Handsome Blackarbee. The View Is Clear. People Ask Me. Peter La Farge. All rights reserved. Size FLAC: mb. Rating: 4. On August 16, , in the remote town of Hana anyone who has ever been knows how difficult it is to get there on the island of Maui, Hawaiian music offered up its first large-scale music festival.
It looked like a sunnier, happier Woodstock, and both were held in the most unlikely of locations. But surely the Hana event lacked the scale of the New York state event that brought so many artists to rock-and-roll stardom. The event still could not match the scale of the sheer numbers of Woodstock, but the location was easier to access than Hana, and so the event drew thousands.
Even the name of the group was unlike anything that had come before it — a seemingly meaningless combination of English and Hawaiian words but which clearly had meaning to these young men paving the way to similarly confusing group names as Kipapa Rush Band. But it was their music that set them apart. But he found pure magic — and similarly forward-thinking blokes equally interested in revolutionizing Hawaiian music — in a pair of brothers — Robert and Roland Cazimero.
But while it all seems so tame now 40 years later, The Sunday Manoa were controversial in their time. Like the Richard Kauhis and Kahauanu Lakes that came before them, The Sunday Manoa deliberately experimented within the boundaries of tradition and some would argue stepping over the line, and others still might say altogether erasing it , and the young men took heat for it both publicly and privately — publicly from the critics of the Honolulu Star-Bulletin and Honolulu Advertiser, and privately from such guiding forces as Hawaiian cultural expert Alice Namakelua who supported the boys while trying to reign them in at the same time.
You might say the group weathered the criticism like your typical fan weathered the Waimea Music Festival — the mud forever in their minds as they trudged forth with their next innovation, even after the untimely demise of the all-too-short-lived Sunday Manoa and their too few three albums, even as they split into the two new aggregations which with exponentially greater force would continue to rattle the foundations of Hawaiian music — The Peter Moon Band and The Brothers Cazimero.
What does any of this matter in the scheme of our story about Genoa Keawe? Instead, she would perform with whatever groups might already be there.
And it proved so elusive that he had to research it a little himself. The cassette was not popular as a portable music medium until the s, and prerecorded cassettes were not available for purchase until the s. Prior to that the 8-track prevailed as the portable music medium.
Eric confirmed with Bob Nelson that this was a s production. But I have two:. These are the only versions of these songs by Aunty Genoa. The group alone makes this a once-in-a-lifetime event of a meeting of Hawaiian music legends.
Benny, Sonny, Barney, and even Gary had all shared a stage before as all were members of the Hawaii Calls orchestra and its weekly radio broadcasts. But they had never been joined by Aunty Genoa. I inquired about this group and why Aunty Genoa chose to record with them on this one and only occasion. Eric responded that these were her good friends with whom she had desired to make a record but simply never had the opportunity previously.
And so he always wanted to swing everything! But it is clearly an unnatural rhythm for him. Regardless, it is a treat to hear Aunty Genoa perform a modern song in her classic style. The recording quality notwithstanding, I hope you, too, have enjoyed this rare glimpse into s-era Genoa Keawe and her reunion with long-time friends in a recording studio that yielded what I consider to be one of her finest moments on record.
Next time: Aunty Genoa transitions from the 80s to the 90s with another fine moment on record — one which you will thankfully be able to find on CD…. This is a story in two parts, and I suppose we find out together how the story ends…. Val Kepilino, Emcee, Aloha Grill. Because this line says it all. Unlike the other live recording of Aunty Genoa which feels somehow unnaturally un-live, this live recording portrays the real Genoa Keawe.
This is Genoa Keawe herself. But there are no liner notes for this recording. No cover. And no retail store. This is — plain and simple — a bootleg. And Aunty Genoa would not have been pleased. One has a lot of options when suddenly the beneficiary of such luck. I know. I am using one as a foot rest as I write this. This is not unlike what went down in March when saxophonist and amateur recordist Dean Benedetti went — with an even larger recorder in tow — to hear the great Charlie Parker during his extended run at the Hi-De-Ho in Los Angeles.
Such massive amounts of equipment cannot be concealed, nor do I think Brownie would have dared try. They did eventually return to their suburban Philadelphia home. But he and Brownie remained friends, and so the teacher ultimately bequeathed to his prized pupil the tapes he made on his extended vacation. Many did not weather the ravages of time. Archived from the original on 8 May The Jewish Chronicle.
Practical Ethics. Jewish World Review. Gibson Square Books Ltd. The New York Times Magazine. Michael Specter. Scribner's Sons. In Frey, R. A Companion to Applied Ethics. Archived from the original on 1 December Archived from the original on 27 November Princeton Alumni Weekly.
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