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Hawaiian slack key guitar (kï höçalu) is one of the world's great acoustic guitar traditions. However, due to Hawaiçi's isolation (the islands lie furthest in the world from any major land mass) kï höçalu remains one of the least known traditions. Kï höçalu, which literally means “loosen the key,” is the Hawaiian-language name for this unique finger-picked style. The strings (or “keys”) are “slacked” to produce many beautiful tunings, almost always based on a major tonality and often containing a full major chord, or a chord with a major 7th or 6th note. Each tuning produces a characteristic resonance behind the melody, and each has its own characteristic color and flavor, like a beautiful basket of fruit.

Many Hawaiian songs and slack key guitar pieces reflect themes, such as stories of the past and present, and aloha for loved ones. Hawaiçi's tropical surroundings, with its ocean, volcanoes, mountains, waterfalls, forests, plants

and animals, provide other deep sources of inspiration for Hawaiian music.

These currents run deep in slack key guitar playing, as accompani-ment to vocals, as instrumental compositions, or as instrumental interpretations of vocal pieces. Drawn from the heart and soul out through the fingers, slack key music is sweet and soulful.

Slack key's unique sound comes partly from techniques such as the hammer-on, an ornament produced by plucking a note and immediately fretting that string to produce a second higher tone; and the pull-off, produced by plucking a fretted string and immediately pulling the finger off that fret, sounding a second lower note that is either open or fretted by another finger. For a great

example, see Ray Käne's Punahele from his album of the same name. These techniques mimic the yodels and falsettos rooted in ancient chants and common in Hawaiian singing. Other techniques include harmonics (“chimes”), produced by lightly touching strings at certain frets, and slides, in which one or two treble notes are fingered and then slid (usually up in pitch) to sound another note. A beautiful effect is sometimes created when a guitarist is singing and the note or notes on the top pitched strings sound like a second voice. These techniques all enhance the expressions of aloha, joy or longing—sometimes all in the same song.

Like blues guitar, the slack key tradition is very flexible and can have great emotional depth. A guitarist will often play the same song differently each time, sometimes changing tempos, or even tunings. As guitarists learn to play in this very individualistic tradition, they find their own tunings, techniques, arrangements and repertoire.

January 2004

A Short History of Hawaiian

Slack Key Guitar (Kï höçalu)

Slack Key Information Booklet

Table of ContentsA Short History of Hawaiian

Slack Key Guitar 1

A List of Recommended Recordings 6

Video Documentaries 10

Instruction Videos 10

Instruction/Music Books 10

Slack Key Guitar Lessons 11

Seeing Slack Key Guitar Live 11

Hawaiian Music on the Radio 12

Newsletters/Internet Sites 12

Dancing Cat Slack Key Guitar Mailing List 12

On pronouncing Hawaiian:

A is sounded as in 'ah'E is sounded either 'ay' as in 'bay,' or

'eh' as in 'men'I is sounded 'ee' as in 'see'O is sounded as in 'go'U is sounded 'oo' as in 'too'

All syllables are pronounced separately, and most words are pronounced by sounding all the vowels. For example, kaça is pronounced 'kah-ah.'

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FOUR SLACK KEY STYLES Today there are four basic types of slack key guitar.

Some guitarists play more than one style. The first is simple but profound, most evident in the older playing styles, such as that of the late Auntie Alice Namakelua. The second is a sort of “slack key jazz” with a lot of improvisation and is used prominently in the music of Atta Isaacs, Cyril Pahinui, Led Kaapana, Moses Kahumoku, George Kuo, Ozzie Kotani and Peter Moon.

The third type creates a unique sound using ornaments like hammer-ons and pull-offs. These techniques are featured on Sonny Chillingworth's Hoçomalu Slack Key, Ray Käne's Punahele, and George Kuo's Kohala Charmarita. Guitarist Manu Kahaialii uses another technique called “Hei Kuikui” on his song So Ti in Eddie Kamae's documentary film THE HAWAIIAN WAY and on Manu's out-of-print album KAAHAIALII MAUI STYLE. In this technique, the left hand holds the chord normally while the right-hand index finger produces a beautiful and unique sound by hammering down on the string and pulling off very rapidly, rather hand plucking it. (The late George Kahumoku, Sr. called this same technique “Kï Panipani.”)

The fourth slack key style is performance-oriented and features entertaining visual and sound techniques. These include playing with the forearm, playing with a bag over the fretting hand (as performed by the late Fred Punahoa and his nephew Led Kaapana) and the intriguing needle and thread technique, where the player dangles a needle hanging from a thread held between the teeth across the strings while otherwise playing normally; this creates a sound a bit like a mandolin or a hammered dulcimer. It can be heard on the fourth verse of the song, Wai Ulu, on Sonny Chillingworth's recording SONNY SOLO. This technique can also be seen in two great slack key films: Susan Friedman's KÏ HÖçALU, THAT'S SLACK KEY GUITAR on the song Kaula çIli by Sonny and in Eddie Kamae's THE HAWAIIAN WAY on an improvised piece by slack key guitarist Fil Secratario.

ORIGINS OF SLACK KEYThere are different theories about the beginnings of

slack key guitar in the Islands. Music is one of the most mobile art forms. European sailors around the beginning of the 19th century possibly introduced Hawaiians to the gut string guitar—ancestor of the modern nylon string guitar.

Mexican and Spanish vaqueros (cowboys), hired by King Kamehameha III around 1832 to teach Hawaiians how to handle an overpopulation of cattle, brought over guitars. In the evenings around the campfire, the vaqueros—many of whom worked on the Big Island, especially around the

Waimea region—probably played their guitars, often two or more together with one playing lead melody and the other bass and chords. This new instrument would have intrigued the Hawaiian cowboys, or paniolo, who had their own strong, deep-rooted music traditions. Given the long work hours, however, the Hawaiians probably didn't have time to learn a lot about this new music.

The vaqueros returned to their homelands a few years later and some gave their guitars to the paniolo.

Geniuses of assimilation, Hawaiians wove what they had learned of the Mexican and Spanish

music into their traditional chants, songs and rhythms and created a new form of music

that was completely their own. Unique Hawaiian musical traditions were the dominant force in this guitar music, as they have historically been with other musical influences that have come from the rest of the world. Hawaiian music never stops evolving, and yet it always remains in touch with its deep roots and inspiration.

From the start, slack key guitar became a significant part of the music

that the paniolo played after work or with families and friends at gatherings, and this

paniolo tradition continues today on the Big Island and Maui. Many guitarists choose to play just for family and friends rather than playing professionally or recording. George Kuo,

reflecting on his slack key mentors, points out, “Sometimes the older players would lock into a groove (keep the same tempo and feeling) and stay there all night.” This can sometimes be heard in the playing of Ray Käne and Niçihau guitarist Malaki Kanahele.

At first there may not have been many guitars or people who knew how to play, so the Hawaiians developed a way to get a full sound from one guitar. They picked the bass and rhythm chords on three or four of the lower-pitched strings with the thumb, while playing the melody or improvising melodic fills on three or four of the higher-pitched strings with the fingers.

The gut string guitar introduced by the vaqueros had a very different sound than the steel string guitar, which arrived later, probably brought in by the Portuguese around the 1860s. By the late 1880s, the steel string sound had become very popular with the Hawaiians, and slack key had spread to all of the Hawaiian Islands. To this day the steel string guitar predominates, although slack key artists Keola Beamer, Ozzie Kotani, Moses Kahumoku and Bla Pahinui have also prominently used the nylon string guitar.

Until the mid-20th century, vocals were the most important element of Hawaiian music. The guitar was relegated mainly to a backup role, often grouped with other instruments. Played in a natural, finger-picked style with a steady rhythm, guitar was used as an accompaniment to hula and singing. The guitar usually did not play the exact

King David Kaläkaua

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so well.” With this inspiration, Dennis has composed many beautiful songs and Hawaiian standards such as Kokeçe, Wahine çIlikea, Pua Hone, Ke Aloha Mau A Mau, Kauaçi O Mano, Lei Koele, E Hihiwai, E Pupukanioe and Ka Opae.

SLACK KEY TUNINGSA wide variety of tunings in several different keys were

created to effectively back up singers with their various vocal ranges. Hawaiians retuned

the guitar (usually lowering some of the strings) from the standard Spanish

tuning (E-A-D-G-B-E, from the lowest to the highest-pitched string) and the “slacked” strings resulted in sweet and resonant sounds. Strings tuned too low lost their tone, strings tuned too high were likely to break, thus tunings in six keys were developed. (Early Hawaiians probably did not have guitar capos—a strap or clamp which fits on the guitar neck and

raises the pitch, allowing the same guitar fingerings in a higher key.) The

many ingenious tunings the Hawaiians invented fall into five basic categories:

Major, Wahine, Mauna Loa, Niçihau/Old Mauna Loa and miscellaneous.

In the old days, there was an almost mystical reverence for those who understood kï höçalu, and the ability to play it was regarded as a special gift. To retain and protect the slack key mystique, tunings were often closely guarded family secrets. This practice has changed with the times, as the preservation of older Hawaiian traditions has become more conscious and deliberate.

Slack key guitarists are now more willing to share their knowledge with those outside the family circle who sincerely wish to learn. The sharing of tunings and techniques greatly helps ensure that the slack key guitar tradition will endure.

Some of the most commonly used tunings are the Major Tunings, where the guitar is tuned to a major chord or has a major chord within the tuning. Especially popular is the G Major “Taro Patch” Tuning (D-G-D-G-B-D). Also often used are the Wahine Tunings, which contain a major 7th note. Two of the first Wahine Tunings to be developed may have been the C-G-D-G-B-E and the G-C-D-G-B-E tunings, in which the four highest-pitched strings retain the same tuning as the Standard Tuning, but the bass notes are retuned to the open strings of the C and G chords. Two other popular tunings in this category are another C Wahine (C-G-D-G-B-D) and the G Wahine (D-G-D-F#-B-D), which is especially Spanish influenced.

Also common are the Mauna Loa Tunings, in which the top two pitches are tuned a wide fifth interval apart. In these tunings, what is often played on the first string and the thicker third string in other tunings is instead played on the first string and thinner second string, producing the

Queen Liliçuokalani

melody of the song, but played a repeated fragment with improvised variations, often using ornaments such as hammer-ons, pull-offs and harmonics. In the latter half of the 20th century, however, slack key guitarists increasingly played an instrumental verse between some of the vocal verses, sometimes called the pane or answer verse, which had previously been played by the steel guitarist.

Since the 1960s, and especially in the 1990s, Hawaiian slack key guitar has evolved into a highly developed instrumental art form, in both solo and group formats. When played solo, the beautiful and unique intricacies of the slack key guitar can be most fully appreciated, as the music of each master has great depth and individuality.

KING KALÄKAUA & QUEEN LILIçUOKALANI

The slack key tradition was given an important boost during the reign of King David Kaläkaua, who was responsible for the Hawaiian cultural resurgence of the 1880s and 1890s. King Kaläkaua supported the preservation of ancient music, while encouraging the addition of imported instruments like the çukulele and guitar. His coronation in 1883 featured the guitar in combination with the ipu (gourd drum) and pahu (skin drum) in a new dance form called hula kuçi. At his Jubilee in 1886, there were performances of ancient chants and hula. This mixing of the old and new contributed to the popularity of both the guitar and çukulele.

King Kaläkaua's conviction that the revitalization of traditional culture was at the root of the survival of the Hawaiian kingdom became a major factor in the continuity of traditional music and dance. His influence still shows. This was a great period of Hawaiian music and compositions, when traditional music was actively supported by the monarchy. Kaläkaua, along with his siblings W. P. Leleiöhoku II, Miriam Likelike and especially Liliçuokalani, composed superb songs that are still well-known today. After King Kaläkaua passed away in 1891, he was succeeded by his sister, Queen Liliçuokalani, who was Hawaiçi's last monarch. Among her classic pieces are Aloha çOe, Sanoe, Kuçu Pua I Paoakalani, Pauçahi O Kalani, Ahe Lau Makani, He Inoa No Kaçiulani, Manu Kapalulu, Queen's Jubilee, Queen's Prayer, Ka Hanu O Ka Hana Keoki, Ninipo (Hoçonipo), Tutu, He Ai No Kalani, Ka Oiwa Nani and many other beautiful songs. These compositions are still deeply part of Hawaiçi's music today.

One of Hawaiçi's greatest and most prolific present-day song-writers, Dennis Kamakahi, has been deeply inspired by Queen Liliçuokalani. He says, “Queen Liliçuokalani and I have one passion, that is, the passion to write what we see and hear around us and transform these images into music. She has been the inspiration for me to write in the most poetical way, using the Hawaiian language she knew

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characteristic sweet sound of Mauna Loa Tunings. The three most frequently used Mauna Loa Tunings are C Mauna Loa (C-G-E-G-A-E), G Mauna Loa (D-G-D-D-G-D, with the third and fourth strings tuned to the same tone) and Bb Mauna Loa (F-Bb-D-F-G-D). Violins and mandolins which were brought to Hawaiçi—and normally tuned in fifth intervals—may have influenced these Mauna Loa Tunings.

When two or more guitarists play together, they often use different tunings in the same key. For example, one guitarist might use G Major Tuning and the other might use G Wahine Tuning. Guitars can also be played together with different tunings in different keys, using a capo on various frets to sound in the same key. An example of this would be one guitarist playing in a G tuning, with a second in a C tuning capoed up to the 7th fret to sound in the key of G.

Two of the most stunning duets ever recorded are by Abraham Konanui and an unnamed second guitarist (possibly Fred Punahoa—both uncles of slack key great Led Kaapana) on the songs Hawaiian Melody and Maui Serenade. These, along with the earliest recorded tracks by Gabby Pahinui and five other 1940s and 1950s slack key artists, have been reissued on the album THE HISTORY OF SLACK KEY GUITAR.

SLACK KEY CROSS-FERTILIZATIONHawaii is a crossroads of cultures, and its music reflects

many influences: Mexican, Spanish and Portuguese music; Caribbean and Polynesian music, especially from Samoa, Tahiti and Tonga; European music, especially from Germany and England; as well as music from the American Mainland, including jazz, country & western, folk and pop. Hawaiians have absorbed it all and enriched it with their mana (soul or spiritual power).

Mainland music has enjoyed a reciprocal relationship with music from Hawaii. In the early 1890s, Hawaiian musicians such as the Royal Hawaiian Band, steel guitarists and vocal groups began touring in the U.S. The 1912 Broadway show BIRD OF PARADISE helped introduce Hawaiian music (although not slack key guitar) to the Mainland, as did Hawaiian shows at the big Panama Pacific Exhibition in San Francisco. In the following years, Hawaiian recordings, especially acoustic steel guitar tracks and vocal tracks, became the biggest selling records in the U.S. These increased recordings and tours by Hawaiian performers greatly influenced blues musicians who played slide guitar, as well as country & western steel guitarists. (Steel guitar—as opposed to steel string, finger-picked guitar—refers to any guitar played with a metal bar, regardless of what material the guitar is made. Likewise, slack key does not refer to a type of guitar but rather a style of playing that can be performed on any kind of guitar.)

In the late 1880s, some slack key guitarists began holding the guitar flat on the lap and playing it with a metal bar. These guitarists used slack key tunings, particularly the G Major or “Taro Patch” Tuning (D-G-D-G-B-D). Soon after, the strings were raised so that the metal bar would not hit the fretboard and different steel guitar tunings evolved to accomodate the limitations of playing with the metal bar.

This evolved into the lap steel guitar, which was later played more often on a stand. Much later, pedals were added and it became known as the pedal steel guitar, which is prevalent in country & western music.

Some Hawaiian steel guitar tunings, and thus some Mainland lap and pedal steel guitar tunings, evolved from slack key tunings. For example, the “High Bass G” Major Tuning (G-B-D-G-B-D) for the dobro, or acoustic steel, and lap steel, evolved from the G Major “Taro Patch” Tuning (D-G-D-G-B-D), which is also often called “Low Bass G.” The C Major 6th Tuning for the pedal steel guitar may have come somewhat from the C Mauna Loa Tuning (C-G-E-G-A-E), which has a sixth note (A) in the tuning.

The hot jazz of the 1920s and 1930s, especially the great trumpeters Louis Armstrong and Bix Beiderbecke, influenced the Hawaiian steel guitar players, most notably Sol Hoçopiçi (1902-1953). The great acoustic steel player Tao Moe points out that when he was a boy growing up in the pre-World War I era, many steel guitar players were playing in the slack key style. This later changed, however, when Sol Hoçopiçi began changing the tunings and concentrating on jazzy single note lead lines.

Because of the distance between islands, each developed unique styles, sometimes even specific to regions of an island. The Big Island, due to its size, has engendered the greatest variety of regional styles. Some players, especially those around Honolulu (on Oçahu), often developed more modern and improvised styles as a result of greater exposure to different musical traditions from the American Mainland and other parts of the world. To this day, slack key artists draw from the traditions of the area where they grew up and from the music of their çohana (family) and add to it their own individual playing style. In recent years, learning from recordings has become more common, as well as learning from professional teachers, both in schools and private lessons.

PHILIP "GABBY" PAHINUIThe most influential slack key guitarist in history was

Philip “Gabby” Pahinui (1921–1980). The modern slack key period began around 1946 when Gabby, often referred to as “The Father of The Modern Slack Key Era,” made his first recording. Gabby was the prime influence that kept slack key guitar from dying out in the Islands. His prolific and unique techniques led the guitar to become more recognized as a solo instrument. He expanded the boundaries of slack key guitar by creating a fully-evolved solo guitar style capable of creatively interpreting a wide variety of Hawaiian traditional and popular standards, original pieces and even pieces from other cultures. Gabby's beautiful, expressive vocals, especially his incredibly soulful falsetto, have also inspired many musicians.

The Gabby Pahinui Hawaiian Band of the 1970s is a good example of the complex sound that slack key can achieve with multiple guitars. Along with Gabby, this band featured the late great slack key guitarists Leland “Atta” Isaacs, Sr. (1930–1983), Sonny Chillingworth (1932–1994), and Gabby's sons, Cyril and Bla Pahinui. On the band's

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recordings, each guitarist usually played in a different C tuning (and Bla and Cyril played in D tunings tuned down to the key of C), providing a thick, multi-textured sound.

Besides Gabby, the two other most influential slack key artists have been the late Sonny Chillingworth and the late Leonard Kwan. These three musicians are noteworthy not only for their beautiful playing (and singing, in Gabby's and Sonny's cases), but also for their recordings: Gabby from the 1940s through the 1970s, and Leonard and Sonny from the 1950s through the late 1990s. Auntie Alice Namakelua (1892–1987), whose 1800s style was the earliest recorded, has also inspired many players.

Gabby's five earliest recordings from the 1940s (78 rpms on Bell and Aloha Records) are especially impressive: Hiçilawe (twice), Key Khoalu [sic], Hula Medley and Wai O Keaniani. (These have been reissued on THE HISTORY OF SLACK KEY GUITAR.) These recordings inspired and astounded many other slack key guitarists, given the level of Gabby's playing and because each song was in a different tuning. He also made more great recordings in the 1950s for the Waikiki label, which were mostly issued on three different albums: HAWAIIAN SLACK KEY - VOLUME 1, HAWAIIAN SLACK KEY - VOLUME 2 and THE BEST OF HAWAIIAN SLACK KEY. In 1961 the late Dave Guard of the first Kingston Trio, who grew up in Hawaiçi and was inspired by Gabby, produced the beautiful album PURE GABBY, which was eventually released in 1978.

The release of several great slack key albums in the 1960s by Leonard Kwan, Ray Käne, Atta Isaacs and Gabby Pahinui on Margaret Williams' Tradewinds label further increased the awareness and popularity of slack key guitar. These four artists, plus Sonny Chillingworth, recorded in the 1950s, 1960s and 1970s, and influenced all the younger slack key guitarists. The next generation's three most influential slack key guitarists issued their own first recordings in the 1970s: Keola Beamer (solo and with his brother Kapono), Led Kaapana (with his trios Hui çOhana and I Kona), and Peter Moon (with his groups The Sunday Manoa and the Peter Moon Band). Leonard, Ray and Sonny (until his death in 1994), continued to record and influence many others into the 1980s and 1990s.

The tunings of the Gabby Band were as follows:

Gabby Pahinui: C-G-E-G-B-E or C-G-E-G-A-ELeland “Atta” Isaacs: C-G-E-G-C-ESonny Chillingworth: C-G-D-G-B-DCyril Pahinui: D-A-D-F#-B-E (tuned down to C,

yielding C-G-C-E-A-D)Bla Pahinui: D-A-D-G-B-E (tuned down to C,

yielding C-G-C-F-A-D) and Stan-dard Tuning (E-A-D-G-B-E), espe-cially in the keys of C and A (some-times using a capo)

SLACK KEY SINCE 1970Since the early 1970s (often called the era of the

Hawaiian Renaissance), Hawaiians have increasingly looked to their cultural roots, and because of this, slack key guitar has steadily grown in popularity. The Hawaiian Music Foundation, founded by Dr. George Kanahele, did much to increase awareness through its publications, music classes and the sponsoring of concerts, including the landmark, first ever slack key concert in 1972.

The slack key tradition is now at its peak. Currently, there are several annual slack key festivals held in the Islands. More slack key guitar recordings are now available throughout the world. More guitarists are giving concerts more frequently in and outside of Hawaiçi, including on the Mainland, in Japan and in Europe. Additionally, slack key is gaining recognition in more institutional music settings. In 1998, Ozzie Kotani gave the first ever solo instrumental slack key recitals. With these developments, and with the techniques and influences of today's players expanding the range of slack key guitar, the future looks bright for kï höçalu. It is a testament to the depth of the slack key traditon that it is one of the oldest music traditions to still be a viable (rather than just historical) part of a modern culture, like Irish dance music and Spanish Flamenco guitar.

DANCING CAT RECORDSDancing Cat Records is producing the ongoing HAWAIIAN

SLACK KEY GUITAR MASTERS SERIES, which consists mainly of solo albums by many of the best players in Hawaiçi. The entire repertoire of each player, as well as experiments beyond, are being recorded. These guitarists include the late Sonny Chillingworth, the late Leonard Kwan, Ray Käne, Keola Beamer, Led Kaapana, Cyril Pahinui, Ozzie Kotani, George Kuo, Dennis Kamakahi, Bla Pahinui, George Kahumoku, Jr., Moses Kahumoku, Cindy Combs and Patrick Cockett, as well as a reissue of the late Gabby Pahinui's PURE GABBY album. Albums by these artists are listed on the following pages. Ultimately, Dancing Cat plans to release sixty or more albums.

Dancing Cat Records is also producing a series of Hawaiian acoustic steel and slack key guitar duet recordings. Until recently, this combination has curiously been absent from the entire history of Hawaiian recording. The first of these, HAWAIIAN TOUCH, with the late steel guitarist Barney Isaacs and slack key guitarist George Kuo, was released in 1995. In 1997, Dancing Cat Records issued KÏKÄ KILA MEETS KÏ HÖçALU, featuring Bob Brozman on acoustic steel guitar with Led Kaapana on slack key. Bob also plays duets with Cyril Pahinui on slack key on the 1999 recording FOUR HANDS SWEET & HOT and again with Led on the 2001 recording IN THE SADDLE. More of these duet alums are planned.

For more information on slack key guitar, contact Dancing Cat Records (see back page).

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TO ORDER: Any national record retail chain (i.e. Borders Books and Music, Tower Records and Virgin Records) should carry Dancing Cat albums, or be able to order any that are not in stock. The following and other slack key guitar albums or sheet music may also be ordered through Harry's Music (3457 Waiçalae Ave, Honolulu, HI 96816,

phone 808-735-2866. For more information see www.hawaiibid.com/harrysmusicstore/) and on the internet at Hawaiian Music Island (www.mele.com). New, used and out-of-print records can sometimes be found at Jelly's

(two locations: in Pearl Kai at 98-199 Kamehameha Hwy, Aiea, HI 96701, phone 808-486-5600 and at 1009 University Ave., Honolulu, HI 96826, phone 808-943-0500).

1a. Gabby Pahinui:PURE GABBY (Hula Records 567, to be re-released by Dancing Cat in 2002) – 1961 recordingHAWAIIAN SLACK KEY, VOLUME 1 – WITH GABBY PAHINUI (Waikiki Records 319)* – approximately 1960HAWAIIAN SLACK KEY, VOLUME 2 – WITH GABBY PAHINUI (Waikiki Records 320) – approximately 1960THE BEST OF HAWAIIAN SLACK KEY (Waikiki Records 340) – 1950s recordingTHE BEST OF GABBY PAHINUI, VOL. 1 – THE KING OF SLACK KEY (formerly KA MAKANA A PAHINUI (THE GIFT OF PAHINUI))

(Hula Records) – The songs Nani Koçolau, Ulile E, Koni Kai çOpulaa and Heçeia actually feature Atta Isaacs rather than GabbyTHE BEST OF GABBY, VOL. 2 (Hula Records) – These two albums are compilations of five recordings on Hula Records: HS-503,

HS-506, HS-531, HS-567 and HS-517 (HS-517 actually features Atta Isaacs rather than Gabby)

b. Gabby Pahinui with Eddie Kamae and The Sons of Hawaiçi: GABBY PAHINUI WITH THE SONS OF HAWAIçI (Hula Records 503) – 1962MUSIC OF OLD HAWAIçI (Hula Records 506) – 1964THE FOLK MUSIC OF HAWAIçI – AN ISLAND HERITAGE (Panini Records)* – 1971

c. The Gabby Pahinui Hawaiian Band: With Atta Isaacs, Sonny Chillingworth, Cyril Pahinui and Bla PahinuiGABBY (Panini Records 1002) – 1972THE RABBIT ISLAND MUSIC FESTIVAL (Panini Records 1004) – 1973GABBY PAHINUI HAWAIIAN BAND, VOLUME 1 (Panini Records 1007) – 1975GABBY PAHINUI HAWAIIAN BAND, VOLUME 2 (Panini Records 1008) – 1977THE WAIMEA MUSIC FESTIVAL (Panini Records 1006) – Includes 5 tracks by The Gabby Band, as well as other artists – 1974BEST OF THE GABBY BAND 1972-1977 (Panini Records 1010)

d. Gabby Pahinui with the Maile Serenaders: HAWAIçI'S FAVORITE SLACK KEY & STEEL GUITAR, VOL. 2 (Formerly KANI KA PILA! VOLUME 2) (Hula Records 531)* –

Especially the songs Nanea Kou Maka and Kahuli Aku. Two songs, Kananaka and Iaçoe E Ka La, actually feature Peter Moon on slack key guitar instead of Gabby. – 1969

EVENING IN THE ISLANDS – THE MAILE SERENADERS (Hula Records 509)* – Especially the song Pearly Shells – 1964IN HAWAIçI THE STORY STARTS (Waikiki Records 334 – out-of-print) – Especially the songs Lei E, Meleana E and Keawaiki

– 1950s recording

e. Anthologies including Gabby Pahinui: THE HISTORY OF SLACK KEY GUITAR – VINTAGE HAWAIIAN TREASURES VOL. 7 (Hana Ola Records 24000) – Compilation

including Gabby's five earliest recordings from the 1940s: two versions of Hiçilawe originally issued on Bell and Aloha Records, and three other tracks from the Bell label. It also has fifteen reissued 1940s tracks by seven other slack key guitarists. To order, contact Cord International, PO Box 152, Ventura, CA 93002, 805-648-7881 (phone), www.cordinternational.com

2. Sonny Chillingworth: ENDLESSLY (Dancing Cat) – Guitar solos and vocals accompanied by solo guitar – 1999SONNY SOLO (Dancing Cat) – Guitar solos and vocals accompanied by solo guitar – 1994WAIMEA COWBOY (Mahalo Records) – 1964SONNY CHILLINGWORTH (Lehua Records 2014 – out-of-print)* – mid-1960sKA çAINA O HAWAIçI (Lehua Records 2040 – out-of-print)* – mid-1960sHAWAIçI ALOHA: ECHOES OF OLD HAWAIçI (Waikiki Records 107 – out-of-print) – Compilation cassette with two songs by

Sonny, Slack Key Medley (Moana Chimes/Paçahana) and Whee Ha Swing (Slack Key II), from the out-of-print 45-rpms: MONA PAçAHANA CHIMES (Waikiki Records 570) and WHEE HA SWING (Waikiki Records 571) which were recorded around 1957

Sonny also has three other fine out-of-print albums. Two more solo guitar releases are planned on Dancing Cat Records.

3. Ray Käne: WAçAHILA (Dancing Cat) – Guitar solos and vocals accompanied by solo guitar – 1998PUNAHELE (Dancing Cat) – Guitar solos and vocals accompanied by solo guitar – 1994NANAKULI'S RAYMOND KÄNE (Tradewinds Records 1130)* – 1975HAWAIIAN SUNSET MUSIC VOL. 1 (Hula Records) – Slack key instrumentals, also featuring Michael Lowe One more solo guitar release is planned on Dancing Cat Records.

Recommended Slack Key Guitar Recordings & Other Information

For the most recent updates of this information, please visit www.dancingcat.com.

*not available on compact disc Page 7

4. Leonard Kwan: KEçALA'S MELE (Dancing Cat) – Instrumental guitar solos and one vocal trackSLACK KEY [“the red album”] (Tradewinds Records 103) – 1960THE OLD WAY (Tradewinds Records 1128)* – 1974One more solo guitar release is planned on Dancing Cat Records.

5. Leonard Kwan and Ray Käne: SLACK KEY [“the black and white album”] (Tradewinds Records 106)* – Contains seven songs by Leonard Kwan: Medley: Aia Hiki Mai/Koni Au/Palisa, Hawaiian Love, Opihi Moemoe, Yellow Ginger Lei, Nahenahe, Kaneohe-Mama E and Manini; and six songs by Ray Käne: Kila Kila Haleakala, Willy's Tune, Meleana E, Auwe, Punahele and Waçahila – early 1960s

6. Atta Isaacs:TWO SLACK KEY GUITARS—A-LIVIN'-ON-EASY with Gabby Pahinui (Tradewinds Records 1124) – The song March Medley is

actually Ka Ua Noe and is a classic pure duet. Also contains four bonus tracks from the out-of-print album ATTA: Mele Liçi, Kökohi-Moani Keçala, Nä Molokama and Sweet Lei Lehua – late 1960s

ATTA (Tradewinds Records 1126 – out-of-print)*The following five albums feature Atta playing some great backup guitar (see also Melveen Leed under Various Artists and Gabby Pahinui):THE MAILE SERENADERS—HAWAIçI'S FAVORITE SLACK KEY & STEEL GUITAR, VOL. 1 (Hula Records 517) – Features Atta on

slack key, although sometimes Gabby Pahinui is erroneously credited (formerly titled KANI KA PILA! VOL. 1) – 1966THIS IS EDDIE KAMAE AND THE SONS OF HAWAIçI (Hula Records 513)* – 1966MARCELLA KALUA—GIRL FROM PAPAKOLEA (Mahalo Records 4012)* – Slack key backup by Atta, with the Sons of Hawaiçi

– 1960sTHE NEW HAWAIIAN BAND (Hana Ola Classic Collector Series, Vol. 7 12000, formerly Trim Records 1975) – Atta's slack key

guitar is featured on the songs Kui Au, Green Rose Hula, Haole Hula and Kekaupu – 1975

7. Led Kaapana: BLACK SAND (Dancing Cat) – Guitar solos, as well as a duet with Leonard KwanLED LIVE—SOLO (Dancing Cat) – Guitar solos and vocals accompanied by solo guitarIN THE SADDLE (Dancing Cat) – Pure duets with Bob Brozman on acoustic steel guitar KÏKÄ KILA MEETS KÏ HÖçALU (Dancing Cat) – Pure duets with Bob Brozman on acoustic steel guitarFor a great video of Bob and Led, see LEDWARD KAAPANA & BOB BROZMAN IN CONCERT (See VIDEO DOCUMENTARIES)LIMA WELA! (Leahi Records 2001) – 1983SIMPLY SLACK KEY (Paradise Records 970)*Led also plays excellent guitar on 8 recordings with the group I Kona and on 14 recordings with the group Hui çOhana. Two more solo guitar releases are planned on Dancing Cat Records, as well as one more duet album with Bob Brozman. For more information on Led Kaapana, visit his website at www.ledkaapana.com

8. Cyril Pahinui: NIGHT MOON (PÖ MAHINA) (Dancing Cat) – Guitar solos and vocals accompanied by solo guitar6 & 12 STRING SLACK KEY (Dancing Cat) – Guitar solos and vocals accompanied by solo guitarFOUR HANDS SWEET & HOT (Dancing Cat) – Pure duets with Bob Brozman on acoustic steel guitarKA HOçOLINA MAU (Poki Records) – Vocals accompanied by slack key guitar and ensembleCYRIL (Pahinui Records 6068) – 1988THE SANDWICH ISLE BAND (Seabird Sound Hawaii 1003 – out-of-print) – 1978MEET PALANI VAUGHAN & THE SUNDAY MANOA (Hula Records 524) – With slack key guitarist Peter Moon. See also Peter

Moon with The Sunday Manoa section. – 1968Two more solo guitar releases are planned on Dancing Cat Records, as well as one more duet album with Bob Brozman.

9. James “Bla” Pahinui: WINDWARD HEART—LIVE SOLO (Dancing Cat) – Mainly vocals accompanied by solo guitarMANA (Dancing Cat) – Guitar solos and vocals accompanied by solo guitarBLA PAHINUI (Mountain Apple – out-of-print) – 1983BLA (Pua Lani Records – out-of-print) – 1981Also see Peter Moon with the Sunday Manoa. Two more solo guitar releases are planned on Dancing Cat Records.

10. Martin Pahinui:HOçOLOHE (Dancing Cat) – Vocals accompanied by George Kuo, Aaron Mahi and Bobby Ingano

11. The Pahinui Brothers (Cyril, James "Bla" and Martin Pahinui):THE PAHINUI BROS. (Private Music/Panini Records)

12. George Kuo: ALOHA NO NÄ KÜPUNA (LOVE FOR THE ELDERS) (Dancing Cat) – Instrumental guitar solosHAWAIIAN TOUCH (Dancing Cat) – With Barney Isaacs on acoustic steel guitar. The first ever recording of pure acoustic

steel and slack key guitar duets

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NAHENAHE—HAWAIIAN SLACK KEY (Hula Records 576) – 1981HARDLY WORKING (Kahanu Records 1004 – out-of-print) – With the Kipapa Rush Band, features slack key guitarist Wayne Reis More solo guitar releases and duet albums featuring Barney Isaacs on acoustic steel are also planned on Dancing Cat Records.

13. Dennis Kamakahi: çOHANA (FAMILY) (Dancing Cat) – Vocals and instrumentals, including four duets with son David on çukulelePUAçENA (GLOW BRIGHTLY) (Dancing Cat) – Vocals accompanied by slack key and one instrumental trackFor more information on Dennis Kamakahi, visit his website at www.denniskamakahiproductions.com

14. Hui Aloha (Hawaiian Slack Key Band): HUI ALOHA (Dancing Cat) – Dennis Kamakahi and George Kuo on slack key guitar and vocals, Martin Pahinui on bass and vocals, and David Kamakahi on çukulele

15. Keola Beamer: SOLILOQUY—KA LEO O LOKO (Dancing Cat) – Instrumental pieces for one and two guitarsKOLONAHE—FROM THE GENTLE WIND (Dancing Cat) – Four instrumentals and nine vocal piecesMAUNA KEA—WHITE MOUNTAIN JOURNAL (Dancing Cat) – Instrumental pieces for one and two guitarsMOEçUHANE KÏKÄ (TALES FROM THE DREAM GUITAR) (Dancing Cat) – Instrumental pieces for one and two guitarsHAWAIIAN SLACK KEY GUITAR IN THE REAL OLD STYLE (Music of Polynesia Records 22000) – Eight instrumentals and three

vocals with beautiful arrangements for two slack key guitars – 1972WOODEN BOAT (Dancing Cat) – Slack key guitar with vocals, instrumentals and ensembleISLAND BORN (çOhe Records 96118)More releases are planned on Dancing Cat Records. Keola also has a book, THE SHIMMERING - KAç OLILI - ISLAND STORIES. For more information on Keola Beamer, visit his website at www.kbeamer.com

16. The Beamer Brothers (Keola and Kapono): HAWAIçI'S KEOLA AND KAPONO BEAMER (Tantalus Records 1001) – 1975HONOLULU CITY LIGHTS (Paradise Records 808) – 1978THIS IS OUR ISLAND HOME—WE ARE HER SONS (Music of Polynesia Records 29000)* – 1973HAWAII THEN AND NOW (Music of Polynesia Records 35000 – out-of-print) – 1974There are two other fine Beamer Brothers albums.

17. Ozzie Kotani: TO HONOR A QUEEN (E HOçOHIWAHIWA I KA MOçI WAHINE) – THE MUSIC OF LILIçUOKALANI (Dancing Cat) – Instrumental

guitar solos of 13 compositions by Queen LiliçuokalaniKANI KÏ HÖçALU (Dancing Cat) – Instrumental guitar solosCLASSICAL SLACK (Pacific Sound Design Records 1001 – out-of-print) – Instrumental guitar solos – 1988

18. Moses Kahumoku: HOçOKUPU (THE GIFT) (Dancing Cat) – Guitar solos and vocals accompanied by solo guitarTwo more solo guitar releases are planned on Dancing Cat Records.

19. George Kahumoku, Jr.:HAWAIIAN LOVE SONGS - NA MELE HOçONIPONIPO HAWAIçI (Dancing Cat) – Guitar solos, vocals accompanied by solo

guitar and duets with Bob Brozman, Diana Aki and Norton BuffaloDRENCHED BY MUSIC (Dancing Cat) – Guitar solos and vocals, as well as duets with Bob Brozman and Diana AkiE LILIçU (Kealia Farms Record Co. 1008) – Instrumental songs by Queen Liliçuokalani, including some from the film, ONIPAçA,

about the overthrow of Hawaiçi's last monarch in 1893. Available from Olinda Road Distribution, 808-837-7800 (phone)HOOLINA—THE LEGACY (Kealia Farms Record Co. 1007) – Mainly vocals with George's son Keoki Kahumoku HYMNS OF HAWAII (Aire 88922) – With Daniel Ho, vocals with two slack key guitarsMore releases are planned on Dancing Cat Records. George also has a memoir about his life, A HAWAIIAN LIFE, co-authored by Paul Konwiser. For more information on George Kahumoku, visit his website at www.kahumoku.com

20. The Kahumoku Brothers (Moses and George):KAI MALINO (THE PEACEFUL SEA) (Hula Records 577) - 1986SWEET AND SASSY—HAWAIIAN SLACK KEY STYLINGS, VOL. 1 (KB-1005 – out-of-print, to be reissued in 2002) - 1988

21a. Peter Moon THE PATH (Kanikapila 1017) – Slack key guitar and çukulele instrumentalsHOçI HOU (RETURN ONCE MORE) (Kanikapila 1015) – Slack key guitar and çukulele instrumentals

b. Peter Moon Band with Cyril and/or Martin Pahinui: SPIRIT LOVER (Kanikapila Records 1002) – 1984HARBOR LIGHTS (Kanikapila Records 1001) – 1983CANE FIRE (Panini Records 1012) – 1982MALIE (Panini Records 1011)* – 1980There are many other fine albums by the Peter Moon Band.

c. Peter Moon with The Sunday Manoa: MEET PALANI VAUGHAN & THE SUNDAY MANOA (Hula Records 524) – Also features slack key guitarist Cyril Pahinui

– 1968

*not available on compact disc Page 9

HAWAIIAN TIME (Hula Records) – With Bla Pahinui – 1969GUAVA JAM (Hula Records 543) – 1972THE SUNDAY MANOA—CRACKED SEED (Panini Records 1003)THE SUNDAY MANOA 3 (Panini Records 1005)There are also two other fine Sunday Manoa albums with Peter Moon.

22. Cindy Combs:SLACK KEY LADY (Dancing Cat) - 2001LAND OF THE ENDLESS SUMMER (Better Days Records 003) – Two instrumentals: çAuçau Pu and Hawaii Loa, as well as vocals

with slack key backupFor more information on Cindy Combs, visit her website at www.brudda.com/~ccombs

23. Ken Emerson: SLACK & STEEL (Liko Records 2002) – Ken on slack key and acoustic & electric steel guitar

24. Auntie Alice Namakelua: AUNTIE ALICE NAMAKELUA (Hula Records 552 – out-of-print) – Contains four slack key tracks that document the oldest slack key style on record – 1974

25. Nedward Kaapana: HIS OWN MAN (Lehua 7059) – Slack key instrumentals & vocals with slack key backup

26. Hal Kinnaman: SLACK KEY REVERE (HLK-1942) – To order, contact Slack Key Productions, PO Box 635, Kaläheo, HI 96741

27. Lehua Kaapana Nash: KÏ HÖçALU—KAAPANA STYLE (Jus' Press Records 5003)

28. John Keawe: AUHELE (Homestead Productions 1002)* – To order, contact Homestead Productions, PO Box 577, Kapaau, HI 96755,

808-889-5535 (phone & fax)MANA çOLANA (Homestead Productions 1003)HOçONEANEA (Homestead Productions 1001)

29. Na Pali (with Carlos Andrade and Patrick Cockett): NA PALI – PACIFIC TUNINGS (Awapuhi Records 101) – 198830. Patrick Landeza: PUçUNAUE “TO SHARE” (Puçunaue Productions 1201) – To order, contact Puçunaue Productions, 240 Athol

Ave. Ste.101, Oakland, CA 94606, 877-205-6134 x4412 (phone), landeza@comcast.net, www.patricklandeza.com

31. Ron Loo: KAHALUçU SLACK (Pila Nahenahe Productions 1004) – To order, write Pila Nahenahe Productions, PO Box 5126, Kaneohe, HI 96744

32. Daniel Ho: THE VOYAGE HOME (Aire 81998) – Order from Aire Music, 914 Westwood Blvd #813, Los Angeles, CA 90024For additional information on Daniel Ho, visit his website at www.danielho.com

33. Mikaçele Mike McClellan: SLACK–KEY VAGABOND (AIM Recording Company 7-29012-5)BACKYARD SLACK KEY AND AUTOHARP (Top Soil Records 8128)*SOME NEW THINGS (Top Soil Records 9083)* – To order, contact Mikaçele Mike McClellan, 22283 Cass Avenue, Woodland

Hills, CA 91364, 818-999-3129 (phone)

34. Jim West: COCONUT HAT (Westernmost Records 30001)

35. Yuki Alani Yamauchi:MAIKAI NO BLUES (Respect Records 30, Japan import) – With Ray Käne on vocalsHAWAII PONOI (Jasrac Records RICE 703, Malaysia import)Yuki has several other recordings on Respect Records in Japan.

36. Various Artists: THE HISTORY OF SLACK KEY GUITAR—VINTAGE HAWAIIAN TREASURES VOL. 7 (Hana Ola Records 24000) – See Gabby

Pahinui, Anthologies including Gabby Pahinui sectionTHE WAIMEA MUSIC FESTIVAL (Panini Records 1006) – Live performances by the late Fred Punahoa (his only two issued

recordings), as well as The Gabby Pahinui Band, Sonny Chillingworth, Peter Moon with the Sunday Manoa, Na Leo O Nuçuanu (Dennis Kamakahi's first band) and others – 1974

MELVEEN WITH THE BEST OF SLACK KEY (Lehua Records 7046)* – Vocals by Melveen Leed, with backup slack key guitar by Gabby Pahinui on three songs: Pua Alani, Ka Manu and Ka Iiwi Polena; Atta Isaacs on three songs: Pauoa Liko Ka Lehua, Nanea Kou Maka and Paliakamoa; Sonny Chillingworth on three songs: None Hula, Wai O Ke Ani and Makee Ailana; and Led Kaapana on three songs: Puu O Hulu, Kamalani O Keaukaha and Na Pua Ka Ilima – 1980

HAWAIIAN SLACK KEY GUITAR MASTERS INSTRUMENTAL COLLECTION (Dancing Cat) – Solo instrumental tracks by Keola Beamer, Sonny Chillingworth, Ray Käne, Led Kaapana, Moses Kahumoku, Ozzie Kotani, Cyril Pahinui, George Kuo and Leonard Kwan, plus a duet of Barney Isaacs on acoustic steel guitar with George Kuo on slack key

HAWAIIAN SLACK KEY GUITAR MASTERS COLLECTION, VOL. 2 (Dancing Cat) – Vocal and instrumental tracks by Ray Käne, Dennis Kamakahi, Sonny Chillingworth, Keola Beamer, Bob Brozman, Led Kaapana, George Kahumoku, George Kuo, Bla Pahinui, Leonard Kwan, Ozzie Kotani, Cyril Pahinui, David Kamakahi, Martin Pahinui and Kekuhi Kanahele

KÏ HÖçALU CHRISTMAS (Dancing Cat) – Traditional, Hawaiian and original winter songs performed by Keola Beamer, Cindy Combs, Led Kaapana, George Kahumoku, Moses Kahumoku, Dennis Kamakahi, Joanie Komatsu, Ozzie Kotani, Barney Isaacs & George Kuo, Bla Pahinui and Cyril Pahinui

Page 10 *not available on compact disc

HAWAIIAN SLACK KEY CHRISTMAS (Dancing Cat) – 11 instrumental and 3 vocal standard and Hawaiian Christmas songs featuring George Kuo, Leonard Kwan, Joanie & Ruth Komatsu, Ozzie Kotani, Moses Kahumoku, Bla Pahinui, George Kahumoku, Cindy Combs, Led Kaapana, Dennis Kamakahi, Keola Beamer, Bob Brozman and Cyril Pahinui

SLACK KEY TRADITION (Liko Records 2001) –With Gary Haleamau, Nolan Haço, Elmer Kohala Lim and Robert Keliçi-hoçomalu, Jr.

NATURE SLACK KEY—SOUNDS OF HAWAII (Orange Tree Productions) – With Cindy Combs, George Kahumoku, Jr., Dennis Pavao and Grant Geissman. For more information, see www.orangetreeproductions.com

çAUHEA çOE E SANOE—FIELD RECORDINGS OF HAWAIIAN SLACK KEY GUITAR (Top Soil Records 7046)* – Featuring Haunani Apoliona, Charles Chu, Stephen Kauhane and Daniel Nicholas. To order, contact Mikaçele Mike McClellan, 22283 Cass Avenue, Woodland Hills, CA 91364, 818-999-3129 (phone)

SLACK KEY GIANTS (Pumehana Records 4916) – Anthology of instrumental slack key by Led Kaapana, Sonny Chillingworth, Frank Palani (with the Hoçopiçi Brothers), Elmer Kohala Lim (with the Lim Family), Kuulei Ahuna and Abe Keala (with Da Blahlas)

VIDEO DOCUMENTARIES1. LEDWARD KAAPANA & BOB BROZMAN IN CONCERT (Vestapol) – To order, contact Vestapol Videos at 973-729-5544 (phone),

973-726-0568 (fax) or www.guitarvideos.com2. GABBY PAHINUI, FAMILY & FRIENDS/THE PAHINUI BROTHERS – Video documentary on the late founder of the modern slack

key era. Available from Panini Records or www.mele.com

Four documentaries by Eddie & Myrna Kamae: (to order, contact Hawaii Sons, PO Box 8230, Honolulu HI 96830)3. THE HAWAIIAN WAY – About slack key guitar, featuring Led Kaapana, George Kuo, Ray Käne, Moses Kahumoku, George

Kahumoku, Jr., Eddie Kamae and the Sons of Hawaiçi, among others, including late slack key guitarists Gabby Pahinui, Fred Punahoa and Manu Kahaialii

4. SONS OF HAWAII - About the Hawaiian music group the Sons of Hawaii, which included Gabby Pahinui, Eddie Kamae, Joe Marshall and David "Feet" Rogers

5. LISTEN TO THE FOREST – About the Hawaiian rainforests, with slack key by George Kuo & Led Kaapana6. LIçA—THE LEGACY OF A HAWAIIAN MAN – About the late violinist Sam Liça, with slack key by George Kuo

7. KÏ HÖçALU—THAT'S SLACK KEY GUITAR – Documentary by Susan Friedman, featuring performances by Ray Käne, Sonny Chillingworth, Leonard Kwan, Led Kaapana, George Kuo, George Kahumoku, Haunani Apoliona and others

8. PANIOLO O HAWAII—COWBOYS OF THE FAR WEST – Beautiful documentary by Edgy Lee; soundtrack includes live perfor-mance of Whee Ha Swing by Led Kaapana. Available at Borders Books & Music stores; or contact Filmworks at 808-537-6813 (phone), 808-537-9272 (fax), ponyyup@aol.com

9. TROUBLED PARADISE - Documentary by Stephen Okazaki with performances by several artists, including slack key guitarists George Kahumoku, Jr. and Dean Kaahanui. Audio soundtrack is available on Flying Fish Records*

10. HAWAIIAN RAINBOW - Documentary by Robert Mugge with performances by several artists, including slack key guitar by Ray Käne. Audio soundtrack is available on Rounder Records

11. ACT OF WAR – THE OVERTHROW OF THE HAWAIIAN NATION - Brilliant historical video about the overthrow of Queen Liliçuokalani, also the greatest composer of her time, by Puhipau and Joan Lander. Soundtrack contains slack key guitar by Peter Moon, including a solo minor-key version of Kaulana Na Pua and a beautiful Queen's Jubilee. To order, or for more educational videos on Hawaiian culture, contact Nä Maka O Ka çÄina, PO Box 29, Näçälehu, HI 96772-0029, 808-929-9659 (phone), 808-929-9679 (fax), namaka@interpac.net, www.namaka.com

INSTRUCTIONAL VIDEOS1. Keola Beamer: THE ART OF HAWAIIAN SLACK KEY GUITAR (Homespun) – Includes tablature. Available from Homespun

Tapes, PO Box 694, Woodstock, NY 12498, 800-33-TAPES (phone), 914-246-5282 (fax), www.homespuntapes.com

2. Led Kaapana: THE HAWAIIAN SLACK KEY GUITAR OF LEDWARD KAAPANA (Homespun) – Taught by Led Kaapana and hosted by Bob Brozman. Available from Homespun Tapes

3. Ray Käne: THE SLACK KEY SECRETS OF RAY KÄNE (Lone Tree Productions) – Order from Lone Tree Productions, 98-1277 Kaahumanu

St, Ste PP303, Aiea, HI 96701SLACK KEY GUITAR (KÏ HÖçALU) INSTRUCTIONAL VIDEO – To order contact: Ray and Elodia Käne, 89-103 Haleakala Ave.,

Waiçanae, HI 96792

INSTRUCTION/MUSIC BOOKS1. Ozzie Kotani: GUITAR PLAYING HAWAIIAN STYLE (Mel Bay Publications) [Beginning & Intermediate] – In tablature notation,

with accompanying CD. To order call 800-8-MELBAY

2. Keola Beamer: KEOLA BEAMER TEACHES HAWAIIAN SLACK KEY GUITAR (Homespun Tapes, distributed by Hal Leonard) – Available from

Hal Leonard, PO Box 13819, Milwaukee, WI 53213, www.halleonard.comLEARN TO PLAY HAWAIIAN SLACK KEY GUITAR (Mel Bay Publications) – By Keola Beamer and Mark Nelson; 160 page book

with CD. To order call 800-8-MELBAYHAWAIIAN SLACK KEY GUITAR (Oak Publications – out-of-print) [Beginning & Intermediate] – An extended version of the

FIRST METHOD FOR HAWAIIAN SLACK KEY GUITAR book, with accompanying flexi disc recording

*not available on compact disc Page 11

3. Daniel Ho & Steve Sano: SECRETS OF CONTEMPORARY SLACK KEY GUITAR (Alfred)

4. Leonard Kwan: SLACK KEY INSTRUCTION BOOK (Tradewinds Publications) [Advanced] – Available from Elderly Books, PO Box 14210, Lansing, MI 48901, 517-372-7890 (phone), 517-372-5155 (fax) (from Catalog #92B-2)

5. Various Artists: MASTERS OF HAWAIIAN SLACK KEY GUITAR (Accent on Music) - By Mark Hanson; Includes songs by Ray Käne, Sonny Chillingworth, Leonard Kwan, Cyril Pahinui, Led Kaapana and more. To order call 800-313-4406 or vist www.AccentOnMusic.com

5. Mikaçele Mike McClellan: AN ADVANCED WORKBOOK FOR THE HAWAIIAN SLACK KEY GUITAR – To order contact Mikaçele Mike McClellan, 22283 Cass Ave., Woodland Hills, CA 91364, 818-999-3129 (phone)

6. Ronald J. K. Loo: HE KALANA KÄKAU KÏ HÖçALU, HELU çEKAHI (A SLACK KEY NOTEBOOK, NO. 1) [beginning], also NO. 2 [intermediate] and NO. 3 [advanced] – Includes cassettes; to order contact Pila Nahenahe, 2325-A Liliha St., Honolulu, HI 96817, 808-239-4281 (phone), www.geocities.com/SunsetStrip/Arena/7009

7. Yuki Yamauchi: SLACK KEY TUNINGS FOR GUITAR (Japanese language publication) [Intermediate] – To order contact Yuki Yamauchi at 40-11 Shimizucho, Itabashi-Ku, Tokyo, Japan 174

8. Ray Käne: “PUNAHELE”—HAWAIIAN SLACK KEY GUITAR (out-of-print, a new book is tentatively to be issued) – By Ren Tava. Individual transcription (including tablature and standard notation) of this song is available from Stropes Editions, Ltd., 1132 Lake Ave., Racine, WI 53403-1925, 414-636-9910 (phone), 414-636-9911 (fax), www.stropes.com

SLACK KEY GUITAR LESSONSIn Hawaiçi:1. Ozzie Kotani: Private lessons when schedule permits. Ozzie can also offer further information and referrals for slack key

lessons in the Hawaiian Islands: 2401-B Pauoa Rd., Honolulu, HI 96813, 808-536-8734 (phone)

2. Walter Carvalho: Offers private lessons when schedule permits: 808-254-4643 (phone)

3. George Kahumoku: Teaches a Hawaiian slack key guitar workshop in Napilli, on the island of Maui, during the second week in June. For more information, visit www.kahumoku.com or email George at george@kahumoku.com

4. Hal Kinnaman: Offers private lessons on the island of Kauai when schedule permits. Contact him at Slack Key Productions, PO Box 635, Kalaheo, HI 96741, 808-335-0322 (phone)

5. Ronald J. K. Loo: Offers private lessons as his schedule permits: 808-239-4281 (phone)

6. Farrington High School Adult Education: On the island of Oçahu, offers slack key guitar classes: 808-832-3596 (phone)

7. University of Hawaiçi at Manoa: College of Continuing Education, on the island of Oçahu: 808-956-8400 (phone )

8. Windward Community College: On the island of Oçahu, offers slack key guitar classes: 808-235-7400 (phone)

On the Mainland:9. Stanford University Dept. of Music: Stephen Sano teaches a seminar titled “Kï Höçalu: The New Renaissance of a Hawaiian

Musical Tradition” that is part lecture/discussion and part practicum: 650-723-3811 (phone)

10. Mikaçele Mike McClellan: Offers workshops and classes in slack key guitar in the Los Angeles area: 22283 Cass Ave., Woodland Hills, CA 91364, 818-999-3129 (phone); or through McCabe's Guitar Shop, 3101 Pico Blvd, Santa Monica, CA, 310-828-4497 (phone)

11. Bill Haumana Raissle: Offers workshops and classes in slack key guitar, Ray Käne style, in the San Antonio, Texas area. Contact at P.O. Box 1061, Spring Branch, Texas 78070, or by phone at 830-438-8370, or by email at braissle@att.net

SEEING SLACK KEY GUITAR LIVE1. Slack key concert tour information sources:

a. Hawaiian Music Island's website, www.mele.com, has worldwide Hawaiian music concert informationb. Dancing Cat lists concert information for its artists at www.dancingcat.com/dancingcat/slack-tour.shtmlc. The quarterly Kapalakiko Calendar lists most mainland Hawaiian concerts (See NEWSLETTERS/INTERNET SITES section)

2. Slack key guitar festivals: The annual Hawaiian Slack Key Guitar Festival is held in Honolulu on the island of Oçahu every third Sunday in August. An hour-long program is usually broadcast on local television in September. Other annual slack key festivals take place in Kailua-Kona on the Big Island, Maui, Kauai and occasionally on some of the outer islands. For information, visit www.hawaiianslackkeyguitarfestivals.com or contact Ka-Hoku Productions: 808-239-4336 (phone), 808-239-6053 (fax), kahokuproductions@yahoo.com

3. On the island of Oçahu:b. The Waikiki Beach Marriot Resort features live slack key guitar (especially Martin Pahinui, George Kuo and Aaron Mahi on

Sundays from 6-9 p.m.) and Hawaiian entertainers: 2552 Kalakaua Ave., Honolulu, HI 96815, 808-922-6611 (phone)

4. On the island of Maui: Live slack key can be seen regularly at the following locations on the Island of Maui:a. Villa Restaurant and pool-side at the Westin Maui Hotel, 2365 Kaanapali Pkwy., Lahaina, HI 96761, 808-667-2525 (phone)b. The Mauian in Napilli: 808-669-6206 (phone)c. The Hula Grill in Kaanapali, 808-667-6636 (phone)

5. On the island of Kauaçi: The Hanapepe Cafe in Hanapepe, a gourmet vegetarian restaurant, hosts live slack key regularly (especially Cindy Combs): 808-335-5011 (phone)

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6. On the Big Island of Hawaiçi: John Keawe plays regularly at the following locations:a. Kona Village Resort's Bora Bora Room on Mondays from 6 to 9:30 p.m.: 808-325-5555 (phone)b. Lava Lounge in the Four Seasons Hualalai Resort on Tuesdays from 6:30 to 9:30 p.m.: 808-325-8000 (phone)c. Bamboo Restaurant in Hawi twice a month from 6:30 to 9:30 p.m.: 808-889-5555 (phone)d. King's Shops in Waikoloa every other Sunday from 4 to 6 p.m.: 808-886-8811 (phone)

HAWAIIAN MUSIC ON THE RADIO1. Oçahu: In Honolulu, KCCN (1420 AM) (also reaches parts of Kauaçi and Maui)/KINE (105.1 FM) – listen to TERRITORIAL AIR-

WAVES on Sunday evenings at www.hawaiian105.com; and KIPO (89.3 FM)/KIFO (1380 AM) (Honolulu's public radio station) – listen to Keith & Carmen Haugen's program THE MUSIC OF HAWAII on Sunday afternoons at www.hawaiipublicradio.org

2. Big Island: In Hilo, KAHU (1060 AM) and KWXX (94.7 FM) at www.kwxx.com

3. Kauaçi: Kauaçi Community Radio KKCR 90.9 & 91.9 FM at www.kkcr.org, and KUAI (720 AM) at www.kuairadio.com, where Cindy Combs, broadcasting as “The çUkulele Lady” on Wednesday through Friday from 9 AM to 2 PM, has many musician guests from around the Islands

NEWSLETTERS/INTERNET SITES1. TaroPatch.net – www.taropatch.net: Information about learning slack key, links to other slack key resources, and a message

board for announcements and discussions about slack key

2. Hawaiian Music Island – www.mele.com: Sells Hawaiian music, plus has information on upcoming slack key and Hawaiian music events worldwide

3. Stevo's Hawaiian Music Guide – www.hawaii-music.com: Extensive index of Hawaiian music information available on the web including: music sources, concert schedules, radio shows, artist websites and more

4. www.alohaplentyhawaii.com: A great web site for Hawaiian music and slack key

5. www.broadcast.com: Listen to Hawaiian CDs online. From home page, click CD Jukebox button, click Search Jukebox and search under “Hawaiian”

6. Kapalakiko Calendar: The definitive quarterly calendar of all notable Hawaiian events, available from Kapalakiko Produc-tions for a $10 per year. Contact Saichi Kawahara, Editor, at 800 Meade Ave, San Francisco, CA 94124, 415-468-7125 (phone)For individual artist websites, see musician's listing in the Recommended Recording section.

DANCING CAT SLACK KEY GUITAR MAILING LIST To be on the Dancing Cat slack key guitar mailing list and receive information on upcoming album releases, write to Dancing Cat Records, Dept. SK, Box 639, Santa Cruz, CA 95061. For extensive information on our releases and song samples, visit our website at www.dancingcat.com

Notice: Dancing Cat is trying to locate a 78-rpm record by William Namahoe called SERENADE OF THE STRINGS (49th State #131). If you have any information, please contact Claire Green, phone 831-429-5085, or email ml@dancingcat.com to Claire Green's attention.

©Dancing Cat Productions, Inc. P.O. Box 639 Santa Cruz, CA 95061 www.dancingcat.com

This booklet is an abbreviation of the first two of eight sections of a Hawaiian slack key information book, which is available on Dancing Cat's website at www.dancingcat.com.