RECORDS

REVIEWED BY BARRY WOODS MAORI SONGS WITH STRINGS KIWI E.C. 20 Kirimamae (Phyllis Williams) and the Alex Lindsay Orchestra. If ever the intermixture of Pakeha Maori cultures was better presented on records, I have yet to hear it. The beautiful sound of the Maori language combined with splendid orchestrations is a delightful involvement for the listener. Sincere effort in congealing the plasticity of the Maori language, sentiments of the people, and echoes of the past, without resorting to the vulgar methods of the nineteen-thirties, is rare. Kirimamae, using her plaintive voice as an instrument of the orchestra, charms the listener into a complete feeling of Maoritanga. This is made all the more remarkable when the harmonies used rely little upon traditional Maori chant form, and show a marked influence by French lyric folk songs. This may be purely incidental, but it is none-the-less present in the orchestral arrangement. Purely to provoke discussion … the French settlement of parts of New Zealand in the 19th Century should have influenced the Maori vocal arts of the time in some way. I mention this not to give credence to my previous remarks, but as an avenue of research. Mention must be made of the elegant playing of the cello in ‘E Tangi Tikapa’ by Marie Vandewart. The sensitive control of the Alex Lindsay Orchestra will, I hope, be further presented by Kiwi Records in this style of work.

MORE SONGS WE SANG Songs from the New Zealand Services presented by Les Cleveland and the ‘D-Day Dodgers’. The best thing about this ‘party piece’ (for who could seriously absorb it) is the smooth sextet playing the background accompaniment. The singers themselves have adopted what I assume is the peculiar ‘Kiwi’ Accent, and the virulently odious fill-in commentary between songs is enough in itself to have turned Rommel back from El Alamein. I imagine this recording will revive plenty of memories for ex-servicemen, perhaps not of the comradeship, fear, or victories. but of some of the clots they were unfortunate enough to serve with. Of interest to the Maori, the Maori Battalion marching song as presented here, has all the virility and feeling of an amiable stroll to the wash-room. This record is strictly for bachelor Diggers.

NOW IS THE HOUR KIWI E.A. 39 The Amorangi Boys of Rotorua, with Leah Clubb I would be inclined to retitle this record, ‘Music for Maoris who hate Maoris’. The cover notes describe the choir thus … “Its precision, security of pitch, phrasing and dynamic variety are evidence of a remarkable discipline.” As far as this goes, I have no quarrel, but when all musical sincerity is sacrificed for the sake of discipline, I am prepared to do so vehemently. Blame for the amazing machine-like performance cannot be directed at the boys, but at their musical director. He has created a breath-controlled impression of out-pronouncing (or conversely, nosethumbing) the liquid quality of the Maori language. Beneath the Maori Moon, presented with the title song, Hoki Hoki Tonu Mai, and Nga Rongo, is a splendid example of all that is phony in the mixture of cultures. To give credit where it is due, the boys, and in particular the fine young baritone soloist, have a fine tone, but the Maori language deserves a better place for its preservation and enjoyment than on this particular disc.

THE COMING OF THE MAORI KIWI. E.A. 66 This is a bit of a “stew” as recordings go … a little of this, and a little of that, tied together on the first side of the disc with what I suppose is termed a “heroic” commentary. Melodies strung together (of only a few years ago) in an effort to preserve in some form the Maori culture, have been used in sequence on side one, to indicate the hopes, privations, and eventual arrival of the great migration. The manner in which this is done causes me some amusement, as the only approximation to genuine Maori culture in this sequence is a brief snatch of a chant as the canoes are hauled upon the beach. For the rest, the long journey seems to have been a ukulele accompanied foxtrot-cum-waltz time exodus from Hawaiki. Perhaps I am being too critical with this particular section of the recording, but the heroic style of the cover suggests to me something more than Maorified European melodies. Side two is a unabashed presentation of what the tourist pays good money to see in Rotorua twice weekly. The tourist unabashedly enjoys it, and so do I. The fishing chant, Ka Ru, in particular, is presented with all the precision and so forth that advertises the Amorangi Boys, but with the added advantage of a sense of musical rhythm. This record was recorded in Malaya by the Concert Party of the 2nd Battalion, N.Z. Regiment. The Boys of the regiment seem to have enjoyed themselves. I enjoyed them too.