"Do the Hula" is a stroll down memory lane, when hula was all about maidens in grass skirts, making humuhumunukunukuapua'a motions amid grass-hut imagery, set to a swinging, light-jazz beat. "Pupu Hinuhinu" is a reinterpretation, Na Leo style, of the Nona Beamer signature, creating a new version for a new generation of youngsters who may learn the tune — a brew that still retains a simple and sweet mood. "I Ola Kakou Na Hawai'i" and "Lei 'Awapuhi" are joyously traditional, the latter with Heine soloing with sheer grace.

And if you want to get the ol' ticker going, check out "E Huli Ho'i Mai," which is territorial in spirit (hear that, Harry B. Soria Jr.?) with backyard lu'au-style chalangalang arrangement and delivery. "Kipu Kai," the Bill Kaiwa classic, is also a charmer with more old-school mana'o.

Two more hula-driven items should also be flagged: "Pua Mae'ole" and "Pua Tuberose," both with floral orientation.

This might be construed as a work in progress; a local producer, Aaron Kimura, was tapped to help Safarii acquire that Island contemporary sound, so the trio was whisked here for a recording session. Thus, it qualifies as an Island endeavor. It's J-pop in spirit, but the sound could find roots in Hawai'i, too.

Producer Kimura manages to extract performances spiked with fresh flavors. "Dear Mama" is rockaballad with a laid-back mood — not quite Jack Johnson in delivery, but certainly in spirit. There is a minor problem with enunciation; Safarii had to phonetically learn English and some of the delivery is rough. Ditto, "My Sunshine" — filled with bright cheer and deciphering challenges.

"Crying Wave," with whispers of splashing waves, is delivered with Japanese lyrics that project emotion. Probably sums up Safarii's Japanese sound.

Locals (Ben Vegas, Jon Yamasato, Maila Gibson, Dave Tucciarone) also contribute to the recording session.