Ka Wai Ola - Office of Hawaiian Affairs, Volume 20, Number 10, 1 October 2003 — Nina Kealiʻiwahamana: Captured magic bridges Hawaiian classics and British musicians [ARTICLE+ILLUSTRATION]

Nina Kealiʻiwahamana: Captured magic bridges Hawaiian classics and British musicians

Debut CD features never heard selections recorded in the '60s in London By Manu Boyd Jt ' s a rare treat these days to witness a live performance of Nina Keali'iwahamana, arguably Hawai'i's best known soprano. If you're lucky, you might catch her performing a concert at Hawai'i Theatre, touring Japan, or perhaps at the piano with her dear friend and musical partner, Mahi Beamer. "I've always said that Nina has one of the most beautiful voices these islands have ever produced," said Beamer. Nina Keali'iwahamana's performing career spans more than four decades, although she has been groomed in the discipline of Hawaiian music since birth. Raised in the musical 'I'iRodgrigues family, Nina and her four siblings — Boyce, Ioane, Lahela and Lani — are all talented performers. Her mother, beloved

entertainer and hula exponent Vicki 'I'i Rodrigues, molded and shaped her children'sappetite for Hawaiian music, producing a family sound that was captured years ago on "Nā Mele 'Ohana" (Songs of the Family) ,which included such family favorites as "Pua Mikinolia ," and her grandmother's well known hula song, "Pua o ka Mākāhala ." "Auntie Vicki," as she was known to many, performed for years with Genoa Keawe and the late Pauline Kekahuna. For years, Nina was the featured soloist of the Hawai'i CaIIs radio program and literally lured millions

to Hawai'i from the famed banyan-shaded stage at the Moana. Her captivating vocal performance has always been augmented by her charming demeanor and attention to the nuances of the Hawaiian language. Eaeh word caressed, her musical phrases lilt through the air as if the result of some sort of magic. Whether singing melody or harmony, her clarity of pitch and sweet tone are prevalent. Producer and orchestra conductor/arranger Jack

De Mello first recorded with Nina in 1961 and toured extensively with her for many years. De Mello's son, The Mountain Apple Company chief and noted producer Jon de Mello, recalls the captured magic of Nina's early recordings. "I was about 13 or so. My dad recorded Nina in London, because compared to Hollywood, studio rates were half the cost, and, at that time, the quality was superior. An 80-pieee orchestra was assembled - many of whom were a part of the London Philharmonic orchestra. The chorus was made of 20 singers, all with British accents and not a

elue about Hawaiian lyrics. Nina took the time to write eaeh word out phonetically for them. "There was no multi-track recording back then. Eighty musicians, the chorus and Nina all worked together. That's true music, eaeh playing off the other. For most of the tracks, they did it in two takes. The first to 'work out the bugs,' and then they'd nail it on the second. When they (the orchestra) first met Nina, they thought, 'she's going to sing?' And when she opened her mouth and sang, she blew them away. They stood up and applauded, and they don't usually do that at all. The sound was huge." From the classic Princess Likelike love song "Ku'u Ipo i ka He'e Pu'eone " to the sometimes trite "E Huli Mākou ," Keali'iwahamana manages to elevate eaeh song to a level commanding respect and appreciation. Although some of the tracks on " Nina " were previously released on Jack de Mello recordings, many are featured for the first time. "This is old-school. Many people reacting to eaeh other to make good music. It's magic," Jon de Mello said. ■