Island Sounds
2 CDs for Japanese market offer a touch of Hawaiian

By Wayne Harada
Advertiser Entertainment Editor

'Ukulele strummers Herb "Ohta-san" Ohta and Lyle Ritz join forces for CD.

Two new CDs, although intended for the Japanese marketplace, are worth a look by Hawai'i folk. One brings together two 'ukulele wizards for the first time; the other exhibits the singing and composing mastery of a frequent Hawai'i visitor who has a wide following in her native Japan.

But check your local stores; you may have to special-order.

"'UKULELE DUO" by Herb "Ohta-san" Ohta and Lyle Ritz, JVC/Globe Roots VICG 60452

What a double delight, a CD pairing Ohta-san and Lyle Ritz, two stellar 'uke-strummers, who get cozy and expressive on 10 American standards aimed at the Japanese fans.

Ohta plays on a standard Martin 'ukulele, Ritz on a Martin tenor (but also on a Ko'olau tenor). There are no words, just wondrous performances from that simple stringed instrument, recorded recital-style, without orchestral embellishment. The result is precision and grace, from two of the best. This is the first-ever 'uke duo release by the esteemed pair, known for having helped to elevate the 'uke to a solo-instrument status.

A virtuoso version of "Shoo-Fly Pie and Apple Pan Dowdy," that ol' Dinah Shore hit, sans lyrics, opens the parade. There's a hint of swing on "Stompin' at the Savoy," a sliver of soul on "Bluesette," a dash of romance on "Dream," a playful joyous spirit on "Lulu's Back in Town" (a Ritz signature) and a Latin chill on "Triste." Listen, too, for a chuckle from Ohta, prior to the "Teach Me Tonight" selection.

The composers range from Benny Goodman to Jerome Kern, from Johnny Mercer to Antonio Carlos Jobim, and the players complement each other, performing with instinctive give-and-take.

With the soaring popularity of the 'ukulele, both in Japan and in Hawai'i, "'Ukulele Duo" demonstrates how two can make strumming a hearty party. In the right hands, of course.

"CHOTTO MATTE KUDASAI" by Agnes Kimura, Hoku CD 1002

Agnes Kimura has embraced Hawaiian music for 25 years and earlier recorded her first Hawaiian album here. This CD continues her journey, expanding her horizons by composing songs in Japanese which have been translated into Hawaiian by her Hawai'i connection, Keith Haugen, himself a singer-composer.

Agnes Kimura expresses her love for Hawai'i in "Chotto Matte Kudasai."

Add the fact that she also is a ki ho'alu expert (twice playing in the Bankoh Slack-Key Guitar Festival here) and you're talking about Amazing Agnes. Confident and assured, she tackles 'em all. The title song, the vintage favorite popularized by Loyal Garner (who co-authored it), should be the front-runner here.

But Kimura shows remarkable charm in classics such as "Pauoa Liko Ka Lehua," "Kaula 'Ili" and "'ulili e" that you can forgive her if, in her enunciation, her "l's" roll out as "r's. She is so immersed in song, she even sounds like an auntie on "I Ali'i No 'Oe." It's backyard jam, chalangalang-style.

Her originals include "Sailing Away," performed in Japanese and English (with an isolated Hawaiian phrase here and there) and "Don't Sing Ke Kali Nei Au" (referring to the wedding song).

While charming and beautifully rendered, the Carole King-Gerry Goffin yesteryear hit, "Will You Love Me Tomorrow" (a biggie by The Shirelles), seems out of place here. It might have worked better with a phrase reworked in Japanese or Hawaiian.