Intense Raw Power of the Legendary Hawaiian Falsetto Greats - 2001 Anthology of the Year - Hawaii Academy of Recording Arts

Hawaiian Falsetto singing is a form of musical expression unique to the islands of Hawaii. You can't just go to a falsetto school and be taught these techniques in a music class...you have either been blessed with the voice and the abilities, or you haven't. There's no other style of singing that brings with it such intense tropical passion and raw power. A truly great Hawaiian falsetto singer is able to sustain a lofty note to its outer limits, grab a split second gasp of air, soar to an even higher register, and then dance in that rare air with the utmost control and grace. Passion, romance, control, and power all combine to define the best of Hawaiian Falsetto Singers. This compact disc is a careful compilation featuring a stunning variety of Hawaii's legendary falsetto singers, each recorded in their prime over 50 years ago. This wonderful presentation is a must for the collections of both the young aspiring falsetto singer, and the Hawaiian falsetto fan.

HISTORY OF HAWAIIAN FALSETTO SINGING

In the two centuries since Hawaiians first received contact from the outside world, Hawaii’s music has evolved as a reflection of each new non-musical trend to reach her shores. At the same time, traditional Hawaiian music has been lovingly passed on from generation to generation, preserving Hawaii’s rich cultural heritage.

Early growth of Hawaiian music’s worldwide popularity was built through the dedication of musicians, singers, and dancers. The recording, radio, movie, television, and visitor industries all embraced the music. Both visitors to Hawaii and her residents alike revered the brightest stars of the Hawaiian entertainment scene.

Hawaiian falsetto is a style of singing which is unique to the Hawaiian Islands. Hawaiian falsetto has evolved, from a variety of influences in the 19th century, into a venerated showcase of traditional Hawaiian musical expression.

The term “falsetto” is somewhat misleading, because there is nothing “false” about this vocal style. A falsettist is normally a natural tenor, baritone, or bass singing falsetto in the alto range. Technically, the vocal chords vibrate at a shorter length than with the ordinary chest voice.

Western falsetto singing has its roots in 16th century Spain and Italy. The highly paid castrati dominated 18th century Italian opera with international acclaim. The use of castration to obtain fine “boy-like” voices to sing the high parts lasted until the mid-19th century. Once the castration of boys was banned, unaltered male singers began to excel as falsettists singing high notes in countertenor.

As with much of Hawaii’s musical expression, the origins of Hawaiian falsetto singing are no doubt tied to a combination of influences from both home and abroad.

Ancient Hawaiian chanters were known to use a technique of a characteristic break for the transition from a normal chest voice to a falsetto voice.

In 1834, the first Hawaiian Christian hymnal, which included musical scores, was printed in Hawaii. In a section devoted to the translation of Western music theory into Hawaiian terminology, it discusses the voice overlapping between register boundaries, in a sort of mid-voice. This was referred to as kauna, which may have been the Hawaiian word for counter, as in countertenor.

In the 1830’s, the Mexican vaqueros were brought to the Island of Hawaii to teach Hawaii’s paniolo to become cowboys. Their guitars are known to be the origin of the Hawaiian Slack Key guitar style. Mexican singers were also known to use falsetto and yodeling, and it is common knowledge that a predominance of early Hawaiian falsetto singers came from the Big Island.

On June 2, 1872, the original bandmaster of the Royal Hawaiian Band, Prussian Henry Berger, arrived in Hawaii. Berger was also a voice teacher and was known to have taught yodeling in Honolulu.

Beginning in 1889, Theodore Richards began conducting the Kamehameha School Boy’s Choir. Composer Charles E. King credited Richards with the introduction of yodeling in his classes, which became the “rage with Hawaiian singers”.

It is clear then, that Hawaiian falsetto singing was embraced as a key element of Hawaiian music well before the onset of the 20th century. It would seem that all of the above influences have contributed to the art form.

Western falsetto singers attempt to make the transition between vocal registers as smoothly as possible. Hawaiian falsetto singers, on the other hand, emphasize the ha’i (break) between the vocal registers, and even exaggerate this sound. The Hawaiians also use various yodeling ornaments and glottal stops to glide back and forth between the chest and falsetto registers.

In the phonation of falsetto, the vocal chords are stretched tightly so that they become very thin. The resulting vibrations can have over twice the frequency that a speaker can produce using modal voicing. Vowel spectra are similar in male falsetto and female singing.

In yodeling, the low-register chest notes and the high-register falsetto notes are alternated rapidly. Each syllable ends with a light glottal stop for emphasis. These rapid variations in tone and pitch create a jump from the chest voice to the head voice, or falsetto.

While the vocal techniques are virtually the same, male Hawaiian singers are said to sing in a falsetto voice, while female Hawaiian singers are said to use the head voice. However, to most ears, the techniques and qualities are nearly identical.

Hawaiian falsetto singing has itself deeply influenced Hawaiian music. It is commonly used as a harmonizing voice in groups of various sizes. The Hawaiian falsetto voice has been imitated by the Hawaiian slack key guitar, the Hawaiian steel guitar, and the violin. Numerous songs have been written and/or arranged especially for the falsetto style. Each Hawaiian falsetto singer adopts his or her own unique vocal ornamentation, which provides an individual trademark style. Originally called leowahine, Hawaiian falsetto has been referred to as leo ki’eki’e since 1973.

Hana Ola Records now shares with you an overview of the Hawaiian falsetto style, focusing on 78-RPM recordings made in the 1930’s, 1940’s, and 1950’s. All recordings were made in Hawaii, save one, and all were sold locally to Hawaii’s residents. This twenty-two selection historical anthology accurately portrays Hawaiian falsetto singers performing in a manner representative of their era. Whether it be either Hawaiian “falsetto” or “head voice”, these eleven men and eleven women accurately convey the essence of the unique art form of Hawaiian falsetto singing.

THE RECORDINGS

Hawaiian Transcription Productions (HTP) became Hawaii’s first resident record label. Lorrin P. Thurston created the corporation in 1936, primarily to record radio station transcriptions and air checks, and located it on the third floor of the Advertiser Publishing Company. Hawaii’s first radio station, KGU, also operated by the Honolulu Advertiser newspaper, had signed on the air on May 11, 1922. The radio station’s studios were also located on the same floor of the Advertiser building. Eventually, Marion A. Mulroney, head of KGU, was asked to turn HTP into a profitable enterprise by marketing Hawaiian music to the public. Although HTP 78rpm discs sold for 75 cents a piece, (Victor Records went for 50 cents, and Decca’s for 35 cents), KGU was able to inflate demand for HTP’s by pushing them on the air. Harry B. Soria, Sr., known as the “Voice of Hawaii” announcer and as Hawaii’s first “disc jockey” for his “Going To Town With Harry Soria” show, was often asked to double as the recording engineer for HTP.

Over 100 of the records with the Maile-Ilima lei entwined around the outer edge of the label were released before the company finally folded during World War II.
(Selection # 16 of this compilation was recorded in an HTP session.)

While in Los Angeles in 1935, Lena Machado, “Hawaii’s Songbird” took the opportunity to record in the Hollywood studios of Freeman Lang, with the musicians she was then performing with at an area club. The group featured “The King of the Hawaiian Steel Guitar”, Sol Ho’opi’i on electric steel guitar, George Piltz on ukulele, and Harry Baty on guitar. Lena, 32, boldly released these recordings on her very own self-named local record label. (Selection # 2 of this compilation was recorded in that session.)

Bill and Alice Fredlund were the husband and wife team that created “Bell Records”. The Fredlunds enlisted the ever-present Y. O. Kang as their recording engineer. Kang, who had engineered the “Hawaii Calls” radio show since its inception in 1935, knew that both the Hawaiian musicians and their audience preferred a solid bottom end of bass on their music. The “Bell Records” studio was a former military warehouse in an area known as “Base Yard 6”, located at Date and Laau Streets, across the Ala Wai Canal from Waikiki. Between 1944 and 1950, Bell Records recorded and released an enormous catalog of Hawaiian music. The label assembled a star-studded stable of Hawaii’s professional musicians and entertainers -- the absolute cream of the industry! Practically every star, of every showroom, lounge, and nightclub in the Waikiki showbiz scene recorded on “Bell”.
(Selection #’s 1, 5, 6, 7, 8, 11, & 13 of this compilation were recorded in Bell sessions.)

George K. Ching began recording Hawaiian music on his record label, “49th State Hawaii Records” in post World War II Honolulu. “49th State” was so named because businessmen were anticipating Hawaii’s eventual attainment of statehood. However, no one realized that Alaska would actually gain that distinction, and Hawaii would end up as the “50th State.”

Most “49th State” 78rpm recordings were made using an acetate record cutting machine, in a make shift studio at Ching’s own home. To guarantee authenticity in the recording performances, Ching enlisted John Kameaaloha Almeida, the “Dean of Hawaiian Music”, as the label’s musical director. “49th State Hawaii Records” recorded and released an impressive inventory of Hawaiian musical expression. Traditional Hawaiian chant and hula, “hapa haole” songs, and even the music of the rest of Polynesia, were recorded by a stable of aspiring local talent, all under the guiding hand of John K. Almeida.
(Selection #’s 3, 4, 12, 14, 15, 17, 19, 20, 21, & 22 of this compilation were recorded in 49th State sessions.)

The Aloha Recording Company recorded in the Kamehameha Schools Alumni Clubhouse, at 2290 Liliha in Pu’unui. The living room of the Clubhouse, the former Lincoln L. McCandless mansion, had a wooden floor and a high ceiling. This translated into an extremely “live” sound on the recordings. The Aloha Record Company, a partnership of Al Kealoha Perry and Henry Keawe Lindsey, put out just 28 sides, all released in 1948.
(Selection # 9 of this compilation was recorded in an Aloha session.)

The enterprising George K. Ching also acquired several other locally based record labels after the proprietors went out of business. Tropical Records of Honolulu was one such label.
(Selections # 10 & 18 of this compilation were recorded in Tropical sessions.)

THE PERFORMANCES

1- Ku’u Milimili
William Lionel Kalaniali’iloa Lincoln, known professionally as Bill Ali’iloa Lincoln, was born on March 21, 1911 in Kehena, Kohala, Hawaii, and passed away in Honolulu at the age of 78 in Honolulu on September 9, 1989. (Many of Hawaii’s most renowned falsetto singers have come from the Big Island of Hawaii). Bill Lincoln first excelled in music in the Mormon Church. Bill broke into music in Honolulu as a protégé of John Kameaaloha Almeida, the Dean of Hawaiian Music, (November 28, 1897 to October 9, 1985), joining the cast of Almeida’s KGU radio show in 1935. He would later form his own band in 1938, and in 1946 he became the very 1st recording artist for the new “Bell Records” label. He recorded many of his own compositions, written especially for his stunning falsetto voice, and the hula. Bill was fluent in the Hawaiian language and ran a hula studio in the Waikiki Arcade. On this recording of his song, “Ku’u Milimili”, Bill Ali’iloa Lincoln and his Hawaiians consisted of Bill on ukulele and falsetto vocals, Dan Kaeka on guitar, Johnson Aila on bass, and Walter Wailehua on Multi-Kord steel guitar. Bill’s falsetto styling reflects the influences that he often credited, Lena Machado and George Kainapau, as it soars, while being imitated by Walter Wailehua’s steel guitar.

2- Kauoha Mai
Lena Kaulumau Waialeale was born in Pauoa, a district of Honolulu, on October 16, 1903. She died in Honolulu at the age of 70 on January 22, 1974. Her parents, Louise Poepoe Waialeale and Robert Waialeale, chose to hanai Lena at birth. (Hanai is the Hawaiian custom of giving a child to foster parents who will raise, nourish, and provide an advantageous atmosphere for the child.) Her hanai parents were Dr. Loo Pan and Mary Davis Loo Pan and Lena was raised in a blending of their Hawaiian and Chinese cultures, becoming fluent in both languages. Soon after Hawaii’s 1st radio station, KGU, signed on the air on May 11, 1922, station head Marion A. Mulroney walked by a large mango tree on the grounds of the Army & Navy YMCA at 250 South Hotel Street. He stopped in his tracks when he heard Lena singing, as the Sacred Hearts Convent student happily gathered mangos high up in the tree. Her resulting radio appearance would explode into a life long career as a professional entertainer, earning her the nickname of “Hawaii’s Song Bird”. Lena married Luciano K. Machado in 1925, and is now remembered as Lena Machado. Many of Lena Machado’s compositions are often performed by others because of her use of dramatic leaps and breaks in an upward and stepped modulation. “Kauoha Mai” tells of the heartache of being invited over to a lover’s home, only to be locked out. A peek through the keyhole revealed that another had now become the object of the sought after affection. Also known as “The Keyhole Hula”, it was copyrighted on January 29, 1934. This 1935 “LM Records” effort, recorded at the Hollywood studios of Freeman Lang, is Lena’s first ever recording of what many now consider her signature song, punctuated with purity, clarity, and ha’i.

3- Pua Lilia
Born Josiah L. Keawemauhili in Holualoa, Hawaii on September 10, 1918, Joe Keawe would make a lasting contribution to Hawaiian falsetto singing before he would pass on in San Pedro, California at the age of 73 on February 6, 1992. Soon after his arrival from Kona, Joe Keawemauhili shortened his name to “Joe Keawe” and became another protégé of John Kameaaloha Almeida, performing on Almeida’s “Playground Quarter Hour” series on KGU radio. Keawe’s association with Almeida in the 1940’s resulted in many recordings on the new “49th State Records” label. Joe was recorded in 49th State’s very 1st recording session, and his version of “Pua Lilia” was the 7th release of the fledgling label. “Pua Lilia” was written by Alfred Unauna Alohikea, who lived from September 10, 1884 to September 15, 1936. It is said that he wrote this expressive love poem for Lizzie Doirin, following a drunken brawl. On this recording, Joe Keawe’s falsetto ranges from a booming, full-bodied masculine cut and thrust to a rich clarity, both soft and sweet.

4- Pupu A’o Niihau
Born in Laie, Oahu, on October 31, 1918, Genoa Keawe has become a Hawaiian music legend. Soon after studying voice with Amoe Myers at the Laie Mormon church, Genoa began performing at Kailua bandstand shows and military clubs. Her big break came when Johnny Almeida featured her on his radio show, and she became yet another one of his protégés. She has literally been performing her beloved Hawaiian music continuously ever since, usually for hula. Her very 1st recording was Johnny Almeida’s “Maile Swing” which was the 7th release on “49th State Records”, on the flipside of Joe Keawe’s “Pua Lilia”. Genoa would go on to record an entire catalog of music on the label, and another several LP’s on both “Hula Records” and her own “GK Records”. She has also performed at hundreds of clubs and concerts, and has taken her beautiful Hawaiian falsetto style around the world in numerous tours. Prolific composer Mary Pula’a Robbins wrote “Pupu A’o Niihau”, telling of love amid the elegant beauty of the shells of Niihau. It was copyrighted by John Avery Noble in 1932. Genoa displays her effortless ha’i and range on this “49th State” recording of the love song, also known as “Niihau Hula”.

5- “Mauna Kea”
George Kainapau is remembered as “Hawaii’s Falsetto King”. Born in Hilo, Hawaii on May 22, 1905, he died in Seal Beach, California at the age of 87 on September 14, 1992. George began singing at the Volcano House in the 1920’s. In 1928, Sol Ho’opii,”Hawaii’s Steel Guitar King”, (1902 to November 16, 1953), took George on a tour of the Hawaiian Islands, and then on to Hollywood. Kainapau made his recording debut on January 18, 1929, at the age of 23, singing “Hilo Hanakahi” with Sol Hoopii and Andy Iona. He would go on to perform with groups led by Lani McIntire, Ray Kinney, and Danny Stewart, and headline in numerous clubs, both on the mainland and in Hawaii. Kainapau’s strong, controlled, and clear voice, void of any breathiness, could smoothly glide from the falsetto register to high tenor without any break, or upon command, could utilize the Hawaiian ha’i ornament just as easily. His ability to sing in G above a middle C is sometimes referred to as a high falsetto. His appearances in a string of Hollywood’s Hawaiian-themed films brought Hawaiian falsetto singing to the attention of a worldwide audience, spawning numerous falsetto singers outside of Hawaii. Mokihana Fernandez’s composition, “Mauna Kea”, was the theme song for RKO-Radio’s film “Bird of Paradise”, released in August 1932, starring Joel McCrea and Dolores del Rio. (Mauna Kea, a towering volcano on the Big Island of Hawaii, has been dormant for over 2,000 years.) George Kainapau later recorded this stunning version on “Bell Records”, in his inimitable falsetto fashion, backed by George Archer and the Pagans.

6- Kahelelani
Nora Keahi (Halstead) Santos was born on November 28, 1918 in the Pua Lane area of Palama, a district of Honolulu. She attended Kaiulani School and St. Andrew’s Priory. Nora started out playing with Bill Ali’iloa Lincoln and his Hawaiians. She then worked at the prestigious Royal Hawaiian Hotel with the Royal Hawaiian Girls Glee Club. This recording was made after famed musician and composer Helen Parker asked young Nora Keahi Santos to sing Abbie Palea’s composition “Kahelelani” at the “Bell Records” studios. Nora’s unique falsetto ascends on this song about a stairway going up to heaven.

7- Kealoha
Benjamin Kapena Kalama, “Mr. Hawaiian Music”, lived from June 29, 1916 to September 21, 1999. After mastering virtually every instrument in the McKinley High School band, Benny Kalama joined “Leonard “Red” Hawk and the Waikikians”. Benny then began his career as Hawaii’s most productive director/arranger, serving with Don McDiarmid’s orchestra, KGU’s “Voice of Hawaii”, Mutual’s “Hawaii Calls”, and the Alfred Apaka show. He appeared in several Hawaii-themed movies and toured the mainland USA. Benny Kalama was a mentor to countless Hawaiian entertainers, both on the stage and in the studio. On July 4, 1947, the Royal Hawaiian Serenaders opened at the Royal Hawaiian Hotel, featuring Alvin Kaleolani Isaacs on guitar, George Kainapau on ukulele, Benny Kalama on bass, and Tommy Castro on steel guitar. This super quartet sang in a unique four-part harmony style, showcasing two falsettoists (George and Benny). They made several recordings on “Bell Records”, including “Kealoha”, composed by Lei Collins and Madeline K. Lam, exhibiting Benny Kalama’s silky smooth and gently caressing falsetto voice.

8- E Mama E
Linda Dela Cruz was born Lillian “Linda” Leialoha Keawe’ehu on November 20, 1929, in the “Eagle Block” of downtown Honolulu, at Fort and Beretania Streets. At age 12, her family moved to Papakolea. Young Linda would rush home from school each day to listen to her mother’s collection of Lena Machado records, and soon Linda was singing at family parties. As a teenager, she began singing at the ongoing large outdoor jam sessions at locales like the Kuhio Beach banyan, Charlie’s Taxi, and Chuck See’s By The Sea. Her reputation grew, and she was eventually recruited to record for “Bell Records” when she was only 16 years old. For years, Lena Machado had gained fame as “Hawaii’s Songbird”. “Bell Records” wanted similar recognition for their new artist, so they promoted her as “Linda - Hawaii’s Canary”, and positioned her as the label’s premier soloist. This recording of “E Mama E” solidified her position. Linda Keawe’ehu became Linda Dela Cruz when she married John Dela Cruz. Linda’s 1st professional gig was at the “Holoholo Inn” at the corner of King Street and Dillingham Boulevard. She would later perform at “Café Pagoda”, “Club Polynesia”, and the “Halekulani Hotel”. She also ran “Linda’s School of Hula” in Kaneohe. She and her husband eventually retired to a 10-acre guava orchard in Pana’ewa on Hawaiian Home Lands near Hilo, Hawaii. “E Mama E” is a Hawaiian love song, with words and music by Hiram Kaehu, written specifically for Hawaiian falsetto. It was copyrighted in 1928 by John Avery Noble. Linda’s haunting rendition exhibits the vibrancy of her youth, fortified by the experience she had already gained among the other talents at Honolulu’s fabled jam sessions.

9- Hi’ilawe
Charles Kapono Kahahawai, Jr. was born in Kaka’ako, Oahu on April 22, 1921, and he passed away at age 59 on October 13, 1980. When he was six years old, he was renamed Charles Philip Pahinui by his hanai parents, Philip and Emily Pahinui. “Gabby” Pahinui is remembered today as the premier exponent of the Hawaiian Slack Key Guitar. “Hi’ilawe”, composed by Mrs. Kuakini, tells the story of a love affair at the Hi’ilawe waterfall in Waipi’o Valley on the Big Island of Hawaii that created much gossip. This “Aloha Records” version of what would become “Gabby” Pahinui’s signature song, spotlights his incredible slack key technique, interwoven with his raw and earthy falsetto style.

10- Kawehi Ona Moku Puni
Myrtle K. Hilo, “Hawaii’s Singing Cab Driver”, was born May 17, 1929 in Honolulu, to parents Annie W. and Harry K. Kahea. She was married to George Hilo, Sr. A 1948 graduate of McKinley High School, her early performing experience included stints with the Royal Hawaiian Girls Club, George Naope, Harriet Fernandez, and Mabel Aldrich. Working at clubs like “Club Polynesia” and “Blue Dolphin” at night, while driving a cab during the day, earned her the nickname, “Hawaii’s Singing Cab Driver”. Myrtle used moniker as a DJ on KCCN-AM radio, showcasing her delightful pidgin English patter. “Kawehi Ona Moku Puni” is another song written by Abby Palea of Niihau. Myrtle K. Hilo, unleashing a powerful and sustained falsetto with clever Hawaiian ornaments, is backed by the “Twilite Serenaders” and the “Menehune Maidens” on the 8th record released on the tiny “Tropical Records” label.

11- Kauai Beauty
Andrew Kealoha Cummings lived from August 2, 1913 to June 23, 1995. He was born in Honolulu, but his family moved to Kauai, where he graduated from Kauai High in 1931. Andy Cummings first became involved in music as a student of Louisa P. Sheldon at the Kapaa Mormon Church. In 1933, the Cummings moved Hilo, where he joined the Huapala musical troupe, eventually going on a 9-month tour with the 60-member group in 1938 to Canada and the major mainland US cities. It was on this tour, on a cold and foggy night in far off Lansing, Michigan, that Andy Cummings composed what would become his signature song, “Waikiki”. In 1946, he formed Andy Cummings and his Hawaiian Serenaders, featuring Andy on guitar, “Gabby” Pahinui on slack key guitar, David Malo on steel guitar, Joe Diamond on bass, and Ralph Alapai on ukulele. The group recorded many sides for “Bell Records” including “Kauai Beauty”, composed by Henry W. Waiau, leader of the “Kauai Chorus” that won the 1925 Territorial Singing Contest at “Oliver’s Tabernacle” in Honolulu. Andy Cummings employed his commanding Hawaiian falsetto voice, in a matchless register, for this memorable version.

12- Ku’u Home Ai Kaneohe
Florence “Flora” Leimomi Waipa was born in Kohala, Hawaii, and is buried in Hilo, Hawaii. She lived and performed in Honolulu for many years. “Ku’u Home Ai Kaneohe”, composed by Elizabeth Hopkins, recalls the area of Kaneohe, on the windward side of O’ahu. It is located on a lush plain beneath the towering Ko’olau mountains. Kaneohe has been known for its ancient Hawaiian fishponds, its lush wetlands, its rich red earth and banana cultivation, and the barrier reef that surrounds its large bay.
Flora Waipa recorded this version on “49th State” Records, accompanied by Joe Keawe and his Harmony Hawaiians.

13- Moanalua
“Moanalua” is an entertaining tale by a young woman about an automobile ride that begins in that area, located just Ewa of Kalihi. After the vehicle breaks down, a bottle is uncorked, and the real fun begins. She and her companion make their way through the district, passing Kaiwi’ula, Kapalama, Keone’ula, Leleo, and Kapu’ukolo. Upon reaching Kanekina, where Hotel Street crosses Nu’uanu Steam, she and her sweetheart stop to play. The flirting that follows creates a little pain. George Pokini and his Hawaiians made this recording of the traditional song on “Bell Records”, highlighting an unhurried and carefree falsetto vocal manner.

14- Puna Ku’u Aloha
Agnes Kealanohea Malabey was born on September 20, 1922, and passed away on October 3, 1977. Her mother, Ida H. Malabey, was a gifted composer. “Auntie Aggie” married Gabriel Weisbarth, Sr. in 1955. She performed for decades, and is possibly most remembered as the leader of the popular “Ho’oipo Trio”, which featured Agnes Malabey Weisbarth, Agnes Ah See and Doreen Lindsey. A fondness for the beauty of the Puna district on the Big Island of Hawaii is expressed in Katherine Maunakea’s composition, “Puna Ku’u Aloha”. Young Agnes Malabey displayed her potent vocalization in the falsetto style on this “49th State” recording, accompanied by Julie Nui’s Kama’aina.

15- Nanakuli
The prolific composer, John Pi’ilani Watkins, was born in Ewa, O’ahu on December 24, 1928, and died at the age of 54, on February 25, 1983 in Honolulu. Watkins was a chanter, dancer, teacher, composer, singer, musician, and recording artist. He performed in numerous clubs, including the “Green Lantern” club in Maile, O’ahu, and the “Kapahulu Tavern”, as well as stints at “Germaine’s Luau”, “Halekoa Hotel”, “Lucky’s Luau” television show, “Hotel Hana”, and hundreds of appearances at hospitals and military clubs. Place-name’s were often the subject of his compositions, as in the case of “Nanakuli”, an area on Leeward coast of O’ahu, where John attended elementary school. This is John Pi’ilani Watkins’ original recording of his song, in his uncommon falsetto approach, backed by Genoa Keawe and her Hula Maids, on “49th State” Records.

16- Hilo Hanakahi
“Hilo Hanakahi” was composed by Keola Nalimu, and copyrighted by Charles E. King in 1928. The lyrics take one on a tour around the Big Island of Hawaii, beginning with an acknowledgement of Chief Hanakahi of Hilo, and continuing on through the districts of Puna, Ka’u, Kona, Kawaihae, Kohala, and Waimea. Sally Kahoiwai Peters was one of the earliest female performers to work with John Kameaaloha Almeida. Sally recorded this early version of “Hilo Hanakahi” on the “Hawaiian Transcription Productions” label, displaying an uncomplicated falsetto style, accompanied by the Nani Makakoa Trio.

17- My Yellow Ginger Lei
John Ka’onohiokala Keawehawaii (August 15, 1920 to December 23, 1978) and Winona Kahale’ohu Holokai (August 19, 1923 to July 3, 1974) were married on November 28, 1946. They often performed together as the “Keawehawaii’s”, recording as backup musicians on the “49th State” and “Tropical” record labels. John Keawehawaii’s now classic hapa-haole love song, “My Yellow Ginger Lei”, copyrighted on January 29, 1948, is a striking vehicle for his exceptionally high falsetto voice. The song gives a revealing glimpse of the importance of a cherished flower lei in the Hawaiian culture. Popular entertainer Karen Keawehawaii is the daughter of John Keawehawaii. This original version of “My Yellow Ginger Lei” was recorded on the “49th State” label, featuring John and Winona Keawehawaii, joined by the ever-present John Kameaaloha Almeida, the “Dean of Hawaiian Music”.

18- Punalu’u
Regina “Tina” Konanui was born in Puna, Hawaii on July 23, 1921, and died at age 65, in Ewa, O’ahu, on November 19, 1986. She married George Kapana Ka’apana, who was born in Waiohinu, Ka’u, Hawaii on December 29, 1918, and died at age 54, in Kalapana, Hawaii, on September 11, 1973. George and “Mama Tina” Ka’apana were popular entertainers who raised their 9 children on a 650-acre Kalapana homestead. Two of their children, fraternal twins Nedward and Ledward Ka’apana, would also go on to fame in Hawaiian music. “Punalu’u” was composed by George K. Iopa, for the lovely beach on the southwest coast of the island of Hawaii, describing the area’s po’opa’a fish, the Pu’umoa sea, and the Ka’uwila waters. For this original rendition on the “Tropical Records” label, George Ka’apana is playing his slack key guitar, while “Tina” Ka’apana sings in her distinctively rural and unforced falsetto style.

19- Wai O Keaniani
David Kawika Kaho’onei was born November 10, 1918 in Waimea, Kauai. He passed away in Santa Ana, California in 1973. David was another of the many young musicians who played on John Kameaaloha Almeida’s radio programs. David sang and played the guitar, steel guitar, and bass. He also spent countless hours performing at the “Kalakaua Jam Sessions” at King and Beretania Streets, or the “Charlie’s Taxi Stand Jam Sessions” downtown. He also performed at the “Sierra Café” in Kaimuki, “Kilohana Gardens”, “The Bottle Club”, and many others. In 1957, David Kaho’onei settled his family in Santa Ana, California, and continued to perform Hawaiian music on the mainland. Originally known as “Wai Hu’ihu’i O Ke Aniani”, this traditional song “Wai O Ke Aniani”, or “Crystal Water” describes the beautiful scent of pikake flowers in the mist of a fine rain at Kahalu’u, Oahu. David Kaho'onei and Joe Keawe’s Harmony Hawaiians arranged this version on the “49th State” label.

20- Ali’ipoe
Dorothy Koleka Kalima was born in Napo’opo’o, Hawaii on February 7, 1927. She was the baby sister of Jesse, Albert, and Willard “Honey” Kalima, who gained fame as the Kalima Brothers musical group, “1,000 Pounds of Melody”. Her mother Amy Kalima often performed with “Hawaii’s Songbird”, Lena Machado, and Dorothy eventually developed a falsetto voice of her own. She married Benjamin Kanahele and raised her family in Waimanalo, O’ahu. Dorothy left us on May 2, 1984, at the age of 56. “Ali’ipoe”, (Canna), was composed by Reverend William Maka’ehu of Kauai. It is a beautiful Hawaiian love song that speaks of the endless act of treasured love at midnight beneath the canna leaves. Dorothy Kalima recorded this version with the “K” Sisters on the “49th State” record label, revealing her robust falsetto voice. Puanani Alama gave the “K” Sisters their alias, because all of the members of the group had a last name beginning with the letter “K”. The “K” Sisters consisted of Dorothy “Dottie” Kalima, Mabel Kekino, Vivian Kahale, and Kathy Kane (Kawelo).

21- Ni’ihau
Kai Davis, a gifted composer and singer, was born on the island of Molokai. After Army duty in Korea, Kai came home to join his brothers and sisters playing Hawaiian music in a family troupe that toured the islands. He subsequently spent a decade on Kauai as the assistant manager of the Hanalei Plantation Hotel. He then moved to California, employed in retailing and construction, and even as a radio disc jockey. Kai continually performed Hawaiian music in dozens of California clubs, like the “Polynesian Hideaway” in San Francisco. Kai has passed on, but fortunately his falsetto stylings have been preserved in a series of recordings made in Hawaii during his frequent visits home.
Seventeen miles from Kaua’i lies the “Forbidden Island” of Ni’ihau. The approximately two hundred residents of the seventy-three square mile island are mostly pure Hawaiians who enjoy life with no electricity, telephones, liquor, or unofficial visitors. “Ni’ihau”, is a name song that Kai collaborated on with John Kameaaloha Almeida, “The Dean of Hawaiian Music”. Davis recorded this original version on “49th State” Records, backed by Julia Nui’s Kama’aina.

22- Pua Mana
Mabel Puou was born in South Kohala on August 26, 1930. She moved to Honolulu in 1946, and started out performing with John Kameaaloha Almeida, the “Dean of Hawaiian Music”, at Dyke’s Tavern on Kalihi Street. She also played with George Naope. Mabel married Elmer “Lani” Kekino, and continued to play her ukulele and sing with many different musicians, and at many different clubs, like “Ripper’s Bar” in Kalihi, “Steamboat’s”, and “City Inn”. Prominent composer Irmgard Farden Aluli wrote her 1st big hit song in 1937 about “Puamana”, the Farden family home in Lahaina, Maui. Irmgard grew up there, surrounded by a loving and gifted musical family consisting of her parents and ten brothers and sisters. Mabel Kekino closes our collection of vintage Hawaiian falsetto artistry, with a lilting falsetto version of the familiar classic, joined by the aforementioned “K” Sisters on “49th State” Records.

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