"Pi‘ilani Maui (Music of the Hawaiian Islands Vol. 3)"
Kuana Torres Kahele
(Kahele)

"On budget and on schedule." No, we’re not talking about the Honolulu rail project but about Kuana Torres Kahele and his almost unprecedented commitment to record and release six full-length albums — each one a collection of new songs about a different Hawaiian island — over a three-year period starting in 2014.

The first two albums in the series, "Hawai‘i Keawe (Music for the Hawaiian Islands Vol. 1)" and "Kahelelani Niihau (Music for the Hawaiian Islands Vol. 2)," were released roughly six months apart. Almost exactly six months after the September release of the Niihau album comes "‘Pi‘ilani Maui (Music of the Hawaiian Islands Vol. 3)."

It is as beautifully crafted as its predecessors and confirms Kahele is one of the most prolific Hawaiian songwriters of his generation. All but one of the songs and chants for Maui are originals. The new compositions speak of beautiful places, historically important people, romantic experiences and the pink lokelani rose that represents the island. Kahele sings all the vocal parts, falsetto primarily, but in several songs he sings in his slightly lower register.

As with the previous albums in the series, "Pi‘ilani Maui" is almost a one-man studio project. In addition to singing all the vocal parts, Kahele plays ukulele, guitar, acoustic bass, ipu (gourd drum) and ‘ili‘ili (percussive stones). Casey Olsen sits once again on steel guitar but Kahele has a Maui resident, Ata Damas­co, as his pianist — a nice touch.

Three songs stand out for their subject matter. "Lei Niolopua" speaks of searching in vain for a loved one. Kahele reveals in the liner notes that it was inspired by the time he went to Maui to meet someone and the person stood him up. It’s an experience many people can relate to.

"Na Wai Kaulana" celebrates the progress that is slowly being made in reducing the amount of water taken from the famed streams of Maui and increasing the flow for kalo growing and restoring the traditional island ecosystem. There is a long way to go before things are made right, but with "Na Wai Kaulana" Kahele celebrates what has been done thus far.

"Ka‘a Na ‘Ale" is Kahele’s arrangement of what could be considered a hapa-kepeni (half-Japanese) song: The melody is Japanese; the Hawaiian lyrics are by Kellin Paik. It is a good example of how Hawaiian musicians continue to embrace, adopt and adapt from other cultures.

Kahele’s commitment to perpetuating Hawaiian music and culture extends to the detailed liner notes. Hawaiian lyrics, basic English translations and background information complete this perfect tribute to the Valley Isle.

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"Mana Road"
Kohala
(Palm)

Long before Charles Michael Brotman became a Grammy Award-winning record producer, he was known as a talented acoustic guitarist whose music contributed to the elegant ambiance of upscale Honolulu restaurants. In 1990, Brotman moved to Hawaii island, opened a recording studio, launched Palm Records and then founded Kohala. The trio today consists of Brotman, founding member Charlie Recaido and Rupert Tripp Jr. (Longtime residents remember Recaido as a member of Summer, a popular Kalapana-style quartet in the mid-1970s; Tripp, a Big Island native, came to Oahu with the group Nalo! and stayed awhile in the 1980s.)

Kohala is known for its intricate arrangements — three acoustic guitars, with Brotman using nylon strings instead of the usual steel. His guitar is heard in the "center" of the mix. Recaido is heard on the listener’s left and Tripp on the right.

Something different this time is the trio’s effective use of acoustic percussion. Two guest percussionists join Brotman and Recaido in adding assorted instrumental tracks.

From start to finish the trio and their guests make "Mana Road" a delightfully diverse musical journey. The tempos and textures range from Latinesque and light jazz to a tune that could almost be reggae or Jawaiian. The instrumental artistry is consistent throughout, but two fine examples of the trio’s work are found in the contrasting pacing and tones in "Kamuela Shuffle" on one hand, and the soothing tones of a lullaby titled "Promise of Dawn" on the other.

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