MAORI ENTERTAINERS IN AUCKLAND

Te Ao Hou, June 1959, Page 53

MAORI ENTERTAINERS IN AUCKLAND by JOHN BERRY George Campbell, formerly with the Kiwi Concert Party, is at the top among bass players. In Auckland's plushiest night club, amid an atmosphere of candlelight and exotic foods, a young Maori began to finger the keys of a piano. Beside him, the bass player and guitarist joined in. Tourists, wealthy businessmen and sophisticated men-about-town looked up from their shrimp cocktails, their deep-fried chicken or their T-bone steaks as the three Maoris weaved fascinating patterns of sound. For this music, though subdued and shadowy in keeping with the surroundings, commanded attention. About a mile away, at the Maori Community Centre, young Maoris in jeans and bright shirts were plunking guitars, blowing saxophones and filling the hall with vibrant, happy song. Here there was talent, too. In cabarets and dance halls, on radio and record, Maoris are making an increasing impact on Auckland's musical life. There are raw amateurs with only enthusiasm and the Maori's natural sense of harmony to carry them through; there are good amateurs—mostly self-taught—who are nearing professional standard; and there are the professionals of world-class musicianship like Lew Campbell. With elder brother George and guitarist Mark Kahi, Lew Campbell has drawn lavish praise from critics and jazz enthusiasts throughout the country with his trio. Tourists visiting the Sapphire Room or the Hi Diddle Griddle have been quick to comment: “Right up to the standard of our groups in the States.” So precisely yet subtly does the trio play, in fact, that people who believe they do not like jazz are enthusiastic. George, a bass player, and Lew, pianist and trumpet player, were born in Paeroa. Their father, James Campbell, had been a bugler in World War I and their mother was a pianist. With an elder brother, Phil, the boys took to music as if they had crochets and quavers, instead of blood, in their veins. Lew was still a schoolboy when the three of them began making their name known in dance halls throughout the Bay of Plenty and the Waikato. The family moved to Auckland in 1938. While Lew studied music at Auckland University College, Phil and George were working their way to the top in the music world. George had engagements in Sydney, playing in the Sydney Septette's “Man About Town” show and broadcast-

ing with Jack Davey. Both George and Phil played in Aucklander Ted Croad's band at the “Orange” dancehall. Then came the war and Air Force service for the two elder boys. They were anxious to get overseas, but headquarters knew their entertainment value and kept them in New Zealand. But their chance came with the return on furlough of the talent-seeking Kiwi Concert Party. Phil and George arranged a transfer and, before they sailed, youngster Lew was in the party too. Together the three Maori boys entertained troops throughout the Middle East and Italy. A partnership which seemed destined for great heights was broken by a Nazi shell which fell during a concert in Northern Italy almost at the end of the war and killed Phil. Saddened, but with valuable experience behind them, George and Lew returned to New Zealand —and to music. Lew has recorded, led the Auckland Radio Theatre Band, written arrangements and backs Barry Linehan's slick cabaret act at the Sapphire Room. He is passing on his musical knowledge and technique to other Aucklanders, Maori and European alike. George plays in the Radio Theatre Band, has worked with numerous small groups, including the Wally Ransom quartet, with topline pianist Nancy Harri, and Samoan-born Mavis Rivers, now singing in America, as vocalist. No-one has done more than Lew, now aged 34, and 37-year-old George to prove that in the world of modern music, the Maori is at least equal to the best. They base their success on a sound musical background, including an ability to play and appreciate classical music. They love traditional Maori songs, but seldom play them, except at the request of tourists. As George puts it: “It is wrong to play those songs with our particular type of combination.” Mark Kahi, from Rawene, is widely recognised as one of New Zealand's top guitarists. Mark Kahi expertly fingers the strings of his guitar in a modern jazz number. Lew Campbell has made a big name in Auckland jazz circles as pianist, arranger and trumpet player. He began playing at the age of 9 and by the age of 16, when he moved to Auckland, he had enough confidence and ability to attract attention. Performances with the Polynesian Club with Lou Mati's band were followed by work with broadcasting groups like the Four Aces, with Frank Gibson on drums, George Campbell on bass and Crombie Murdoch on piano. At the age of 32, Mark is now on the top rung. Another Maori guitarist with remarkable talent is 21-year-old Lennie Hutchinson, who came to Auckland from Dargaville. He made such rapid progress, playing with the Campbells, the nationally-known John McKenzie trio and with Crombie Murdoch that he decided to try his fortune in Australia. He is now in regular night club work in Sydney. Lennie's personality and fine fingering technique should take him to the top there. Bass player Bobby Ewing of Otahuhu is another Maori who cannot be ignored. A 37-year-old carpenter, he learned the piano, then the guitar (“in a sort of fashion”), but finally settled on string bass and decided wisely to make a serious study of music. The result has been guest artist appearances with the Radio Theatre Band, regular night club playing and broadcasting work with John MacKenzie and Nancy Harri. No Auckland singer is creating more interest than a young carpenter called Kahu Pineaha,

The Maori Community Centre, with its constant Sunday night ‘talent quests’ has proved a great stimulus to Maori amateur musicians. With a ready opportunity to come before a large public and compete with other musicians, many of the community centre performers have developed well. One talented singer heard at the centre is Freda Morrison, shown here with the Hawaiian Swingsters. who has been known for years to the people of Hawkes Bay. He began singing in Hastings at the age of six and has scores of performances—and a lot of recordings—behind him. With his resonant tenor voice, Kahu has a wide-ranging repertoire which includes Maori songs, Calypso and classical ballads. His ambition is to take his talents to the United States next year. The list of amateur Maori performers is almost endless. There are “rock” singers, like Ray Paparoa, of Pukehohe, who whips up tremendous audience enthusiasm with his Presley-like style and rubber legs. Freda Morrison is one of many talented girls who appear on the stage of the Maori Community Centre and handle the microphone like veterans. One of the youngest musicians is 12-year-old drummer Doug. Young, who has been playing since he was seven. He is an important member of the Hawaiian Swingsters from Papatoetoe. The others are Paul Robinson, Danny Robinson, Heke Kawini and Simon Mohana. Bands of this type, with real musical ability as well as the lusty enthusiasm of amateurs, are exciting talent scouts in Auckland. With television on the way and greater recording chances than ever before, the opportunities for the young Maori who applies himself to musical study are almost limitless. Bobby Ewing, an Otahuhu carpenter, is among Auckland's talented Maori musicians.