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.

Just got word from Fluid Floyd of Don Tiki fame that my composition “Rendezvous in Okonkuluku” will be one of 20 tracks featured on Hawaiian Airlines’ Exotica Sky Lounge in-flight radio show. A clip of the tune, which is the title track on WAITIKI’s second album, can be found here or at the iTunes Music Store.

Track personnel are:

• Tim Mayer, flute & baritone sax
• Brian O’Neill, vibraphone, udu, & reco-reco
• Helen Liu, violin & sleigh bells
• Mikey Connors, drums
• Me on bass

Bonus points if you can name the composer, work, and movements that the tune quotes. Hint: the composer in question lived from 1860-1911.

If you like the idea of an Exotica radio show on a commercial airliner, drop Fluid Floyd a line via the coconut wireless: taboorecords [at] yahoo [dot] com.

Thanks Floyd!

The ‘Alo-hop’ Beat: What is it? And where did it come from?

These are questions that have been plaguing Okonkuluku University students for decades. Lucky for you, dear reader, today’s lecture is a diagram of the beat and its origins.

Sacred & Secular Dance Music of the Ancient & Modern Worlds

The ‘Alo-hop’ Beat has three influences: the ipu rhythms of Hawaiian hula kahiko, the guiro patterns of Latin music, and a bass line borrowed from Usher’s hip-hop anthem “Yeah.”

The diagram below shows the interaction of the ipu rhythm and hip-hop bass line. Note that the downbeat of each bar simultaneously serves as the first note of the bass line and the first heel slap of the ipu. Whereas traditional usage of the ipu would dictate using the heel of one’s hand (as marked, ‘Heel’) and the lengths of one’s fingers (as marked, ‘Slap’), it is suggested that alo-hop performers substitute kick drum for the ‘Heel’ and mounted temple block (or wood block) for all ’slap’ sounds.

The next diagram shows the adaptation of the classic guiro pattern, double-timed for hi-hat.

Listen to an excerpt of “Cave of Uldo” as performed by WAITIKI on the album Charred Mammal Flesh: Exotic Music for BBQ:

• Cave of Uldo Excerpt