imply put, Daniel Ho is one of the Music Album, Pop Instrumental Album, and most prolific and successful musi- (now-defunct) Hawaiian Music Album cate- cians Hawaii has ever produced. Born gories. He has also been a multiple winner at and raised on Oahu, he has spent most of his the Na Hoku Hanohano and Hawaii Music adult years living in the Los Angeles area, Awards (for everything from Studio Musician but the Islands have always exerted a strong of the Year to trophies for Inspirational/Gos- influence on his creative life, even when he pel Album, Slack Key Album, Folk Album, wasn’t playing explicitly Hawaiian music. New Age Album, even Best Liner Notes!), and Consider this seriously abridged recitation also at Taiwan’s Golden Melody Awards. He’s of some of his career highlights: written and published 14 music and instruc- In his early 20s, after studying music the- tional books, performed with the Honolulu ory and composition at the Grove School of Symphony, and toured the world as a solo Music in L.A. and then at the University of artist. Hawaii on Oahu, the gifted multi-instrumen- The past few years have been remarkably talist—he had already studied organ, ukulele, productive for this tireless artist: There are classical , and classical piano by the his instrumental, production, composition, time he started high school—became a song- and arrangement contributions to a pair of writer/arranger and then keyboard player extraordinary discs featuring music and for the popular L.A.-based commercial jazz players from Mongolia (2017’s Between Sky & band Kilauea, a fixture on the contemporary Prairie) and (the 2019 release Embroi- jazz charts through much of the 1990s. In the dering Melodies); plus the exciting debut of a late ’90s he began to dive deeply into his new, 50-minute stage production he con- Hawaiian roots, starting his own indepen- ceived called Pineapple Mango: Hawaiian dent record label, Daniel Ho Creations, which ‘Ohana, for which he wrote the music, co- has released more than 100 acoustic and wrote the lyrics, and also performs in the “Hawaii–themed” albums to date, featuring a lead role! Oh, and for the last several years slew of top Hawaiian musicians (and others). he’s been collaborating with Southern Cali- He has 18 solo albums to his credit, most fornia–based luthier Pepe Romero Jr. on a centered on ukulele and/or slack-key guitar line of Romero Creations ukuleles, which (he also is an excellent pianist), and has pro- have been rapturously received. duced more than 50 recordings for others, The ukulele has no better promoter today often lending his own wide-ranging musical than Daniel Ho. “I love the ukulele,” he told skills to those works. He is also involved in Making Music magazine a couple of years the creative design, production, and market- ago. “I can take it everywhere. It’s a way to ing of DHC products. have music with you all the time.” Along the way Ho has amassed 11 Recently, we caught up with the perenni- Grammy nominations—six wins—for pro- ally busy Ho and asked about this spate of duction and/or performance in the World cool recent projects.

HAWAII’S GREATEST CONTEMPORARY MUSICAL AMBASSADOR TALKS ABOUT HIS NEW ‘UKULELE MUSICAL,’ RECENT FORAYS INTO WORLD MUSIC, THE UKES HE PLAYS, AND MORE

BY BLAIR JACKSON

14 Spring 2020 LYDIA MIYASHIRO-HO PHOTO You describe your new stage show, Pineapple ukulele to accompany my dad as he played ensemble that surrounded me—Kumu Mango: Hawaiian ‘Ohana, as a “ukulele musi- guitar and sang. I thought doing all the Keali’i Ceballos and the members of Halau cal.” Can you tell me a bit about what inspired music on ukulele would be a novel idea. Hula Keali’i o Nalani. It will have a lasting you to tackle this new (to you) entertainment I play my spalted mango Tiny Tenor, we effect on how I present my songs going for- form and what went into its creation? have an ST Concert that the characters Faith ward, knowing that there is so much more I Anne O’Neal, a documentary producer, had and Ray Kai play in a couple of scenes, Randy can do to connect with audiences and con- been filming my various productions and Drake plays the Bongolele and Shakerlele in vey emotions through music. performances for months before realizing his percussion set, and Steve Billman plays that she needed a central theme to give the the Ohana bass ukulele. I used the AKG What has the reaction been to the musical so documentary coherence. She wanted to fol- DMS300 wireless system for my ukulele so I far? Did the process of actually performing low a project through from conception to could move freely around the stage. onstage in front of an audience lead to any revi- completion, and to capture the successes sions/changes in the music or “book”? and obstacles along the way. I learned that Of course, you are a multi-instrumentalist, not We did three full-house performances at her husband, Sam, is a TV writer. And born just a uke player. On what instrument did you The Broad Stage in Santa Monica—two stu- was the idea to take on a dream of mine compose most of the songs/music? dent matinees for children from nearby since high school: the making of a musical. I co-wrote all of the music with my friends school districts, and a sold-out show for I had no idea how much was involved in Amy Ku‘uleialoha Stillman (who wrote the the public. The response was very positive. this multi-dimensional art form. Crafting Hawaiian language songs), Faith Rivera, It connected with the audience in many every second of dialog, choreography, Hope Mayo, and Siena Lee. I usually come up ways and the consensus was that it ought music, staging, and lighting is a monumental with melodies in my head and use ukulele, to be performed much more. Parts of the endeavor, but it is only the first step. To con- piano, or guitar to find harmonies. Many of story were quite emotional, and people vincingly present every aspect in real time the songs were written with ukulele, as I tend said they were moved and even cried before a live audience requires a dedicated to have one with me all the time. because they could relate to what the char- team, numerous rehearsals, adjustments, acters were going through. concentration, and a bit of adrenaline. In Did you have any trepidation about appearing All of the revisions were made during addition to the 22 performers on stage— in it yourself? After all, acting is a completely rehearsals and the show was locked in the cast, ensemble, and band—there were many different world than writing and performing final week leading up to the performances more backstage who had equally important music. Were you nervous? to allow us time to memorize our lines and roles in lighting, sound, and production. My original role in the production was staging. The result was an endearing story music director. I thought it would be fun to with ups and downs about family, persever- How does the ukulele figure into the story and have a bit part, but when the person we had ance, and believing in oneself, with the music? And what ukes are you playing in mind for the lead didn’t work out, the mini-lessons in ukulele, Hawaiian language, onstage? director asked if I would do it. So, I was actu- and hula woven throughout. I am always searching for something unique. ally not first choice, but I’m always game to On a molecular level, it could be a chord try something I’ve never done before! What are your aspirations for it? More perfor- voicing I’ve never used before, or altering The interactive, emotional nature of act- mances? Perhaps a “soundtrack” album? one melody note to add interest, or simply ing is a performing experience unlike I hope to continue performing Pineapple paying attention to the spaces between the anything I’ve ever attempted onstage. It is Mango: Hawaiian ‘Ohana at performing notes. On a broader scope, the [Romero] vulnerable, but I felt safe, inspired, and sup- arts centers, schools, ukulele festivals, and Tiny Tenor ukulele and [Ohana] Bongolele ported by the super-talented cast and wherever we can. I am an advocate for and Shakerlele—all of which are keeping music in classrooms and I would used in the musical—contribute in love to present the musical as a fundraiser function and aesthetics to my sound to launch ukulele programs at schools. It and identity as an artist. These are ‘OUR GOAL WAS would be a fun and effective way to all lessons I learned along the way in announce the program to a community, my growth as a musician, and we TO INTRODUCE while raising money for instruments, books, address some of these moments in THE JOY OF and supplies. our 50-minute stage production. We collaborated with The Broad Stage The story, loosely based on my MAKING MUSIC and the Santa Monica Unified School Dis- upbringing, is set in the Kaimuki IN A FUN AND trict to create four lessons around Hawaiian area [of Honolulu] where I grew up. language and dance, creativity, social jus- Some of my earliest musical memo- EMPOWERING tice, and overcoming challenges, which ries include strumming chords on WAY.‘ DANIEL HO teachers shared with their students before

16 Spring 2020 Performers in Pineapple Mango: Hawaiian 'Ohana (L to R): Kehaulani Matsuura, Kanani Toji, Daniel Ho, Lika Hirakami, Keali'i Ceballos.

attending the musical. This way, the stu- albums The Original Collection and Aukahi album–selling rock stars in (Electric dents would have more to gain from the (Flowing Harmony). Island, Acoustic Sea) to deeply revered experience. Spanish legends (Aloha To help with classroom curriculum, I co- Let’s turn to your ambitious recent album pack- España). And most recently, to Suzhou, authored a one-year ukulele program for ages. On your latest, Embroidering Melodies, you China, to record the folk and theater art elementary school students called Ukulele dive deep into Chinese music with your own traditions of Pingtan and Kunqu (Embroi- at School [UkuleleAtSchool.com] with Dr. arrangements of traditional songs, as well as dering Melodies). Steve Sano. He is the Chair of the Stanford original pieces, using a combination of Chinese My main recording ukuleles are a hand- University Music Department and a ukulele instruments and your contributions on a variety made Pepe Romero [Jr.] tenor with aficionado. Our goal was to introduce the of Western instruments, from piano to requinto Brazilian rosewood back and sides and a joy of making music in a fun and empower- guitar to various ukuleles, including standard, spruce top, and the spalted mango Tiny ing way. My percussionist of 25 years, Randy baritone, and bass ukes. Can you talk about how Tenor. The DHo Six String is a baritone uku- Drake, PhD, also wrote a Bongolele and the ukes are used on the album and what spe- lele with a Tiny Tenor body shape. It has a Shakerlele rhythm book for the Ukulele at cific models you employed? 21-inch scale and is tuned exactly like a gui- School program that precedes the ukulele It has been a pure delight to weave ukulele (E A D G B E), but I use mine in the G method by teaching rhythm. It uses the into my world music projects. I’ve met Kilauea tuning (D G C G B E). The bass uku- same repertoire, so students can play many people in my travels who had previ- lele I used on this album is an Ohana together, foster friendships, and build a ously not seen or heard the instrument, OBU-22. sense of community. and it is fascinating to introduce its voice We designed the musical to be scalable, to indigenous instrumentations and vari- What does a bass uke contribute to the sound so it can be performed with a full ensemble ous genres. It has been embraced by that a more conventional bass guitar would not? or pared down to a core group of five—in collaborators that range from Taiwanese The acoustic tone and ADSR—attack, decay, which case I play all of the music on uku- aboriginals (On a Gentle Island Breeze; To sustain, and release—of the Ohana OBU-22 lele—for smaller productions. & From the Heart) to Mongolian nomads matches the ukulele, acoustic guitar, and All of the songs in the musical are on my (Between the Sky & Prairie) to Platinum most plucked stringed instruments—,

LYDIA MIYASHIRO-HO PHOTO UkuleleMag.com 17 guzheng, sanshin, , tovshuur, doshpu- It’s interesting that you note that on “Peach songs, and harmonies are inspired by the luur, bouzouki—perfectly. I recorded and Blossoms” the 6-string baritone is in Kilauea emotions portrayed—happy, sad, conso- tested the prototype of my signature model slack-key tuning, and indeed there are moments nant, dissonant. OBU-22 in the studio last year, and I’m when a whiff of Hawaii comes blowing through The tessitura, or general range, of the excited that Ohana is debuting it at Winter as a result. Are there are other tunes that vocals and instruments are in the middle to NAMM in 2020. The new signature model is required non-standard guitar tunings? upper registers, so I would sometimes fill a pro version of their OBU-22, with a longer In my quest for unique guitar voicings, I cre- in the lower registers with my DHo Six scale for more sustain, abalone rosette, ated the G Kilauea tuning (D G C G B E) in String baritone ukulele or piano. new bridge, and pro setup. 1998 and have been using it for all of my fin- Of course, a full-scale electric bass gui- gerstyle playing ever since. It is a hybrid of When you were developing your arrangements, tar has a much longer sustain, similar to standard guitar tuning (E A D G B E) and the did you know from the beginning the full extent the low strings of a grand piano or an elec- most popular Hawaiian slack-key guitar tun- of which instruments you wanted for each song, tric guitar. When I use one in these ing, G Taro Patch (D G D G B D). The or did the process of recording them suggest to orchestrations, it’s a Yamaha TRB-5P elec- nahenahe [“sweet and gentle”] sound often you new or different things to add or subtract tric bass. associated with Hawaiian music is inherent from them? in this slack-key tuning. Every now and The pieces that had the most orchestral Are the harmonics at the beginning of “Water then, I may tune a string down on guitar to density were my originals, particularly Sleeves Waltz” from a regular uke, with the a lower pitch if a song or section calls for it. “Five Silken Threads” and “Water Sleeves bass then falling in? For the most part, I’ve always stuck to Waltz.” I love to experiment with unique Yes, I played those harmonics, which standard tuning on ukulele. instrument combinations, as well as melo- sound an octave higher, on my handmade dies, rhythms, and harmonies that are Pepe Romero tenor, then played the mel- The style of singing on this album is unique and foreign to a genre. ody in normal fingerstyle. I used a stereo quite different than most of what we in the West For example, “Five Silken Threads” was digital delay on the harmonics to create an are used to. How, if at all, did the range and inspired by the beautiful embroidery art- echo effect, scoring the movement of fall- drama of the vocals affect your arrangement work of Suzhou. Master artisans weave ing droplets of water. choices in terms of instrumentation and layer- subtle shades of color and shadows into ing of parts? cloth with detailed needlework and thread. When I listen to the uke line on a piece like My philosophy when presenting world From a distance it simply looks like a paint- “Mountain Pink,” I can almost hear the sound of music is to “frame” traditional art with ing, but a closer look reveals intricate an Asian plucked instrument. Are your lines musical elements that contribute but do layers of thread work. Musically, “Five transcriptions from passages that would likely not distract or alter. I create counter melo- Silken Threads” begins from a distance. be played on traditional Chinese instrument? If dies by embellishing motifs found in the The guzheng plays a simple melody in a so, what does the character of the meter of two. A recorder soon enters uke bring to the melody? and plays along in two, then evolves I used a technique called cam- into a polyrhythm of five over two. The panella to emulate a guzheng caxixi follows, suggesting a waltz-like [zither] or yangqin [dulcimer] feel in 3⁄4 time. The yangqin, with its on ukulele. Campanella is a dynamic dulcimer tone, introduces a bell-like technique where lin- syncopated accompaniment in five as ear passages are played on the bass ukulele establishes the har- adjacent strings instead of on monic foundation. Those five interlacing the same string. This allows instruments weave together in melodic the notes to sustain rather and polyrhythmic counterpoints, just than be cut off when the next as thousands of lovingly stitched pitch is played. I also echoed threads would to a masterful work of melodic themes of the tradi- embroidery. tional composition to create a thematic ukulele part. Last question about this project: How “live” Performing these traditional- were the sessions in terms of whether the sounding passages on ukulele instruments and singers were all playing at adds a twist to the otherwise once? Were most of your parts added later? familiar. The Kunqu and Pingtan songs were all

18 Spring 2020 recorded together in small groups, exactly capture my feelings at that moment— researching this the next time I’m back on as they normally perform them on stage. peaceful, excited, and grateful for this gift Oahu. I overdubbed my parts when I returned to of music, which had somehow brought me I have been so fortunate to work with Los Angeles. My original instrumentals to this majestic land only a stone’s throw Wind Music [a Taiwan-based record label] were just the opposite—I recorded my from Russia. I came up with a melodic on these world music collaborations. They tracks first, then overdubbed the Chinese theme that gently rippled, like the rolling are like family, and thanks to them, we have instruments during our recording sessions hills of the steppe. In contrast to the moun- made many new friends in far-off places and in Suzhou. tainous terrain of the Hawaiian Islands, the a lifetime’s worth of memories over the past Mongolian sky and prairie meet on a fairly eight years. Your previous transcultural album, Between the straight horizon. [See Ho’s ukulele tran- Sky & Prairie, with the Grasslands Ensemble, scription of this piece on page 24.] Now that we’re a few years down the line from visited a different culture and musical tradition Aloha España and you have had the chance to (though adjacent to China and sharing similari- I hope this is not an improper question, but is perform that music onstage with Pepe a num- ties) and also used the ukulele in different, but your own ethnic derivation as a Hawaiian from ber of times, what are your thoughts about that no less effective, ways. Can you talk a little Chinese ancestry, and if so, is that one reason fusion of Spanish music and Hawaiian instru- about the differences in approach between you have explored the traditional music of that mentation, and does it suggest there are other those two projects, and the challenges of inte- part of the world? classical avenues—not necessarily Spanish grating your skillset as a musician into each? I don’t identify too strongly with anything, ones—you’d like to explore with the ukulele? I feel most apprehensive when I embark on which is why I don’t have a tattoo [laughs]. I studied classical guitar for about five a new transcultural project, because I don’t I loved growing up in Hawaii and I enjoy years beginning when I was nine years old. know anything about the music and I am learning everything I can about my Chinese I have been a fan of Pepe Romero since not certain that I will be able to contribute heritage. I don’t even know where in China then and recording Aloha España was a anything of value. Our trips begin with a my ancestors are from, but I plan on dream come true and a high point of my few eye-opening days of dis- career. Although it is some of covery where we visit the most challenging music historic and scenic locations, I’ve ever played, performing and meet musicians, artists, with him is surreal—while I’m government officials, ethno- playing, I often smile to myself musicologists, and teachers because I can hardly believe as we dine together on local I’m on stage with him! cuisine. I avidly take in as I sincerely believe that the much of the sights, sounds, ukulele is as legitimate and and tastes as I can, always capable an instrument as any, imagining how these experi- and it fits comfortably in any ences could be reflected in musical setting. I’ve had the music. Gradually, songs reveal opportunity to produce a themselves to me, sometimes handful of chorale and orches- on the tour bus, sometimes tral works—Hadyn, Duruflé, scribbled on a hotel note pad. Brahms, Satie—and it makes The title song, “Between me realize there is still much the Sky & Prairie,” was writ- more that can be done to ten while riding in the back of expand the ukulele reper- an SUV through the grass- toire. I welcome any and lands of Inner Mongolia. In every opportunity to learn awe as we drove through an while exploring the ukulele’s endless expanse of blue and potential. green, I wondered to myself if Continued on page 22 there was a musical way to

With classical guitar giant Pepe Romero.

20 Spring 2020 I see you every year at NAMM with Pepe I’m also working with Doug Reynolds, I just published a new songbook called Romero Jr.’s line of ukes. Can you tell me how the producer of the Palm Springs and Reno Daniel Ho ‘Ukulele Instrumentals, which that collaboration has been going—the reac- Ukulele Festivals, on a concert series called contains instrumentals from five of my tion, changes you might have made along the & Ukuleles. We’ve presented duo recent albums—Ikena, Aukahi (Flowing way, plans you have for the future? concerts in Reno, Carson City, and Palm Harmony), Aloha España, Between the Sky I’ve been designing instruments with Pepe Jr. Springs with Muriel Anderson, Laurence & Prairie, and Embroidering Melodies— for about eight years and we still talk almost Juber, and the Makaha Sons’ Jerome Koko. written in tablature and notation. every day. He is steeped in tradition and It has been a wonderful opportunity to I also updated my Polani songbook this wide open to innovation—an unusual combi- interact with world-class guitarists. year, which is an exact transcription of the nation of traits. Romero Creations now has a Yamaha has just picked up Romero Cre- Grammy-nominated solo ukulele album. dozen models that Pepe Romero Sr., Pepe Jr., ations as their ukulele brand in Japan and and I have designed, with function and aes- made the Daniel Ho Ukulele Pack their offi- Last question: How often do you travel to thetics as our top priorities. It is exciting to cial recommended instrument for their Hawaii? I know there are many Hawaiians in see the instruments resonating with people, Yamaha schools nationwide. L.A.—are there also a lot of Hawaiian musi- and he is selling them as quickly as they I am also mixing and mastering cians living there? And do you tend to hang arrive in his warehouse. an orchestral project, the Duruflé out together? My philosophy about music has always Requiem [Op. 9], with the Grammy-nomi- I get back to the Islands around once or twice been to see a note through from beginning to nated St. Lawrence String Quartet and the a year. There are a lot of Hawaii transplants end—from composition to playing, singing, Stanford Chamber Chorale, conducted by in Los Angeles, but I don’t get a chance to recording, mixing, mastering, and graphic Dr. Steve Sano. hang out as often as I’d like to. U design. Designing instruments precedes this entire process. Now it begins with the tree, which is like writing a song with wood! Romero Creations Daniel Ho Signature STL Ukulele Pack

You certainly keep busy! I’m almost afraid to ask, but what other new projects do you have coming up in the next year or so? I just released an online ukulele course with Yamaha that starts from the very begin- ning—for someone who has never touched a ukulele—and covers everything I’ve learned about music, including improvisa- tion, classical compositional techniques, every chord you need to know to play any song, polyrhythms, etc. It is part of Yama- ha’s new Musician’s Creativity Lab series, which features Bob James teaching piano, Lee Ritenour teaching guitar, Billy Sheehan teaching bass, and Akira Jimbo teaching drums. [Website: musicians.online] Jason Arimoto, the authorized advisor for my Yamaha online course, provides video feedback to students’ questions. Jason and I also developed PhD Strings together. We researched and tested many types and gauges of ukulele strings to find the best-sounding and most comfortable to play. It has cultivated somewhat of an underground following and business has been growing steadily over the last nine years.

22 Spring 2020