Tag: ukulele

Insight into participative music making

(Still recovering from a mild concussion…slowly emerging from brain fog….)

Twenty years ago, sociologist Mark Chaves demonstrated that one of the things that congregations are really good at is exposing people to the arts, especially music (Congregations in America, Harvard Univ. Press, 2004). In the course of studying everything that congregations are really good at, Chaves came to a rather surprising conclusion:

“If we ask what congregations mainly do, the answer is, in the first place, gather people for worship and religious education. But another answer is that, in their pursuit of worship and religious education, congregations generate as a by-product more artistic activity than either social services or political activity. Although many may wish it were otherwise, congregations facilitate art… more commonly and more intensively than they pursue either charity or justice.” [p. 201; emphasis mine]

I believe this remains true today. In fact, in my limited experience I’d say participating in music-making (as opposed to consuming music, or as opposed to other art forms) is what really hooks people in the UU congregations I’ve been part of. If you want to grow your congregation, and you have the choice between asking staff to spend more time on public acts of social justice, or asking staff to spend more time on nurturing the choir — go with nurturing the choir, every time.

Recently, though, I had a conversation with a UU who pointed out that many people feel intimidated by choir participation. This comment came from someone who is a fairly skilled amateur musician; they were not talking about themselves, they were making what I feel is an astute observation. And it tallies with my own observations. I remember leading some songs with a group of UU children a dozen years ago, and realizing that several of the children had never sung in a group before — we are a society that either consumes music, or performs music, but rarely makes music together.

With that in mind, when I happened across the abstract to Anne Ku’s thesis for her M.A. in Music, I was grabbed by these two sentences:

“The amateur ukulele club scene is a kind of musical revival of participative music making, reminiscent of the sixties folk music and eighties rock band, with the ukulele as a self-accompanying instrument for singers and non-singers alike. The explosive growth of ukulele clubs and sales raises the question: how does the combination of a simple song sheet with no music symbol or notation and a small, lightweight four-stringed acoustic instrument provide sufficient material for group music making by performers who are not trained to read music or at all in music?….”

Ku documents how ‘ukulele clubs are evolving new ways of making music together, while drawing from a widely-known repertoire of popular music, and using online learning tools such as Youtube videos and lyrics websites.

So then of course I started searching for UU ukulele groups. I found them in: Ithaca, N.Y.; Eugene, Ore.; Salt Lake City; Dubuque, Iowa; Boca Raton, Fla.; Newark, Del.; and Raleigh, N.C.. No doubt there are others out there, but I was too lazy to continue my web search.

I’m not saying that your UU congregation should start a ‘ukulele group. But if we want to reverse the decline of Unitarian Universalism, I suspect we should all start thinking more about expanding the kinds of participative music making we nurture.

What to do when you don’t want to do anything

I took a sick day today (for a truly boring reason not worth going into). My main need was plenty of rest, so I did as little as possible. Since I’ve been getting increasingly serious about playing ‘ukulele, I decided to listen to a bunch of ukulele virtuosi. What follows are my notes to myself about what I’ve been listening to.

Jake Shimabukuro is perhaps the preeminent ‘ukulele virtuoso today. I’m in awe of his technical proficiency. However, his music doesn’t do much for me. I have to say the same thing about James Hill, who occupies the number two spot amongst ‘ukulele virtuosi — amazing skills, but I’m not much moved by his music. Taimane, who I think now edges Hill out for the number two spot, also dazzles me with her technical brilliance but once again her music just doesn’t do it for me.

Now on to some lesser-known ‘ukulele players who do move me with their music.

I first discovered Corey Fujimoto from his 2015 video of the Presto movement of Bach’s Sonata No. 1 in G minor (BWV 1001). His technical skills have only increased since then. He doesn’t appear to be recording much these days, butt he’s a regular on the Hawaii Music Supply ‘ukulele podcast, where he usually plays with Kalei Gamaio, another ukulele virtuoso. Here’s one of their recent recordings. In my opinion, Fujimoto is not only technically brilliant, but his musical sensibility is worth spending time with. His deep knowledge of classical, pop, rock, jazz, and traditional Hawai’ian musics comes together in something uniquely beautiful. He has a deeply humane musical sensibility.

Kalei Gamaio’s solo work is also well worth listening to. I think I first ran into his playing from this video of him jamming on Pachelbel’s Canon in D with Brittni Paiva and Sungha Jung (they really get going about a minute and a half in). Gamaio is probably best known for his own composition “The Unknown,” which has been covered by hundreds of aspiring ‘ukulele players. But I like him best when he plays jazz, as in this recording of “Autumn Leaves” with Neal Chin — or this recording of “Spain” with Chin and Andrew Molina. What I especially like about Gamaio is how well he listens to other players, and complements what they’re doing without overwhelming; he never shows off, but always uses his technical abilities in service of the music. For me, this kind of humility and sensitivity raises him above many other players.

Following the lead of the late John King, Samantha Muir has been exploring classical music on the ‘ukulele. Muir teaches at the Royal College of Music in London, and was the first person to earn a Ph.D. in ‘ukulele. Her performance of Bach’s Prelude from his first cello suite (BWV1007) is well worth a listen.

Turning back to jazz and pop, Brittni Paiva is, in my opinion, underrated as a ‘ukulele player. Women are often ignored in the ukulele world, and of the women uke players Taimane Gardner seems to get the most attention. Paiva isn’t as flashy a player as Gardner, but her technique is so good she doesn’t need to be flashy. You see, Paiva doesn’t need to play a lot of notes because every note she plays is perfect, every note has a purpose, as in this recording. She’s also a multi-instrumentalist, and has issued albums where she played every instrument, and produced the album as well. Listen to her version of Dave Brubeck’s “Take Five.”

Fujimoto, Gamaio, and Paiva all come from Hawai’i, the home of the ‘ukulele. The other major hotspot for ‘ukulele players is Japan. I’m just beginning to learn about Japanese players — if you don’t speak Japanese (like me), it’s hard to find out about them. Fortunately, I just discovered the ‘Ukulele Japan website, an English-language site with links to a dozen of the top Japanese players. I’m still exploring this site, and learning about players like Kiyoshi Kobayashi, Iwao, and Tomoko Suzuki. Check out Suzuki’s version of Benny Goodman’s “Sing Sing,” which includes an amazing percussion break — sheer unadulterated fun

Screen grab from an old film showing a man playing a ukulele.
George Formby singing “When I’m Cleaning Windows”

Speaking of unadulterated fun, that brings me to the ‘ukulele player who inspired George Harrison, and indeed all the Beatles. That would be none other than George Formby. It’s easy to dismiss Formby’s humorous songs as dated, but there’s more than than you’d think. Maybe he’s not an impressive ‘ukulele soloist like Paiva, but his syncopated right-hand technique is world-class — as in this film performance of “When I’m Cleaning Windows.” And while his songs are goofy, there’s a kind of innocence and simplicity to them. He’s an Everyman ukulele virtuoso.

Which brings me to one final ‘ukulele virtusoso, George Harrison himself: here he is playing the ukulele not long before he died. Simple stuff, but so well done. It’s just about perfect. (And I do think I hear a little bit of Formby in Harrison’s playing.)

So what do I look for in a ‘ukulele player? Dazzling technique is ultimately empty, unless there’s some deep meaning behind it. The best music has to have — for want of a better word — humaneness.

And that’s what I did on my sick day: I listened for the humanity in the music.

Update, 8/21: I realized I forgot to include Abe Lagrimas Jr., one of the best jazz ukulelists out there. Check out this lockdown-era video of his arrangement of Jitterbug Waltz, with Neal Chin, Jeff Linsky, and Lagrimas on standard ukes, and Lenny San Jose on bass uke. And I should have included something by Bill Tilapia.

Also, I left out Aunty Genoa Keawe, but that’s mostly because I couldn’t find good free videos of her online (she died in 2008). I love the way she accompanied her singing with her uke.

Screen grab from a video showing a man hlding a ukulele
George Harrison with his ukulele

Random observation

One of my leisure-time projects for this year has been learning a bit of ukulele. So I’ve been watching a lot of videos of young ukulele players. And it suddenly occurred to me that many of the best young ukulele players are racially very diverse: Abe Lagrimas, Jr., Taimane Tauiliili Bobby Gardner, Rio Saito, Honoka Katayma. Yes, there are fabulous young white uke players, like Britni Paiva and Andrew Molina. But more seem to be non-white and/or mixed-race. Maybe this is just because the younger generation is majority non-white. Or maybe because the best uke players seem to come from Hawaii, which is racially very diverse. Of course, the most famous young ukulele player is white — that would be Billie Eilish (not that her ukulele playing is particularly good).

Jake or young kid

One of my favorite Youtube videos is titled “Guess: JAKE or Young KID? — Ukulele Challenge.”

If you know anything about the current ukulele scene, you’ll immediately figure out that “Jake” refers to Jake Shimabukuro, a ukulele virtuoso who is probably best known for his ukulele versions of “While My Guitar Gently Weeps” and “Bohemian Rhapsody.” But his range as a musician goes far beyond rock and pop music. He has arranged jazz, classical, funk, and bluegrass music for the ukulele, and written his own compositions. He is known for playing complex music requiring amazing feats with both left and right hands.

The point of “JAKE or Young KID?” is simple: a panel of professional ukulele players listen to only the audio portion of a Youtube video of one of Jake’s arrangements or compositions. Sometimes it will be Jake playing, but sometimes it will be a child or young teen playing. The panelists have to figure out which it is. Given what a virtuoso player Jake is, this should be no problem, right?

Actually, the panelists regularly mistake Jake for the Young Kid, and the Young Kid for Jake. This says a lot for the high level of playing in the rising generation of ukulele players (it also says a lot about the popularity of the ukulele these days, that kids are willing to spend so much time learning the instrument). But it also makes us confront one of the nagging questions of our time: how do we know what is true and what is false? If a ten year old kid can play like Jake Shimabukuro, then what?

But the video doesn’t get into existential questions like that. It’s just hilarious. Although panelist Kalei Gamaio easily beats panelists Abe Lagrimas, Jr., and Aldrine Guerrero, each of the panelists makes hilarious mistakes.

Screen grab from the video
L-R: Abe Lagrimas, Kalei Gamaio, and Aldrine Guerrero — Kalei was the only one who figured out this player was NOT Jake, but a little kid

Different way of thinking

Recently, I got introduced to two new ways of thinking.

First, I’ve been taking ukulele lessons. My teacher gave me a transcription of part of the Largo movement of Vivaldi’s Four Seasons. As I play through that, it feels like my brain is being rewired. (“Rewired” is actually not the correct way to describe whatever is going on, but that metaphor — thinking as electronics — is common these days, so I’ll stick with it.) Or, more precisely, it’s not just my brain that’s being rewired: it’s my brain, my fingers, my ears and eyes — all of which are part of thinking — these are all being rewired.

Second, Carol’s father mentioned ones’ complement arithmetic. That sounded interesting, so I looked it up. On the CodeKraft blog, I found a good explanation of why ones’ complement arithmetic is useful. Then the Wikipedia article on ones’ complement provides a few good examples of how it works. This form of arithmetic is rewiring my brain in several interesting ways. The concept of signed zero is pretty interesting, though it doesn’t rewire my brain quite as much as, for example, when I learned about transfinite numbers.

I don’t know about you, but I feel as though I actually need to learn new and different ways of thinking. It keeps me fresh. Perhaps this is why I like improving my intercultural competence: this is another way to learn how to think in different ways.

Long distance uke

I’ve picked up the ukulele again, but there’s not a lot of live ukulele happening in southeastern Massachusetts. So I’ve been getting my uke fix watching the weekly video podcast of Hawaii Music Supply, which you can find on their YouTube channel. Yes, they promote their high-end ukuleles. Yes, there’s a lot of pointless chit-chat, as on every podcast. But there’s also plenty of music, with some of the best of the newer ukulele players, sometimes playing songs and compositions they haven’t yet recorded. Players like Honoka, Neil Chin, Taimane Gardner, and many others, appear on the podcast and jam with regulars Corey Fujimoto and Kalei Gamaio.

For someone like me who’s trying to pick up the uke again, it’s really helpful to hear what really good ukulele playing sounds like. Plus ukulele players tend to be welcoming friendly people, and the ukulele itself is a gentle happy instrument. I put this podcast on while I’m cleaning the floor or doing laundry, and it cheers me right up even on a rainy windy winter day.

World Ukulele Day

I’m two days late for World Ukulele Day. Sigh.

But here’s my playlist for this year’s World Ukulele Day. It’s mostly instrumental, except for two pieces. Many of the performers are from Hawai’i, of course, but I tried to make this about world ukulele by including players from Thailand, Japan, the US mainland, Germany, England, and Canada. Musical styles range from traditional Hawai’ian to jazz to pop to folk and beyond.

Bach’s Sonata in G minor, BWV 1001: IV, Presto performed by Corey Fujimoto (Hawai’i)

Corey Fujimoto may not be showy like some Big Name Uke Players, but his musicianship and technical prowess are top drawer. This Presto movement from a Bach sonata shows off both his technical prowess, and his excellent musical taste.

Screen grab showing Corey Fujimoto playing ukulele.
Screen grab from the Corey Fujimoto video

“Ukulele, I Love You” written and performed by Singto Numchok with the Ribbee Crew (Thailand)

The words to this song are both silly and sweet. The real joy in this video is watching five top-notch uke players, all doing different things with the same tune. If you have five really good uke players, you really don’t need any other instruments.

“Precious” performed by Ryo Natoyama (Japan)

Japan has some of the best uke players in the world, and Natoyama is one of Japan’s best players. Enough said.

“Spain” performed by Andrew Molina, Kalei Gamaio, and Neal Chin (Hawai’i)

Three younger uke players trading improvised solos based on Chick Corea’s jazz standard “Spain.”The musical interaction between the three players results in sheer joy.

Screen grab from the video showing Kalei Gamaio soloing, flanked by Neal Chin and Andrew Molina, both of whom are smiling.
Screen grab from the video. L-R: Neal Chin, Kalei Gamaio, Andrew Molina

“Ka Ipo Lei Manu” by Julia Kapiolani performed by John King (US mainland)

John King was trained as a classical guitarist in the campanella style, and he made his name in uke circles by performing classical music on the uke. His arrangements of melodies by Hawai’ian composers are less well known, but well worth listening to. Both his arrangements and his playing are understated, allowing the beauty of the melodies to shine through.

“Little Grass Shack” performed by Ohta-san, Herb Ohta Sr. (Hawai’i)

Ohta-san really was as great as his reputation would have him be. A delightful rendition of this well-known hapa haole tune.

“Babooshka” by Kate Bush performed by Elisabeth Pfeiffer (Germany)

Pfeiffer is another player who trained as a classical guitarist then switched to uke. She is probably best known for her uke method books, but her performances are well worth listening to as well.

“When There’s a Shine on Your Shoes” performed by George Harrison (England)

A video from the near end of Harrison’s life. Topnotch rhythm playing from a master guitarist and uke player. (Note the name “Keoki” on the headstock of the uke — that’s Harrison’s uke name.)

A screen grab from the video of George Harrison playing "I've Got a Shine on My Shoes," showing harrison holding a uke and smiling into the camera.
Screen grab from the George Harrison video.

“Swallowtail Medley” performed by John King (US mainland) and James Hill (Canada)

James Hill is a ukulele virtuoso, and he sometimes suffers from virtuoso-itis, making music more complicated than it needs to be. Not in this video, where Hill plays second fiddle, er uke, to John King.

“Neptune’s Storm” performed by Taimane Tauiliili Bobby Gardner (Hawai’i)

Taimane Gardner is another incredible uke player who sometimes suffers from virtuoso-itis. But in this performance, the high level virtuosity she displays is well matched to the requirements of the music.

“Somewhere Over the Rainbow” and “What a Wonderful World” performed by Israel Kamakawiwo’ole (Hawai’i)

For my money, Israel Kamakawiwo’ole was the best ukulele player ever. He doesn’t play with the virtuoso pyrotechnics of a James Hill, a Jake Shimabukuro, or a Taimane Gardner. But his playing is perfect. So is his singing.

For Carol and Ed.

Special bonus: Brittni Paiva playing Over the Rainbow

And I just had to add something by Sungha Jung — here’s his version of Pachelbel’s Canon in D

2/5: Updated with descriptions of the music, and a couple of screen grabs.

Grumpiness and ukuleles

Three of us were in the office in the early afternoon. Each of us was feeling a little bit grumpy. Each of us was glad to be done with 2022, and hoping that 2023 will be a little bit better.

I told them my theory. Here we are, three years into a pandemic. Historically, pandemics have ended after a year and a half. But this pandemic is still going strong. I told them about this article I read that blamed the Ukraine war on the pandemic — Putin took advantage of societal chaos to launch his war.

I think I might even blame the pandemic for what happened in the U.S. House of Representatives today. The Republicans could not elect a Speaker of the House. Sure, we can blame it on right-wing extremists and ideologues. But I suspect part of the reason that people are voting right wing extremists and ideologues into office is that people are afraid and angry and doing stupid things like voting for people who can’t and won’t govern effectively.

It’s time to start playing ukulele again. I’ll never be a good ukulele player, but who cares. Pick up a ukulele, and you can’t help smiling. To quote George Harrison: “[The uke] is one instrument you can’t play and not laugh.”

Even if I can’t play it very well, a uke makes me feel better. Especially if it’s Carol’s uke, the one with blue flowers painted on it.

Me holding a ukulele with blue flowers painted on it.
Carol’s uke

Oshkosh, Wis.

What we learned from our road trip so far:

Driving just five hours a day means you have two or more hours each day for a visit with a friend or relative, or a hike in a park or wildlife refuge. Much better than driving 8-10 hours a day, as we used to do.

When you go hiking, use insect repellent. Then check carefully for ticks before you get in the car.

The Best Western motel in Chamberlain, S.D., has really fast internet service.

Widespread acceptance of videoconferencing means you can do the following on a road trip: attend a civic meeting; lead a General Assembly workshop; attend a committee meeting; attend a professional conference.

Driving with a canoe tied on top of your car lowers your gas mileage by about 15%.

If you have a soprano ukulele in the car, whoever’s sitting in the passenger seat can play it while you sing together. Much better for staying awake than audio books.

Yankton, South Dakota, to Kearney, Nebraska

After we ate breakfast, Carol and her aunt wanted to spend the morning talking about family. I went for a walk along the Auld-Brokaw bike path in Yankton. It was pleasant enough when you could feel the wind, but when I got to the Yankton high school, the path was in the lee of a hill, and there was no breeze at all, and it was quite hot. I was glad to get back to Carol’s aunt’s tree-shaded house. But she and her aunt were deep in family recollections, and I decided to visit the National Music Museum, which was just a few miles away.

The National Music Museum is housed on the campus of the University of South Dakota in Vermillion. I found a shady parking place down the street, and walked in. The pleasant woman at the front desk told me there was an audio tour available, but I said I only had an hour, and pretty much knew what I wanted to see. It took me a few minutes — I kept getting distracted by all the amazing and beautiful instruments on display — but pretty soon I found the mountain dulcimer made by J. E. Thomas in Kentucky in 1912. I had seen the instrument on their online checklist, and was pretty sure they would display an instrument by the traditional builder who had perhaps the greatest influence on the revival of the mountain dulcimer. Their instrument has some damage — it has a small crack in the soundboard, and one of the sides has separated from the soundboard at the lower bout — but it is still a good example of how Thomas made his instruments. I paid particular attention to the flat grain of the soundboard; the way the outer strings bore against the sides of the pegbox; the frets made of wire staples; the wooden nut and bridge. While well-made, this is a folk instrument, not a finely-crafted product of a luthier’s shop.

I also noticed a square piano made by John Osborne of Boston about 1824. I noticed this instrument because it had come from the Rotch-Jones-Duff House and Garden Museum in New Bedford, Massachusetts, as a transfer in 2012. The Rotch-Jones-Duff House had been refining its collection while I lived in New Bedford, and presumably the curators either decided that this piano had no real connection to the house, or that they couldn’t adequately care for it. In any case, it has found a lovely home, and it now stands back to back with another square piano from a different Boston piano maker of the early nineteenth century, allowing people to compare subtle details of the cabinetry between two similar instruments.

I tore myself away from the National Music Museum. I could have spent several more hours there, looking at all kinds of instruments: novelty ukuleles; an original theremin; tools, molds, jigs, and benches from a guitar maker’s shop; the same from a luthier’s shop; clavichords; serpents; an epinette des Vosges; a trumpet marine; an 1850s Martin guitar; etc. On my way out, I talked briefly with the woman at the front desk, and she said the museum hosts weekly concerts when school is in session, occasionally using instruments, particularly keyboard instruments, from the collections. For a certain kind of person, it would be worth a special trip to Vermillion, South Dakota, to go to the museum and attend one of those concerts.

We left Carol’s aunt’s house in the middle of the day, had a quick lunch in Yankton, and began driving due south on U.S. Route 81 towards Interstate 80. We crossed the river into Nebraska, and the road climbed up out of the flat river basin into rolling plains. Along with the fields of corn and soybeans we have been seeing ever since Ohio, we started seeing fields with cattle, fields of hay being cut, and other fields of hay already cut and now being baled. The two-lane highway rolled through the green fields, a few trees lining the creek beds or surrounding isolated farm houses, the giant irrigation structures spraying water. We stopped in Norfolk for gas, and bought the local newspaper, the Norfolk Daily News; the front page stories included the following lead paragraphs: “Nebraska has a new tool for fighting wildfires — a single engine air tanker that arrived in Valentine earlier this week.” — and — “An Omaha trial lawyer is making his way through the state, announcing his candidacy for U.S. Senate.”

We stopped in Grand Island, Nebraska, not long before we got back on the interstate. Carol went to buy some fruit juice at the Azteca Market, and I went across the street to The Tattered Page, a used book store. As I was looking through the books, I heard some guys talking about experience points and hit points, and later I saw books for gamers. I walked up to the cashier to buy a copy of Bret Harte’s stories — a former library book that was indeed somewhat tattered — and said to the cashier, “I like the combination of used books and role playing games.” He smiled, and another guy sitting nearby said, without looking up, “Give the people what they want!”

On the interstate, I saw what looked like a bus in front of us. It was a bus, and the lighted destination sign in back read “SF.” The color scheme of the bus looked familiar. As we passed it, we saw that it carried a familiar logo reading MUNI, and other signage proclaimed that it was a hybrid electric vehicle that used biofuels. “Look at that bus!” I said to Carol. We laughed out loud to see a San Francisco bus on the highway in the middle of Nebraska. Later, when we got to our motel in Kearney, we discovered to our delight that the bus was spending the night here as well:

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