Dernière édition par James Schmitt le Mer 19 Déc - 14:04, édité 6 fois
Nombre de messages : 121 Localisation : Paris Date d'inscription : 21/02/2008
Sujet: Re: Forums & Zique Hawaiiens Dim 20 Juin - 9:25
Je suis curieux de connaître ce modèle de double neck? -Une "Jolana" d'Oahu? Le son est extraordinaire! Le guitariste des "cheap Leis" possède la même, c'est peut-être lui d'ailleurs:
J'ai la réponse: The Cheap Leis on the KUSI Morning News. O and Adam just screwing with the newscasters. The original lineup (shown here) is O (fluf, Reeve Oliver, Olivelawn)-uke, Jim Austin (Smiths Ranch Boys, Golden Hill Ramblers)-bass, Adrian Demain-steel, Greg Prince-guitar, and Adam Grimm-uke.
Dernière édition par Pascal Mesnier le Sam 26 Juin - 8:54, édité 2 fois
James Schmitt Rang: Administrateur
Nombre de messages : 6063 Age : 103 Localisation : St Beat - Pyrenées Date d'inscription : 04/07/2005
Buckie Shirakata moved from Hawaii to Japan in 1937. (other Japanese Hawaiian music scene we know of are Tony Todaro's "The Golden Years Of Hawaiian Entertainment" and George Kanahele's "Hawaiian Music And Musicians")
Freddie Tavares a la guitare & son frere Ernie a la steel
One can fully appreciate why the Fender guitar company chose to celebrate 40 years of the famed Stratocaster by honouring this genial Hawaiian, through making 150 superlative guitars as a limited edition series of the Freddie Tavares 'Aloha’ Stratocaster - Link to auction on eBay.
Born on Maui Island, Hawaii, February 18th 1913, Frederick Theodore Tavares was of Portuguese, Hawaiian, Chinese, English, Tahitian-Samoan lineage of which he would later wittingly say "the Portuguese makes me stubborn; Chinese makes me smart; English makes me high-class; Hawaiian gives me the music; Tahitian gives me the beat - I couldn't ask for more.” Freddie learnt to sing and harmonize whilst briefly attending Kamehameha Boys School as a boarding student from age 5, his love of music probably being born through this schools emphasis on music and singing.
When his eldest brother Nils left Maui to study law at Michigan University, he gave 12 year old Freddie his guitar with the brotherly advice that if he could play guitar he would never be lonely, nor would he lack friends. Freddie mastered the instrument, applying his own theory and techniques and at age 15 became rhythm guitarist in Mary Kunewa's orchestra on Maui. On completing his schooling he moved to O'ahu, playing guitar in Larry Bellis’ dance orchestra at the Alexander Young hotel three nights weekly whilst working as a jobber for American Factors during the day.
When Harry Owens took over leadership of the dance orchestra of the Royal Hawaiian Hotel, Waikiki in 1934 and sought an electric steel guitar player, he interviewed Freddie Tavares on the recommendation of Bob Cutter - one of the orchestra's soloists who had previously been Larry Bellis’ vocalist. Owens, very impressed by the 21 year old’s serious attitude to music and his confident “I could easily learn to play one” answer to Owen's question "can you play steel guitar?" gave Freddie the orchestrated arrangements for two songs, with two weeks to learn to play the steel guitar parts.
Freddie declined all opportunities to record as a solo artist, saying he was a team member striving to be the best possible sideman.
Freddie purchased a Rickenbacker 'Fry Pan’ also some piano and violin studies - using the exercises from these as his foundation for learning to play steel guitar. (Freddie would continue to play Bach piano inventions on steel guitar for an hour daily throughout his musical career, to give him dexterity and flexibility in his playing and be a consummate sight reader of music).
On his first night with Harry Owens Royal Hawaiians, Freddie played the steel guitar parts on two songs 'Song of the Islands’ and ‘Imi Au la Oe’ after which Owens and the other orchestra members gave him a standing ovation. Thus Freddie’s professional career was established and his smooth, lyrical steel guitar playing with perfect pitch, timing and rhythm quickly earned him the stage name Freddie ‘Kaulana’ (meaning 'famous’) Tavares from Harry Owens. During his 13 years with the Royal Hawaiians he was one of the most important members, his steel guitar being the backbone of most of the musical arrangements.
The orchestra travelled throughout the States, playing engagements at the Hotel St. Francis in San Francisco, the Hollywood Roosevelt Hotel and Beverly Wilshire hotel in the L.A. area, and on tour in New York, Memphis, Chicago, Colorado, Texas, Seattle and Vancouver B.C. Many of their Hotel St. Francis shows were broadcast live on coast to coast radio. They made movies; radio transcriptions for C.P. McGregor's transcription service and for A.F.R.S; recorded for Decca, Columbia and Capitol Records. In the two month period February 1st through March 1938, the orchestra worked on the Paramount movie 'Cocoanut Grove’; played the Beverly Wilshire Hotel at nights; recorded 150 selections for Decca; made a batch of electric transcriptions for C.P. McGregor; guested on Bing Crosby's radio-show 'Kraft Music Hall’ and appeared with Claudette Colbert on the 'Hollywood Hotel’ radio-show.
According to his wife, Freddie Tavares bought a 6 string Black & White bakelite Rickenbacker steel guitar as soon as the model came on the market in July 1935, (serial number 003) removing the left front white cover to store his bar and picks (thumb and 3 finger) inside between dance sets. He used C6th tuning for Hapa-Haole and more modern Hawaiian songs, raising the A to B flat for a C 7th tuning when playing older Hawaiian songs. He also designed and built his own tube amplifiers and casings, building a second amp into each enclosure as a spare in case the main unit blew during a set.
Wives and children accompanied musicians of the Royal Hawaiians to San Francisco for their annual summer residencies at Hotel St. Francis. Deeming transferring his two growing sons from their Anaheim home and school to school in San Francisco each summer too disruptive for the boys, Freddie tended his notice to Owens in 1945. Loath to lose him, Owens upped his pay. Freddie capitulated to pay increases for a further two years then said “no more” recommending Eddie Bush as his replacement and thoroughly familiarizing Eddie with the orchestra's steel guitar and vocal arrangements.
To further his music career, Freddie had moved from Hawaii to Anaheim, near Hollywood, in 1942 to freelance as a session musician - one of his '42 sessions being to play the zippy steel guitar glissando on the famed Looney Tunes logo which still heralds cartoon time on TV and cinema screens worldwide. His experience of playing steel guitar in an orchestra and his ability to sight read music and orchestral arrangements unhesitatingly, made him highly sought after by movie musical arrangers and record producers, also for radio and TV work.
From 1949 through '53 Freddie played steel guitar almost nightly with country singer/ fiddle player Wade Ray and his Ozark Mountain Boys at the club Cowtown in LA. Wade Ray recollects, "Fiddle is the awfullest darned instrument to amplify, but Freddie figured out a way to do it and he made me an amplifier that I treasured, and he also made amplifiers for the rest of the band. That five years at Cowtown has to be the highlight of my whole career and Freddie Tavares was a very, very big part of the whole thing. He wrote all the music arrangements and did all the electric work. We were only a four piece band but with Freddie's harmonies on steel guitar we sounded like a nine piece orchestra. He played so pretty, so smooth and sweet. At intermissions, instead of having something to eat and drink he would go out back and run scales. He was a very clever man and completely self taught in everything he did". Freddie also played on radio broadcasts with this group and on their early records for Victor.
The Magnatone Guitar Company presented Freddie with a custom made steel guitar in a promotional deal in '49. Made to Freddie's specifications, this instrument had 9 strings to increase chord variations. This was the only steel guitar that Freddie ever stood at to play. He had large hands and would control the swell with his little finger curled around the volume control - continuing to use this method when he later played pedal steel.
Freddie's steel bars were specially made for him, cut straight across at both ends to give a better sight line for accurate positioning. When playing novelty numbers such as 'Put Another Nickel In ' and 'Old Piano Roll Blues' at Cow town, Freddie used a bar that he had carved out of a solid piece of wood to emulate perfectly the sound of a honky-tonk piano.
In early 1953 Noel Boggs introduced Freddie to Leo Fender who, at that time, was interested in building amplifiers. Fender realized he had found a man of exceptional abilities in Freddie Tavares. He understood electronics, could make technical drawings and was a consummate musician, playing acoustic, bass and steel guitars as well as ukulele. He hired Freddie as assistant engineer to himself and on Freddie’s second day of employment he started to create, with Leo Fender, a product that was to become the leading and most wanted instrument in guitar history - the Stratocaster. Until his retirement from the Fender Guitar Company in 1985, Freddie Tavares participated in the design and development of every guitar and amplifier made by the company and field tested the proto types before they hit the production line. He was renowned as the world's leading technical authority of the Jazz Bass and collaborated with Leo Fender to invent the split-finger mechanism for the Fender 1000 pedal steel guitar - later playing this model pedal steel.
Freddie continued his music career and session work whilst with Fenders. He was a founding member and long time treasurer of the Polynesian Society in California and derived great pleasure and satisfaction from playing rhythm, Stratocaster and steel guitars, also ukulele, on recordings of Hawaiian songs and Island medleys with his fellow Hawaiian musicians Danny Stewart, Sam Koki, Joe Keawe, Sammy Kaapuni, Harry Baty, Bernie Kaai Lewis, Vince Akina, his brother Ernest Tavares and other prominent West Coast based Hawaiians. When a talented young bass player, Vince Akina was forming a group to perform Hawaiian and Tahitian songs with dancers on a casual basis in '54, Freddie and Ernest Tavares made up the trio. The South Sea Islanders performed all over Southern California for 15 years - mostly on the country-club circuit and for luaus - and were renowned for their professionalism and the versatility of their interesting and fascinating programmes. For 5 years they played once weekly at the Cocoanut Grove in the Ambassador Hotel, LA - on the Hawaiian night, when they played through the dinner hour as opening act for Freddy Martin's Big Band, and other big names.
Freddies radio and TV work included shows with Red Skelton, Roy Rogers and Spike Jones, and the series ‘I Love Irma' and 'Hawaiian Eye’.
He played steel guitar with Foy Willing & Riders Of The Purple Sage on their weekly radio show 'All Star Western Theatre’ which was broadcast on all major networks in the late '40s, and featured such notable guests as Tex Ritter, Jimmy Wakely, Eddie Dean and Eddy Arnold. Douglas Green, historian for the Country Music Foundation, wrote of Riders Of The Purple Sage, "mainstay of the instrumental group was Johnny Paul, a New Yorker who played spectacular swing fiddle. The other instrumental standout was a superb Hawaiian steel guitar player, Freddie Tavares. His rich toned, harmonic and romantic style was far more Hawaiian than swing (although he took a few ‘hot’ solos,) but it blended beautifully with the vocals which were, of course, the mainstay of the 'Riders sound."
Freddie Tavares’ recording credits read like a Who's Who and included Bing Crosby, Dean Martin, The Andrew Sisters, Deanna Durban, Gordon McCrae, Sue Thompson, Jimmy Dalton, Elvis Presley, Spike Jones& The City Slickers, Tennessee Ernie Ford (on Mule Train) Tex Williams, Margaret Whiting & Jimmy Wakely, Andy Parker & The Plainsmen, Sons Of The Pioneers, The Polynesians, Paradise Islanders, The Outriggers, South Sea Islanders, The Bonaires, Martin Denny ,Wade Ray and Dick Kestner.
He recorded with the orchestras of Henri Mancini, Bud Dant, Steve Lawrence, Ray Andrade, Lawrence Welk, George Liberace, Axel Stordahl, William Kealoha, Ray Conniff, George Poole, 101 Strings and also Juan Garcia Esquivel's Big Band.
Some movies for which he played on the soundtrack or made sound effects on steel guitar for, were: 'The Perils Of Pauline’ 'Devil At 4 O'clock’ 'Diamond Head’ 'Gidget Goes Hawaiian’ 'Three Stooges Go Around’ 'Move Over Darling’ 'Tora Tora Tora’ 'Donovans Reef ‘ 'In Harms Way’ 'Irma La Douce’ 'It's A Date’ 'None But The Brave' 'Blue Hawaii’ 'Cocoanut Grove’ 'Tahiti Nights’ ‘Mr. Roberts’ and 'Song Of The islands’.
Freddie Tavares was an uncompromising perfectionist and this was reflected in the standard of excellence he achieved in his music career. He was also a friendly, compassionate, kind and generous man with a keen sense of humour, who enjoyed surprising and delighting family and friends with very witty songs he had written especially for and often about them.
During his retirement, Freddie would take backing tapes he had made, a small amplifier, his Fender pedal steel guitar, Stratocaster and a ukulele to entertain those in nursing and retirement homes, and the veterans hospital, with his beautiful singing and music. Likewise, he entertained family and friends with Hawaiian melodies and songs when he and his wife spent each Christmas holiday in their native Hawaii. When Freddie played at Jerry Byrd's 1985 Ho'olaule'a in Hawaii, he jokingly told the audience he had had to retire in order to practise for the event, but his faultless playing and eloquent oration, at age 72, earned him the respect of everyone, and an invitation to return in '86. Freddie Tavares passed away in Anaheim, California on July 24th 1990, age 77 years. During his funeral service in Hawaii, his brother-in-law Walter Mo'okini sang and Jerry Byrd, Barney Isaacs and Alan Akaka played steel guitar tributes. Freddie was laid to rest in Nuuana cemetery, Oahu.
So many friends attended his beautiful memorial service in Anaheim, there was standing room only.
Freddie Tavares will go down in the annals of steel guitar history as one of the great masters. His highly individual, hauntingly beautiful lyrical style perfectly encapsulated the spirit of his beloved Hawaii - Isles of Paradise.
The late Gabby Pahinui was one of the great 20th century masters of Hawaiian vocal, slack key guitar, and steel guitar, and became a true working class hero. He was a self taught musician whose musical influences were big band and jazz music brought to Hawai'i to entertain tourists at the Waikiki hotels and spilling over into the streets and bars in the district where he grew up and the traditional Hawaiian music favored by his native Hawaiian community. His ability to master any stringed instrument coupled with his unforgettable falsetto that became raspy with age and throaty deep tones made him a unique fixture on the Hawaiian music scene. Gabby's was the raw, nostalgic, earthy and powerful "under-the-tropic-stars" backyard kind of Hawaiian music, the acme of soulfulness and authenticity. Gabby is the maestro of South Seas music with a sound and style that uniquely combined his diverse musical influences and blurred and challenged the social and racial barriers of the time, he also ushered in the Hawaiian Renaissance, a renewed interest in traditional forms of music and a whole new era of popular culture, his music provides an important link between the old and young generations.
His career had its ups and downs and can be separated into three distinct phases: club performer in the early years, recording and concert artist in the middle years and in the years leading up to his death, a primary recording force.
The Early Years:
Phillip Kunia Pahinui, born Charles Kapono Kahahawai Jr. on April 22, 1921, came from the humblest of beginnings. Gabby was born with the help of a midwife at his family’s home on Ward St. in Honolulu's working class neighborhood of Kaka'ako. His father was pure Hawaiian, his mother a Hawaiian-German-Portuguese, were lei sellers struggling to support a growing family in Honolulu. Times were hard and when he was about seven years old, his parents gave him, his brother and one of his sisters away to be raised by another Hawaiian couple, Phillip and Emily Pahinui. It was a common and accepted thing in those days to hanai (give) children to someone who could offer them something more, Hawaiian style. It was in this rough downtown district of the 20's, all tins roofs and kinda falling apart, that Gabby was raised. Gabby got to know the boys at the pier who let him dive with them for coins when ships were in. His hair was kinky and after swimming the water would just roll off and because of that everybody started calling him Gabardine Hair which evolved into the nickname that stuck with him, "Gabby."
His young days were spent helping to support the family and attending Pohukaina School until fifth grade, after that he had to drop out to work. Gabby liked music and every chance he got he listened to musicians playing at luau's in yards next door, or he took the streetcar to Kapiolani Park with his dad and mom to see Lena Machado, Liz Alohakea, and the Royal Hawaiian Band.
To help his family he shined shoes for a dime in a Filipino plantation camp and sold newspapers in front of the Kewalo Inn at Kewalo Basin. This was the best place to eat so musicians like Tommy Castro, Knick-Knack, Steppy Rego from the Royal Hawaiian Hotel would come in to eat and play music upstairs in the cocktail lounge.
Gabby soon taught himself to play stand-up bass at the age of 10. He spent his time listening to recordings of big bands and small combos that included Artie Shaw, Tommy Dorsey, Jimmey Lundsford, Andy Kirk, Glenn Miller, Count Basie, Woody Herman, Stan Kenton, and Duke Ellington. Although he didn’t understand written music he played along by ear and tried all kinds of music, especially progressive jazz which became his first love. The first guitar player he really liked was Charlie Christian, who he listened to when his family was not around. When they were, they preferred the Kalima Serenaders.
So he wouldn’t have to borrow guitars anymore, Gabby’s stepmother bought him his first guitar for about $5, which was a lot of money in those days. Most of the other people he played with wanted to play Hawaiian music, so he began playing Hawaiian music when he was 12 to earn extra money for cigarettes. And really got to like it when he heard Sol Ho‘opi‘i, Eddie Bush, the Biltmore Trio, and then Andy Iona who played both Hawaiian and what was known as hapa-haole numbers. In those days everybody played with everybody so he learned a lot from the old-timers through experience, first playing with them in the bars, then drinking with them, and eventually going to jail with them.
He first played in bars when he was 13 years old. Gabby got his first real start in music during the 30's when he landed a gig as a back-up guitarist for a musician named Charley "Tiny" Brown, who played the steel guitar. Gabby stayed with him and began to learn steel. He listened to Sol Ho‘opi‘i, Puni Kaulia, for bell work, David Keli‘i, Tommy Castro, Jules Ahsee and also Jacob Keli‘ikoa. His first professional gig was in 1933 at the Red Skelton Club. One night when the bass player didn’t show up, they asked him to play for him. The going rate was $12 a week. He started playing regularly at the old Smith Cafe in Waikiki in 1937. Playing backup for Tiny and many other noted musicians of the day, he quickly built a reputation as a sound musician. It was through these experiences that he mastered steel guitar. Before jukeboxes were common live music was featured in all the bars most musicians he played back up for in those days gigged only at the various bars in town.
He first met guitarist, Andy Cummings at Chock See’s by the sea near Ala Wai Bridge where all the yacht owners went. Musicians set up along the streets and played for a kitty and split the money up at the end of the night.
In the 1930’s Gabby joined Andy Cummings and the Hawaiian Serenaders, Hawai‘i’s 1940s 'Super Group' to play at Felix’s Fountain Garden. Andy’s flair for swing permeated his arrangements and compositions with style and grace. He had a knack for composing and arranging songs that featured catchy lyrics wrapped in a memorable melody. His flair for producing a hip tune for the young crowd, in addition to performing traditional classics for the elders, attracted fans of all ages.
In addition to Andy Cummings on guitar/lead vocals, the group featured Ralph Alapa’i on uke, Joe Diamond on bass, David Nalu on steel, and Gabby on guitar. The group recorded “Kaimana Hila” and Gabby played slack key when they performed Hi‘ilawe. When David Nalu the steel guitar player died Gabby began to play steel guitar for the group and continued to until 1947 recording on Bell Records. In those days the group would do private parties and go around serenading people at the Halekulani residential area and in Kahala so he played an acoustic steel.
Though a master of the steel guitar, Gabby is most known for his mastery of the slack-key guitar. Gabby learned slack-key from Herman Keawe whom Gabby acknowledges as being "the greatest slack-key player of all time." Herman, like Gabby, lived in the Kaka'ako area. Later he traveled extensively throughout the islands and never passed up a chance to kanikapila with the old timers in the countryside.
In 1938, at age 16 Gabby met Emily Kauha while playing volleyball at Po‘okina Park in Kakaako, fell in love and had their first child. They got married a year later. Together they had 13 children though three were lost to miscarriages. Times were tough so five guitars were sold to get the babies out of the hospital. The family was moved here and there because they could not pay the rent, though he prided himself that he never asked for welfare to help. Sometimes stew was a luau. His stepmother died when he was 22 so she never got to see that he finally made it in music.
All of Gabby’s musician friends came to his house after playing the town to eat, drink and play music and then sleep over. All the performers would end up there, Mahi Beamer, Sonny Chillingsworth, Atta Issacs, Eddie Kamae, Don Ho, and Kui Lee.
As he matured, Gabby played professionally with many of the great bands and all of the great musicians of the time including such legends as Lena Machado, Alvin Isaacs, Barney Isaacs, Ray Kinney and George Kainapau among others. He also appeared on Hawai‘i Calls, a very popular international radio show that began in the 1930s.
Club Performer and Recording Years:
In 1946 Gabby made his first recording, “Hi‘ilawe,” for Bell Records. This was the first recording of a Hawaiian song with slack-key guitar. The following year came “Hula Medley,” the first recording of a slack-key guitar instrumental. During this period he made two other influential sides for Bell, the vocal Wai O Ke Aniani and the instrumental Key Koalu (a misspelling of Ki Ho‘alu, the Hawiian term for slack key), plus another version of Hi‘ilawe for Aloha Records. His music career reads typical of many great Hawaiian musicians. It took him throughout the islands and the U.S. mainland as well as many bars, lounges, luau, and concert venues. In the 1950's he worked with Eddie Spencer at Waikiki's oceanfront Queen's Surf.
Along with Eddie Kamae, Gabby originated the Sons of Hawai‘i, a name given to the group by a Waimanalo neighbor (aunty Mabel Macabe) which helped jump start the Hawaiian Renaissance. He recorded Hi‘ilawe again in 1995 and quickly became his signature song.
Despite renown in music, the Pahinui's life was one of struggle. Rent was hard to pay, with plenty mouths to feed food was something not easily put on the table. During the 50's Gabby, Emily, and the children moved to the famous Pahinui home in Waimanalo. The Bell St. home become a popular second home to many noted musicians. Weekends were a continuous jam session as they hosted dozens of musicians who would come by to jam with "the Master." Pots of rice and beef stew would always be on the stove. Pops was a sly and cheerful fellow who had the knack of eliciting instant empathy. His shirtless overalls made him seem more like a regular fellow, although he was anything but.
After the breakup of the Whiskey Hill Singers in 1961, Dave Guard of the Kingston Trio returned to Hawai‘i and being a folk music eclectic he attempted to publicize the slack-key sounds of Hawaiian folk guitar. Guard worked closely with Gabby to record and produce Pure Gabby, an album of classic Hawaiian melodies played with slack key tunings. He tried to interest major record companies with Pure Gabby, but met with little interest Guard shelved the project. In 1978, ten years after his return from Australia and at the urging of singer colleague Cyrus Faryar, who had heard Guard's Pure Gabby tapes, Guard contacted Hula Records of Honolulu about Pure Gabby, who quickly agreed to take the recordings and distribute the album.
Gabby worked as part of the City and County road crew doing pick and shovel work 14 years until a work accident ended this career.
The 1970's saw the Hawaiian Renaissance, the cultural reawakening of the Hawaiian people which sparked renewed interest in all things Hawaiian. Gabby was right at the forefront of the movement. Scholars of Hawaiian music cite him as a major influence. Yet rather than seek commercial success, he played music out of pure love, never compromising his music.
In the last few years of his life he taught Hawaiian slack key guitar to youngsters of the community for the County's Department of Parks and Recreation even as widespread acclaim eluded Gabby until late in his life. It was only in the 1970's that he was "discovered" when the 'brown' album called - Gabby was released and other exceptional albums followed. Gabby became a figurehead, an icon, a pied piper not to his generation but to his children's. He paved the wave for many musicians to come. He became known as Pops during the 70's, and Gabby recorded 4 albums on the Panini label. By the 1970's Gabby's health was failing, life long drinking habits at all hours, mixed with his work accident left his body wasted and in pain.
In 1978 he was recognized by the State House of Representatives for being the person most responsible for preserving many of the Island's sons, an honor he received while clad in his usual overalls, work shirt, and rubber slippers. In 1979 he was one of nine persons named Living Treasures of Hawaii, by the 67th Legislative Assembly of the Honpa Hongwanji (Buddist) Mission in Hawaii. On May 4th 1980 he won the Hawaiian music industry's coveted Na Hoku Hanohano Award for his Slack Key Medley off of his Pure Gabby LP. One of his very last performances was at the outdoors Waikiki Shell (where he wore his scarcely worn tuxedo, of which he said he had to shake the cockroaches out of...), and was joined on stage for the first time ever by fellow icon, Genoa Keawe for a few songs.
While playing a round of golf with friends, Charles Philip Gabby 'Pops' Pahinui, the ultimate Hawaiian music legend, passed away from a stroke at 2:27pm Oct. 13, 1980 at the still tender age of 59.