Think of Hawaiian music and you likely conjure ukuleles and slack-key guitar. Yet, as we begin 2025 this is our second jazz offering from Hawaiian artists. Veteran drummer Noel Okimoto leads a septet through a variety of jazz forms, much like the quartet Groovology, also covered this same week. Okimoto taps into the hard bop sound of The Jazz Messengers, odd-metered samba, organ-driven blues, and tributes to Wayne Shorter and Gabe Baltazar. They are all Okimoto originals, all mainstream oriented. The album title means respect and in this case it related both to the musicians he is paying tribute to and to those who join him in this session. They are Dean Taba (electric and acoustic bass), Tommy James (piano, organ, electric piano), Allen Won (tenor, alto, and soprano saxophones, flute), Abe Lagrimas, Jr. (vibraphone and ukulele – yes there is one!), Hara Takauchi (electric and acoustic guitar), DeShannon Higa (trumpet and flugelhorn) and guest Michael Grande who plays electric piano on “Opuscula.”
Okimoto lays down a complex Brazilian rhythm in the opening “Cachorra,” a strong vehicle for trumpeter Higa and flutist Won. The driving “Up Syndrome” is patterned on the Jazz Messenger sound with Okimoto as Blakey and Hira and Won (on tenor) in the roles of Lee Morgan and Wayne Shorter respectively. Won goes especially beast mode in his turn. “Braying” changes the mood rather abruptly, a funky, sweaty workout with contributions from Won on soprano, Takauchi on guitar, and the driving organ of James. “Karing Karing” is a more contemporary piece, a bit angular, as it pays tribute to altoist Gabe Baltazar, a Stan Kenton alumnus who spent much of his life in Hawaii and inspired Okimoto. Won rather obviously takes a major solo on alto and vibraphonist Lagrimas also impresses here and becomes even more prominent on “Patina Ballerina.”
The swinging “Lethologica” is yet another example of Okimoto’s penchant for hard bop with multiple burning solos from the tenorist, bassist, vibraphonist, and pianist. Okimoto displays his chops on the fast odd metered samba “Longest Day,” which features a liquid smooth Won on soprano, and feisty turns from the vibraphonist and James on electric piano. Yet, it’s Okimoto and bassist Taba who drive this one hard. The tribute to Shorter is entitled “Wayne-ing Days,” a ballad that features strong unison ensemble playing and, of course, heartfelt expressions from trumpeter Higa. Won on tenor, and James on piano. The up tempo “Cachorro” features the rhythm section with Okimoto and the vibraphonist leading the way.
The interplay of Lagrimas, Okimoto, and Hon on soprano charms in the rather dreamy “Nine and Half” while Won on alto and pianist James weave inspiring exchanges in “Under the Bottom.” The brief but uplifting “”Opuscule for Rowan” closes with guest Grande prominent on the electric piano as we also hear Okimoto on melodica and fittingy, Lagrimas on ukulele.
Okimoto’s music doesn’t necessarily break any new ground, but he varies the program nicely and gives us a nice insight to the talented musicians from Hawaii that we don’t otherwise hear. The music is bright and should lift your spirits.
– Jim Hynes
Jim Hynes is a respected music reviewer and journalist celebrated for his thoughtful analysis and unwavering passion for a broad spectrum of music genres, particularly jazz, blues, and Americana. With a career spanning decades, Hynes has built a reputation for his articulate and insightful reviews that delve deep into the artistry, emotion, and cultural impact of the music he covers.
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