ISLAND SOUNDS
Traces of Papua New Guinea define musician's hip-hop

By Wayne Harada
Advertiser Staff Writer

Hip-hop with South Seas influences should open doors for O-Shen.

Lono explores old-style instrumentals, augmented by simple and effective vocals.

Paul Shimomoto revisits hapa haole classics for a new generation of listeners.

And Anthony Natividad's nose flute outing heals and inspires.

That's the spectrum of CDs this week.

• Genre: World music; Pacific reggae; hip-hop.

• Distinguishing notes: O-Shen takes giant steps with this impressive excursion into hip-hop territory, complete with Papua New Guinea influences and the syncopation of Jamaican reggae. O-Shen's New Guinea roots (he was the first to rap in a language of Papua New Guinea) clearly are an influence here, as he utilizes words and rhythms reflecting that culture, amid a street-hot sound and style. "Burn It Up" typifies his fusion hip-hop, robust and rigorous with a dancehall flavor coupled with South Seas hooks. Songs employ Hawaiian, Fijian, Tongan and Samoan elements. Other gems: "Salt Water Anthem," "Sweet Thang," and "Wara Chant."

• The outlook: O-Shen already has had film exposure ("Throw Away the Gun" was in the "50 First Dates" soundtrack); this release could set the dance clubs afire, with production values as good as it gets.

• Our take: O-Shen has insight and vision, expanding the boundaries of his selected style to find his niche in the American landscape.

"Birua Chant" by O-Shen. Audio sample available in mp3 format.

• 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.

"Ku'u Lei Mokihana" by Lono. Audio sample available in mp3 format.

• Genre: Hapa-haole.

• Distinguishing notes: Paul Shimomoto was the first winner of the Hapa Haole Festival Vocal Competition last year; here, he validates his position as an interpreter of vintage Hawaiian music. The fare is first-rate hapa haole, beginning with a Maui medley ("I'm Going to Maui Tomorrow" and "Maui Girl") and concluding with the indelible "Waikiki." In-between, Shimomoto tackles radio-friendly tunes such as "Beyond the Reef," "Hawaiian Hospitality," "Honolulu City Lights," "Sweet Leilani" and "My Wahine and Me." Shimomoto strolls down memory lane. With "My Honolulu Hula Girl," you can almost see the swishing cellophane hula skirts.

• The outlook: Not a groundbreaking entry, but one filled with crisp updates of some Island classics.

• Our take: A splendid revisit to another time in Hawaiian history, clearly appropriate for a new generation of listeners.

"Maui Medley" by Paul Shimomoto. Audio sample available in mp3 format.

• Genre: Hawaiian flute.

• Distinguishing notes: Anthony Natividad is an artist, craftsman, storyteller; he creates his own flutes; he's connected with such storied entities as "'Ulalena" on Maui, Tau Dance Theatre, Tony Conjugacion, Herb Ohta Jr.; he creates and projects tales of nature, feelings and memories through music. There's something serene and mystical in his nose flute sounds; he awakens the soul and the spirit, enables us to get into his mind and heart, traversing through imagined mountains and clouds and seas. The difficulty is that the flute is not the solo instrument that the uke is, so while the melodies here are mood-evoking, they don't sustain and build interest. But as background music it's perfect — quiet, quixotic, almost therapeutic and cleansing.

• The outlook: Clearly, this is a specialty item.

• Our take: At its best, the flute is inspiring and healing — with a vocabulary of its own.

"In Breath" by Anthony Natividad. Audio sample available in mp3 format.

Reach Wayne Harada at 525-8067, wharada@honoluluadvertiser.com, or fax 525-8055.