Cyril Pahinui’s Kani Pu Kolu skillfully combines Hawai‘i’s favorite stringed instruments ukulele, kī hō‘alu (slack key) and steel guitars in this brilliantly arranged collection that once more redefines and expands the boundaries of Hawaiian music. The unmatched qualities of Hawaiian style jazz create a superbly innovative yet vintage sound that is unquestionably faithful to its traditional Hawaiian musical roots. The inventive composition of intricate rhythms and complex pā‘āni characterize the distinctive Pahinui style that appeals to almost everyone who hears it. Almost without comparison, Cyril Pahinui has enjoyed a phenomenal career in Hawaiian music and the first-rate musicianship, tight arrangements and hot licks showcase his expertise and confirm his impact on a new generation of Hawaiian musicians. Kani Pū Kolu CD Booklet Text He Wahine U‘i 3:52 Hilo Ē 2:56 Hōlei 4:57 Kawaihae 4:00 Lepe ‘Ula‘ula 3:23 Makee ‘Ailana 5:12 Miloli‘i 3:40 Nani 5:50 No Ke Ano Ahiahi 4:36 Pō Mahina 3:47 Pu‘uanahulu 5:29 Wai‘alae 3:41 Cyril Pahinui is one of Hawai‘i’s greatest slack-key guitarists. He was raised in Waimānalo, where he was fortunate to be in the right place at the right time. As the son of musical legend Gabby Pahinui, Cyril grew up playing with many of the best musicians in Hawai‘i, in the intimate backyard jams at his family home on Bell Street. Cyril, who stepped gracefully into his father’s shoes, is not just a chip off the old block. Cyril’s vocals are always distinctive, and he has achieved an unparalleled signature sound. Not only has he distinguished himself as a talented artist, he has expanded the frontier of his late father’s music, ensuring that the Pahinui name lives on. Cyril has become one of the true greats in Hawaiian music and a formidable brand in the Hawaiian music scene, just as his father was in his day. Today, his well-recognized and highly regarded body of work shows just how deeply he has been able to etch his name in the annals of island music. During the 1950s and 1960s, Cyril developed a close personal and professional bond with Peter Moon. Inspired by Gabby’s music, Peter invited Cyril to stay at his home in Mānoa for weeks at a time so he could gain insight and skill in slack-key. This collaboration resulted in several recordings with the Pahinui family, as well as those of Cyril’s first group, the Sandwich Isle Band, then Sunday Mānoa with Palani Vaughan, and in 1979, the Peter Moon Band. Against this backdrop, Peter Moon was to become one of the most innovative and influential musicians in Hawaiian music history. Though his career was too short, his influences extend beyond his own recordings and are still felt by Hawai‘i’s musicians young and old. Many musicians have been compelled to re-evaluate their approaches to music and the music business due to the influence of Peter Moon, whose recordings still play daily on most of Hawai‘i’s radio stations. With Peter Moon’s untimely illness, Cyril and Peter’s shared story might have come to an end. However, a chance meeting at a birthday party for Aunty Genoa Keawe introduced Cyril to Peter Wook Moon, Peter Moon’s son. Although Cyril had met the boy as a child, he had not seen him for many years, and the boy—now 17—was grown and, like his father, had a passion for music. Peter’s father remains an important presence in his son’s life. Peter Moon was a master, and his son has patterned himself on his father’s distinctive technique. Ignoring successor-syndrome, Peter has dug into the Peter Moon style while rummaging through his father’s extensive music productions and scrapbooks. Playing the ‘ukulele as naturally as he breathes, the son of the ‘ukulele legend is poised to keep musical artistry running in the family. The influence and ornate picking styles of Peter’s father can be heard in every note, mix, and swirl of these recordings. Just listen and have the enjoyment of hearing them for yourself. When the two sons of Hawai‘i’s music masters got together to jam, and these two intertwining stories again joined as one, it seemed a manifestation of eternal recurrence, the idea that we live our lives again and again, moving forward and back into the past, coming full circle. Cyril heard potential in the young musician and, just as the slack-key elders had shared with his generation when he was growing up, so he now had the opportunity to pass on skills and knowledge to the next generation. The tracks on this recording are the fortunate result of Cyril’s mentoring and Peter’s inherent talent. When he was young, Cyril liked traveling from Waimānalo to Waikiki to watch his father perform. So the opportunity to perform at the Kani Ka Pila Grille in Waikīkī was like a homecoming. It also gave him a chance to begin a new chapter in his musical career and further foster his protégé Peter. The two began to attract the attention of the local press and gained a following at their well-attended performances. The popular duo soon became a trio when Jeff Au Hoy, a long time fan of Gabby and the Pahinui family’s music, asked to sit in at the Waikīkī show. Jeff is a musician of many talents. Growing up in Honolulu in a house full of music, he learned to play the ‘ukelele at age seven and then moved on to the piano, cello, and banjo. Jeff first became interested in the steel guitar during the summer of 2000 when his Uncle Olu Iao, a ‘ukulele builder, built one and let him play it. He found a mentor in local steel guitarist Bobby Ingano, inspired by a style of play in which every note mattered. He honed and crafted his musical skills for several years while performing with artists like Genoa Keawe, Nā Palapalai, Keola Chan, the Brothers Cazimero to name only a few. In 2004, he performed at Carnegie Hall with the cast of Hawai‘i Calls. All the time he continued to hone his technique by going back to the earliest recordings, and particularly those of the master, Gabby Pahinui, until he mastered the high improvisatory nature and full tonal range of his instrument. With Cyril’s encouragement, Jeff Au Hoy has mastered the Pahinui style, phrasing, and tone. His imaginative leads and bending chordal phrasing add steel guitar finesse to this most distinct, impressive, and challenging of instruments. True to pāna‘i (equal give-and-take), his musical intentions to not be overstated result in a masterful dance of contrasts when accompanying another artist. His extraordinary sense of rhythm and impeccable musical taste sets the benchmark for sophisticated and tasteful licks, while his traditional kika kila style captures the essence of the Hawaiian steel guitar. Jeff, whose talent is already greatly admired by others who attempt the instrument, is destined to become one of Hawai‘i’s foremost steel guitarists. After recording and performing professionally for over 40 years, audiences still love Cyril’s traditional list of song selections, standards that have outlived the spanning generations. Re-recording some of those tracks here, the Hawaiian foundation remains, but it is layered with pā‘ani (improvised instrumental interludes), both intricate in nature and powerful in impact. While still paying homage to his late father, it is Cyril’s signature for improvisation and spontaneous composition that sets him apart. The songs open up, and it is impossible to miss the jazz underpinnings that rise to the top as he lets himself do what comes naturally. Cyril, Peter, and Jeff blend their talents to create impressive levels of rapport and chemistry, allowing them to create an authentically Hawaiian sound that is fresh and exciting, yet with recognizable Pahinui roots. Cyril has always created quality music, and this new collaboration, Kani Pū Kolu (three sounds together) only brings his strengths to light. One cannot recommend this album highly enough. “He Wahine U‘i” 3:52 Composed by John K Almeida, found in Noble’s Hawaiian Hulas, Copyright 1935, 63 Miller Music Corp. “He Wahine U‘i” is an old family favorite released in 1975 on “Gabby Pahinui Hawaiian Band, Vol.1.” Cyril also performed it with his group, the Sandwich Isle Band, in the late 1970s. The song compares a young man’s flirtations to those of the many lovely flowers one might choose for a lei, the rose, mokihana, kukui, or ‘ilima. Unable to decide between his sweethearts, he ends up without one. ‘Auhea, ‘auhea wale ‘oe E ka pua, e ka pua lokelani A he nani, a he nani nō ‘oe He wahine u‘i ‘Auhea, ‘auhea wale ‘oe E ka pua, e ka pua mokihana Hana a‘e, hana a‘e nō wau Lei ho‘ohie ‘Auhea, ‘auhea wale ‘oe E ka pua, e ka pua kukui Kui a‘e, kui a‘e nō wau A lawa kou lei e ka ipo ‘Auhea, ‘auhea wale‘oe E ka pua, e ka pua ka ‘ilima ‘Elima, ‘elima o‘u pō Ho‘i nele a‘e For you, this is for you The flower, the roselani flower Beautiful, you are so beautiful The beautiful lady For you, this is for you The flower, the mokihana flower I’ll make, I’ll make a lei A lei so attractive For you, this is for you The flower, the kukui flower I’ll string, I’ll string a lei Until your lei is complete, dear For you, this is for you The flower, the ilima flower Five, I had five nights And left with nothing “Hilo Ē” 3:56 Attributed to Mary Heanu “Hilo Ē” shares Cyril’s aloha for Hilo, a town he looked forward to visiting every year for the annual Slack Key Festival (now Big Island Music Festival), and where he now lives part-time and teaches. The song commemorates the lehua flowers of Pana‘ewa and the natural beauty of Waiākea. In this arrangement, Cyril added the ipu and the ‘ili‘ili in honor of his good friends Uncle George Na‘ope and Kumu Rae Fonseca, who helped found the now famous Merrie Monarch Festival that Cyril also attends every spring. The song was recorded by his father with the Sons of Hawai‘i and often played by the Pahinui ‘Ohana. Cyril has recorded the song twice before, on his Dancing Cat release, “6 & 12 String Slack Key,” and as an instrumental medley on “Four Hands Sweet & Hot” with Bob Brozman. Aia ē a i Hilo ē ‘O ka nani ē pua ka lehua ē I lei ē no ka malihini ē Kipa aku ai ē i ka ‘āina ē E ake au ē a e ‘ike ē I ka nani ē o Waiākea ē Kilohi au ē ‘o ka nani ē I ka ulu lehua ē a‘o Pana‘ewa ē Ha‘ina ē mai ka puana ē ‘O ka nani ē pua ka lehua ē There at Hilo Is the beautiful lehua flower It’s a lei for the visitors That come to this island I desire to see The beauty of Waiākea I glance to see The lehua grove of Pana‘ewa Tell the refrain Of the beautiful lehua flower “Hōlei” 4:57 Traditional This mele originated in an ancient chant first composed by Hi‘iakaikapoliopele in her epic tale as she prepares to leave Waialua, O‘ahu and make her way to Kaua‘i from Puna. As part of the He Huaka‘i E Pana Na I Ke Ea, a workshop series started by Uncle George Na‘ope, Cyril had the opportunity to visit with Aunty Minnie Ka‘awaloa and her ‘ohana in their home at Kalapana. During that visit, he shared the mele as he first heard it from his good friend Dennis Pavao, who recorded it with his band Hui ‘Ohana, including Ledward and Nedward Ka‘apana. Following his visit to this wahi pana, Cyril now honors his many friends from the area and the ancient traditions of this remarkable site in this his first-time recording of the song. ‘O Kalapana, kai leo nui Ua lono ka uka o Hōlei Ke uwā lā Kalapana ē Kuli wale, kuli wale i ka leo He leo no ke kai ē It is Kalapana, land of the great-voiced sea The uplands of Hōlei listened Roaring is Kalapana Deafened, deafened indeed by the voice It is the voice of the sea “Kawaihae” 4:00 Composed by Emma Paishon This mele commemorates the steamboats that came into use at the turn of the 20th century for inter-island transport of cargo, passengers, sugar, and cattle. Mauna Kea was an inter-island steamer that conveniently sailed twice a week to Hilo. Cyril previously recorded the song on his Dancing Cat release, “Night Moon: Po Mahina,” released in 1998. Kawaihae, ka uapo a‘o Hilo Hoe hoe nā wa‘a Pili i ka pu‘e one Māhukona, ka uapo a‘o Miloli‘i Hoe hoe nā wa‘a Pili i ka moku Lahaina, ka uapo a‘o Māla Kukui mālamalama I ka ihu o Mauna Kea Kaunakakai, ka uapo Moloka‘i Hoe hoe na wa‘a Ho‘okano kahi selamoku Ha‘ina ‘ia mai ana ka puana Hoe hoe nā wa‘a Pili i ka pu‘e one Kawaihae, the wharf of Hilo Row, row the boats Close to the sandbar Māhukona, the wharf of Miloli‘i Row, row the boats Close to the island Lahaina, the wharf of Māla Light shines On the prow of the Mauna Kea Kaunakakai, the wharf of Moloka‘i Row, row the boats Sassy, that sailor Tell the theme Row, row the boats Close to the sandbar “Lepe ‘Ula‘ula” 3:23 Traditional This love story alludes to the flashy red cockscomb of the brazen rooster as he struts. The lyrics describe a proud paniolo (cowboy) from Kawaihae who, on a visit to Waimea, uses his prowess with a lariat to capture the object of his affection. This kolohe (mischievous) song, attributed to Kaimanahila, was first played in the 1920’s as a leo ki‘eki‘e (falsetto). It is popular with many of Hawai‘i’s greats, including Jesse Kalima who recorded it. Cyril learned the song from Jesse and first recorded it with the Peter Moon Band on the “Spirit Lover” album. Larry Lindsey Kimura translated the adaptation recorded here. And Jeff’s jazz-inflected licks on the steel guitar bring that confident rooster to life. Lepe ‘ula‘ula, lepe o ka moa Ka hua kūlina, ‘ai a ka pelehū Keiki mai au no Kawaihae No ke kīpuka ‘ili, lawe a lilo ‘Elua wale iho, ho‘i māua Ka hau hāli‘i, a‘o Waimea I laila māua, kukuni e ka hao Kokope e ka ‘i‘o kupu, kuku‘i e ka papa niho Mai nō ‘oe, a ho‘opoina I ka lawe ha‘aheo, a ke kīpuka ‘ili Ha‘ina ‘ia mai ana ka puana Lepe ‘ula‘ula, lepe o ka moa Red comb, comb of the chicken Corn grain, food for the turkey I’m the guy who hails from Kawaihae The expert of the lasso that makes a sure catch There were just the two of us In Waimea’s cool blanket of dew There we both applied the branding iron Scraped the gumboil, prodding it from the gum Don’t you ever forget How proudly my lasso made its catch Now tell the story Of the red comb, comb of the chicken “Makee ‘Ailana” 5:12 Composed by James K. ‘Ï‘ī Makee ‘Ailana was named for the sea captain James Makee in the 1800s. This beautiful island was the location of the first Kapi‘olani Park Bandstand, where the Royal Hawaiian Band would perform on Sundays. Located in the middle of a lily-filled freshwater stream that flowed into the ocean, to get there, one had to row over or cross the narrow wooden plank bridges. Picnickers, strollers, and young couples with romance on their minds frequented the secluded spot. Recalled is such an encounter accompanied by the sound of the sea spray, a refreshing chill on the skin, and the rocking motion of the lovers. After the overthrow, this storied place became part of the U.S. Army staging ground, and the waterway was land-filled when the Ala Wai Canal was put in to drain the area for development. Although it was completely gone by 1924, its name lingers on in this song and the memories of Hawaiians who honor it as representative of their lost kingdom. The song was taught to Cyril by one of his masters, Sonny Chillingworth, who recorded it four times, including an early release that included Vicki ‘Ï‘ī Rodrigues, the composer’s granddaughter, and another with the Pahinui ‘Ohana on Panini’s “Rabbit Island Music Festival” in 1973. Cyril performs the song often in honor of his mentor and also recorded it as an instrumental on his Dancing Cat release, “He‘eia.” Makee ‘Ailana ke aloha lā ‘Āina i ka ‘ehu‘ehu o ke kai ‘Elua ‘ekolu nō mākou I ka ‘ailana māhiehie Ka leo o ka wai ka‘u aloha I ka ‘ī mai e anu kāua Inā ‘o you me mī nei Noho ‘oe i ka noho paipai Ha‘ina ‘ia mai ana ka puana Makee ‘Ailana hu‘e ka mana‘o I love Makee Island Land freshened by the sea spray There were two or three couples with us On this charming island I love the sound of the water When it speaks, we two are chilled I wish you were here with me Sitting in the rocking chair The story is told of Makee ‘Ailana, with its fond memories “Miloli‘i” 3:40 Composed by John Makuakane Brought to Hawai‘i to carry supplies, donkeys, known as Nightingales, played an integral role in the development of the coffee industry in South Kona. Often, they were also the only form of transportation. This mele tells the story of the hip rolling motion of riding a donkey down the steep and winding roads of South Kona to the beach areas where the fishing village of Miloli‘i is located. The motion is likened to the swaying of the elephant trunk on Daisy the African elephant, who was a star attraction at the Honolulu Zoo. It was also reminiscent of the rush felt on an airplane ride as it dipped its wings in the air above San Francisco Bay. Hidden in kaona, the subtext or double entendre often found in Hawaiian music, is the richly poetic imagery that serves as a backdrop to imply greater depths of feeling, romance, and at times, sassiness. Cyril first released this mele on his Tropical Music release, “Ka Ho‘oilina Mau.” Since that release, he has had the opportunity to travel to the traditional fishing village of Miloli‘i for workshops and concerts, and where he enjoyed the rolling movement of the waves along with fresh caught fish for breakfast, lunch, and dinner. Miloli‘i aku nei au lā I ke kau ‘ēkake lā Nuha i ke alanui Waikīkī aku nei au lā I ke kau ‘elepani lā Ihu peleleu Cala Frisco aku nei au lā I ke kau mokulele lā Lewa i ka lewa Ha‘ina ‘ia mai ka puana lā I ke kau ‘ēkake lā Nuha i ke alanui At Miloli‘i, there was I As I got on the donkey It is stubborn on the road At Waikīkī, there was I As I got on the elephant It swings its trunk At San Francisco, there was I I boarded the plane It dips from side to side Thus ends my song As I got on the donkey It is stubborn on the road “Nani” 5:50 Composed by Alice Nāmakelua, Garza-Maguire Collection One day, in 1949, the composer was teaching hula to a group of young girls at the playground. They were all so pretty, and she imagined how beautiful they would be when they grew up. This song was composed for them. This is the first time Cyril has recorded the song. Ke ‘ike aku wau I kou nani E ho‘opulu ‘ia nei E ke kilihune ua Ke lohe aku wau I kou leo nahenahe Pū‘ili iho wau I kou aloha He aloha ‘oe na‘u E hi‘ipoi nei I wehi kāhiko No ku‘u kino ‘O ke kani a ka pio Walo i ke kula E kono mai ana ia‘u E naue aku Ha‘ina e ka wehi O ku‘u lei E ho‘opulu ‘ia nei E ke kilihune ua I see Your beauty Freshened by The light rain I hear Your sweet voice I hold fast To your love You are the love That is mine to cherish Adorning My body The sound of the whistle Carries across the plain Inviting me to Move that way This song honors My beloved students Freshened by The light rain “No Ke Ano Ahiahi” 4:36 Traditional The original name chant for King William Lunalilo (1835-1874), comprised of 13 carefully crafted verses, recalled a secret romance the Prince had with a certain Pua Rose. Reduced to these popular verses, the chant was set to music as a celebration of a voyage Lunalilo was to make to America. This song is a Pahinui family favorite, released by Panini on “Gabby and the Sons of Hawai‘i – Folk Music of Hawai‘i,” and then again with the family on the Panini release, “Gabby Pahinui Hawaiian Band Vol. 2.” Cyril first recorded it on his Dancing Cat release, “6 & 12 String Slack Key.” No ke ano ahiahi ke aloha lā I ka hāli‘ali‘a ‘ana mai O ko‘u lā heo kēia lā Ke lū mai nei nā pe‘a Ke hiu nei ka heleuma lā Ua kau ē ka hae ma hope Huli a‘e ‘oe a hele kāua lā Eia i ka moana lipolipo Kau aku kāua a ho‘i lā E ‘ike iā Maleka ‘ailana Ha‘ina kō inoa no ke ali‘i lā No ka lani Lunalilo he inoa Evening is the time I love When fond memories come to me This is the day, the day of my departure Unfurl the sails Lift the anchor now The flag flutters astern Turn around and let’s set sail Into the vast ocean Let us return We have seen the land of America Tell the name of the chief The great one, Lunalilo is his name “Pō Mahina” 3:47 Composed by Charles E. King “Pō Mahina” is one of Cyril’s signature songs and is often played in the hula style for dancers to interpret. He recorded it first on his feature album, “Cyril Pahinui.” He later recorded it as the title track on the Dancing Cat production by the same name, both as an instrumental and with a vocal and in two different tunings and arrangements. This classic mele was recorded by Cyril’s Kī Hō‘alu Master instructor Leonard Kwan on the Tradewind Records album “Party Songs Hawaiian Style, Volume I.” The mele, translated here by Larry Lindsey Kimura, describes an evening rendezvous under the bright moonlight in the Hawaiian sky. And brings to mind the beauty and power of Mahina, the Hawaiian goddess who bonded with the moon and the night. Kāua i ka holoholo pō mahina I ka uwapo holuholu i ka muli wai A loa‘a ‘oe ia‘u i ka pō nei I ka muliwai a‘o hanahana pono ‘O ka pā kōnane a ka mahina ‘O ‘oe a ‘o wau i kāhi mehameha ‘Elua wale iho nō kāua ‘Ekolu i ke aka o ka mahina Ha‘ina ‘ia mai ana ka puana Ka uwapo holuholu i ka muliwai You and I strolled in the moonlight On the swaying bridge over the river I got you last night On the river of strong emotions In the brightness of the moon There you and I were in seclusion Just the two of us Accompanied by the shadows the moon Tell the story The swaying bridge over the river “Pu‘uanahulu” 5:29 Composed by David Alapai David Alapai composed “Pu‘uanahulu” for the little community on the north edge of Kona famous for its beautiful scenery, pu‘u (hills), and a small red and white Baptist church built in 1918. It was also the home of the acclaimed ‘ō‘ō bird with its prized yellow feathers. The song was one of Gabby’s favorites, picked up on his travels to the area where locals remember him coming by to jam with the paniolo (cowboys) at the Pu‘u Wa‘awa‘a Ranch. Cyril first saw Pu‘uanahulu from a distance as it was pointed out to him when the Pahinui ‘Ohana, along with Ry Cooder, stayed at the Brown cottage at Keawaiki Beach to record the “Gabby” album. From that time, the song became a favorite, and Cyril often includes it in his play list. Cyril’s recognized introductory solo was featured on the Panini “Gabby Pahinui Hawaiian Band, Vol. 1.” Gabby was friends with Chet Atkins, and they were planning to do an album together when Gabby passed. Remembering Gabby, Chet recorded “Pu‘uanahulu” and often played his instrumental version at concerts. Cyril has since visited the area for a workshop and played the song with musicians and kūpuna from the area. A deep feeling of emotion is evoked in the listener as Cyril’s voice sounds with the reverence of a hīmeni (hymn), a devotion to his father’s legacy, and aloha for the families who originate from the area. Included here is a shortened version with pā‘ani and the translation by Larry Lindsey Kimura & Joseph Maka‘ai. Nani wale Pu‘uanahulu i ka ‘iu‘iu ‘Āina pali kaulana pu‘u kinikini Lū ‘ia mai lū ‘ia mai ko ‘oukou aloha E nā manu ‘ō‘ō hulu melemele Ha‘ina ‘ia mai ana ka puana Kaulana kou inoa Pu‘uanahulu Beautiful Pu‘uanahulu in its lofty realm A land of cliffs famous for its many hills Offer, give your love Oh you ‘ō‘ō birds with yellow feathers Tell the theme of the song Famous is your name, Pu‘uanahulu “Wai‘alae” 3:41 Composed by Mekia Kealaka‘i Former Royal Hawaiian Band director Mekia Kealaka‘i composed “Wai‘alae” at the turn of the last century, when the waltz was in vogue in Hawai‘i. The song honored the area of Wai‘alae and the home of Paul Isenberg. Translated by Mary Pukui, the melody is based on a Mexican song brought to the islands by the paniolo (cowboys). Gabby Pahinui first recorded Wai‘alae around 1946 as one-third of the song “Hula Medley” on the Bell label. In 1961, he recorded it as part of different medley on “Pure Gabby” (Hula Records). Then in 1973, the family recorded it on Panini’s “Rabbit Island Music Festival.” Cyril recorded it as an instrumental along with Bob Brozman on “Four Hands Sweet & Hot.” Ua ‘ike nō paha ‘oe I ka ‘i‘ini a ka mana‘o Ho‘okahi māpuna leo Ua lawa ia i ka makemake Aia hiki kō aloha Ku‘u home i Wai‘alae Kō aloha hiki ‘aumoe Pulupē i ke kēhau You have known The desire of the mind Just to hear your voice Is sufficient to satisfy me When your love comes To my home at Wai‘alae Your love comes at midnight Drenched with the dew Recorded at: Blue Plant Sound / Dolphin Sound – Honolulu, Hawai‘i Engineer & Mastering: DJ Pratt Producer: Cyril Pahinui Executive Producer: Cyril Pahinui Graphic Design & Art Direction: Ki‘i Graphics – Chelle Pahinui & Aaron Miyasato Photography: Chelle Pahinui & Robert H Hirschi Editing: T. Ilihia Gionson & Kaiulani Jerman Kī Hō‘alu – Hawaiian Slack Key Guitar: Cyril Pahinui Hawaiian Steel Guitar: Jeff Au Hoy ‘Ukulele: Peter Wook Moon Bass: Kata Madouli ‘Ili‘ili: Rhonda Mokihana Osurman Ipu: Cyril Pahinui on Hilo E Kī Hō‘alu Tuning Atta’s C: CGEGCE Inoa: Kumu Micah Kamohoali‘i Ke ho‘i a‘e la ka ‘ōpua i Awalau. The rain clouds are returning to Awalau Said of a return to the source. (Pukui: 1698-183). © 2013 Pahinui Productions. All rights reserved. Unauthorized duplication is a violation of applicable laws