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HoloMama
Aloha
USA
1 Posts |
 Posted - 10/29/2010 : 05:44:57 AM
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Aloha, friends,
I am writing a short entry on Ozzie Kotani for the next edition of the Grove Dictionary of American Music. His official bio information includes a list of "distinctive" characteristics. I am struggling to transform the marketing words into something that a wide range of musicians will comprehend. I am turning to his fans, friends, and students (or maybe even Ozzie himself) in hopes that you can clarify for me. I am a perpetual newbie at slack key but play other styles of acoustic guitar.
Here are the two problematic phrases:
--"distinctive vocalizing approach to ballads" - how is it different from others? can it be qualified in his use of slides, portamentos, dynamics, phrasing, attacks, vibrato, etc.?
--"rolls played with thumb and three fingers" - would this be as opposed to strumming the strings with one finger? I think I hear an example of this in the opening of "Maika'i Ka Makani O Kohala."
One other phrase, "atypical chord progressions" I take to mean "atypical" within the context of Hawaiian mele and slack key. Can anyone suggest a typical "atypical" progression?
Mahalo,
Paula Bishop
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wcerto
Ahonui
USA
5052 Posts |
Posted - 10/29/2010 : 07:10:32 AM
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If you write about Ozzie, first thing to write about is that he is a man of GREAT aloha and mana.
Now all the music folks can tell you all the music stuff. I just only know that he is a fine man and can play the guitar pretty darn swell. |
Me ke aloha
Malama pono,
Wanda |
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Mika ele
Ha`aha`a
USA
1493 Posts |
Posted - 10/29/2010 : 08:24:52 AM
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Paula,
You can call Ozzie and ask him -- I am sure he would talk with you.
As a student of his, he told me that he does not create chords (in slack key tunings) from a formula but listens to the sounds created by adding and subtracting tones. In this manner he creates new chord structures supporting a Hawaiian melody. Since the more common mele (songs) are either two-chord (I-V7) or three-chord (I-IV-V7) structures he escapes the chord boundaries others have been restricted to. And, as he admits he is no music theorist, he would be hard pressed to tell you what those chords are.
Ozzie's style and uniqueness lies in the subleties that you hear in the way he crafts his music. He pays detailed and painstaking attention to the evenness of a four finger chord roll, or the rise and fall of a single note vibratto and decay.
As an example, I came to his home for a lesson once. He asked me to play something for him. I tried to play one of his creations, "Paka 'Ua". When I had finished, he asked me why I played with a thumbpick. I told him it was hard to keep fingernails in playing shape and it helped me keep the bass line moving behind the melody.
He said, "Yes, but there is no tonal difference between your bass notes -- they are all loud with a sharp attack and fast decay. Then he played the same song and asked me to listen to just the bass notes. It was then, that I learned -- it is the subtle nuances that make all the difference. He would play one bass note with his thumbnail using a sharp up-stroke and the note popped out from the background. Then he played the next three with the flesh on the side of his thumb with a subtle side-stroke and you barely heard them as members of the chord in the melody. This is where tablature fails to convey the artistry of his songs -- in the subtle mastery of a tonal choir.
Funny though, even as we talked and I learned from him for several hours -- THAT was the single most important teaching that has made a significant impact in my playing and approach to slack key.
For the chord rolls, listen to his opening of "Ku'u Kika Kahiko" an original composition in the rare C6 MaunaLoa tuning. He does strum with the thumb, he does brush strum with the back of his pointer fingernail, and he "strums" by playing a vary fast arpeggio or "roll" with thumb and three fingrers. Keola Beamer is a master of this technique as well.
Mike |
E nana, e ho'olohe. E pa'a ka waha, e hana ka lima. |
Edited by - Mika ele on 10/29/2010 08:26:24 AM |
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RWD
`Olu`olu
USA
850 Posts |
Posted - 11/01/2010 : 04:41:54 AM
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Latin bass is one of Ozzies characteristic sounds.
I have noticed that Ozzie uses a Latin bass pattern quite a lot--more than most other players (I would think). The pattern is described in Medeiros book and can also be heard in tunes like Chillingworth's "Moe 'Uhane". Because he plays it so well it can go by unnoticed unless you are looking for it but he has plenty. The pattern works very well in Hawaiian slack key but is definitely more difficult to play.
He is a genious composer/guitar player. |
Bob |
Edited by - RWD on 11/01/2010 05:26:56 AM |
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wcerto
Ahonui
USA
5052 Posts |
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thumbstruck
Ahonui
USA
2173 Posts |
Posted - 11/01/2010 : 10:14:19 AM
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| The "Latin" bass is discussed in Peter Medeiros' Slack Key book. Sonny Chillingworth also used it. |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 11/02/2010 : 11:15:26 AM
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The "latin bass" --which I'll bet a plate lunch is a term coined by Peter -- is used by lots of Big Island players.
Sonny Chillingworth, Sonny Lim, Keola, John Keawe and many others often play a bass pattern based on the front half of the clave. So I'm not sure I'd attribute that as a factor in making Ozzie's style unique.
(For those who don't know, the clave is a unit of time--and a musical instrument--derived from west African music and used extensively in afro-latin music. The most easily recognizable version would be the famous Bo Diddly beat.
If you listen to the Santana version of "Oye Como Va" you'll hear the clave clearly played on claves.
As a side note: the song "Oye Como Va" actually is based on the 3-2 or reverse clave; Carlos got it wrong.
The "front half" of the clave is a one measure rhythm with hits on beat one, the "and of" 2 and four. It is the essential rhythm of Calypso music -- and early rock and roll.)
So what is unique about Ozzie's style? Hard to say, actually.
He does a number of things that are very similar to the playing of Keola Beamer, and Keola's students: the very quick arpeggio-like finger roll figures, the use of vibrato, reharmonization and extensive use of "open" chords like add 2s and 6ths and suspensions.
He also plays nylon strung "classical" guitars, uses composed introductions, bridges and codas, modulations, tension and release, and employs legato, vocal-like phrasing on slow tunes--but again, these techniques are not necessarily unique to him.
His right hand fingering is certainly his own, and the only way to replicate one of his pieces is to play it with the same fingering.
This is not to take anything away from one of the finest musicians I have ever heard; just pointing out the difficulty in defining a personal style.
I suppose what makes Ozzie unique is that he's Ozzie.
Glad I'm not writing that piece. 
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Ozzie
Aloha
USA
46 Posts |
Posted - 11/03/2010 : 7:28:35 PM
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Hi Paula,
I think I might as well pipe in here since you're asking. The bio from Dancing Cat Records reflects George Winston's musical views on my playing. My "distinctive vocalizing approach to ballads" reflect my attempts to capture phrasing when I play compositions such as Kamalani O Keaukaha, Kimo Henderson's Hula, Pua Lilia, etc. The main reason is I don't sing - at least not in public very often - and I stick to what was told to me many years ago - what is the vehicle for information in the Hawaiian Culture? Language. Oral tradition - not written. By trying to "phrase" in my arrangements, I use four fingers to pluck in one motion - arpeggio - which also fills my sound as a soloist. Keola has always been a huge influence on me and I think of him as a genius in many ways - a dear friend as well. The difference is that I am not classically trained at all, do not hold the guitar in a classical manner, and can't read a lick of music. All by ear. I'll get back to that.
The clearest example of my "rolls" would be in my composition "Ku`u Kika Kahiko" - the intro and ending. Didn't really know what I was doing until I had to tab it! I use four fingers which defines each pluck as opposed to strumming with one finger - subtle and I often tell people they can get by with a strum - can't roll though.
The "atypical chord progressions" refer kindly to my inability to read music - I don't care. I play what sounds good to me - the hell if I care if I'm missing one note or other. Listen to my recording, "To Honor A Queen", the music of Lili`uokalani and you will hear what I mean in many of the intros and endings. I let the chords take me where they lead me.
My Kumu was Sonny Chillingworth and he taught me what I call a syncopated bass pattern - what is being called a Latin bass in this thread. I've internalized it and feel very comfortable falling into it - interesting how one can actually jump in and out and feel how the groove changes. I also use a double bass as in Ewalu from my book, which is not syncopated - and I've also tried an ipu rhythm in Nani Koolau. When I play ballads, the bass does not always alternate but holds the bottom and supports the mele.
I think everyone sounds different - and it's when you sit down with someone and play - up close, not at a distance - that you see what an individual is doing.
Aloha All! Wanda and Paul, love you both! Mike! Mark! Is that Nelson or Hanson out there? Come over my house to play and jam - throw solos back and forth! Mahalo for the kindness and I don't know how the hell I belong in the Grove Dictionary of American Music! Hope my mentors such as Keola are already in it!
Paula, hope this helps a little. |
Ozzie |
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rendesvous1840
Ha`aha`a
USA
1055 Posts |
Posted - 11/03/2010 : 8:02:16 PM
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Aloha no, Ozzie! We love you, too. Stay well.
Unko Paul |
"A master banjo player isn't the person who can pick the most notes.It's the person who can touch the most hearts." Patrick Costello |
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Mark
Ha`aha`a
USA
1628 Posts |
Posted - 11/05/2010 : 11:06:52 AM
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quote:
The "atypical chord progressions" refer kindly to my inability to read music - I don't care. I play what sounds good to me -
As I said: "one of the finest musicians I have ever heard." It takes a lot of listening to internalize those kinds of harmonies.
It is no secret to members of this forum that Hawaiian slack key guitarists are among the finest guitar players in the world, of any style.
Nice to know Ozzie's gonna get his props.
Hey Oz--it's Nelson, and I'd love to come hang. Maybe we can get Mark Hanson to join in! |
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Ozzie
Aloha
USA
46 Posts |
Posted - 11/06/2010 : 4:12:32 PM
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Hi Mark,
Wishing you the best always - my home is humble but I love to have players over so I can see and hear and share music. I'm a soloist but playing with others is always refreshing - even when I can't keep up! Please contact me if you're in Honolulu - Would love to have Mark H over too but my chairs might be too small! Thank you again for your kind compliments on my playing and keep up the great work you do.
With Aloha Always,
Oz |
Ozzie |
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slackkey
Lokahi
USA
280 Posts |
Posted - 11/08/2010 : 01:44:11 AM
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| Aloha my T/P Ohana..I have had the rare privilage to play with many of you here on Maui in the past. Waihe'e Valley, before that "Bailey House Museum" with the late Great Uncle Sol...OPEN-MIKE NIGHT at "The Blue Marlin" in Maalaea. "Ozzie your nahenahe style of kiho'alu...One can only wish to have your soothing and relaxing touch. I am right now listening to your "Kani Kiho'alu CD"...1:37 in the morning of November 8, 2010. This time of the morning everything sounds that much sweeter..MAHALO Ozzie" MAHALO My T/P Ohana..Reid, Sarah, Andrew jus to name a few. Love You Guys! :D |
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Pops
Lokahi
USA
387 Posts |
Posted - 11/09/2010 : 1:26:31 PM
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Ozzie is a monster player, a generous teacher and a real gentleman. 'Nuff said.
--Mark |
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slackkey
Lokahi
USA
280 Posts |
Posted - 11/12/2010 : 11:43:04 PM
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 Eh wasssssup Pops? How's everything in the "FarEast of Maui"? lol I had a chance to meet Ozzie during my last "Slack Key Fest"...He is a very humble person, and yes....a real gentleman. I gotta make it into Hana one day, look you up and bring my "kika" too! Haven't been playing too much. But I do try to get in some play-time when I'm taking a break away from my computer.
 I have this 12-string guitar I keep right next to it. It was given to me as a modified nylon 12 string, a smaller version of the "big-mariachi"(splng.)guitar with the big-body and short-neck,and single-cutaway. I had it re-strung with steel-strings tho. Didn't like the way it played with the nylon-strings. Now it sounds really sweet....cracked-neck and all! Take care! |
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slackkey
Lokahi
USA
280 Posts |
Posted - 11/14/2010 : 11:53:48 PM
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 Sorry Pops...I think I'm mixing you up with someone else from Hana. The one i was thinking about is duke. My bad! Das wut happens when I don't visit here more often... N e ways, Ozzie is indeed an awesome "slack key guitarist", and a gentleman.... |
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Pops
Lokahi
USA
387 Posts |
Posted - 11/15/2010 : 1:31:34 PM
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Billy,
No problem! Next time I'm on Maui I'll drop you a line and maybe we can pick some together!
--Mark, the other Pops |
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Describing Ozzie's style
