2. He Wahine U‘i (John K. Almeida)— vocal and 12-string guitar, in C Major “Atta’s C” Tuning (C-G-E-G-C-E), tuned down two half steps to sound in the key of B flat.
Cyril can play in many tunings, but is best known for the C Major Tuning he learned from Leland “Atta” Issacs (1929-1983). Atta was one of Cyril’s biggest influences and was a close friend and musical cohort.
They were planning to record a duet album before Atta’s untimely death in 1983 (give a listen to his album The Legendary Atta Issacs—Legendary Slack-Key Master on Hana Ola Records).
This John Kameaaloha Almeida (1897-1985) composition is one of the standouts on side two of The Gabby Pahinui Hawaiian Band Volume One (Panini Records), which was released in 1975. At the time, it was the group’s only album made available outside Hawai‘i (on the Warner Brothers label). Two of the great “what ifs” in Hawaiian music have always been: what if more of Gabby’s music had been released internationally; and what if he had toured with the Gabby Band outside the islands.
Cyril also released a version of this song with his group, the Sandwich Isle Band, in 1978. Since the 1970s, it is usually played, as here, with a nod to The Gabby Band’s arrangement.
“The Dean of Hawaiian Music,” Johnny Almeida was a prolific composer and bandleader for more than 50 years. In songs like this one, he reveals his mastery in combining popular music of the 1920s and ‘30s with a deep awareness of traditional Hawaiian poetry.
“He Wahine U‘i,” can be translated into English as “Beautiful Woman.” Each verse of the song celebrates a different flower associated with one of the Hawaiian Islands. Audiences easily follow the repeating first line, if not always the kaona (hidden meaning), which compares a young man’s flirtations to those of the many lovely flowers one might choose for a lei—the rose, mokihana, kukui, or ‘ilima. Unable to decide between his sweethearts, at the end of the night, he ends up without one.
The song remains a popular standard today, and live performers sometimes insert their own flower references to honor someone in the audience or just liven up the party.
‘Auhea, ‘auhea wale ‘oe
E ka pua, e ka pua lokelani
A he nani, a he nani nö ‘oe
He wahine u‘i
‘Auhea, ‘auhea wale ‘oe
E ka pua, e ka pua mokihana
Hana a‘e, hana a‘e nö wau
Lei ho‘ohie
‘Auhea, ‘auhea wale ‘oe
E ka pua, e ka pua kukui
Kui a‘e, kui a‘e nö wau
A lawa kou lei e ka ipo