Acacia Improv is an outtake of some improvisation done one day while I was recording “Acacia Just Noticed.” That song as well as this short little improv were meant to highlight the koa guitar’s warm low-mid tone with a touch of sparkle in the treble register, to bring out the characteristic warmth and sweetness of the wood. Hope you enjoy.
Recorded with a Taylor K22ce (solid koa grand concert with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 103 microphone.
Acacia Just Noticed came to me one day while improvising on my koa guitar. Once aged a little, koa (part of the Acacia family, thus the titular play on words) imparts a warm low-mid tone with a touch of sparkle. Sometimes, depending on how you’re playing, koa can be a little thin and bright, but here I’m playing without a pick and using part of the pads of my fingers to soften things up – especially useful with some of the snappy parts here. Along with that, I feel like the the two sections of this song are played in registers that particularly lend themselves to bringing out warmth and sweetness of koa. The overall combination of these elements melds together in a way that I felt made the wood shine through, thus the nod in the title. Hope you enjoy.
Recorded with a Taylor K22ce (solid koa grand concert with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Line Audio CM4 small diaphragm condenser microphone.
Here is another version of the Ray Kane classic “Keiki Slack Key” I recorded on my Taylor 412ce-R steel string guitar. Keiki Slack Key (not to be confused with the Sonny Chillingworth song of the same name) is one of the first slack key songs I transcribed, and has stayed on my setlists ever since. To me, Ray Kane is probably the best example of an ‘old style’ slack key player, and his tracks are always nahenahe. Hope you enjoy.
Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) a Neumann TLM 102 microphone in Honolulu, Hawai’i.
I used to take a guitar to sit and play some slack key at beaches around Kailua-Kona like Old Airport, Honl’s, Kahalu’u, Keauhou Bay, and La’aloa Beach Park… which is also known locally as White Sands, or Magic Sands. La’aloa Beach Park is just off Ali’i Drive a few miles South of Kailua-Kona. Often known as Magic Sands because the sand ‘disappears’ practically overnight from most of the shoreline during winter swells, only to fully ‘reappear’ in the Summer, the beach is a popular spot for residents of Kona. I often used to head over there with a cup of Kona coffee in the early morning before the crowds arrived, when it was still quiet, and sit on the picnic tables and play guitar. Here is a slack key style tune I wrote one day while hanging out with my guitar around Magic Sands. Hope you enjoy.
Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 102 microphone in Honolulu, Hawai’i. Music by Nick Borho, all rights reserved.
Like many, my first exposure to Cyril’s solo recordings came through his amazing albums recorded for the Dancing Cat label, including the “6 & 12 String Slack Key” album on which “Young Street Blues” is featured. This particular song was highlighted for me in Mark Hanson’s excellent book of slack key transcriptions, which featured this among other songs by Cyril and other slack key legends.
The liner notes to the album tell a story of Cyril writing the song at a recording studio on Young Street in 1991. I seem to recall another story, told by Cyril at a performance, about Cyril living in an apartment on Young Street and feeling kind of restless. Young Street, starts (or ends) in Honolulu’s Mo’ili’ili neighborhood, running between King Street and Beretania, through Makiki, to Thomas Square Park near the Honolulu Museum of Art. I recall Cyril talking along the lines of how Young Street was sandwiched between these prominent streets and landmarks in a kind of limbo, being neither here nor there. I think the song (and ‘that note’) speak to such a restless vibe… but also a sense of playfulness.
Unusually for his solo work, Cyril uses Taro Patch tuning – the most common slack key tuning, but not one featured as often as the C and D tunings Cyril favored. Cyril’s style is at once both muscular and nuanced, with deep tunings and sometimes the added jangle of a 12 string guitar – it’s a ‘large’ sound. I tried to capture that feel here by tuning down to a lower register. This song was fun to play and record. Hope you enjoy.
Recorded with a Taylor K22ce (solid koa grand concert with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Telefunken M60 small diaphragm condenser microphone.
Here is another version of the Ray Kane classic “Keiki Slack Key” I recorded on my Taylor 414ce-NR nylon string guitar. Keiki Slack Key (not to be confused with the Sonny Chillingworth song of the same name) is one of the first slack key songs I transcribed, and has stayed on my setlists ever since. To me, Ray Kane is probably the best example of an ‘old style’ slack key player, and his tracks are always nahenahe. Hope you enjoy.
Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and a Neumann TLM 102 microphone.
From the vaults, here is an old recording of a slack key medley performed during an informal kanikapila at what was then the Sheraton Keauhou Bay Resort Hotel (it has since changed hands from Sheraton). The medley starts out with a rendition of Little Grass Shack, followed by the classic Pua Tuberose. Hope you enjoy.
Here is a version of the classic Johnny Noble song “Hula Blues” recorded on nylon string guitar. Hula Blues is a steel guitar and slack key staple – a quick check of my iTunes library shows over a dozen versions by everyone from Sol Ho’opi’i to Sonny Chillingworth, Led Ka’apana, Leonard Kwan, Bobby Ingano, as well as separate versions from Gabby Pahinui and his son Cyril. This song is fun to play and captures a certain energy that many find appealing. Hope you enjoy.
Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.
“Meadows” is a slack key song I wrote during a full moon in Kailua-Kona. I think the song was influenced by the night air and night sounds – the occasional chirp of geckos, the distant sounds of traffic on Mamalahoa Highway and the waves in the ocean. Hope you enjoy.
Recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and a Neumann TLM 102 microphone.
Here’s a recently found recording where I’m improvising some ideas around Leonard Kwan’s classic slack key song Opihi Moemoe. One of the most popular songs in the slack key repertoire, this song has been covered by everyone from Ledward Kaapana to Chet Atkins. Opihi MoeMoe is a fun piece that lends itself well to improvised variations, and everyone seems to bring something a little different to this deceptively simple song. Hope you enjoy.
Recorded with a Taylor K22ce (solid koa grand concert with Elixir HD Light gauge set) and an Ear Trumpet Labs “Edwina” microphone.