Music Scene
Strumming to a slightly different beat

By Wayne Harada
Advertiser Entertainment Editor

Like father, like son?

Herb Ohta junior and senior find time to bond while playing their 'ukulele together at Roy Sakuma's 'Ukulele Studio in Kaimuki. Deborah Booker • The Honolulu Advertiser

Ohta Sr., known the world over as Ohta-san, plays the pop standards, the classics, a little bit of Hawaiian, some show tunes, too. Has been, for more than four decades.

Ohta Jr. plays mostly Hawaiian, and often collaborates with George Keoki Kahumoku Jr. of the Big Island. Has blossomed into his own, in the past two years.

Because of the generational gap and differences in musical repertoire, they almost never perform together. "We have only played twice together on stage," Ohta Jr. said. "Even though I've recorded with him on several recordings, we hardly ever play music together in public."

But they will, if only for a moment, when they perform in the 31st annual 'Ukulele Festival Sunday at Kapi'olani Park Bandstand. And yes, they'll play separately, too.

"My dad started teaching me ('ukulele) when I was 3," recalled Ohta Jr., 30, about his famous father (who doesn't use a Sr. designation). "So I guess you could say that I didn't have a choice. But he never forced me."

Dad, in fact, subconsciously expected son to be a strummer; why would he order up a child-size Kamaka 'Ukulele (one of two existing kiddie instruments made by the cherished 'ukulele 'ohana) if it weren't so? Still, father was alarmed when son decided to make music an occupation years later.

"When he told me was going to drop out of school and do music as a career, my heart fell down to my stomach," said the elder Ohta, 67. "He told me he wanted to quit school, and I couldn't sleep."

Roy Sakuma, organizer of the 'ukulele festival, said "Ohta-san is the master of the 'ukulele; if it weren't for him, we wouldn't be putting on the festival year after year. And Herb Jr. is following in the footsteps of his father, but he's creating his own individual style of playing. He also has helped kids get interested in playing the 'ukulele, if only for fun."

The Ohta relationship is a typical tale of coping — how a next-generation performer handles the perks and pinpricks of having a famous father, how the noted dad frets over the life choices of his offspring. How son frets about measuring up to dad. How dad coyly advises son about musical selection. How son privately respects and admires the artistry of father. And so on.

It has been an occasionally bumpy road, although both senior and junior Ohtas have survived the trials and tribulations of similar careers, different time frames.

"I never practiced that much and I was interested in other things like sports," said Ohta Jr., who, at 10, was told by Ohta Sr. to stop the lessons. It wasn't till he was in his teens, at 17, that Ohta Jr. got hooked on Hawaiian music after a friend gave him a recording by the Makaha Sons of Ni'ihau.

"From then on, I started listening to Hawaiian music more and more and I picked up the 'ukulele again and never stopped playing," said Ohta. The fact that he learned from his dad, who didn't nudge him toward a musical life, proved to be "an important factor for me," said Ohta Jr.

Ohta-san himself had a wavering career start. "I started playing late, after 11 years in the Marines," he said. "I never imagined I would be a musician."

In his prime, he brought his instrument to national and international acclaim, primarily through an A&M recording of his biggest hit, "Song for Anna." With that romantic ballad, Ohta-san left little doubt that the modest 'ukulele had the potential of being a major solo instrument, for ears everywhere, not merely a rhythm instrument limited to Hawaiian music on island shores.

Ohta-san since has completed numerous albums, mostly targeted for the Japan clientele in recent years, where he still is a superstar of the 'uke strummers.

"My father is considered by many in Japan as the 'ukulele god,'" Ohta Jr. said. "That says it all."

Having the Ohta name opened doors for Ohta Jr., he admitted. "Not only musically but also in meeting people in the music business here and in Japan," Ohta Jr. said. "The only negative thing is that in the beginning, everyone expected me to be a great player like my dad. It used to bother me a lot at first, but not now. I know that with the same name comes high expectations. Even though some doors may have opened, it can close just as fast."

Son has had an amicable, supportive relationship with father. As he put it:

"My dad actually has given me a lot of space in terms of my career. At times he tells me what he thinks I should do, but sometimes he allows me to learn about certain things on my own. He doesn't really tell me how to play. Without me asking, he would sometimes tell me what songs I should perform.

"I am very blessed to have him for a father. He's been influential in every aspect of my life. Even if he wasn't my father, I would still consider him the best. The reason is that he has proven time and time again that the 'ukulele isn't just a rhythm instrument for Hawaiian music. You can play anything!

"Even though some of us have followed in his footsteps by playing music other than Hawaiian and showcasing the 'ukulele as a lead instrument, no one will ever come close to him in playing. His knowledge, experience, style and feel is untouchable. More importantly, he's a very good person. I've never heard him talk bad about other musicians, and he is a very humble person. For a person who is considered to be a master, he still practices today."

Junior has high regard for dad, admitting that he still is playing catch-up ("an endless battle") to get up to snuff. Still, like his father did four to five decades ago, Ohta Jr. is among the new wave of stylists generating vigorous, youthful interest in the instrument.

Ohta-san used to be a front-and-center Waikiki performer but now opts for a modest twice-a-week gig Thursdays and Fridays, as part of the Queen Kapi'olani Hotel's buffet.

Ohta Jr. teaches and makes infrequent appearances and, like father, has expanded his marketing to the Japanese audience.

And the 'ukulele festival is a natural for both players to strut their stuff.