Lono's Latest Inspirational Listening
Published by lonoadmin on Fri, 02/10/2012 - 14:55
Todd Yamashita
Molokai Dispatch
Late afternoon light streams through the trees bathing Kalanianaole Hall with a soft glow. Standing near the stairway, the musician known as Lono stares skyward with slightly clasped hands held near his chest. From within his palms, a similar but intense light emanates and glows, as if mirroring that of the setting sun.
This is the album cover of Lono’s latest, “E Aloha E” – the sixth album in a series of Hawaiian music releases known as Old Style Hawaiian. True to the principals of the genre yet infused with Lono’s originality, “E Aloha E” is a no-brainer for fans of Hawaiian music.
For Lono followers, and those enraptured by Molokai, this album is essential – the continuation of an important journey in uncovering the spirit of Molokai and aloha. Most importantly, it is a living conduit to the ancestors of contemporary and historical Hawaiian culture, and the aumakua protectors of Molokai.
As is customary of Lono’s work, the album opens with the pahu drum beating like the slow rhythm of a heart. “Todd’s Work,” inspired by this writer, reflects Lono’s ability to traverse to the other side and translate it for the rest of us.
“Moku Kia Kahi,” or the “one-masted schooner,” has been performed by Hawaii greats including Gabby Pahinui, George Helm and Brothers Cazimero, among others. Here, Lono honors The Sunday Manoa; and anyone familiar with the group will recognize their influence on Lono’s work.
The theme of light shines in tracks “Ia ‘Oe E Ka La,” a song honoring King David Kalakaua, and “Po Anuenue Keia,” meaning “the night rainbow” and composed for dancing hula.
Lono also pays respect throughout the album to prominent Molokai figures and people who have inspired and touched his work. “Ku`u Papale,” or “my beloved lauhala hat,” tributes Aina Keawe and was inspired by her sister, Molokai’s late aunty Ku`ulei Perez. “Please oh please, bring Ho`ailona home,” tells of Molokai’s most beloved monk seal, KP2, and was inspired by Loretta Ritte. Track nine, “Ua Nani Molokai,” reflects Lono’s reverence for Molokai and the beloved kupuna who have influenced the artist’s musical career.
Lono is known for his powerful message-filled music and continues to deliver with both classic folktales and important issues. “Kalaipahoa” reminds us to makaala the greed for Molokai’s aina while the fifth track tells of Bokikumanumanu, dog god and protector of Makanalua. Visible from the air and the Kalaupapa lighthouse, the Bokikumanumanu heiau (stone temple) is the only one of its kind in the world. The song was inspired by kumu hula John Kaimiakaua.
The musicality is far from overpowered by his crooning vocals and strong stories. Pensive chanting, bird calls, flutes and ukulele plucking bring the olelo to life in tracks “Manu Mana`o” and “Hawai`i Pono `I,” (my only lament is that the former is not at lease a minute longer). Lono also enhances the album with two slack key tracks, “Hanaikapono” and “Nanaikapono.”
“Owl’s Lullabye” is inspired by storyteller Kindy Sproat originally by Stan Jones. It is the perfect closer of the album and one of my favorites from Lono.
While the light on the cover of his album might seem to come directly from Lono’s hands, he is in fact exposing and releasing a light that has always existed. In this, his sixth album of the Old Style series, Lono truly succeeds in bringing life to the ancestors of Hawaiian music and culture. Maika`i no – good job indeed!
In 1989, I was introduced to a Hawaiian man named Lono. We share visions of peace, and we share visions of music, and respect for the Hawaiian Islands and its' host culture, Hawaiiana. Lono was introduced to me as a musician. I recalled having visited Maui a few years earlier and attending a wedding at which the entertainment featured an extremely smooth styled Hawaiian man with a right handed strung guitar playing left-handed, seemingly upside down and backwards. When I saw Lono play, I realized he was the same performer. I shared my admiration for his past performance. We became quick friends.
As time progressed, I saw Lono at local hotel and restaurant venues on Maui. He was mostly playing solo, with self played and programmed backup music that he sometimes used. I found myself going to see him perform at the now defunct Marriot Makai Bar, playing mostly "cover tunes" written by other musical artists. Audience reaction was consistently excellent. I spoke with hotel guests/visitors who found themselves coming to see Lono play there and wherever they knew he was going to play almost all the nights of their vacation. He had them longing for more.
Lono was performing as a musician many evenings and also working as a County of Maui Lifeguard full time. After soul searching, Lono realized that he must dedicate his full time efforts to his music, to develop his writing and performing to a level that he might progress to state and national performance stages. Lifeguarding would have to go. The security and stability that it offered him in his life was not going to serve his journey as he progressed, he felt.
Lono spent more time writing music and performing. After a short while, he went into the recording studio to record some of his new songs. I recall when the cassette came out. Nice music. One song, Wailea, I recall, I found reminiscent on songs I had heard and enjoyed while in Hawaii. Nice.
A year and more passed, Lono continuing to play music locally, continuing to turn the heads of all that heard him. I remember Lono driving miles and miles from home, performing countless "gigs" in restaurants, hotel bars and convention arenas and weddings, mostly playing other people's music, some of his own, but primarily "cover tunes" by other artists.
Lono then spent concentrated time in reflection and writing, saving and investing his hard earned money into recording time to create a first CD, Blue Eyes of Summer. Lono gave me a preview listen of the album, and I was blown away! There were so many good songs, I was finding it difficult to choose a song as a single for promotion and radio release. Blue Eyes of Summer, In Kihei, Little Red Man… why, virtually every song seemed even better than the last! I was sure many of these songs would satisfy a wide audience! Record release- limited promotion- the album, printed in very limited numbers, sold out!
Lono enjoyed selling these CDs, mostly at his gigs, but the music business is about selling and promoting through wider distribution circles and with promotion. Music business is a business, but to Lono, it was the music that was his fuel. The response from people encouraged him to write more and reflect more and grow more… Into the studio once again resulted in a second outstanding album of material, Maui Stylin'. Again, the numbers of superb musical tunes and thoughtful perceptive lyrics filled me with clarity that this gentle and heartfelt man, Lono, was destined to be shared with a greater audience than the relative handful of people he was performing to each night. I really liked the title song, Maui Stylin' and its uplifting message and musical delivery. Words spoken at the songs' beginning set the tone: "No matter where you go, no matter what you do, take that Maui style with you. 'Cause if you ain't Maui Stylin, you're just living on an island!". The album was sold out almost as quickly as it arrived on the scene!
I decided to create an opening segment to my local TV show, M.A.M.A.* Presents, and feature this song! Literally hundreds of people commented to me over these years about how perfectly this song reflected their heart.
Time marched on. Lono was still tirelessly performing in local clubs and such, but no one had yet "picked up the ball" and carried his music and word of his talents as he had hoped it would. Based on the continued response from his audiences, he longed for something more. Again, Lono made his way back into the recording studio and subsequently release his 3rd CD, Lono's White CD, partly in tribute to the style of a couple of his songwriting teachers, Paul McCartney and John Lennon. Songs on this album yet again were outstanding, and received tremendous applause and response from his audiences. I began to see tourist visitors who I had seen before, still faithfully buying Lono's CDs and actually arranging their Maui vacation so they might have the chance to see and hear Lono perform on multiple nights of their stay on Maui. Lono continued, in his gracious way, to deliver precious lifetime memories to many.
An opportunity was presented to him by a recommendation from a local record store to a visiting Chicago-based radio personality, Steve Dahl, who heard Lono play on his Maui remote to Chicago radio show, and received fabulous response from his Chicago listening audience. They loved Lono! Steve Dahl asked Lono to come visit in Chicago and play some music in local clubs there. Response was outstanding! Then Dahl teamed Lono with his friend, accomplished record producer Joe Thomas who asked Lono to record and perform a couple of songs in a compilation CD with noted Pop and Rock music celebs, including the likes of Christopher Cross, Joe Walsh, Jimmie Webb, and Lono's good friend and music mentor, Henry Kapono, and more. It was about this time that a Lono song from his White CD, S.T. Song, was given notice in New York at the John Lennon Songwriting Contest.
The planned musical tour with that notable group was funded for only one performance, and Lono performed admirably, to great response. But, insufficient promotion and funding caused this effort to never get off the ground nationally. Again, Lono found himself continuing to play local Maui engagements, in what appeared to be a developing yet local career in Maui.
Lono, cast as both producer and co-contributor, funded and recorded a compilation album of talented Maui performers, entitled Heavy On Hawaiian Style. This 4th CD, which featured single release performances of original local music by others, also included a few Lono compositions, including the title cut, Heavy on Hawaiian Style. Local radio airplay gained local presence, but the limited pressings, again, brought therefore limited exposure and "success". Many aware Mauians and fortunate visitors continued to appreciate and enjoy Lono. Yet, something was wrong. What was the key to greater circles of awareness of his tremendous talent?
Lono's love of music never waned. He continued to honor his heart and continued to write and perform beautiful heartfelt melodies married with thoughtful provoking lyrics. Again, Lono persevered, and returned to Melodyline Studiosand engineer Tommy Hall in Maui to generate yet another future classic album, Radio Kihei. Again, true to form, the CDs virtually raced out the door! Another locally accepted, even expected, Lono disk of musical pleasure. Well crafted songs and continued inspirational lyric presence was admired by everyone who heard the CD or saw Lono live in performance.
…and so where was Lono's music going? In what direction was his heart directing him to?
As if presented with a message from God, Lono began to feel a deep longing to explore his musical roots and upbringing. What music had he listened to when he grew up on the west side of Oahu in Makaha and the Kauai times and Molokai summers as a young Hawaiian boy and then mature man? His Hawaiian heritage and the rich cultural swell consumed him. His every musical breath seemed to find him singing, remembering and honoring through performance the stylings of Gabby Pahinui and the Sons of Hawaii. … and from these times, as a culmination of his re-embracing of his Hawaiian roots and culture, this album Lono: Old Style was born.
A handful of privileged individuals got to enjoy initial pressings of this album. Reports from virtually every one announce the perfect music for this perfect time for this long honored music to be re-vitalized and delivered to a hungry world, ready to embrace, and in some cases, re-explore, the richness of the Hawaiian language and culture through the exceptional performances of Lono.
I believe that as this album is heard and appreciated and spread throughout the islands and the world, not only will Hawaiian Music will be recognized and re-appreciated by a waiting world, and Lono in these performances, but all of Lono's past musical stylings will ring a bell heard around the world for a performer who has lived a musical heritage that seems to have come full circle and is ready for the world to see and enjoy.
I give you… LONO: OLD STYLE.
Jason Schwartz
Director,* Maui Arts and Music Association
© 2004 All rights reserved.
Posted on: Sunday, August 22, 2004
By Wayne Harada
Honoulu Advertiser
Genre: Traditional Hawaiian.
Distinguishing notes: Lono is a Maui-based singer, guitarist, bass guitarist and 'ukulele player with a deep, rich appreciation for the music and the masters of yesteryear - the likes of Sonny Chillingworth, Moe Keale, Gabby Pahinui, Leland "Atta" Isaacs, Johnny Almeida, Eddie Kamae, Joe Marshall and David "Feet" Rogers - and a handful of contemporary aces playing old-style guitar. This CD maintains the strumming and vocalizing style from the gloried past, making Lono sort of a bridge between generations, as he puts his imprint on "Wai O Ke Aniani," "Kalae O Kaena," "Leahi," "Hi'ilawe," "Ho'okena Keia No Beauty," "Lei Hinahina" - plus two classics, "Kanaka Waiwai" and "Hawai'i Aloha" (the latter is an instrumental). The old style acoustic manner is intended to present Island music as folk music. And it works; most tunes are in Hawaiian, but English lyrics penetrate some entries.
The outlook: This is a spirited reflection of a gentler time in Hawaiian music history.
Our take: Lono has endeared the old style and transports the listener to the past in a manner that's simple but splendid.
There are entertainers and there are artists. The difference lies in the artist's dedication to the work. The difference is the art as a way of life. The difference is in the commitment of the artist to a higher purpose. Lono is such an artist. Truly gifted, he is devoted to his music which is so generously shared with the rest of us. Lono's music is his way of life. And most important, Lono's purpose is to perpetuate the Old Style Hawaiian music, stories, and the legends of Molokai.
As our ambassador for Molokai's music, Lono makes us proud to have such a talented member of our ohana so devoted to perpetuating our island heritage. With his Molokai and Old Style Hawaiian musical roots, clearly he plays from his heart. His love and knowledge of Hawaii and his intense interest in preserving the Hawaiian Way is most evident in his music.
The mother of sustainability is self sufficiency. In this age of electronic keyboards - just pushing buttons and getting the sounds of various instruments - here is a pure musician who is doing it all ...himself, with authentic instruments. He produces all of his music on island. He composes all of the music, sings and chants all the vocals, and plays every one of the 18 instruments heard on his latest CD.
Lono thinks of his music as HA - Hawaiian Acoustic "Breath of Life" music. Hawaiian slack key and homage to some of the greatest influences of Hawaiian music embrace his work. Of course basic to his Molokai roots, his music is also very spiritual and emotionally moving.
Lono's newest CD - Passage to Pono - Old Style V - represents Molokai in its most pono form, from his brilliant instrumentals especially Heaven at 131, to his beautiful voice heard on such tracks as E Ola E Molokai, Iwi Kohola, Po Anuenue Keia, Molokai O Hina, and Makua Kamiano. His inspiring words of aloha paying homage to Father Damien, the land, the sea, the people and the creatures of Molokai are especially meaningful. He ends this CD with Pule Hamau His most generous gift is shown here as he shares with us his own pule to God; mihi, noi and ho`omaika`i.
Dear Lord, forgive me, forgive me again.
Forgive me for the hewa I caused.
...for the sadness I brought, the hurt I've done.
My eyes, they see only tears.
Teach me how to love, anuhea ke aloha.
I know that your love can heal me right now.
Down on my knees, begging you please.
Dear Lord, forgive me that I may live.
Bless all the people, bless them with love.
Na Kupuna, Makua, Na Keiki O Ka `Aina.
These blessings I bear with the white of my hair.
This is it, Lord, this is my prayer.
Now I give thanks, 'cause I've felt your love.
I give thanks for the blessings from above.
The path, it is clear, the light, it shines through.
And the waters are flowing again.
Mahalo Nui Loa, Lono.
Everyone on Molokai should have this CD, locals and malihini alike - all who appreciate Hawaiian music and Hawaiian culture.
This CD is the fifth in Lono's Old Style series, all of which have been recorded, mixed and mastered, and produced here on island by Lono - thus a totally Molokai product.
Mahalo to the fine people at the Dispatch and to Todd Yamashita for his excellent review of the CD. Mahalo also to the people and businesses who support the music and heritage of Molokai and the Hawaiian culture.
Respectfully submitted,
A Molokai Auntie
By Todd Yamashita
The Molokai Dispatch
Most locals possess an aumakua, or ancestral guardian spirit such as a shark, turtle or lizard. However, Lono, one of Molokai's most celebrated musicians, sings his own tune when it comes to aumakua: instead of an animal spirit, Lono gives reverence to the famed musicians who defined old-style Hawaiian music.
"Our music comes from our aumakua. When we play this music, it's in honor of them," said Lono, who recently discussed the release of his latest album, "Passage to Pono - Old Style V."
Indeed, "Passage to Pono" is Lono's melodic homage to some of the greatest influences of Hawaiian music - Genoa Keawe, the first lady of Hawaiian music; Lena Machado, the songbird; Gabby Pahinui, the renaissance man; Johnny Almeida the dean; and Kindy Sproat, the story teller.
"My aumakua is all these people - the music comes from them," said Lono.
The Journey While the Old Style series started in 2002, Lono's musical journey began during his school years. One of his favorite memories is singing American Pie in the locker room at Molokai High with Walter Naki, Bill and Tommy Caster, Alfred Dudoit, and Wendell Kaupu in 1973. "That's one moment everyone remembers," he said.
A few years later, Lono moved to the west side of Oahu. He was soon performing in the band Ka Home Brew. Though still in high school, the young group played in popular places of the time including the Fog Cutter in Makaha, Chucks Cellar in Waikiki, and Top of the Shop in Ala Moana.
Although Lono went on to play a lot of rock and roll, he never forgot his roots in old-style Hawaiian music. For Lono, the Old Style series of albums has been a journey of self-discovery and careful study of old-style Hawaiian music.
The Album "Passage to Pono" is a fitting continuation of the series, but it also stands on its own as a spiritual, contemplative, and emotionally moving album. Track one fittingly begins with pahu drumming and the sound of wind as we begin down the passage to pono.
The path is soon lightened as the album transitions to E Ola E Molokai, which brings life to this album. The song tells of the glittering of kukui leaves, the reverence and healing of Lanikaula forest... "By the utterance of prayers, rain falls."
The upbeat and snazzy style of "Go to Da Pono,' track three, is certainly the catchiest song here and represents Lono's hang-loose style. If you're not swept up by this one, you probably got beer in da ear.
"Makua Kamiano" (Father Damien) is a testament to Lono's creativity and style shifting talents. Bells toll as this moody and reverent song tells of Damien's legacy in Kalaupapa. With the upcoming canonization of Father Damien, this song itself becomes the legacy of a historic event. Another signature piece of the Pono album, "Iwi Kohola," or whale bones, tells the story of fisherman Poepoe and the dying whale of Mo`omomi. Somber, moving, and pensive, this one simply needs to be heard to be understood.
You'll notice Lono wears a red palaka shirt on the cover of this album - it's a symbol of one's musical prowess in Hawaiian slack key playing. The shirt was popularized by musician Eddie Kamae, who wore it because it represented the hard-working people of his time. Lono has certainly earned the right to wear it, too.
Lono has approached this entire album with a great sense of humility. Pule Mamau completes our journey with a prayer of thanksgiving and forgiveness.
Get It Now
You can get it from Coffees of Hawaii, Molokai Mini-mart, Pu`u O Hoku Ranch, Lonomusic.com, or at the Farmers Market this Saturday. You know how it goes; once it's gone, it's gone - so if you're collecting the Old Style series, don't wait.