1. Pailolo
Tuning: Solo steel string guitar in G Wahine "Double Slack" (D-G-D-F#-B-D)
A new original named for the channel off Maui, Pailolo explores the tuning Keola refers to as G Double Slack, which is a variation of the G Major "Taro Patch" Tuning (D-G-D-G-B-D). The third string is tuned down from G to F#, which makes it a Wahine tuning, one that forms a major seventh chord or has a major seventh note in it.
2. Kapalua Bay
Tuning: Solo nylon string guitar in C Wahine "Keola's C" (C-G-D-G-B-E)
Keola's tribute to the region of Maui where he used to play, Kapalua Bay reflects the colors of sunset over the water. He plays a nylon string guitar in what many slack key players call "Keola's C," since he is the one who has most prominently recorded in it. In this Wahine Tuning the major 7th note is the 2nd string B note.
3. Kaulana Na Pua
Tunings: Two nylon string guitars, both in C Wahine "Keola's C," played in the key of G, and one steel string guitar in C Wahine "Leonard's C" (C-G-D-G-B-D), played in the key of G
Written by Ellen Keho‘ohiwaokalani Prendergast in 1893, Kaulana Na Pua protests the illegal overthrow that year of Queen Lili‘uokalani by American missionary descendants and their allies, who created the Republic of Hawai‘i. Blending traditional Hawaiian poetics, an open call to resist annexation and a stirring melody, the song quickly became a rallying cry for the Queen's supporters. This mele kū‘ē (song of resistance) continues to resonate with supporters of Hawaiian sovereignty more than a century later. It is the ultimate Hawaiian lament and blues.
"I made the arrangement in 1971," Keola says, "going for a soulful feel that honors the subject and mood of the song." In this version, Keola uses overdub to create a guitar trio. The steel string guitar tuning is often called "Dropped C" because it is the same as the popular G Major Tuning, with the lowest pitched 6th string tuned down from D to C. It is sometimes also called "Leonard's C" because it has been recorded in most prominently by the late Leonard Kwan (1931-2000), one of the three most influential slack key guitarists of all time (along with the late Philip "Gabby" Pahinui, 1921-1980, and the late Sonny Chillingworth, 1932-1994).
4. Kolowaka
Tuning: Solo nylon string guitar in G Major "Taro Patch" (D-G-D-G-B-D)
This beautiful ballad was originally published by Keola Beamer in his first slack key instruction book from 1973, KEOLA BEAMER'S FIRST METHOD FOR HAWAIIAN SLACK KEY GUITAR (which was expanded and issued with a flexi-disk including this song in 1977 on Oak Publications with the title HAWAIIAN SLACK KEY GUITAR). Kolowaka, a beautiful lullaby type piece in Keola's signature nahenahe (soft and gentle) style, explores the idea of theme and variation. "I wrote it for my students as a kind of etude," he says. Simple on the surface, it opens up a lot of possibilities for growth and for playing one's own variations.
5. Li‘i's Song
Tuning: Solo nylon string guitar in "Gabby's Hi‘ilawe" (C-G-E-G-B-E)
Li‘i's Song recalls a stray dog with a lot of spirit. "We found it one day alongside the road," Keola says. "Somebody must have abandoned it. Its hind legs were crippled but it had the nicest smile. We really fell in love with that dog and kept it for years." Li‘i's Song is performed in the same tuning that Gabby Pahinui used for his signature piece, Hi‘ilawe (the song that, for many musicians and historians, launched the modern slack key era in 1946).
6. Mino‘aka
Tuning: Solo steel string guitar in G Major "Taro Patch"
Another student exercise by Keola, Mino‘aka seeks to develop the flowing quality so highly valued in Hawaiian aesthetics. "Good slack key flows in a relaxed, smooth and connected fashion," Keola says. "The Hawaiian term is nahenahe." A transcription of Mino‘aka can be found in Keola's new instruction book, KEOLA BEAMER TEACHES THE HAWAIIAN SLACK KEY GUITAR.
7. Moana's Laundry Basket
Tuning: Solo steel string guitar in G Major "Taro Patch"
Another Keola original transcribed in his new instruction book, this playful serenade, like much Hawaiian music, comes from an observation of daily life.
8. Na Hala O Naue
Tunings: Keola Beamer: Steel string guitar in F Wahine (C-F-C-G-C-E)
George "Keoki" Winston: Steel string guitar in G Major "Taro Patch" (D-G-D-G-B-D), tuned down to F
A duet with Keola's long-time friend and co-producer George Winston, Na Hala O Naue is J. Kahinu's melody based on a longer chant describing Queen Emma's 1871 trip to Kaua‘i. The text describes the hala trees at Naue by the sea, along with lehua trees and birds with eyes focused on flowers. "My great grandmother, Helen Desha Beamer, did a transposition on the melody so it was in the family," Keola says. "One day I was noodling around on it, and George asked to join in. I love his enthusiasm for the music."
9. Wai Ulu
Tuning: Solo nylon string guitar in F Wahine, capoed up four frets to A flat
E awaiaulu i ke aloha (a love securely bound) is the subject of this popular mele ho‘oipoipo (love song) attributed to Lala Mahelona and George Kalelohi, Sr. Often played at weddings, the song is popular with slack key guitarists. Gabby Pahinui recorded it with Eddie Kamae and the Sons of Hawai‘i on THE FOLK MUSIC OF HAWAI‘I (Panini 1001), Sonny Chillingworth recorded it on SONNY SOLO (Dancing Cat 38005), and Led Kaapana recorded it with Hui ‘Ohana on ONO (Poki 9010) and with the Ho‘opi‘i Brothers on ALOHA FROM MAUI (Mountain Apple 2053).
This gentle yet subtly powerful performance in F Wahine Tuning includes an original bridge Keola added, which is one of his trademarks and fortes. "I can't keep from wandering off sometimes," he says. "Our family has always encouraged that. We say that some melodies go off looking for a place where they can be free, and when that happens you just have to follow where they lead you."
10. Pauahi ‘O Kalani
Tuning: Two nylon string guitars, both in C Wahine "Keola's C"
Queen Lili‘uokalani (1838-1917) composed this lovely mele inoa (name song) in 1868 for High Chieftess Bernice Pauahi Bishop, great-granddaughter of Kamehameha I and Lili‘uokalani's hanai (adopted) sister. It recounts a visit by the Princess to Mana. The lyrics poetically praise her beauty, dignity and exalted position, and the hui (chorus) wishes her long life.
When the Princess died of cancer in 1884, at 52 years of age, she bequeathed her entire estate of more than 400,000 acres to establish schools for Hawaiian youth. The Bishop Estate, her ongoing legacy, maintains the Kamehameha Schools. Keola used to sing Pauahi ‘O Kalani with the choir at Kamehameha. "This arrangement dates a few years back when there was a controversy at the Bishop Estate," Keola says. "During all the political stuff, I thought it was important to keep the focus on the Princess and her vision."
Slack key guitarist Ozzie Kotani has also recorded a solo instrumental version in another C Wahine Tuning(C-G-D-G-B-D) on his 2002 album TO HONOR A QUEEN (E HO‘OHIWAHIWA I KA MO‘I WAHINE)-THE MUSIC OF LILI‘UOKALANI (Dancing Cat 38018).
11. Kawohikukapulani
Tuning: Two nylon string guitars, both in C Wahine "Keola's C"
Keola's great-grandmother, Helen Kapuailohia Desha Beamer (1882-1952), played a very active role in the cultural life of her times, as a hula teacher, singer, composer and more. "She is the backbone of the Beamer family," says Keola. "There is a timelessness to her work that transcends generations." As she is known in the Beamer ‘ohana (family), Sweetheart Grandma drew inspiration from dreams and close observations of life, embroidering her mele (chant or song text) with richly poetic nature imagery and kaona (hidden meaning). In the Hawaiian tradition, she created many of her best known songs as ho‘okupu, gifts for special people.
Kawohikukapulani dates from 1941 and was written for the wedding of Sweetheart Grandma's youngest daughter, Helen Elizabeth Kawohikukapulani Beamer, known affectionately as "Baby." According to the Beamer family, Sweetheart Grandma debuted Kawohikukapulani at the wedding ceremony, accompanied by her aunt, Ida, and her sister, Harriet. The bride, who was surprised by the song, wore an embossed velvet holokū (dress) and one hundred strands of highly aromatic pīkake flowers, a gift from Princess Kawananakoa. With the scent of these flowers filling the air, the proud mother told her daughter: He lei ‘a‘ī ‘oe na ke kūpuna / a he milimili ‘oe na ka makua / Pūlama ‘ia ‘oe me ke aloha / Hi‘ipoi ‘ia ‘oe ma ku‘u poli (You are a neck lei for the grandparents and a darling for your parents. Cherished with love you are cradled on my bosom.)
"I wanted to take a fresh look at the 1971 arrangement," Keola says. "To me it's fascinating how much time changes your playing. Even if you're following the notation exactly and keeping the same tempo, you don't play it exactly the same. Every performance is the encapsulation of a moment."
12. The Myna Bird's Dobro
Tuning: Two nylon string guitars, both in C Wahine "Keola's C"
In the true spirit of Hawaiian tradition, Keola's composition draws deep meaning from nature, its spiritually profound beauty as well as its abundant humor. "In Lahaina there's a big Banyan tree about one hundred fifty years old," Keola says. "Every dawn and every sunset, the myna birds fill the branches and make the most incredible cacophony. Think about that when you listen to this overdubbed duet."
13. Papa's ‘Okolehao
Tuning: Solo nylon string guitar in C Wahine "Keola's C"
Keola wrote this paean to Hawaiian homebrew for his grandfather, whom the family called Papa. "He made pineapple swipe," Keola says, "and would tie a jug full to his rocking chair so that every time he rocked, it swirled around and got a little tastier." The transcription can be found in KEOLA BEAMER TEACHES THE HAWAIIAN SLACK KEY GUITAR. Sorry, it doesn't include a recipe, only the music!
14. Ka Makani ‘Ula‘ula
Tuning: Two steel string guitars, both in G6th (D-G-D-G-B-E)
An evocative instrumental duet in the beautiful G6th Tuning, similar to the G Major "Taro Patch" Tuning except the highest pitch is tuned up to E and the top four pitched strings are the same as the Standard Tuning (E-A-D-G-B-E). Composed by Keola, Ka Makani ‘Ula‘ula describes the red wind caused when volcanic ash rises on the Big Island of Hawai‘i. "The melody comes from memories of the family ranch," says Keola. "When the billows of red wind roll, it is so dramatic and colorful." Slack key guitarist Cindy Combs, who's first kumu (teacher) was Keola, also recorded this song on her 2001 album SLACK KEY LADY (Dancing Cat 38041).
15. Pua Lililehua
Tuning: Two nylon string guitars, both in C Wahine "Keola's C"
A gorgeous mele ho‘oipoipo (love song) by the legendary performer Kahauanu Lake and scholar Mary Kawena Pukui, Pua Līlīlehua translates as "sage blossom." The song takes place in O‘ahu's Palolo Valley, where two suitors court a cherished sweetheart. One is a human being, the other a mo‘o (ancient Hawai‘i's legendary dragon). As the third verse says, hilo pa‘a ia ke aloha (love is bound fast)..., ‘a‘ohe mea e hemo ai me a‘u ‘oe a mau loa (there's nothing to separate you and me forever).
"My inspiration comes from the Kahauanu Lake version," says Keola. "I admire it very much. It's so startlingly beautiful, a very advanced sound in its day, coming out of some great connection Kahauanu must have made somehow." In tribute to the Kahauanu Lake Trio's stunning vocal harmony, Keola's arrangement features two guitars.
Liner notes by J.W. Junker and George Winston