There are versions of Palani Vaughan's train-chugging "Ka'a Ahi Kahului" and Cecilio and Kapono's "Lifetime Party" and fond interpretations of Island favorites such as "Ka Nohona Pili Kai (Nada Sousou)," from Keali'i Reichel's repertoire with original Japanese lyrics.

The trio offers inventive, playful listening; its work is gentle, gracious and from the heart. The vocal (as well as cultural) blends are not yet so identifiable that you'll shout "Manoa DNA" on first hearing, but rest assured, the tones and themes are blessedly simple and soothing. If radio supports the remake of "Ka Nohona Pili Kai (Nada Sousou)," the group could have a hit, despite the lengthy (5:42) running time, as the Kawakamis put their DNA on some familiar fare.

This is the group's second album in which folk music style and harmonies dominate (check out "Before I Knew Your Name" and "Fire & Rain"). And the cover of Mackey Feary & Kalapana's "The Hurt" typifies the nifty tribute/reinvention — for a new generation of listeners. Ditto, the hula-hip revival of "Hualalai," with its contagious syncopated tempo.

What is amazing and endearing is Bright's vocal posture; normally tilting toward jazz, she is soft and delicate, capturing the less-is-more stance of classic Asian artistry. "Nani I Ku'u 'Aina (Shimajima Kaisha)" embodies quiet elegance.

You'll recognize "Aia I Kani" as "Asadoya Yunta," a timeless love song commonly sung to a sweetheart. You'll hear a stringed instrument that sounds like but isn't a uke or a shamisen on "Ka'ililauokaipo (Chimuganasa)"; it's the shanshin, a three-stringed Okinawan instrument played by Derek Shiroma, alongside more customary Island implements such as ki ho'alu by Ozzie Kotani and acoustic guitar by Ben Vegas and Dwight Kanae, with Bobby Ingano providing steel tones.

One of the most intriguing tracks is "Na Lima Hana O Ka 'Aina (Shimayakaraa)," where the Hawaiian-Okinawa marriage are quite evident, tranquil in posture with melodic instrumentation.

The opening cut of "Nave Nave" (which means "pleasing" in Tahitian) is "Laelae Medley," robust and rich in vocal and instrumental dexterity, and sounding almost like a tribute to The Brothers Cazimero, with its lively and impromptu flavor in marrying three titles: "Nani Ka'ala," "Wai O Ke Aniani" and "Pauoa Ka Liko Lehua." Sets the mood nicely for what follows — a ride through South Seas tunes like "Ma O Hina," "Te Vai Hau," "Rata No To'u Metua" and "Hue A Te Tama," a turf that Vaihi has dominated for some time now.

A pair of covers — "Hawai'i '78," revisiting the turf of Israel Kamakawiwo'ole, and "Koke'e," flashing back to Dennis Kamakahi's Kaua'i "place" favorite — provide a comfort zone of familiarity.