Hapa - "Maui"

So after the back to basics album "Namahana" the original HAPA Barry Flanagan and Keli'i Kaneali'i parted ways in 2000. Flanagan eventually recruited former Don Ho bassist and known solo performer Nathan Aweau to create the "new" HAPA. They began appearing live and touring in late 2003 and would eventually release the excellent album "Maui" in 2005.

This is easily HAPA's best work since their first two albums and the best Hawaiian music album of the first decade of the 2000s.

The album is a loose concept album involving not only the island of Maui on songs like "Haleakala" and "I Ka La'i O Lahaina" and its history "Paniolo 'Ona Slack-Key" referencing the Hawaiian Cowboys of the island. But also referencing the Hawaiian demigod Maui, "Papa E" and Hawaii's connection to Tahiti "Tahiti Manahune." This album is a comment on modern polynesia employing styles and sounds from Tahiti, New Zealand, and Hawaii along with Western music ideals. All the ideas and messages are interestingly centered around a cover of Bob Marley's "Redemption Song." This version starts as the simple acoustic ballad that Marley had originally written but eventually soars into an anthem with the guitars and English lyrics counter pointed by a powerful Hawaiian chant.

This incarnation of HAPA is to me equal or better than the original duo because now there are two songwriters. In the original HAPA Flanagan was in complete control. Here the songwriting is spread between Flanagan and Aweau giving the listener two voices to hear. Aweau is also an accomplished Bassist (which he shows on the song "Twinkletoes") and guitarist so now the group can compose for bass and guitar instead of just two guitars. The "new" HAPA's musical canvas is also much broader aside from the Tahitian and Maori (New Zealand) sounds, Aweau (a jazzman at heart) adds jazz stylings and even blues into the mix. "Paniolo 'Ona Slack-Key" even brings in the old west style cowboy tunings reminding the listener of sitting out on the range.

The packaging is also landmark, in this era when CDs are getting skimpier and skimpier, many Hawaiian musicians simply throw a cover photo and track list onto a cardboard flap and put the album on the shelf. This album is extraordinarily thought out in its presentation. There is a detailed booklet with liner notes written by Aweau and Flanagan explaining each of the songs. There is also gorgeous paintings by Hawaiian artist Solomon Enos depicting the demigod Maui  as well as ideas of Polynesia. A fully realized masterwork of an album, truly excellent. (NOTE: in the more recent printings of the album I believe the packaging has been sadly cut down to save money)

Flanagan has been claiming for the past four years to be working on a follow up album focusing on the concepts of Hula, but nothing has come forward to say the album will complete in the near future. In 2010 it seems Aweau and Flanagan have disbanded and a new ukulele playing partner has joined Flanagan as another "new" HAPA