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Slack & Steel Kaua'i
Style" – Ken Emerson (Hanaola, HOCD-97000)
Review by John Ely - Hawaiian Steel Guitar News
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Ken Emerson's latest "Slack `n' Steel" effort really suprised me.
I knew he had tons of range as an instrumentalist, but he really came
through with some awesome vocal performances and some really interesting
compositions. This is the full package, folks. To boot, Ken is joined by
some real music industry heavyweights including Todd Rundgren, the
Grateful Dead's Bill Kreutzmann, and Charlie Musselwhite. Kauai bass whiz
Pancho Graham plays on most of the tracks.
Ken is at ease and himself whether playing classic Sol-style resophonic,
or contemporary slack key rhythms, or the blues, and with more than a
touch of '60s folk-rock sensibility.
The CD is expertly recorded and packaged; you can hear lots of subtle
playing effects and trail-offs on Ken's acoustic steel guitar, which
generally has a deep tone, shimmering in the upper register, that is
different from what you usually hear. Compare the classic Sol Ho'opi'i
sound Ken gets on
"Feelin' No Pain" and "Sassy Hula" to what he is gets on the rest of the
CD. From what I can gather, he is playing steel using his slack key guitar
on a lot of these tracks by lightly placing his bar on the guitar strings,
taking care to avoid fret buzz. And he can switch back and forth between
slack key mode and steel guitar mode. A really unique sound.
"Miloli`i Slack Key" is a dreamy composition by Ken that features his
slack key and acoustic steel and a beautifully written bridge.
"Nani Kaua'i" is an example of Ken's unique arrangement of a Hawaiian
standard, reminiscent of the way Gabby would play with a classic.
Rock legend Todd Rundgren joins Kenny on vocals.
Ken sings great on "Lei Nani" and shows how he can use the
bar and fret with his fingers in the same measure.
"Sand" is beautifully played and recorded.
Ken makes it his own with interesting twists at the end.
"Small Axe" is a slack key remake of a Bob Marley reggae classic.
Ken considers this the "true Jawaiian" sound.
Well, we wish all reggae-based Hawaiian music were this
Hawaiian sounding. Don't worry. You'll dig it.
"0 Akua" is a contemporary tune written by John Lincoln with a plaintiff
message about the plight of modem day Hawaiians.
In Santo and Johnny's classic "Sleepwalk," acoustic steel and slack key
engage in subtle conversation trading roles back and forth from lead to
backup. You have to hit those harmonics perfectly on acoustic
steel—electric steel has a lot more sustain—and Kenny does!
"Ulili E" features a kind of rolling slack key jangle with a rootsy Sons
of Hawaii kind of feel. Ono! Yet another example of how much
musical range Ken has.
"Too Much Kava Kava" is a cool blues tune Ken co-wrote with Charlie
Musselwhite, who plays great bluesy harmonica on the track.
"E Lei E" is one of my favorite hulas and Ken shines on vocals, steel, and
slack key. "Endless Summer" is an interesting Hawaiian treatment of the
theme of the hit surf film of the same name.
On the Noble classic "Manuela Boy," check out the ad-lib verses written
and sung by Ken! I like his modem slack key feel on this track.
"Ka Loke De Mi Corezon" is a Ken Emerson composition almost classical in
delivery, a tribute to the influence of Portugal on Hawaiian music. A kind
of steel guitar sonata... Very nice.
The final track of the CD, "E Kalihiwai," is an awesome Ken Emerson
composition about his home district in Kaua'i. An ethereal exploration of
textural overlays with a little exotica-meets-
`60s-folk-rock-psychedelia. Well, I tried. You'll have to check it out.
Ken has definitely carved out a niche for himself that is Hawaiian and
relevant—that is, not merely retro or nostalgic. He has brought many
traditions together to create something new. That's how most great
Hawaiian music came about, wasn't it? Major kudos, Kenny. A must-have. |
