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From HAWAIIAN MUSIC
AND MUSICIANS, AN ILLUSTRATED HISTORY, edited by George S. Kanahele,
The University Press of Hawai`i, Honolulu, 1979 (Out of
print):
Page 186:
"This tour (to
Japan) triggered a series of annual tours over the next
decade: ... Varoa Tiki, Nani Lee, and Herbert Ohta in
1968... Since these visiting stars also used local bands,
Japanese musicians benefited greatly by listening and learning from
them. (During the early 1960s the cost of travel to Hawai`i
was prohibitive for most Japanese.) Hawaiian music fans in
Japan regarded these concerts as obligatory, of course, and
patronized them well."
Page 204:
"As the premier
'ukulele virtuoso, (Eddie) Kamae revolutionized the traditional
method of playing the 'ukulele. He transformed it from a lowly
semimusical rhythmic instrument with limited capabilities into a
major instrument with almost unlimited potential. His
influence will continue through his students, one of the greatest of
whom is a virtuoso in his own right, Herb Ohta."
Page 333:
As the 1970s wand, the
number of new labels increased and one of the immediate leaders was
Poki Records, started in 1974 by the energetic and indefatigable
Bill Murata (and named for his dog -- "just like Victor and His
Master's Voice").
...
One of the
better-financed operations to emerge in the 19702, Poki/Pumehana
started with Genoa Keawe, an album of hula instrumentals by Herb
Ohta under the name "Poki-san," and an album by Kaupena
Wong and Pele Pukui."
Page 406:
"His (Eddie
Kamae's) greatest student, Herb Ohta, believes Kamae has
revolutionized the playing of the 'ukulele, transforming it from a
rhythmic accompaniment to a major musical instrument of almost
unlimited solo potential."
Page 407:
"Today the man most
clearly identified with the 'ukulele as a solo instrument is the
former (Eddie) Kamae protege, Herb Ohta.
Although not yet an
innovator like Kamae and (Kahauanu) Lake [this was said way back in
1979 and since, Ohta San is very much an innovator], Ohta is the
consummate technician. He plays with absolute clarity, never
slurring a note, and articulating each chord and stroke. While
the Ohta sound is distinctive, he has yet to develop a style of the
kind that distinguished (Jesse) Kalima, Lake, or his teacher [of
course, this is no longer true, as Ohta style is distinctly his
own].
He is, however, the most
productive 'ukulele virtuoso, perhaps, of all time, with over 10
albums [now over 60] of 'ukulele music (most of them non-Hawaiian).
Today the 'ukulele still
has a tremendous following in Hawai`i. Enthusiasts have formed
clubs and all-'ukulele bands and every year an "international"
'ukulele festival is held in Honolulu. The instrument is
taught in the schools of Hawai'i and occasionally one may hear
massive demonstrations of hundreds of 'ukulele-strumming students
performing in unison. The best 'ukuleles are made in Hawai`i
and so are some of the world's best players."
* This is a
not-for-profit educational web page. Materials on this web page are
to be used for private study, scholarship, research, or educational
purposes only.
~~~
>> "Talking
Story with Ohta San" at His 'Ukulele Workshop, LA
>> More
on Ohta San
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Master of the 'Ukulele, Ohta San
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