and when her sister plays still guitar, and when

1207
01:33:44,640 --> 01:33:46,679
Speaker 1: I took them to a still guitar festival, the Momi

1208
01:33:46,760 --> 01:33:50,800
Speaker 1: Still Guitar Festival years ago, people couldn't believe that. When

1209
01:33:50,840 --> 01:33:54,439
Speaker 1: we're in a john session, so you know, we're playing

1210
01:33:54,439 --> 01:33:58,719
Speaker 1: the song and then we change keys. The third grade

1211
01:33:58,720 --> 01:34:02,559
Speaker 1: of change keys too with and she was right on

1212
01:34:02,600 --> 01:34:08,759
Speaker 1: the beat. Amazing. Yeah, And and so she's become quite

1213
01:34:08,760 --> 01:34:12,280
Speaker 1: a legend, you know, amongst many of you know, many people,

1214
01:34:12,680 --> 01:34:14,880
Speaker 1: especially if somebody makes the mistakes, she looks at them,

1215
01:34:15,360 --> 01:34:20,080
Speaker 1: she glares so so you know, like they're afraid of her,

1216
01:34:20,120 --> 01:34:22,320
Speaker 1: you know. They so they said, oh you don't tell this,

1217
01:34:22,439 --> 01:34:26,320
Speaker 1: don't make a mistake, She'll look at you. Now she's

1218
01:34:26,320 --> 01:34:30,000
Speaker 1: in the sixth grade. So in anyway, Um, so, I

1219
01:34:30,520 --> 01:34:33,600
Speaker 1: I have a lot of vocalello students I have. I

1220
01:34:33,720 --> 01:34:38,040
Speaker 1: have a lot of still guitarist students around the world,

1221
01:34:38,200 --> 01:34:42,439
Speaker 1: true skype. And then I have classes. Um I have

1222
01:34:42,680 --> 01:34:46,640
Speaker 1: three classes beginning to intermediate and advance, and then many

1223
01:34:46,840 --> 01:34:50,720
Speaker 1: private students that come here to to learn the art

1224
01:34:50,760 --> 01:34:53,799
Speaker 1: of the still guitar. And then I have many different

1225
01:34:54,160 --> 01:34:56,760
Speaker 1: levels from you know, beginner all the way to a

1226
01:34:57,080 --> 01:35:02,320
Speaker 1: pretty done good not able to take the stage that good.

1227
01:35:04,560 --> 01:35:07,360
Speaker 1: It seems like, Uh, I think it's such incredible work.

1228
01:35:07,439 --> 01:35:13,120
Speaker 1: I mean, really just patching young people into a legacy

1229
01:35:13,200 --> 01:35:15,880
Speaker 1: and just letting beautiful music just flourish in the world

1230
01:35:15,920 --> 01:35:18,160
Speaker 1: instead of you know, fizzle out in the past. I mean,

1231
01:35:18,160 --> 01:35:20,360
Speaker 1: I really think that it's important. And I also think

1232
01:35:20,400 --> 01:35:22,920
Speaker 1: teaching music is like teaching magic. I mean, it's it's

1233
01:35:22,920 --> 01:35:25,040
Speaker 1: as close to real magic as there is. Well, you know,

1234
01:35:25,080 --> 01:35:28,840
Speaker 1: another thing too, is what music you can work on. Creativity,

1235
01:35:29,280 --> 01:35:35,720
Speaker 1: release your energenious you know that thing about you know,

1236
01:35:35,840 --> 01:35:40,760
Speaker 1: reading tabs and learning tabs, memorizing tabs. That's fine. But

1237
01:35:40,880 --> 01:35:45,680
Speaker 1: then again I tell him, close your book once you

1238
01:35:45,760 --> 01:35:49,760
Speaker 1: learn it, close your book and feel the song. Don't

1239
01:35:49,760 --> 01:35:53,080
Speaker 1: worry about all the notes on the music. Don't even

1240
01:35:53,120 --> 01:35:56,800
Speaker 1: worry about the rhythm. It's whatever you feel. And you know,

1241
01:35:57,200 --> 01:36:00,960
Speaker 1: I see people playing something and and and they're they're

1242
01:36:01,000 --> 01:36:04,679
Speaker 1: putting in their own touch or their own rhythmic pattern

1243
01:36:04,720 --> 01:36:09,680
Speaker 1: in there um and and I just smile or or

1244
01:36:09,760 --> 01:36:12,000
Speaker 1: or they'll go off on the tangent and come back.

1245
01:36:13,360 --> 01:36:15,880
Speaker 1: And and that's great because that's working on creativity the

1246
01:36:16,040 --> 01:36:20,360
Speaker 1: right brain. UM. I noticed some of those who are

1247
01:36:20,439 --> 01:36:28,160
Speaker 1: retired lawyers, engineers, um surgeons, they have a rough time.

1248
01:36:28,920 --> 01:36:32,439
Speaker 1: Their left brain is very well developed. The right brain, however,

1249
01:36:32,600 --> 01:36:36,120
Speaker 1: isn't and they struggle. But you know, little by little

1250
01:36:36,160 --> 01:36:40,200
Speaker 1: they they kind of get up there. But it's interesting

1251
01:36:40,280 --> 01:36:43,760
Speaker 1: to see the difference. And then you have children who

1252
01:36:43,800 --> 01:36:48,400
Speaker 1: just absorbed like sponges. It's a start of satisfaction for me,

1253
01:36:49,760 --> 01:36:52,799
Speaker 1: really is so you know, going out putting in volunteer

1254
01:36:52,840 --> 01:36:56,479
Speaker 1: work too, to coordinate and operate these still guitar festivals too,

1255
01:36:57,120 --> 01:37:01,280
Speaker 1: to make it available to the public, both young and old.

1256
01:37:01,840 --> 01:37:03,840
Speaker 1: You know, the starts of joy. I mean, you know,

1257
01:37:04,000 --> 01:37:06,439
Speaker 1: I come back and I'm like ready to not for

1258
01:37:06,479 --> 01:37:10,120
Speaker 1: twelve hours. But we're making the still guitar more visible.

1259
01:37:10,160 --> 01:37:14,000
Speaker 1: We're exposing many people to it. And the great thing

1260
01:37:14,120 --> 01:37:18,240
Speaker 1: is it's free and open to the public. The workshops,

1261
01:37:18,960 --> 01:37:24,599
Speaker 1: the concerts, they're all free. The jam sessions now, so

1262
01:37:24,760 --> 01:37:27,200
Speaker 1: you know, a little by little we're bringing still guitar

1263
01:37:27,320 --> 01:37:30,000
Speaker 1: back to the island. So the man who wrote to

1264
01:37:30,080 --> 01:37:34,720
Speaker 1: me about still guitared that I had mentioned that one

1265
01:37:34,760 --> 01:37:37,920
Speaker 1: of my students was playing. He says, I'm interested in

1266
01:37:37,960 --> 01:37:41,400
Speaker 1: that one. So I sent him a link. It's here.

1267
01:37:41,520 --> 01:37:45,000
Speaker 1: Check it out. Um. There, it's a great sounding still

1268
01:37:45,000 --> 01:37:50,280
Speaker 1: guitar for an incredibly low price. I said, Yeah, I

1269
01:37:50,280 --> 01:37:53,519
Speaker 1: I recommend this to others too. You know, there's certain

1270
01:37:53,560 --> 01:37:59,200
Speaker 1: still guitars still guitar brands that I particularly like, And

1271
01:37:59,360 --> 01:38:02,800
Speaker 1: depending on someone's budget, I'll tell him which way to go,

1272
01:38:03,800 --> 01:38:06,639
Speaker 1: you know, I mean there are so many still guitar

1273
01:38:06,800 --> 01:38:10,360
Speaker 1: manufacturers out there. Really, there's a lot, and there's some

1274
01:38:10,520 --> 01:38:14,320
Speaker 1: that that I really like because of the tone that

1275
01:38:14,320 --> 01:38:17,760
Speaker 1: comes out of the instrument. Yeah, there's some others that

1276
01:38:17,840 --> 01:38:20,960
Speaker 1: maybe it would be better for maybe rock or or

1277
01:38:21,080 --> 01:38:25,240
Speaker 1: or some other music, but not for Hawaiian. And then

1278
01:38:25,360 --> 01:38:28,840
Speaker 1: same like with the amplifiers. You know, I recommend amplifiers too.

1279
01:38:29,360 --> 01:38:32,760
Speaker 1: If somebody is asking, so I say, you know, this

1280
01:38:32,800 --> 01:38:35,360
Speaker 1: one would be if you have six strings, this one

1281
01:38:35,439 --> 01:38:38,040
Speaker 1: is an excellent amplifier. It could fit in your suitcase,

1282
01:38:38,680 --> 01:38:40,840
Speaker 1: you could travel around with it, and so on. If

1283
01:38:40,880 --> 01:38:43,800
Speaker 1: you want something for an eight string, I would recommend

1284
01:38:44,000 --> 01:38:48,760
Speaker 1: this many amplifier. Uh. And and you know I have

1285
01:38:48,840 --> 01:38:52,000
Speaker 1: a lot of amplifiers to you know, um in my garage,

1286
01:38:52,240 --> 01:38:54,400
Speaker 1: I have in my room and in my garage. So

1287
01:38:54,479 --> 01:38:57,880
Speaker 1: you know, I I've tried a number of them. Yeah,

1288
01:38:57,960 --> 01:39:01,040
Speaker 1: even at the festivals, I or I should say at conventions.

1289
01:39:01,080 --> 01:39:04,400
Speaker 1: I tried a number of different amplifiers, and so you know,

1290
01:39:04,439 --> 01:39:07,120
Speaker 1: I kind of know what I like and what I

1291
01:39:07,160 --> 01:39:10,880
Speaker 1: don't like. For Hawaiian music, it seems like you've lived

1292
01:39:10,880 --> 01:39:13,599
Speaker 1: in an incredible and are living an incredible life. Uh.

1293
01:39:13,600 --> 01:39:16,840
Speaker 1: And uh that it's for like good thing that the

1294
01:39:16,920 --> 01:39:20,120
Speaker 1: still guitar and you found each other. Yeah. I think

1295
01:39:20,160 --> 01:39:22,280
Speaker 1: it was meant to me because you know, even when

1296
01:39:22,360 --> 01:39:24,240
Speaker 1: I was in the ninth grade, I had decided that

1297
01:39:24,280 --> 01:39:27,000
Speaker 1: I wanted to become a music teacher. You know, my

1298
01:39:27,080 --> 01:39:30,120
Speaker 1: band Instructor was an influence on me too, and so

1299
01:39:30,240 --> 01:39:32,240
Speaker 1: I did become you know, I got my degree, you

1300
01:39:32,280 --> 01:39:38,559
Speaker 1: know UM in music AD and then administration UM. But

1301
01:39:38,640 --> 01:39:41,799
Speaker 1: I taught music all those years and was still teaching music.

1302
01:39:42,520 --> 01:39:49,920
Speaker 1: It's started like my contribution to society, especially for Hawaiian society,

1303
01:39:49,960 --> 01:39:52,160
Speaker 1: to teach music. I mean there's a lot of teachers,

1304
01:39:52,200 --> 01:39:57,400
Speaker 1: you know, teaching language, teaching UM protocol you know for Hawaii,

1305
01:39:57,760 --> 01:40:03,720
Speaker 1: teaching hula or even teaching slacky or teaching you know,

1306
01:40:03,880 --> 01:40:07,240
Speaker 1: singing and so on. But for me, it's it's more

1307
01:40:07,360 --> 01:40:12,760
Speaker 1: like ensemble solo working ensemble with the steal guitar, with

1308
01:40:13,640 --> 01:40:16,839
Speaker 1: songs that I grew up with are played with these

1309
01:40:17,280 --> 01:40:21,519
Speaker 1: old timers, these legends, bringing out those songs because if

1310
01:40:22,160 --> 01:40:25,160
Speaker 1: if I don't, you know, it might die, it might

1311
01:40:25,280 --> 01:40:28,320
Speaker 1: fade away. I mean, we lost so many songs already.

1312
01:40:28,320 --> 01:40:32,760
Speaker 1: I'm sure you know. So these are songs that that

1313
01:40:32,880 --> 01:40:36,600
Speaker 1: tell the story. Yeah, they tell a storry and and

1314
01:40:37,160 --> 01:40:40,400
Speaker 1: I think it's good to know you who knows. Maybe

1315
01:40:41,240 --> 01:40:44,000
Speaker 1: you know one of my sermons might say that's my family,

1316
01:40:45,720 --> 01:40:51,639
Speaker 1: that's my family's place, or really, you know, that's amazing.

1317
01:40:52,000 --> 01:40:54,200
Speaker 1: We've had everything on my list. I mean, I was

1318
01:40:54,280 --> 01:40:57,000
Speaker 1: just curious if if you would, you know, play a

1319
01:40:57,080 --> 01:41:01,360
Speaker 1: song on the way out. Okay, ready, so here's a

1320
01:41:01,400 --> 01:41:03,719
Speaker 1: song called I want to go back to my little

1321
01:41:04,320 --> 01:43:03,200
Speaker 1: grass shack to take him to talk to the food,

1322
01:42:57,880 --> 01:44:53,719
Speaker 1: get time to take eating. It's lovely. Okay anyway, Okay,

1323
01:44:54,000 --> 01:44:56,840
Speaker 1: my next student is yere No. Thank you so much

1324
01:44:56,920 --> 01:44:59,080
Speaker 1: for your time. Thank you for everything that you're doing.

1325
01:45:00,080 --> 01:45:01,479
Speaker 1: Most of the serio, I think that the work that

1326
01:45:01,520 --> 01:45:04,120
Speaker 1: you do is super important and great. I really appreciate

1327
01:45:04,120 --> 01:45:06,000
Speaker 1: all the time that you gave us today. Thank you,

1328
01:45:06,080 --> 01:45:09,360
Speaker 1: thank you, my pleasure. Take care of them. As we

1329
01:45:09,479 --> 01:45:26,519
Speaker 1: say in Hawaii, Aloha Aloha mahallo m our. Deepest thanks

1330
01:45:26,560 --> 01:45:29,960
Speaker 1: to Alan Acaca and to steel guitar historian John Troutman

1331
01:45:30,240 --> 01:45:34,519
Speaker 1: for making the introduction. Learn about upcoming stew guitar festivals

1332
01:45:34,560 --> 01:45:38,000
Speaker 1: at high La dot org and lessons via Scarpe at

1333
01:45:38,200 --> 01:45:41,439
Speaker 1: Kola La dot org. Links to all this and more

1334
01:45:41,600 --> 01:45:46,599
Speaker 1: at our website, Ephemeral dot Show. For more podcasts from

1335
01:45:46,640 --> 01:45:50,520
Speaker 1: my Heart Radio, visit the iHeart Radio app, Apple Podcasts,

1336
01:45:51,080 --> 01:45:59,960
Speaker 1: or wherever you listen to your favorite shows. How about

1337
01:46:00,000 --> 01:46:04,000
Speaker 1: out That? Oh? How Pretty? Get it Yet? Thank you

1338
01:46:04,120 --> 01:46:12,280
Speaker 1: ladies and gentles. Thank you guys. Love, Elena kaka h