Martin Pahinui

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Dancing Cat Records hopes to release 70 or so albums presenting a comprehensive overview of today’s Hawaiian slack key guitar music. One of the oldest guitar traditions in United States, ki ho’alu probably emerged in the early nineteenth century and for many years, the beauty of its numerous tunings and its delightful sounds were closely guarded secrets. But a revival in the 1960s and ‘70s spread the music beyond the Islands and enabled a new generation of musicians to flourish.

Martin Pahinui is one of those musicians. He bridges the gap between the innovators of 30 years ago and the players of today. Early in his career, he played alongside his father, the legendary Gabby Pahinui, before joining such groups as the Peter Moon Band, the Pahinui Brothers, and Hui Aloha. Ho’olohe (Hawaiian for “listen"), is his first recording on Dancing Cat as a solo performer.

The spirit of his Gabby lives on. Ho’olohe in some ways seems to take a step back before moving two forward. Unlike most of the releases in this Dancing Cat series, Pahinui chooses to present a vocal album in the old style (vocals, two guitars, bass, and steel) in the fashion of his father’s band, the Sons of Hawaii and other ensembles from the 1960s. In fact at times, there is an uncanny similarity between the sound of father and son. They share a warm tone and raspy quality to their voices. But Martin and his colleagues have stamped their own identity on this recording.

Freshness, vibrancy, togetherness and pure enjoyment define Ho’olohe. While closely following the “old ways”, these four musicians still introduce innovation and adventure, just as the seminal players of old did.

Joining him are some tried and trusted friends: George Kuo (slack key guitar, background vocals), Aaron Mahi (bass, background vocals), special guest Bobby Ingano (steel on seven tracks), as well as George Winston (piano on one). Pahinui and Kuo have played together for a number of years including in a trio with Mahi. In-demand steel guitarist Ingano has occasionally joined them, as he does on this album, slotting in seamlessly.

Today’s music of Hawaii has evolved from a variety of sources—chant, hymns, cowboy culture and more—and has been influenced by everything from jazz to blues to modern-day country. If it’s good, if you like it and if you can stay true to the tradition, then why not incorporate it? The nature of the instruments has also had its effect.

“Ho’olohe runs the gamut. From the opening paniolo (Hawaiian cowboy) song, “‘Ahulili” to the closing “Pua Lilia”, an emotional love song in slow waltz time, Pahinui presents 13 tracks showing different aspects of Hawaiian mele or song.

The vamping accompaniment of “Hanohano Hawai’i” is only enhanced by the gliding steel (at times muted, at time searing) and the ragtime-like guitar solo; Pahinui jogs along in normal register, occasionally supported by backup vocals, before bursting into falsetto for emphasis. “C-A-T, Popoki Spells Cat” is one way of learning Hawaiian as you sing along; but it’s also an opportunity to enjoy some great improvised instrumental work.

It takes a moment to realize that “Panini Pua Kea” uses only two chords, yet the invention and hypnotism in its four minutes are far from repetitive or limited. “Waikapu” is probably based on a chant and revolves around a handful of notes, yet it’s use of falsetto and backup harmonies creates a wide-ranging vocal sound.

“Kanaka Waiwai” is a hymn with a beautiful melody which allows Pahinui to stretch his singing from normal register to falsetto against a weaving vocal backing. Religion, love, respect for the earth… there is a spiritual side to Hawaiian music which cannot be separated from the emotion, humor, and enjoyment. The songs reflect life, they truly convey the spirit of aloha.

Once again, the liner notes deserve a special mention. The knowledgeable J.W. Junker, with assistance from George Winston, has written a highly informative and entertaining accompaniment to the album noting details of instruments, tunings and playing styles, paired with song origins, meanings and details of other versions.

Martin Pahinui has learned well from some of the best musicians. Together with George Kuo and Aaron Mahi, as well as Bobby Ingano and George Winston, he has produced a compelling, entertaining album which leans back into tradition while moving forward with the times. It rarely gets better than this.