New! Online video lessons
Keola Beamer and Raiatea: Liner Notes
It is not often that two artists who had never before met can come together and, in such a short period of time, collaborate in the creation of a work of art as moving, deeply personal, and exciting as “Where I Hold You.”
But in the case of Keola Beamer and Raiatea Helm, they did just that.
“In my own journey, I find that you have to love what you do,” says Keola. “I really enjoy working with Raiatea. And this project became a lot more than simply making a record.”
The two met in mid-2008. Raiatea, the young Hoku Hanohano-award winning solo artist from Kalama'ula, Moloka'i, was in Honolulu and had met Cary Hayashikawa through a mutual friend. Cary, acting as talent coordinator for the upcoming annual toro nagashi lantern floating ceremony at Ala Moana Beach Park and also a close friend of Keola, suggested that Raiatea should collaborate with Keola during the main event. Raiatea, however, had never even met Keola Beamer before. “Are you serious? Would he want to work with me?” Raiatea asked. “You mean, I could work with Keola Beamer, the legend?”
They performed “Iesu no ke Kahuhipa,” an 1830s hymn translated into Hawaiian by Rev. Lorenzo Lyons of “Hawai'i Aloha” fame, only a few days later. “We put the whole thing together so quickly, and when we did it, we felt like there was an instant connection there,” recounts Raiatea. “At the time, I was planning on recording my next solo album, but the project seemed stalled for some reason.” Several months later, Keola, Moanalani (Keola’s wife), myself, Guy Sibilla, and Raiatea sat down together at Sam Choy’s restaurant, “and that’s how this whole thing was born!”
Keola also felt that same “instant connection” with Raiatea early on and was delighted by her willingness to explore new musical pathways. “When I heard her doing some of Sweetheart Grandma’s music,” — meaning the songs of Helen Desha Beamer — “I felt there was an older soul inside this young lady. This intrigued me, and I wondered if we could collaborate to create something new.”
Raiatea, however, had never worked in this type of collaborative partnership. “I never felt comfortable recording in the same room at the same time with anybody before. But the energy that Keola has just makes you feel so good, and he brings that out on an artistic level. Things just sort of clicked, and that’s when I knew, wow! I am so excited about this journey!”
“It’s a new me,” says Raiatea. “Starting something fresh. Starting all over again. Growing into a new woman. It’s beautiful and I feel comfortable in this new element. For me, even with the hard work that went into this album, it still felt quite effortless in comparison to my earlier ones.” Indeed, this album has given her the chance to try new styles, to make contributions to the creative process, and to mature in her understanding of her own musical talents.
Raiatea also feels connected to the songs. “I like how they sound and I like how they feel. They are pretty deep. And Uncle Keola makes them even more powerful. I mean, anyone can sing ‘Ka Makani Ka'ili Aloha,’ but to have it done in an arrangement by Uncle Keola, it makes it sound like a different song. He brings out the soulfulness for me. I feel comfortable in this type of spiritual and soothing sound.”
Asked if she could characterize this album with a color, Raiatea described it as a nice, soft, clear-sky blue. For Keola, however, the album holds a darker tone.
“This record has some deep personal reflections, ” says Keola. “It’s love and it’s loss. It’s the passing of the years as we go through life. That’s another reason I really like working with Raiatea: her voice has the capacity to take me places. I can journey with her. Her voice is powerful, yet has a ‘luminous’ quality. It’s like looking at the moon and seeing the light behind the physical body of it: it’s the aka, the luminous glow and the spectral shadow all at once.”
It was quite a coincidence to me that when I had previously asked Raiatea how she would describe this album in one word, she replied after a moment of reflection: “Brilliance.” And brilliant it is indeed, for the album has given Raiatea the chance to enlighten her musical life and explore new musical directions.
Here we have an album that deals with letting go and with answering some of life’s hardest questions. Keola went through some very difficult times following the loss of his beloved mother in 2008, and perhaps due in some part to the experience of working with Raiatea, he has transcended that dark abyss of sorrow and come out once again into the light.
“Working with Keola makes me feel so humble and proud. I feel like we are 'ohana.” - Raiatea
Enjoy.
KT
Hilo, Hawai'i
Ina (Imagine)
(John Lennon - Lenono.Music/SBK Blackwood) 4:02
| Ina 'a'ohe lani | Imagine there’s no heaven |
| He ma'alahi no | It’s easy if you try |
| 'A'ohe lua ahi | No hell below us |
| He lewa wale no | Above us only sky |
| Ina la ho'i kakou | Imagine all the people |
| I keia la wale no… | Living for today… |
| Ina aupuni 'ole | Imagine there’s no countries |
| He ma'alahi pu | It isn’t hard to do |
| 'A'ohe pu'umake | Nothing to kill or die for |
| Ho'omana 'ole pu | And no religion too |
| Ina la ho'i kakou | Imagine all the people |
| I ka malu o ke ao… | Living life in peace… |
| He moemoea keia | You may say I’m a dreamer |
| 'A'ole na'u wale no | But I’m not the only one |
| E hui pu no kakou | I hope someday you’ll join us |
| (I ho'okahi ko ke ao a pau) | And the world will be as one |
| Ina ua waiwai 'ole | Imagine no possessions |
| A ua hiki no | I wonder if you can |
| 'A'ohe la pololi | No need for greed or hunger |
| Pili ka'ana pu | A brotherhood of man |
| Ina la ho'i kakou | Imagine all the people |
| Aloha a launa pu… | Sharing all the world... |
| He moemoea keia | You may say I’m a dreamer |
| 'A'ole na'u wale no | But I’m not the only one |
| E hui pu no kakou | I hope someday you’ll join us |
| (A noho pu ko ke ao a pau) | And the world will live as one |
Arrangement: Keola Beamer & Marsha Schweitzer
Hawaiian: Kaliko Beamer-Trapp
Vocals, Ki Ho'alu Guitar (Leonard’s F): Keola Beamer
Vocals: Raiatea Helm
Oli (chant), Pahu, Puniu: Charles Ka'upu
'?keke: Moanalani Beamer
Bass: John Kolivas
Winds: Spring Wind Quintet
Keola first performed “Ina/Imagine” with Raiatea on May 27, 2008 at the Shinnyo-en/Na Lei Aloha Foundation’s “Diversity Harmony Peace” event in Waikiki the day after the annual lantern floating ceremony. In planning the event, friend Cary Hayashikawa had asked Keola if he could perform it, so Keola began to think of how to give the song a Hawaiian feel. After the translation into Hawaiian language was completed by Keola’s hanai (adoptive) brother on May 5, just three weeks before its scheduled premier, Keola called on the talented members of the Spring Wind Quintet to provide a supportive background. Finally adding Moanalani’s steady 'ukeke rhythm to tie it all together, they felt that that “Imagine - Hawaiian style” was ready for its debut.
In this recording, Raiatea and Keola share the Hawaiian and English lyrics, and Charles Ka'upu, a respected Maui-based chanter, hula exponent, and composer, offers an oli (chant) interlude in which he speaks of love and aloha for the islands, the mountains, and the seas. He admonishes us: “Arise and stand together, all children of the land.”
As Keola said at the time of its first performance, there is a kind of a timelessness to “Imagine” that serves to make it as relevant in today’s world as it was when Lennon penned it almost four decades ago.
Where I Hold You
(Keola Beamer - Starscape Music/ASCAP) 3:59
| I ka pilina muliwai | Down where the river meets the sea |
| Ka ulu hau o kahakai | When I was watching from the trees |
| He hali'a mai na ka makani | In the falling wind I was back again |
| A pili me 'oe | To where I hold you |
| E huli aku ana au | Needing something to believe |
| I ala e hui hou ai | I fixed a place inside of me |
| He meheuheu, he ma'awe la | Where each old worn path |
| A pili me 'oe | Would lead me back to where I hold you |
| Where I hold you | |
| Where I hold you | |
| Where I hold you | |
| Ua ho'i aku nei no | And though you’re gone without a trace |
| Aia na'e i ka pu'uwai | In my heart there is a place |
| Kou leo hone mai i ka makani | Where I still hear your voice in the falling wind |
| A pili me 'oe | Where I hold you |
Arrangement: Keola Beamer & Marsha Schweitzer
Hawaiian: Kaliko Beamer-Trapp
Vocals, Ki Ho'alu Guitar (Keola’s C tuned down ½ step to the key of B): Keola Beamer
Vocals: Raiatea Helm
Piano: Geoffrey Keezer
Bass: Marc Van Wageningon
Drums: Paul Van Wageningon
Winds: Spring Wind Quintet
The inspiration for the message of this song was the passing of “Papa” Keali'inohopono Beamer (Keola’s grandfather) in 1992. Keola explains: “‘Where I Hold You’ was written for that special place in your heart where you hold a memory of somebody.” Indeed, the soft yet thematic countermelodies of the wind instruments, the punctuation of the piano and guitar, and Raiatea’s strong leading vocals all build together to instill in us a faith that we can indeed hold the memories of those who have gone before us forever in our hearts and minds, and that if we take the time to listen, their voices may be heard amongst the trees and in the winds.
As Raiatea sang this, she thought of her t_utu (grandmother) who had passed: “It gets so strong, and I go into that place where it’s so deep where I want to cry, but I don’t want to cry yet. You miss someone so much you want to cry - but just before that is where you stop. You have to put yourself in that place to perform this kind of song. It lets you feel the mana (spiritual power) in the music.”
“Where I Hold You” echoes the collaborative relationship of Raiatea and Keola in their work together. “This song captures a lot about what I do with Uncle Keola and where I hold this music, this gift, this journey,” says Raiatea.
Our Time For Letting Go
(Keola Beamer - Starscape Music/ASCAP) 4:11
Out into the wind, I watch the setting sun
And I remember you
And when the night comes in, and the day is gone
I remember you
When the clouds appear and the wind grows cold
I’m missing you so much, it’s time to let you go
A time for love, a time for letting go
And time for all the small regrets to pass
A time for love, and time for letting go of the past
Our time for letting go … for letting go
When the sun goes down and the wind grows cold
And we feel so lost, we don’t know where to go
A time for love, a time for letting go,
And time for all the small regrets to pass
A time to heal, and time for letting go of the past
Our time for letting go … for letting go
Underneath the moon, I see the starlight shine
And I remember you
When the clouds appear and the wind grows cold
I’m missing you so much, it’s time to let you go
A time for love, a time for letting go
And time for all the small regrets to pass
A time for love, and time for letting go of the past
Our time for letting go
Arrangement: Keola Beamer
Vocals, Ki Ho'alu Guitar (DADGAD tuning): Keola Beamer
Piano: Geoffrey Keezer
Bass: Marc Van Wageningon
Drums: Paul Van Wageningon
“For my mother, Winona Kapuailohiamanonokalani Desha Beamer, who left us in early 2008.”
You Somebody
(Keola Beamer - Starscape Music/ASCAP) 3:42
In this world we all live a busy life
Filled with work, with compromise and sacrifice
When you’re feeling lonely and you’re having a hard time
There’s someone who believes in you and knows one day you’ll shine
’Cause you somebody, you somebody
You somebody in this heart of mine
In this world we all do the best we can
We try so hard to write our names into the sand
Maybe you’re not famous and no one knows your name
There’s someone who believes in you and that will never change
’Cause you somebody, you somebody
You somebody in this heart of mine
Oh how quickly the time goes, and soon we are gone
Still I’d wish that you’d know that you are never lost
’Cause you somebody, you somebody
You somebody in this heart of mine
You somebody …
Time moves on and another day begins
And your hopes, like leaves, are blowing in the wind
Feeling disappointed cause you’ve struggled long and hard
There’s someone who’s in love with you just the way you are
’Cause you somebody, you somebody
You somebody in this heart of mine
Arrangement: Keola Beamer
Vocals: Raiatea Helm
Ki Ho'alu Guitar (Leonard’s F): Keola Beamer
Piano: Geoffrey Keezer
Bass: Marc Van Wageningon
Drums: Paul Van Wageningon
Diamond Head Theatre in Honolulu first commissioned the Pidgin-English musical “You Somebody” by author and playwright Lee Cataluna in 2002. Lee asked Keola to write the music. “You Somebody” debuted to sold-out audiences in 2002 and was re-mounted in 2007. “Working with Lee was a wonderful experience,” says Keola. “It was both evocative and tremendously fun at the same time. Having my beautiful hanai niece (Raiatea) sing a great version of it is a true gift.”
Raiatea says it was “like magic” working with piano virtuoso Geoffrey Keezer on this recording. “He’s a wonderful guy and an excellent musician,” she says. “And like Uncle Keola told me, every producer, every engineer, every musician you work with makes for a different sound. Keola is very serious and a perfectionist when it comes to this kind of stuff. So he and Geoffrey really get along well!”
Hilo Hanakahi
(Keola Naumu - Charles E. King Music Co.) 3:46
Arrangement: Keola Beamer
Vocals, 'Ukulele: Raiatea Helm
Vocals, Ki Ho'alu Guitar (Leonard’s F): Keola Beamer
Hilo Hanakahi is a well known composition which honors each district of Hawai'i island by recounting popular epithets for each, such as the flower-rustling Kanilehua rain of Hilo district, the dust-raising Kuehulepo wind of Ka'u, the whispering sea of Kawaihae, and the tall cliffs of Hamakua. Keola and Raiatea present a part of this long composition, here honoring Hilo, Kona, Kawaihae, and Hilo’s ancient chief, Hanakahi.
I Kilohi Aku Au
(When I Look In Your Eyes) (Leslie Bricusse - EMI Hastings/BMI) 3:28
| I kilohi aku au | When I look in your eyes |
| I kou maka no ka 'ike o ke ao | I see the wisdom of the world in your eyes |
| A me ka luhi o ka nui kupae | I see the sadness of a thousand goodbyes |
| I kilohi aku au | When I look in your eyes |
| Pu'iwa 'ole mai | And it is no surprise |
| Ke onaona o ka po mahina la | To see the softness of the moon in your eyes |
| '?linolino me na hoku o ka po | The gentle sparkle of the stars in the skies |
| I kilohi aku au | When I look in your eyes |
| Kou maka no | In your eyes |
| Ka hohonu o ke kai | I see the deepness of the sea |
| Ka nui o ke aloha mai | I see the deepness of the love |
| Ko aloha no e aloha ai | The love I feel you feel for me |
| Ma na kau a kau | Autumn comes summer dies |
| Ka puni o na makahiki hou | I see the passing of the years in your eyes |
| A ha'alele no, lele 'ole ka ue kupae | And when we part there’ll be no tears, no goodbyes |
| (E kilohi aku au) | I’ll just look in your eyes |
| Kou maka 'alohi, aia i ka poli | Those eyes so wise, so warm, so real |
| (Aloha nui i ke ao e 'ikea 'ia nei) | How I love the world your eyes reveal |
Arrangement: Keola Beamer
Hawaiian: Kaliko Beamer-Trapp
Vocals: Raiatea Helm
Ki Ho'alu Guitar (Keola’s G minor played in E): Keola Beamer
Siter: Harry Willemsen
Keola met Indonesian musician, Harry Willemsen, in Den Haag, Amsterdam in 2005. The two musicians brought together the unusual combination of Hawaiian slack key guitar and Javanese gamelan orchestra while both were performing at the annual Pasar Malam Besar Indonesian Festival. Four years later, their musical friendship still strong, Keola invited Harry to perform with him on this piece. He felt that underneath Raiatea’s voice, the tonal palette of the Indonesian siter would evoke the appropriate sadness needed for “When I Look In Your Eyes.”
The song came originally from the 1967 Oscar-winning musical film “Doctor Dolittle” starring actor Rex Harrison. It was written by British lyricist and composer Leslie Bricusse. Of the song, Keola says, “I always thought this song had such beautiful ideas: of getting older in life, of the passing of years, of the ‘thousand goodbyes’, and I had been wanting to find a treatment of my own.”
“When Raiatea approaches a difficult song, such as this one, I know it’s not easy. We would sit for hours and work on this piece. She had to reach inside to illuminate complex emotions. That’s another reason I respect her. She has the courage to explore her own heart. In my experience, that does not happen easily. She was able to convey a gentle sensitivity because I think she was able to call on that ‘older soul’ ever-present within her.
“I will always cherish the experience,” Keola says reflectively, “of working with her.”
Ka Makani Ka'ili Aloha
(Mathew Kane) 3:38
Arrangement: Keola Beamer
Vocals, Ki Ho'alu Guitar (DADGAD tuning): Keola Beamer
Vocals, 'Ukulele: Raiatea Helm
Bass: John Kolivas
Congas: Bobo Butires
“Ka Makani Ka'ili Aloha” (literally meaning “the love-snatching wind”) is a song Keola learned while a student at Kamehameha Schools. It is a song of love and praise that has been a familiar part of Hawaiian music since the early 1920s. The song reminds us of how love lost can be found again with patience, prayer, and unwavering devotion.
Ke Kulu o ke Au
(Who Knows Where The Time Goes) (Sandy Denny - Irving Music, Inc./Winckler Musikforlag/BMI) 3:31
E ha'alele aku ana no Across the evening sky
Na manu o ke ahiahi All the birds are leaving
Pehea la e 'ike ai But how can they know
Ka wa e lele aku ai? It’s time for them to go?
I mua o ke kapuahi Before the winter fire
Eia ke moea nei I will still be dreaming
Mea 'ole no ke au I have no thought of time
Ia wai la ka 'ike? For who knows where the time goes?
Ia wai ka 'ike i ke kulu o ke au? Who knows where the time goes?
Mehameha ua kahakai Sad deserted shore
'A'ohe ou hoaloha Your fickle friends are leaving
He 'ike no na'e kou Ah, but then you know
E ho'i aku ana no It’s time for them to go
Eia mai ana au But I will still be here
Kololani 'ole I have no thought of leaving
Helu 'ole i ke au I do not count the time
Ia wai la ka 'ike? For who knows where the time goes?
Ia wai ka 'ike i ke kulu o ke au? Who knows where the time goes?
Mehameha 'ole ho'i au And I am not alone
'Oiai he ipo i 'ane'i While my love is near me
A peia aku ana no I know it will be so
A ha'alele aku Until it’s time to go
Kau a ho'oilo mai So come the storms of winter
Na manu kupulau And then the birds in spring again
Maka'u 'ole i ke au I have no fear of time
Ia wai la ka 'ike? For who knows where the time goes?
Ia wai ka 'ike i ke kulu o ke au? Who knows where the time goes?
Arrangement: Keola Beamer & Marsha Schweitzer
Hawaiian: Kaliko Beamer-Trapp
Vocals, Ki Ho'alu Guitar (Leonard’s F tuned down to the Key of Eb): Keola Beamer
Vocals: Raiatea Helm
Ka'eke'eke: Moanalani Beamer
Winds: Spring Wind Quintet
The ballad “Who Knows Where The Time Goes” was originally written circa 1967 by Sandy Denny, a young English singer-songwriter. She was 20 years old when she recorded the song as a private demo, her plaintive voice, simple slack-key-sounding accompaniment, and unforgettable chorus underlining for the listener questions of the meaning of life and the inevitability of time’s procession. Although her song went on to find life in the voices of many artists through the following decades, Denny was not to appreciate the greater part of its success: she passed away following a tragic accident at the age of 31.
For Keola’s good friend and arranger/musician Marsha Schweitzer, arranging the wind instruments for this piece was “no ordinary experience.” At the close of an inspirational week-long trip to Maui in late 2009, the arrangement quite literally came to her “mai ka lani mai” (from the heavens). The flute, clarinet, oboe, horn, and bassoon are tied to the words of the song: the light movements of the flute symbolize the birds in the first verse; the desolate and then warm sounds of the clarinet in the second verse portray the awakening of the conscience of the poet to her situation in life; and the third verse’s oboe and horn herald the ultimate triumph of love over fear. “The whole spectrum of what happened in the process of making this arrangement was very spiritual, and helped to make this piece truly Hawaiian.”
Ke Ali'i Hulu Mamo
(Helen Desha Beamer) 4:21
| Ko'i'i ka lehua i ke anu | Refreshed is the lehua in the chill |
| Kipu'upu'u a'o Waimea | Kipu'upu'u of Waimea |
| Hanohano ia hale o ka manu | Glorious, this home of the bird |
| Hulu 'e'e a'o Mealani | Underwing feathers for the Royal One |
| A he manu i kulia i ka nu'u | As a bird strives to reach the summit |
| Ka 'o'o hae a ke kia manu | So the 'o'o is prized by the hunter |
| Welo lua e ka hulu nani i ka la'i | Feathers shimmer as sun-gold on a calm sea— |
| I ke ani malie a ka Moa'e | Equally beautiful in the gently blowing Moa'e |
| Ho'oipo i ke oho o ka lehua | To love amidst the delicate soft brush of lehua— |
| 'A'ohe lua ke 'ike aku | Nothing equal is known |
| Puana ke ali'i hulu mamo | Proclaim the mamo-feathered chief |
| Kalanipo 'o 'oe, e o mai | You are Kalanipo, answer |
Arrangement: Keola Beamer
Vocals: Raiatea Helm
Vocals, Ki Ho'alu Guitar (Keola’s Eb played in C minor), ‘Ohe Hano Inu: Keola Beamer
Ka'eke'eke: Moanalani Beamer
“Ke Ali'i Hulu Mamo” was written by Helen Desha Beamer, Keola’s great-grandmother, to honor Princess Kahanu Kaleiwohi Ka'auwai Kalaniana'ole, a family friend and president of the Ka'ahumanu Society of which Helen was a charter member.
Keola’s concept for this piece was to musically visit the wao lipo, the deep rainforest that inspired his great-grandmother. Here, he uses a “pecking” sound on the guitar to emulate Hawai'i’s forest birds.
Princess Kahanu was a strong supporter of women’s organizations and promoted the idea that Hawai'i should be a place of aloha for all people. In a speech before the Native Sons and Daughters of Hawai'i in 1924, she said, “'O Hawai'i nei wale no ka 'aina ho'okahi nana e kukala nei i ka noho lokahi pu 'ana o na lahui o ka Hikina me ke Komohana, a 'o ka'u leo paipai wale no ia 'oukou, e na hoa hanau aloha, e ho'omau 'ia ka hana maika'i a kakou e ho'ike aku nei i mua o ka lehulehu, no ke aloha i ka 'aina o kakou i hanau 'ia ai. E ho'ohiolo aku i na pa e kaupale ana i ka noho like 'ana o na mea a pau ma luna o ko kakou 'aina hanau.” (Hawai'i is the only place which can declare itself a land of harmonious existence for those from both the East and the West, and I implore you now, beloved cousins, to perpetuate the good work that we do in society, for the love of this land we know as our birthplace. Let us break down the walls that serve only to interfere with the co-existence of all people here in our homeland.”)
Raiatea went to spend some time with Mahi Beamer, the legendary singer, pianist, composer, and grandson musical protégé of Helen Desha Beamer. He helped her with the phrasing and musical interpretation of this song. Raiatea says, “Within all the instrumentation and background elements, I put myself in a place where I was back in time, back in ancient Hawai'i, like I was living in old Hawai'i. That’s what put me in the right space and it helped me adjust with the sound. It made me proud to be Hawaiian.”
The lyrics shown here are from the songbook “Songs of Helen Desha Beamer” by Marmionette K. Ka'aihue.
Days Of My Youth
(Kuiokalani Lee - Konakai Publishing/BMI) 3:24
Arrangement: Keola Beamer
Vocals, Ki Ho'alu Guitar (Taro Patch G tuned down to F): Keola Beamer
Keola’s respect and admiration for Kui Lee as a musician and composer goes back to the days when Keola was a student at Kamehameha Schools on O'ahu in 7th grade. Kui turned up at 7:30 in the morning for what was to be an assembly and performance in the large Kekuhaupi'o auditorium. Unfortunately for Kui, the guitar player had forgotten about the gig, so Kui was left singing in front of all the students with only drums and a bass guitar to back him up. Nevertheless, Kui “just sang his heart out,” recounts Keola. “He pulled it off. The sound was bouncing all around, but you know, he showed up and pulled it off. He was young and he was cool. It made us kids feel proud to be Hawaiian.”
Keola believes that Kui Lee was one of Hawai'i’s best songwriters. “But there is a poignancy about his story too,” says Keola, referring to Lee’s untimely passing at the young age of 33, a victim of cancer. “He was cut short in the blossom of life, but thankfully his songs live on in us.”
Kimo Hula
(Helen Desha Beamer) 4:17
| Aia i ka uka o | Pi'ihonua In the uplands of Pi'ihonua |
| Ke kihapai pua ulumahiehie | A flower garden in beautiful array |
| I laila au la ‘ike i ka nani | There I see the beauty |
| O na pua ‘ala a he nui wale | Of the flowers, fragrant, in great profusion |
| Ho'ohihi na manu o ke kuahiwi | The birds of the forest are attracted here |
| Na 'i'iwi maka polena | The yellow-eyed 'i'iwi |
| I ka 'ono i ka wai o na pua | At the sweet nectar of the flowers |
| 'O Moanike'ala i ka uluwehiwehi | Of Moanike'ala’s beautiful gardens |
| Mahalo ia ‘oe e ka hoaaloha | Thank you dear friend |
| I ka ho'okipa e na malihini | For gracious hospitality to visitors |
| Eia ko lei poina ‘ole | Here is your unforgettable beloved |
| ‘O Leimakani, Leionaona | Leimakani, Leionaona |
| Ha'ina ‘ia mai ana ka puana | The story is told |
| Moanike'ala i ka uluwehiwehi | Moanike'ala, beautifully verdant |
| Hea aku makou, e o mai 'oe | We call, you answer |
| Kimo o ka uka ‘iu'iu he inoa | Kimo of the highlands, your namesong |
Arrangement: Raiatea Helm
Vocals, 'Ukulele: Raiatea Helm
This song was composed by Helen Desha Beamer while she was living in Hilo on Hawai'i island. It was written for her Scottish friend James Kimo Henderson (1876-1965) who lived at Pi'ihonua, Hilo, in a beautiful and stately house and gardens collectively known as Moanike'ala (which is honored in its own right in an Emma Nawahi/Helen Desha Beamer song, “Moani Ke 'Ala”). Kimo was known for being both an astute businessman and a great philanthropist in the Hilo area, and was quite the dapper gentleman when seen around town dressed up in his favorite bow-tie and Woodrow Wilson hat. He owned and operated the sugar mill near downtown Hilo, on the corner of Kino'ole and Ponahawai Streets where the fire station now stands. The reference to Leimakani and Leionaona in the song is for Henderson’s wife, Lydia Lei Henderson (Macy).
The lyrics shown here are from the songbook “Songs of Helen Desha Beamer” by Marmionette K. Ka'aihue.
MUSICIANS & INSTRUMENTS
Bobo Butires - Well-known local percussionist Bobo Butires has performed with Hawaiian artists such as Darren Benitez, Kahiau, and Inoa 'Ole. He also performed on Keola and R. Carlos Nakai’s joint album, “Our Beloved Land” (2005) along with John Kolivas.
Moanalani Beamer - Moanalani Beamer is a hula dancer and plays native Hawaiian percussive instruments. Her sensitive nature, her understanding of technique, and her spiritual and philosophical approach all combine to make her an excellent teacher. She remains firmly committed to sharing her cultural knowledge worldwide and travels regularly to the US, Europe, Japan, and China with husband Keola to perform and teach.
Geoffrey Keezer - Jazz pianist Geoffrey Keezer comes from a musical family and thus was exposed to music at a very young age. He took his formal music training at Berklee College of Music and then went on to work with numerous jazz musicians. He has explored many musical stylings and has performed with such groups as the Hollywood Bowl Orchestra, Carnegie Hall Jazz Band, and the Scottish National Jazz Orchestra. He has recorded with Diana Krall, Joshua Redman, Christian McBride, and Barbara Hendricks, and he has produced several of his own albums including “Falling Up” (2003) which featured several pieces with Keola Beamer.
John Kolivas - John Kolivas has been a professional bassist for over 28 years and is the founder of the Honolulu Jazz Quartet. He has performed with countless artists over the years and also notably backed vocalists including Rosemary Clooney, Lea Salonga, and Wayne Newton. He moved to New York for an eight year period in the ’80s, during which he performed on Broadway. John recorded bass for Keola and Kapono Beamer’s album Honolulu City Lights in 1978, and has performed with Keola since he was 18 years old. Along with his busy schedule doing performances and going on tours, John is a music instructor at Punahou School in Honolulu.
Mark van Wageningon - Marc van Wageningen was born and raised in Amsterdam, Holland and started playing bass guitar at the age of 16. He moved to the San Francisco Bay Area in 1980 and started playing with jazz greats Eddie Marshall, George Marshall, Larry Schneider, and Mel Martin. He has played music on television, Broadway, movie soundtracks, and performed with many artists including Tower of Power, Cornelius Bumpus, Keiko Matsui, Stan Getz, Diane Reeves, and Steve Winwood.
Paul van Wageningon - A three-time Grammy nominee, Paul was originally from Amsterdam, Holland. He moved to New York in 1976 to be “closer to the American Jazz scene.” Since relocating to the San Francisco area several years later, he has gained recognition as a premier multi-cultural drummer and has perfomed with musicians such as Pete Escovedo, Andy Narell, Jovino Santos Neto, and the Caribbean Jazz Project.
Harry Willemsen - Harry Willemsen lives in The Netherlands and after an early start with classical piano, electric guitar, keyboards, and vocals rediscovered the “endless melodical lines” in classical Central Javanese gamelan (Soerakarta style). He currently performs vocals, siter, and rebab with ensemble Widosari which is considered to be among the very best in Europe.
The Spring Wind Quintet
Flute: Claire Starz Butin
Oboe: Scott Janusch
Clarinet: James “Kimo” Moffitt
Horn: Jonathan Parrish
Bassoon: Marsha Schweitzer
Chamber Music Hawai'i’s nationally known Spring Wind Quintet has been a major force in the development of chamber music in Hawai'i for well over a quarter-century. They first worked with Keola when they collaborated to create “Malulani: ’Neath the Shadows of Stars” a musical suite for the unusual combination of ki ho'alu and wind quintet, commissioned by the City and County of Honolulu and premiered in its complete form at the University of Hawai'i at Hilo in April 2008 under the auspices of the Hawai'i Concert Society.
Of their relationship with Keola, Marsha says, “The Quintet has really enjoyed and been honored to work with Keola on all of the various projects over the past few years. It has helped expand our horizons and further our artistic growth, and also brings back warm memories of our first connection to the Beamer family, our residency at the Kamehameha Schools in the 1980s when we played for Aunty Nona’s hula classes.”
ka'eke'eke
The ka'eke'eke is a hollow-bodied instrument used for rhythmic accompaniment. There are two kinds of ka'eke'eke: one a drum with a wooden body, and the other a bamboo stamping tube with one end closed naturally by an internal node plate. The type used in the making of this album is the bamboo one. Made by family friend Calvin Hoe of Hakipu'u, O'ahu, Moana’s ka'eke'eke is about 3’ long and is played by stamping the closed end vertically down upon a small pad to create a note with a pitch directly related to the length of the tube. Keola has a set of bamboo ka'eke'eke, each one tuned to a particular pitch, which allows him to use this uncommon instrument in any key.
oeoe
Typically made from a hollowed-out gourd or Hawaiian kamani seed with a hole cut into its top, the oeoe is swung around the head of the player in a horizontal plane to create an eerie low-pitch whistle sound which varies in pitch as the instrument changes speed. The oeoe used by Moanalani was made by friend Calvin Hoe based on his investigations of ancient Hawaiian oeoe housed at the Bishop Museum in Honolulu. The name oeoe is most likely a Hawaiian onomatopoeia.
pahu and puniu
The pahu and puniu are often found as companion instruments in hula circles, for they are complementary instruments played one alongside the other. The pahu is the larger of the two: it is a standing drum made of coconut wood with a skin head. It played with the hands. The puniu on the other hand is a small drum made from a coconut shell and played with a short braided length of coconut sennit. It is bound to the player’s thigh by a braided cord.
‘ohe hano ihu
This demure instrument is a simple length of thin-walled Hawaiian bamboo with one end closed at the node. There is a small hole near the node and several more holes a little further along its length. It is played by holding the base end slightly beneath the nose, and with one hand pinching one nostril closed and the other hand variously covering or uncovering the holes in the top of the bamboo, one blows with the open nostril into the flutelike body of the ‘ohe. The sound is haunting, unforgettable, and direct; indeed it is said that the 'ohe hano ihu was used for wooing lovers in the days of old. This instrument has been used by Keola in his performances for over 40 years, and has been used in the Beamer and Desha families for well over 100 years.
siter
The siter is a plucked string instrument used in traditional Javanese gamelan percussion ensembles. It is related to the kacapi used in Sundanese gamelan. The name “siter” comes from the Dutch word “citer,” which corresponds to the English word “zither.”
'ukeke
The 'ukeke is a small thin stringed instrument played while held in the mouth, which acts as a resonating chamber to amplify the sound produced by plucking the strings. It is an old Hawaiian instrument that has almost completely fallen out of use, but thanks partly to the work of Aunty Nona Beamer, the instrument and its story has survived into this new millennium: she taught countless children about the 'ukeke during her four decades of instructing at Kamehameha Schools. The 'ukeke played on this album by Moana is about 18 inches long, made of koa, and has three strings. It was created by Keola’s friend Steve Grimes, an outstanding luthier on Maui, and includes a mini microphone pickup certain to make this particular 'ukeke the world’s first and only to be “electrified!”
ki ho'alu - slack key guitar
Brought to Hawai'i’s shores by the Spanish cowboys of the 1800s, the guitar became an instrument used in family gatherings, evening serenades, and when relaxing after-work. The technique of slacking, or loosening, the strings slightly to create alternate tunings has become known as “ki ho'alu” in Hawaiian. There is a copious amount of information now available on the internet and in books about ki ho'alu. This style of playing has enjoyed a great revival since the 1960s, when it was almost lost in obscurity. Keola has played a large role in its recovery.
Keola Beamer’s double ported, koa guitars are custom made for him by Steve Grimes of Grimes Guitars, P.O. Box 537, Kula, Maui, HI 96790. www.grimesguitars.com
Keola Beamer’s ‘ukulele are made for him by Dennis Lake of Po Mahina 'Ukulele & Guitars, P.O. Box 845, Na'alehu, Hawai'i, HI 96772. www.konaweb.com/mahina/
Keola Beamer’s traditional Hawaiian instruments were made for him by Calvin Hoe, P.O. Box 5432, Kaneohe, O'ahu, HI 96744.
K? H?'ALU TUNINGS USED IN THIS RECORDING
CFCGCE : Ki ho'alu masters refer to this tuning as “Leonard’s F” as it was so deftly explored by the legendary slack-key guitarist, Leonard Kwan.
DADGAD : This tuning is utilized more in the continental U.S. than in Hawai'i. Keola says of this tuning, “I appreciate the dark coloration of its tonal palette and sometimes select it for more pensive explorations.”
DGDGBD : “G” or “Taro Patch” tuning is the most common tuning used when playing slack-key. It is regarded as a kane, or male, tuning. In “Days of my Youth,” Keola plays his steel string koa guitar in Taro Patch tuned down to the key of F.
CGDGBE : This “C Wahine” tuning is popularly referred to as “Keola’s C” because of his extensive repertoire in this tuning. For “Where I Hold You,” Keola’s C was tuned down ½ step to the key of B.
CGDGBbE : This is Keola’s special G minor tuning played in the key of E for the song “I Kilohi Aku Au.”
CEbCGCEb : Keola uses his Eb tuning played in the key of C minor for “Ke Ali'i Hulu Mamo.”
PRODUCTION
Produced by Keola Beamer
Engineering: Justin Lieberman, Keola Beamer, Gaylord Holomalia
Recording: Studio Trilogy, San Francisco, California / Avex Honolulu Studios, Honolulu, Hawai'i
Mastering: Bernie Grundman Mastering, Hollywood, California
Project Coordination: Cary Hayashikawa
Artist Management: Guy Sibilla
Cover and Graphics: Jon de Mello, Keith Usher
Liner Notes: Kaliko Beamer-Trapp
Keola wishes to thank his beautiful hanai niece, Raiatea, as well as Shinnyo-en Hawai'i, Na Lei Aloha Foundation & Lantern Floating Hawai'i, John Paulsen, Donley Smith, Cindy McSherry, Cindy Lance, and Dan DelNegro.
Raiatea wishes to thank “Ke Akua for Your continued guidance and strength. Thank you Mom and Dad for always supporting me without question. I love you both unconditionally. I want to thank the remainder of my family and friends for their love during this beautiful journey. Guy, you are the inspiration for this project - and when I sing, I think of you. Aloha wau ia 'oe. Uncle Keola, you have opened my eyes to a world of music that only a few people will ever know. I am so thrilled to have shared this path with you. You are a genius! I love you. Last but not least, thank you to all my fans! You are the reason I continue to sing and without whom none of this would be possible. Mahalo nui for all your loyalty and love throughout the years.”
For more information on Keola Beamer, slack key instruction, and discography, please visit www.kbeamer.com. Visit www.raiateahelm.com for music, photographs and more information on Raiatea Helm.
© 2010 Starscape Music & Raiatea Helm Records. All Rights Reserved.