SING MAORI SING

Viking VP 232 12in 33⅓ L.P.

This features for the first time on record a Maori Concert Party from Bridge Pa Hastings. Side 1 is recorded in a studio and Side 2 is obviously taken from an actual concert. As several items are featured on both sides there is an opportunity for an interesting comparison. I have often hit out in these columns at the unsatisfactory nature of much material recorded ‘live’ by Maori cultural groups. Constant interjections of coughs, snuffles and other audience noises can be very distracting to one's appreciation of a record. On the other hand, live performances often have a verve and spontaneity lacking in studio presentations.

On Side 1 of ‘Sing Maori Sing’ the singing is very smooth and controlled—almost too controlled—and it is only in successive tracks that the group seems to warm to its job. Nevertheless there is some very good singing and some fine bass voices. Apart from some slight slurring in the words of the first item the enunciation is good. A medley item consisting of ‘Rere atu Rere Mai’, ‘Kotiro Maori’. ‘E Rua Nei’, ‘Hoki Hoki’ and ‘Haere Ra e Hine’ is the best on Side 1.

Side 2, recorded live, has much more vitality but the applause, a considerable amount of which comes during the items, is a not inconsiderable distraction and mars the overall effect. In contrast to Side 1, however, the men's voices hardly come through at all for most of the items on Side 2. A measured but spirited performance of the great East Coast women's haka powhiri ‘Ka Panapana’ is the pick of the items from this group but I also enjoyed two rousing items from the Cook Islands—‘Rarotonga e’ and ‘Drums of Rarotonga’. It is good to see Maori Concert Groups sparing a niche in their repertoire for the culture of their first cousins in the Cooks.

The record cover is disappointing in that

there is absolutely no information whatsoever about the party or the nature of the items performed. This and a few minor points aside, the record is a good one and should prove enjoyable to those who buy it.

KIRI SINGS OPERA

Kiwi SLC 46 12in 33⅓ L.P.

Despite over a year away from New Zealand, public interest in, and affection for, the young Maori soprano Kiri Te Kanawa seems as great as ever. Kiri fans will be sure to welcome this latest record from Kiwi of a festival concert at the Bowl of Brooklands, New Plymouth on 11 February 1967. The quality of the recording is excellent and Kiri's singing has that freshness and charm which has already endeared her to many. Some of her recent records, mainly of lightweight stuff, have tended to give an impression of deadness. This record, in stereo, of an outdoor performance in a favourable acoustical setting, and backed by the NZBC Little Symphony Orchestra under Juan Matteucci and Stanford Robinson, does Kiri more justice.

The items are well known—from such well loved operas as La Boheme, Tosca, Faust, Die Fledermaus, Turandot (not so well known), Madam Butterfly and Barber of Seville. Kiri was, rightly I think, taken to task by critics some months ago when she appeared in Wellington because of the over-ambitious nature of some of the material she presented. The items on this record are for the most part well within the capabilities of a voice which is still developing and which still has to reach the full height of its powers. She sings effortlessly and often poignantly, notably in Mimi's farewell from Puccini's La Boheme. This is the best Kiri record yet.

PUTIKI SINGS

Viking VP 187 (Mono) and VPS 187 (stereo) 12 in 33⅓ L.P.

There is nothing unfamiliar on this disc from the Putiki Maori Club Choir, Wanganui, but old favourites are well sung and attractively presented. All items are unaccompanied which is refreshing in this era of the ubiquitous guitar or ukulele. (I am not against the use of these instruments per se as an accompaniment but many groups seem to regard the accompaniment as a prop without which they cannot perform, and in some recordings recently reviewed the instruments have been far too obtrusive). In one or two places the singing seems a shade thin but for the most part it is well balanced and the harmonising is good.

Highlight of Side 1 is a very attractive presentation of ‘Hine e Hine’, sung for the tender love song which it is. Side 2 begins with a very interesting chanted poi. The action song ‘E te Iwi Taitama’ has a difficult lyric yet every word comes through clearly—a sure sign that all in the group are pulling their weight. This is followed by the hymn ‘Te Ariki’ which displays the voices of the Choir to the best effect of all. In contrast ‘He Putiputi Pai’ which follows is poorly sung with the inexcusable but all-too-common mistake of rendering line 1 as ‘He putiputi pai …’ instead of the correct version ‘He Putiputi koe …’.

The cover is the most disappointing feaure of an otherwise good record. There are no notes on the group and there is a ludicrous mistake. The title of ‘Pa mai’ is given as ‘Toru Fa Pamai’ presumably transcribed by someone hearing the group begin the item with ‘Tahi, rua, toru, wha, Pa Mai … etc’ When I taxed Viking about this and about errors on the cover of ‘Sing Maori Sing’ (reviewed above) they explained the very real difficulties they have in getting the groups they record to provide material about either themselves or their items. They showed me notes provided by one prominent Maori educational institution for songs recorded by them.

The notes were badly mis-spelled in some places and scribbled in pencil on odd scraps of paper. It is probably unfair to criticise record companies too much for mis-spellings and misinformation on the covers of their Maori material. It is as much as anything up to the group being recorded to provide accurate and full information for use when the disc is issued. Groups hoping to be recorded in the future, please note!