Ka Wai Ola - Office of Hawaiian Affairs, Volume 17, Number 2, 1 February 2000 — Darlene Ahuna releases fourth CD with influences from family and friends [ARTICLE+ILLUSTRATION]

Darlene Ahuna releases fourth CD with influences from family and friends

By Manu Boyd DARLENE AHUNA, the Hilo songstress who, in 1997, received the distinction of female vocalist of the year, has a full plate. With the release of her fourth recording, "That's the Hawaiian in Me," and another scheduled for this fall, Ahuna also finds time for her number-one priority - her 'ohana. "My husband J.J. and I have lived in Keaukaha for 15 years. J.J.'s father, Alapaki Ahuna Sr., was a wellknown musician in Hilo for years, and an excellent steel guitar player. Our three sons are true Hilo boys like their dad. I actually grew up in Kāne'ohe on O'ahu," she said. "I got my start playing music here īn Hilo. Ipo Kumukahi had a trio named 'Likelike' that I belonged to in the mid-1970s. We played at parties and lū'aus, and I've been playing ever since." For the past five years, Ahuna has also travelled extensively with the Mākaha Sons and other notables such as Aunty Genoa Keawe and Robi Kahakalau. She has toured Japan and points around the continent, including Denver, Seattle and L.A., and fondly recalls her debut in the Big Apple. "A eouple of years ago, I was privileged to perform at Camegie Hall, on tour with the Kata Maduli and the Mt. Kalihi gang. It was awesome! Spending time

with Aunty Genoa and her son Gary Aiko inspired me to record Aunty Genoa's ' Mino'aka' the song describing the smile and alluring eyes of a beautiful woman," Ahuna said. Selections on "That's the Hawaiian In Me" were inspired by friends or requested by fans. "I've been singing 'Ka Pili Oha' (Tony Conjugacion's tribute to Māpuana and Kīhei de Silva) for years. Someone suggested that I record it so I did." Her rendition features a haunting introduction of synthesizer and keyboard that compliment her gentle vocal approach. Ka Lei o Punahou" by Aunty Irmgard Farden Aluli is a mele inoa (name song) eomposed for Laura Pratt Bowers when she retired from Punahou School in 1964. Bowers, described as a "fragrant lily blossom at Kapunahou," pioneered the popular Punahou Carnival (see calendar hsting on page 18). The title cut is a hapa-haole tune by Margarita Lane and Johnny Noble. The jazz arrangement is fin-ger-snapping, complete with horn section and drums. The lyrics, somewhat stereotypical, say, "I don 't like shoes upon myfeet; to be at ease is such a treat, and smile at everyone I meet, that's the Hawaiian in me. It's great to be in Hawai'i and to be a native, too; it's greater still to play around and carry on as I do..." Hula favorites featured are "Mai Lohilohi Mai 'Oe" with the trademark " KHBC ' guitar

intro; "Ku'u Sweetie" by Maddy Lam and Kawena Pūku'i, also featuring niee guitar work; and the longtime favorite, " Meleana e" about a Norwegian girl named Maryanne, described as a "wahine lomilomi" (masseuse). In 1997, Ahuna won the coveted Nā Hōkū Hanohano Award for female vocalist, for her second recording, "Ku 'u Lei Poina 'Ole." With four recordings under her belt and one in the hopper, Ahuna is a seasoned, well-travelled performer who is readier than ever to share her female falsetto style with all who love Hawaiian music. ■

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