Tag Archives: kailua kona

LIVE 084 • Kaiminani Slack Key

Here is an original slack key song I named for Kaiminani Drive in Kalaoa, North Kona, on the Big Island of Hawaii. Kaiminani Drive is a main mauka-makai road that connects the Queen Kaahumanu and Mamalahoa highways (lower and upper roads, respectively). It also runs through the Kona Palisades neighborhood where I lived for a number of years as a child. Back then, the neighborhood was less developed, and my friends and I would build tree houses and play in the vacant lots. We could also watch the planes come and go at Kona International Airport at Keahole Point (KOA), and had easy access to then-uncrowded OTEC (Wawaloli) and Pine Trees (Kohanaiki) beaches. Hope you enjoy.

Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.

LIVE 080 • Punahoa Special (Live at Hawaii Island Slack Key Festival)

Here is a live version of “Punahoa Special” from 2007 (apologies for the camera work :-). This is a song I was fortunate enough to learn directly from Led Ka’apana, one that Led had in turn learned directly from his uncle Fred Punahoa. Though Fred never made a full album, he did make a notable appearance on the Waimea Music Festival album and fostered amazing talents of the next generation such as Led and Sonny Lim. This is an often covered song in the slack key world, and might also be the most popular song in Mauna Loa slack key tuning. Hope you enjoy.

Recorded with a Taylor 310ce live at the 25th Annual Hawaiian Slack Key Guitar Festival “Kona Style,” at the Sheraton Keauhou Bay Resort in Keauhou, Hawai’i 9/2/07.

LIVE 057 • Wake Up Slack Key

Wake Up Slack Key (also known as Ho’ala Ki Ho’alu) was one of the first slack key style songs I wrote. It stayed in my set for a number of years, though I haven’t played it much lately. This demo was an early version of the song recorded not long after I bought my first Taylor on eBay, a 310ce that became my main guitar for 9 years. This take among the others in my archive really captures the spirit of the tune. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) in Kailua-Kona, Hawai’i, 5/13/06.

LIVE 061 • New Day

Here’s a demo of a song I wrote on electric guitar a while back. Then, as now, I played and recorded mostly acoustic fingerstyle tunes. This is one of a relatively few demos I made on electric guitar from that period in time. Hope you enjoy.

Setup is a late 90’s Fender Jimmie Vaughan Stratocaster, through a Keeley tubescreamer (either a TS9 or a TS808) into a 1968 Fender VibroChamp. Recorded in Kailua-Kona, Hawaii on 5/3/06.

LIVE 056 • Sunday Slack Key (steel string guitar)

I originally wrote Sunday Slack Key as a single string melody, using fretted notes on only one string (and the other strings only open). Playing the melody on only one string is a concept I picked up at a jazz guitar clinic – I seem to remember Tal Farlow or Jim Hall proposing the idea as a means for chord melody – and the idea can be useful when arranging a fingerstyle song. Eventually I added a few fretted notes on some other strings, mostly to fill out the bass, yet the fretted notes of the melody remain mainly on one string. The name for the song came to me on a simple, relaxed Sunday, and seemed appropriate. This version of the song was recorded about five years after I wrote it and reflects a few modifications to earlier incarnations. Hope you enjoy.

Recorded at Goldsmith Studios in October, 2011, with a Taylor 310 (Elixir Polyweb medium gauge set) and a pair of Rode NT-5 microphones.

LIVE 055 • Sunday Slack Key (early version, nylon string guitar)

I originally wrote Sunday Slack Key as a single string melody, using fretted notes on only one string (and the other strings only open). Playing the melody on only one string is a concept I picked up at a jazz guitar clinic – I seem to remember Tal Farlow or Jim Hall proposing the idea as a means for chord melody – and the idea can be useful when arranging a fingerstyle song. Eventually I added a few fretted notes on some other strings, mostly to fill out the bass, yet the fretted notes of the melody remain mainly on one string. The name for the song came to me on a simple, relaxed Sunday, and seemed appropriate. This is an early version of the song recorded not long after I wrote it. Hope you enjoy.

Recorded with a nylon string guitar in Kailua-Kona, Hawai’i, 6/01/06.

LIVE 052 • Kona Snow

Kona Snow is another improvisatory piece recorded for my “Awake Again” project, which included a handful of songs that were connected by mostly shorter and improvisatory ‘transitions’ such as this. This song is named for the early spring blooming of the coffee trees on the slopes of Hualalai. People merrily dubbed the effect of white blossoms covering row after row of coffee trees “Kona Snow.” At the time I recorded this song, I was living next to a coffee orchard in Holualoa, Hawaii, just mauka of Kailua Kona. The setting amidst a wonderful agricultural tradition over a century old inspired me probably more than I knew at the time. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM 141 microphones in Holualoa, Hawai’i, 6/20/09.

LIVE 045 • Transition One (3/16/09)

Here is an improvisatory piece recorded for a project I had a few years back. The idea behind the project, called “Awake Again,” was to have a handful of songs that were connected by mostly shorter and improvisatory ‘transitions’ that would act as both glue and palette cleanser between the slightly more structured songs. The wallpaper shows me with my old Taylor 310ce that I used to record this song. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM 141 microphones in Holualoa, Hawai’i, 3/16/09.

LIVE 044 • Makalawena – Slack Key Guitar

I named this seemingly easygoing yet still restive song after a charmingly beautiful and relatively isolated beach on the Kona Coast. Makalawena is part of that long stretch of white sandy beaches you see right before landing at Kona International Airport at nearby Keahole Point. The beach is generally accessible via a short hike from the neighboring Mahaiʻula Bay section of Kekaha Kai State Park. I remember camping out at Makalawena as a kid, exploring the rare anchialine ponds with their delicate red shrimp, and swimming in the waters of the bay. Today still, the neighboring marsh is a protected nesting ground, home to rare birds such as the Hawaiian coot. The song’s bridge seems to capture the strange sense of converging energies that I feel in special places such as these. Hope you enjoy.

Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.