Describe how you perceive difference between WAITIKI’s live and recorded output, particularly in comparison to that of Martin Denny.

 One incredible difference, I think, between WAITIKI’s live performances and recordings is the type of improvisation we do within the arrangements. Improvisation on our albums is predominantly jazz-influenced (by which I mean a solo melodic instrument playing a spontaneously-composed melody, usually related to the arrangement’s chord progression): Tim’s Eric Dolphy-like sax solo on “Fuzzy Mammoth Breath” or the dueling ‘Doc’ Kupka-like baritone saxes on “Rendezvous in Okonkuluku”. In contrast, we place a much heavier emphasis and priority on dropping extended dance grooves into the arrangements when playing to live audiences. Rhythmic improvisation and groove-oriented spontaneity take priority, though melodic improvisation is still an important component. The practical reasons for this are easy to identify: our fans love to get down and dance, especially after a few Mai Tais; many of our peers’ bands that play tiki festivals make great music, but don’t specifically focus on making their songs danceable; the rarity of hearing a live dance band nowadays is increasing; the use of popular dance beats help make our music more accessible; and our professional WAITIKI Wahine Dancers can be included at any point in the show—“special” tunes notwithstanding.

 As far as I can tell from the few surviving live recordings (and from talking with performers of that era), Martin Denny’s band did not employ this approach when improvising at live shows. When improvisation was allowed as part of the arrangement, Denny’s musicians were under the employ of bebop, a style of jazz improvisation that was extremely hip (but is now, unfortunately, a cliché of that idiom). Denny would supplement his selection of original exotica tunes with pop favorites (like “A-mer-i-ca” from West Side Story), exotica translations of standard ballads (like “Ruby” or “Flamingo”), what I call ‘soundscapes’ or ‘exotica miniatures’—“Burma Train”, “Congo Train”, “Harbor City Lights”, or “Jungle River Boat”, and the super en vogue bossa nova which was just then being popularized by Antonio Carlos Jobim and Joao Gilberto.

 Aside from adding to his band’s repertoire, I believe that Denny used pop favorites and bossa nova in live performances for the same general reasons that WAITIKI uses improvised dance grooves: to increase the accessibility of exotica music to a wider-ranging audience; and that audiences love to hear familiar music in new settings (which I believe is a innate human condition to appreciate choices of arrangement, orchestration, and instrumentation; regardless of musical training, active listening or analysis). 

 The dance grooves that WAITIKI uses deserve their own separate response, but I will describe a few of them (and cite an example of relevant tunes) briefly here. Each groove is definitively linked to, or descended from, an authentic musical tradition that influences Exotica. (Which I think adds validity to the ‘why’ of dance music in Exotica, as opposed to the juxtaposition of completely-unrelated sections inside an Exotica arrangement).

• Alo-hop (also known as ‘hip-hop alo-hop’) is a unique and original creation of WAITIKI. It is based on the Hawaiian ‘ipu and pu’ili’ili rhythms used in hula kahiko (traditional hula). When played with a drum kit, the bass drum and rim shot (or temple block) play the ‘ipu rhythms. Multi-rod sticks (commonly known as “rutes”) play the pu’ili’ili rhythms. A double-time cha-cha-cha feel played by hi-hat or guiro is often added, and a hip-hop styled bass line is played by the bassist. As the groove progresses, the bass drum may become more syncopated, ala popular hip-hop beats. The alo-hop beat was developed by Abe Lagrimas and Randy Wong and is featured on the recording of “Cave of Uldo”, but is used throughout WAITIKI’s literature and was originally intended for Wong’s composition “Plamingo Flagoda.”
• Dew-fu is also an Abe Lagrimas Jr. creation, and is found in “Dew Drop Inn, If You Please, My Humming Flower”. Its purpose is to mimic the intense fighting scenes of kung-fu movies and the discord between the desynchronicity of said fighting scenes with audio tracks.  The Dew-fu beat is propelled by active rhythms on the floor tom, which acts as the drum kit’s equivalent of the Chinese war gu drum that was carried into battle on horseback by Chinese military. The Dew-fu has a distinct back beat played on the snare drum, and frequently inspires dancers to start ‘popping’. The thought of hordes of Chinese troops engaging in choreography by Electric Boogaloo while WAITIKI plays a Dew-fu on an elevated, center stage is almost too real.
• Reggae-tiki-ton made its world debut when WAITIKI played the Mai Kai Main Stage at the 2005 Hukilau festival. It is based on its namesake (reggaeton), a popular dance feel from Panama and Puerto Rico. A Reggae-tiki-ton beat differs from a standard reggaeton in that it has the addition of guiro, exotic bird calls, and ass’s jaw. There has not yet been a recording of Reggae-tiki-ton, though it is commonly featured when WAITIKI plays Les Baxter’s tune “Tiki”.  
• WAITIKI’s A Minor Tribal beat is based on the fast, driving drum grooves traditionally found behind the Tahitian ʻōteʻa dance. A Minor Tribal is named for the section of “Dew Drop Inn” that it first occurred in. On the drum kit, temple blocks, rim clicks, shell hits, and rim shots are used to mimic Tahitian to’ere’ere wooden log drums. The bassist can improvise a simple exotica bass line, though the bass line to Arthur Lyman’s arrangement of “Taboo” is typically used. Antiphonal chanting, monkey howls, and guttural sounds often accompany the A Minor Tribal beat.

Thanks to two successful performances (including the world premiere) of L’Ours Chinois, I’ve had a number of inquiries as to what the specific influences of composer Maurice Ravel are, in regards to the formation of exotica — and particularly, my piece “L’ours Chinois.”

Without a doubt, one of the easiest ways to answer this question is the obvious use of Ravel’s faux Orientalist melodies. Quite often, he would write material that used pentatonic/modal scales that are commonly used by Chinese and Japanese traditional songs. To buttress these melodies, he would harmonize them using seventh and ninth chords; particularly of the Major 7 and minor-Major 7 variety.

Even a cursory comparison of the String Quartet in F Major and a tune like Les Baxter’s “Jungle River Boat” can quickly turn heads of unassuming listeners. I conducted an experiment this weekend, when carousing with my colleagues in Project Copernicus: I played a few short snippets of Martin Denny and Les Baxter recordings, and asked them to name what composers came immediately to mind. Maurice Ravel and Claude Debussy were among the most frequently cited.

Further parallels can be found when examining instrumentation and orchestration techniques. Ravel chose Western instruments that could mimic those found in other civilizations; such as the epic flute solo in the second Daphnis and Chloe suite. Through the usage of the middle and low ranges of that instrument, he was able to paint tone colors different from what his contemporaries were using. Flute in its low register is commonly found in exotica, particularly through the uses of the Alto Flute.

… To be continued … (I’m at the airport and need to pack up my computer, sorry!)