Search - Amy Hanaialii :: Amy Hanaiali'i: Friends and Family of Hawai'i

Amy's beautiful voice + Hawai`i's best male singers + great

R. Bourbeau | Maui, Hawaii, USA | 09/04/2009

(4 out of 5 stars)

"FIRST, A LITTLE BACKGROUND, AND AMY'S VOYAGE THUS FAR...

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I have a confession. While I consider it a genuine honor to be the first at Amazon.com to review Amy Hanaiali`i's new CD, Amy Hanaiali'i: Friends and Family of Hawai'i, I have to admit that Amy and I have a past together. A personal history. No, not THAT kind of history (yeah, like I WISH!). No, we share a professional history. I've had the pleasure of knowing Maui girl Amy Hanaiali`i Gilliom for more than 20 years, and for many splendid years in the earlier part of her career, I was one of her pianists. We did everything from regular club gigs to symphony big-band performances with the elegant Ms. Gilliom entertaining folks on the dance floor with just about every song from just about every decade. She left everyone speechless with her scorching renditions of "Saving All My Love for You" and "Hero," and if the real Whitney Houston and Mariah Carey heard Amy's versions, those divas would be running for the exit doors to escape with their lives (and careers) while they still could. I get "chicken skin" (Hawai`i's translation of goose bumps/pimples) just recalling these precious memories. And despite her European classical training, she never forgot her beginnings, always making herself (and, happily, me) available for the annual musical revues to benefit her high school's incredible drama department (from which someone like Amy, and so many more, came). Besides, her dad's comic-sketch antics were always worth the price of admission alone. (The apple doesn't fall far from the tree.) But I think she'll agree we probably had the most fun with our many elaborate theatrical productions. I, too, got my start in theatre as an actor but had done both--acting and music-direction--throughout high school and university; we were hard-pressed for musical directors at the time, so I switched hats from downstage actor to upstage musical director, and it was electric. Shows like "Godspell" and, especially, "The Rocky Horror Show" (featuring big brother Eric Gilliom as Dr. Frank-n-Furter and Amy as Janet) were critical smashes and set box-office records that Maui theatre hadn't seen in, well, probably never, and I doubt has seen since. Eric's take on Tim Curry is still probably the best I've ever seen, and we sold out so many shows that we had to keep adding performances and more dates--and then doing the show in "concert" style for years thereafter each Halloween because it was so popular. Ah, those were heady days.



Amy's progression into the artist she is today has been a remarkable one. She found a new calling, thanks to her "tutu" (Polynesian for grandmother), Jennie. We all called Jennie "Tutu," because she was the adopted grandmother of all of us who considered the musical Gilliom household our second home. After all, that's where I first met Eric's friend from university in San Diego, Eric Bishop. On a certain Saturday afternoon in Eric G.'s expansive bedroom/instrument room/recording studio, Eric B. impressed me as a monster on the keyboards and a beautiful singer. We all started jamming and laying down some tracks. After learning about his struggles trying to make a buck doing the standup circuit, he told us how excited he was about a new sketch-comedy show pilot he had just taped and hoped would get picked up as a series. He also was wrestling with his new stage name, but he was sure about the last name: it was going to be the same as his idol's, an acclaimed "blue" comic known for his comedy LPs from the '50s who gained widespread fame from a '70s sitcom. Although I'd see him again, little did I know that the mad-skills-talented dude I'd met that day would go on to win an Academy Award and Golden Globe for Best Actor (and be nominated for Best Supporing Actor for the same awards in the same year) and then become a platinum-selling recording artist (no surprise there). I'd met Eric Bishop, but you probably know him better as...Jamie Foxx. His idol, of course, was Redd Foxx, of "Sanford and Son" fame. Just another typical day in the Gilliom house. You just never knew who would drop in. Literally.



Tutu Jennie was a star in her own right, from the '30s to the '60s, as a "kumu hula" (hula dance teacher) who operated her school opposite Grauman's Chinese Theater in Hollywood. Jennie Napua Woodd was one of the original Royal Hawai`ian Girls, choreographed most of the Polynesian-themed shows seen in Las Vegas, L.A., and New York City, and in many films and TV shows. Her own TV appearances included "The Groucho Marx Show." She was a gifted composer and even had a nationwide hit novelty tune with "The Cockeyed Mayor of Kaunakakai." Tutu was a driving and loving force in Amy's life and career, and her death at 90 in early 2003 hit Amy--and all of us who loved her--hard. But she wisely set Amy on a journey to learn about and respect the Hawai`ian traditions of "na mele" (song), especially singing in the distinctive falsetto style of "ha`i" or "leo ki`eki`e," which is extremely difficult to do. Amy was always taught to respect the "`aina" (land), especially that of her Gilliom ancestral home on The Friendly Isle of Moloka`i, where she would later move to for a time, to commune with her "kupuna," or elders and ancestors. To learn to sing in the ha`i style, true Hawai`ian music royalty--"Aunty" Genoa Keawe--was summoned. Aunty Genoa had been one of the state's most treasured musical talents--and ambassadors--for more than six decades, until her death in early 2008 at age 89. The Hawai`ian falsetto style was Aunty Genoa's trademark, and she taught Amy well. Along the way, Amy was mastering the language and, most importantly, she was becoming an adept composer in her own right. Today, Amy co-writes many, if not all, of the new Hawai`ian-language tracks on her CDs, making her a force to be reckoned with in the contemporary Hawai`ian music industry today. The result, prior to this new release, is nine CDs, three Grammy Award nominations for Best Hawai`ian Music Album (for her three most recent studio CDs, not including a beautiful Christmas release), and an astonishing 15 Na Hoku Hanohano Awards (Hawai`i's annual version of the Grammy, for excellence in Hawai`ian music). Amy is now the best-selling female vocalist in Hawai`i history. That comes to no surprise to me whatsoever. To be fair, however, much of her success must be shared with her early music and recording partner, another musical gift from Maui to the world, Willie K. Amy and Willie together were like a fire which could not be extinguished, and audiences and music buyers alike could never get enough. And though this review of her new CD (I know, I'm getting to it!) is getting long in the tooth already, here is her discography to date, in case you've never listened to her work before. Trust me, you should. Experience Amy's musical journey and the brilliant progression and depth of her instinct and clear, natural talent for yourself: 1) Native Child (1995). 2) Hawai`ian Tradition (1997; 3 Na Hoku Hanohano Awards; features front cover photo of Jennie Napua Woodd, Amy's paternal grandmother). 3) Hanaiali`i (with Willie K) (1998; 4 Na Hokus). 4) Nostalgia (with Willie K) (1999; 1 Na Hoku). 5) Pu`uhonua (2001; 1 Na Hoku). 6) Amy & Willie: The Aloha Live Tour 2003 (with Willie K) (available on Amazon.com in 2007; first Grammy Award nomination). 7) Generation Hawai`i (2006; 4 Na Hokus; second Grammy Award nomination). 8) A Hawai`ian Christmas (2007; 1 Na Hoku). 9) `Aumakua (2008; 1 Na Hoku; third Grammy Award nomination).



AND NOW, "FRIENDS AND FAMILY OF HAWAI`I"...

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Now, there are a full 16 tracks on this CD (talk about getting your money's worth!), and each song and artist deserve their due. We "kama`aina" (native or resident) entertainers support and rely on each other, so please bear with me. Okay? Here we go...



AMY HANAIALI`I's 10th release in 14 years marks a true milestone in her career and is arguably her most ambitious project to date, with 16 duet tracks and all male duet partners. It's a pleasing blend of Hawai`iana old and new (with plenty of new compositions co-written by Amy) and a handful of '60s and '70s pop nuggets that have been reworked into sly and soulful new arrangements by the masterful Matt Catingub, with a gorgeous 12-piece string section. Leading off the CD is the deep, rich baritone of PALANI VAUGHAN's take on Robert Cazimero's classic Hawai`ian standard, "E Ku`u Lei." /// Speaking of ROBERT CAZIMERO, one-half of the talented and legendary Cazimero Brothers sibling duo, wrote a special song for this project, "I Believe in You." Using a song as a metaphor for the tentative beginnings of a new relationship, Robert and Amy delve deeper into their "song" until they are secure in their love for each other. As always, Cazimero's voice is like aural silk, and with the lush strings, it's one of the most beautiful tracks on the album. /// Another gorgeous track is "Comin' Home," co-written by Amy, initially a tale of longing to return to the shores of Moloka`i, but as the song moves along, it becomes evident that the lyrics reveal something far deeper. She sings this track (and melds perfectly) with another "half" of a legendary duo: HENRY KAPONO, of Hawai`i's pop/rock ambassadors to the mainland in the '70s, Cecilio & Kapono (or just C & K, to many). /// Another Maui boy, KEALI`I REICHEL, with whom I've also had the privilege of working many times, duets with Amy on another gorgeous song that she co-wrote in honor of both of their tutu (no plural), "Pa Aheahe." Reichel and Hanaiali`i have been very close friends and colleagues for decades, and they know each other musically on an instinctual level. In Hawai`i, we are taught to genuinely honor and respect our kupuna, not discard them like trash as, sadly, so many on the mainland and many other places do. It is with such respect that Amy co-wrote this song in honor and remembrance of both of their tutu. As someone who couldn't wait to get my driver's license at age 16 so I could go play cribbage with my maternal grandmother at her home one night a week, I salute the both of you--in honor of my tutu, whom I miss so very dearly. Mahalo nui loa (thank you very much) for honoring all of our special tutu. /// If your Hawai`ian musical tastes tend toward the traditional, may I recommend the joyful slack-key guitar stylings of THE MARTIN PAHINUI TRIO, with "Uncles" Martin Pahinui and George Kuo on slack-key and Aaron Mahi on bass, blending their voices with Amy's on another song she co-wrote, "Maka `Alohilohi." /// The exact same can be said for "Pua Hone," written by Dennis Kamakahi, featuring rising star SEAN NA`AUAO, who has become a leader in the contemporary Hawai`ian music scene today, with his accent on "Jawai`ian" aka "Hawai`ian Style," a blend of Jamaican reggae and local Hawai`ian contemporary music. We may be islands that are more than 6,000 miles apart, but we share the same island sensibilities and a similar thirst for great music. /// If my shaky Hawai`ian barometer is fairy close, NATHAN AWEAU's "Kou Leo Nahenahe" should translate roughly to "your sweet voice," and Nathan and Amy provide two of the sweetest, in this lovely duet that begins softly with a slack-key guitar, followed by the string section, and builds to a stirring crescendo at the close.



When I saw ERIC GILLIOM's name on the roster, two things came to mind: what was the song choice, and just how funky would it get? I've known Eric as long as I've known Amy--longer, in fact--and I know this: Eric's blood would probably be 25% hemoglobin and 75% R&B/funk if that were even remotely possible to survive. When I saw that the track's title was "Shower the People," as in James Taylor's Top 25 hit from 1976, I thought to myself, "Total slam dunk!" And it absolutely is. You can always count on Eric to bring it, each and every time. Sweet Baby James' mellow message of peace and love is ramped up just a bit on the tempo to make it danceable, but it's still slow enough to have a cool-yet-funky groove that does justice to J.T.'s original intent of the song. Kudos again to Matt Catingub's impeccable arrangement, although something tells me Eric had a hand in there somewhere. When you get the Gilliom siblings' voices together in one recording studio (I'm assuming that they recorded the track live, together; Amy's standard-bearer is Jon de Mello's Mountain Apple Company recording studios in downtown Honolulu), nothing short of magic happens. And in this track, there's a whole lot of magic goin' on! They know each other's voices up, down, left, right, and all the way around. It's a real change of pace for Amy to return to a sound I haven't heard from her in a long time [but I sure remember personally! :-)], and it's simply a joyous track, through and through. Absolutely, positively one of the highlights of the album. /// Meanwhile, on the other end of the musical spectrum, WILLIE NELSON lends incredible marquee value to the sweet and lovely take on Irish troubadour Van Morrison's "Have I Told You Lately?" Rod Stewart took this song into Billboard's Top 5 in 1993, and ever since it has become an American love-song standard and a "must" at all wedding receptions. When Amy was interviewed by "The Maui News" about the release of this CD, she mentioned that this was the first time that full-time Maui resident Nelson had ever recorded the song. They trade off lines with each other, but curiously don't sing together, either in unison or in harmony. And as much as Amy delivers an earnest, expressive, and passionate recording (in my view, one of the best performances of her career), Willie's comes across as his usual laid-back. One almost wishes Willie would give it a bit more "oomph." But to coin a baseball phrase from my beloved Boston Red Sox regarding that turncoat traitor Manny Ramirez, I guess that's just "Willie being Willie." That's the way he delivers a song, no matter what he's singing about, be it beer, honkytonks, cowboys...or women and love. It further matters not whether it's to all the girls he's loved before (whether or not Julio Iglesias happens to be nearby), or the one he's singing to right at this particular moment. But after I thought about it for a moment, I decided to stop analyzing the performance so note-by-note, start over, and listen to the track again. Then I "got it." Too much analysis equals too little enjoyment. From that moment on, I realized that this duet is definitely one for the record books and is a testament to all that Amy has achieved in her career. Well done, sistah, well done. /// Amy never forgets her many musical roots, as she demonstrates on the jazz-trio treatment (with strings) on "Ho`onanea." DARREN BENITEZ's is the perfect example of the male falsetto voice, or leo ki`eki`e, as his literally soars into the stratosphere, strong and clear. He is so gifted that at times I was unable to distinguish between the male and female vocal parts; I couldn't even begin to count the number of octaves in Darren's astonishing vocal range. There's also a lovely Hawai`ian steel guitar solo by Bobby Ingano.



Co-written by the artists, the most powerful track on the CD is "Na`u No `Oe e Ha`a Mai (I Will Dance for You)," complete with pounding surf and KAUMAKAIWA on the traditional pahu drum. The song is a tribute to Crown Princess Victoria Ka`iulani, who valiantly attempted to intercede on behalf of the Kingdom of Hawai`i to halt the march toward annexation of the monarchy to the U.S. Traveling incessantly between the U.S. and the crowned heads of Europe, Ka`iulani pleaded her case, including speeches before joint sessions of Congress and the Benjamin Harrison and Grover Cleveland administrations, acting as a de-facto foreign minister on behalf of the monarchy. Meanwhile, reigning Queen Lili`uokalani was betrayed by the U.S., which reneged on a promise of battleship protection and then used that same battleship to depose her in 1893. She remained a figurehead in the new Republic of Hawai`i, but by 1898, she was given the ultimatum of full abdication or death. Her mournful composition "Aloha O`e" is known today by outsiders as a song about goodbyes, but to Native Hawai`ians and kama`aina alike, it is recognized as a painful dirge marking the death of the kingdom. And as for the queen's niece, all of the traveling done by Ka`iulani in her ultimately fruitless attempt to save the Kingdom of Hawai`i, crisscrossing two oceans and countless weather systems, took its toll. Her health took a long slide into decline, and she died while horseback riding on the Big Island of Hawai`i at the tragically young age of 23 in 1899, of what was termed "consumption," or presumably what we know today as pneumonia. The Hawai`ians at the time, however, declared that what the princess actually died of was a broken heart. This is the tale that Amy and Kaumakaiwa tell in "Na`u No `Oe e Ha`a Mai (I Will Dance for You)." We should all dance for Princess Ka`iulani. That's the very least that she deserves. /// Previously-mentioned DENNIS KAMAKAHI, an ordained minister who also happens to be one of our most respected singers, musicians, and composers, appears again, this time behind the mic, on his composition "Ua, Ua Ho`e`ele." Amy and Dennis blend perfectly on this lively, uptempo shuffle. /// An unlikely cover, or so I initially thought: a slowed-down version of George Harrison's 1971 Top 10 solo hit, "What Is Life?" My skepticism quickly turned to delight, however, as I totally rediscovered the former Beatle's midtempo rocker in an entirely new light, as JOHN CRUZ's gritty vocals were evenly matched with Amy's, and once again the strings helped to redefine the song as a beautifully ethereal love song. It's a pity that part-time Maui resident Harrison died so young, because I have no doubt that he would have looked upon his 40-year-old song (it was written in 1969 and was originally intended for "Fifth Beatle" Billy Preston before George had second thoughts and decided to record it himself) with new eyes--and ears--and would have wholeheartedly approved. /// Switching gears, another song co-written by Amy, "Ka Malu Akua," features another smooth, rich baritone, (DAVID) KAWIKA KAHIAPO. Of the soft ballad, Amy writes in her liner notes, "I wrote [this] duet ... about the importance of teaching the younger generation about their genealogy because [Kawika and I] share the same appreciation [for] the lessons we were all taught as children. This song is about Ke Akua, Na `Aumakua, Na Kupuna (God, guardian, those who came before us)."



I'VE SAVED THE BEST FOR LAST (at last! you may now reply in relief)... The best tracks on the CD are updates of '60s and '70s pop hits. While I love and respect Amy's Hawai`ian music and its importance, I also love when she sprinkles a new, inspired cover of a pop or jazz standard into the mix. And boy, she's really outdone herself with these last two tracks (although her duet with brother Eric would easily make it three). Waipahu, Oahu, quartet REBEL SOULJAHZ, fronted by lead singer Mike Maglinti and a welcome dose of horns, turns "Everybody Plays the Fool" into an itch you just can't scratch. Originally a 1972 Top 5 smash for The Main Ingredient (whose members included Cuba Gooding Sr., father of--let's all scream it together--"Show me the money!" Oscar-winning actor Cuba Gooding Jr., if you hadn't figured it out yet), Aaron Neville then took his own cover version into the Top 10 in 1991. The Souljahz give the song an infectious reggae beat, and Maglinti's voice is a perfect match for Hanaiali`i's. The result is a track that, with the right connections and distribution, could be an adult-contemporary or (dare I say it?) bona-fide Billboard Top 10 smash. The question is, will anything break through hip-hop's stranglehold on the nationwide charts these days? Hard to say. But reggae is still a popular genre, and given the right set of circumstances, in a perfect world, this could be the single to break through. Meanwhile, in Hawai`i, this IS a perfect world, and this is the perfect track to at the very least hit the airwaves across the state as the lead single (if I were programming director, anyway). This is the breakout hit of the album. And I can't get this song out of my head, no matter how hard I try! /// Running a very close second, and the perfect song to close out the album and leave you smiling and remembering how great a CD you've just listened to, is Amy's duet with FIJI on their remake of Stevie Wonder's Top 5 monster from 1979, "Send One Your Love." Fiji's voice sounds so much like the great Steveland Morris himself, and yet he has a voice all his own. He's a remarkable talent, and together with Amy, they do a glorious job on a notoriously difficult song. Just ask any true musician worth his (or her) salt, and they'll tell you: this one's a killer (oh, the chord changes!). Any addict of "American Idol" knows that every year, some wannabe, despite the judges' warnings, insists on tackling this song and--still, despite the judges' warnings--massacres it. "Utterly hideous," "simply deplorable," you've heard Simon Cowell bark his Britishisms every year, but still even the best of the season's Top 12 try--and fail--to deliver on this song. There are reasons why singers of far lesser talent run far, far away from this Stevie opus, yet Fiji and Amy make it sound like they're singing "Happy Birthday to You." This is the mark of true professionals par excellence. /// Speaking of musicianship, I cannot close without once again lauding Matt Catingub for his arrangements as well as his stellar performances on keys and sax, along with his quartet of consummate musicians. Amy is truly blessed to have these five core musicians in addition to all of the guest soloists and, one last time, the superb string section, which greatly enhanced each and every track on which they performed.



I know that this has been an exceedingly long review, even by my standards, but I felt that I owed it to my friend of so many years to analyze each track carefully and selfishly share with you some anecdotal history of the very young lady I met way back when, worked with all those years ago and delighted in doing so every single minute, and watched after our years together as she listened--very wisely--to her grandmother's advice and took up the calling of bringing into the future the echoes from her past. She's matured into a woman all her own now. She has found love of all kinds--most recently, of a man and a daughter (the tiniest glimpse of both can be gleaned on the cover photo of a fairly recent CD; her slightly older, simply gorgeous daughter graces the inside sleeve with mom on a sunny, springlike day [on Moloka`i, perhaps?] in this CD). She has always worked harder than so many, indeed harder than most. But she strives for excellence in everything she does and settles for nothing less. Despite the fact that she is still recording at Mountain Apple as always, this is the first CD I've noticed that refers to a partnership with the super-cool Concord Music Group, which is generally thought of in the industry as a jazz label, but in recent years CMG has been spreading its wings. I'm on Concord's mailing list, and I've noticed a major change in their product in the last year alone. Translation? I'm impressed. The most important point, regardless, is that it's a mainland label. I think it speaks volumes as to where Amy can go, if she wants, from here. I certainly hope that Amy is nominated for a fourth Grammy Award (and that I am not jinxing her by wishing it), but I also pray that this time, she WINS it. It would be nice to have a vocalist win for a change--invariably the Grammys have always gone to instrumentalists, and vocalists have been shut out. IF she's nominated, I hope she actually brings home the statue. My fingers are crossed. Maybe the fourth time is the charm.



For reasons beyond my physical control, I don't get to see her as often as I'd like (through no fault of hers, to be sure). I know that all I have to do is give the Gillioms a call to see how she's doing. And I know if I needed to call her, I could. But I'm not worried. All I have to do is listen to "Friends and Family of Hawai`i." Even though I'm not specifically listed in the credits (why would I be? I didn't participate in the CD!), somewhere in her busy day, maybe if she stops for just a second and thinks about an earlier, less hectic time on Maui, I'd like to hope that I'm still one of those she still considers her Friends and Family of Hawai`i.



NOTE: Although the CD deserves an unqualified five stars, I know that the perception of bias will haunt me no matter how hard I protest to the contrary. So for that reason, I am forced to withdraw one star. (Sorry, Amy. I hope you understand.) Therefore, on that premise...





CD RATING: **** (out of 5 stars) -- BOBBY BOURBEAU -- 04 Sep 09; edited 11 Sep 09"

A most enjoyable album of songs from a truly great Hawaiian

S. Cahill | 06/19/2010

(5 out of 5 stars)

"Don't take too seriously the review from "Mr. Yuck." He unfairly criticizes the musical "genre" and fails to appreciate the key fact that this is a beautiful album by one of Hawaii's most gifted vocalists.



I too prefer her native-language work. Still, I find this album highly enjoyable. Plus, it's nice to discover the many other talented artists so generously showcased on this album.



I'm rating this a 5 to compensate for the earlier (and incomprehensible) 1 star. While this isn't one of Amy's all-time best albums, it's certainly fun, sweetly appealing, and a joy to hear."