Stars: William Sanderson, Marla Gibbs, Faye Dunaway, Stephen Tobolowsky
WITH Ian Whitcomb and Jim Beloff credited as ‘Ukulele Consultants’ and a vintage Martin O in a starring role, Stanley’s Gig is essential viewing.
Inspired by real-life characters, the film revolves around LA resident Stanley Myer (Sanderson), a divorced, broke, recovering alcoholic who dreams of a job playing his uke on a cruise ship to Hawaii.
With the help of his only friend Leila (Dunaway), Stanley gets an audition with a Japanese cruise company, but fails to win over the executives with his version of Makin’ Love Ukulele Style, mainly because he simply doesn’t look the part.
To make ends meet, he starts working at a nursing home, playing for the residents, and it’s there he meets Eleanor (Gibbs), a bitter, retired jazz singer who claims to hate music.
Imbued with a renewed sense of purpose, Stanley makes it his business to help Eleanor reconnect with the world, and in doing so helps himself.
While the picture quality and the dubbing on the songs is a bit patchy, it takes nothing away from what is a great little film about the power of music to heal and bridge generations. And it’s hard to fault a soundtrack that includes catchy Whitcomb originals such as Ukulele Heaven and The Uke Is On The March.
WHEN people see or hear a ukulele-banjo (or banjo-uke or banjolele), they almost invariably think of George Formby, the English comedian with the naughty songs and the dynamite right hand. But there was another British entertainer treading the boards and strumming up a storm during the same period as George – the magnificent Tessie O’Shea.
Born in Cardiff, Wales on March 13, 1913, Tessie was something of a child prodigy. She reportedly started working at the age of six and was booked for a solo appearance at the Bristol Hippodrome in England when she was 12. At 15, while starring in a revue in Blackpool, she first performed the song Two-Ton Tessie From Tennessee, which quickly became her signature tune.
By the mid-1940s, Tessie was topping the bill at the London Palladium, a bona fide music hall star. Movie roles and hit records followed and, in 1963, Noël Coward created a part specifically for her in his Broadway musical The Girl Who Came To Supper. Tessie’s turn as Cockney fish’n’chips seller Ada Cockle garnered her a Tony Award and an American audience. She was a guest on The Ed Sullivan Show in 1963 and proved so popular that she was invited back the following year to share the stage with The Beatles.
“Tessie was a powerful player,” says Chris Jameson, the owner of O’Shea’s Gibson UB5 uke-banjo. “You probably wouldn’t have lent her your favourite ukulele, if not because of her enthusiastic fan stroke, then maybe for her habit of throwing her uke in the air at the end of a song and not always catching it.”
As Tessie’s career wound down, she moved to Florida, USA, where she lived with her friend Ernest Wampola, a well-known pianist and composer she had met during World War II, when they were both entertaining the troops. Ernest became Tessie’s musical director and manager and welcomed her into his family.
In 1995, Tessie died of congestive heart failure at the age of 82. A fantastic player with an infectious lust for life, she deserves to be remembered as a ukulele legend.
By Cameron Murray
This article originally appeared in Issue 9 of KAMUKE Ukulele Magazine, which is available in theStore
Stars: Steve Martin, Bernadette Peters, Catlin Adams
WIDELY regarded as one of the funniest films of all time, The Jerk tells the sorry story of Navin R. Johnson (Martin), the adopted son of a poor black family from Mississippi who decides to strike out on his own.
The only trouble is Navin is incredibly naïve and the laughs come thick and fast as he stumbles from one ridiculous situation to the next, until one day he learns that an outlandish invention has made him a millionaire, albeit temporarily.
Along the way, Navin falls in love with a beautiful woman named Marie (Peters) and they do a sweet duet of the 1926 classic Tonight You Belong To Me, with Navin supposedly strumming a soprano ukulele. In reality, the tune was recorded by jazz uke legend Lyle Ritz and overdubbed.
On the excellent ‘26th Anniversary Edition’ DVD of the movie, Californian ukulele chanteuse Janet Klein (billed as ‘Ukulele Gal’) teaches a simplified version of the song, while a more complex Ritz arrangement can be found in the songbook Jumpin’ Jim’s Ukulele Masters: Lyle Ritz – Jazz (2000).
As a result of the success of The Jerk, Tonight You Belong To Me has become synonymous with the ukulele and has been covered by a number of artists, including Amy Nelson and Cathy Guthrie (daughters of Willie Nelson and Arlo Guthrie, respectively) on 2005’s Folk Uke and Eddie Vedder and Cat Power on Vedder’s 2011 album Ukulele Songs.
This article originally appeared in Issue 5 of KAMUKE Ukulele Magazine, which is available in the STORE
When I first met Andrew in Los Angeles, he was just starting to make waves on the uke scene, but it was obvious he’d become one of the best performers around. He had a glint in his eye and the skills to back it up. Fast-forward a few years and Andrew has three fantastic albums to his name, as well as a brand-new online ukulele academy. We had a great chat about his musical journey so far and he gave me some valuable tips for players of all levels. Enjoy!
American singer-songwriter Tom Freund is a fairly recent convert to the uke, but he’s making up for lost time. As soon as I heard his single Happy Uke, I thought it’d be fun to have a chat with him about it, and I was right!
Over the years, Tom has collaborated with Ben Harper, Jackson Browne, Elvis Costello, KT Tunstall, Dave Matthews, Diana Krall and many others. He’s also done a lot of work on TV shows such as One Tree Hill, Dawson’s Creek, Parenthood, Las Vegas and Pete The Cat, and he performed with Graham Parker in the 2012 Judd Apatow comedy This Is 40.
Being Beatle George’s son has its advantages, but also great responsibilities as a ukulele custodian. Interview by Michael Dwyer
Dhani Harrison is on a mission. Yes, he’s here to promote his new Fender signature ukulele: a sleek, ovangkol tenor that comes in two shades of blue with inbuilt tuner/pick-up and mystical fretboard inlays. But he’s more concerned about the billion other ukuleles languishing out there in lesser states of repair.
“Whenever I see a uke in a room, I always tune it,” he says. “I went in a house the other day and I saw there was a ukulele on the side. And I picked it up and I strummed the strings, and it was in tune perfectly, which is rare… I was like, ‘That person actually plays the ukulele’.
“You can tell a lot about a person by how they leave their uke.”
It’s fair to guess that Dhani Harrison had to leave home to find his first neglected uke. His father George, as the whole world knows, was a flag-flying devotee of the instrument in his post-Beatles years. “It used to make him happy. I think it reminded him of his childhood,” his son says.
“I think it started as kind of a childhood obsession with George Formby and wartime music, and how it was a happy thing. And then he started trying to be able to master all the stuff that Formby could do. And he got it. And he then became a legit, really good ukulele player.”
Young Dhani’s first instrument was a Wendell Hall Ludwig banjolele with a white whalebone headstock. He remembers learning a lot of Formby songs — Auntie Maggie’s Remedy, Hitting the High Spots Now, Home Guard Blues — “because that’s all you can play on those things”.
“I wasn’t approaching it from a Hawaiian mellow perspective. It was from a very rack and raucous, sort of vaudeville perspective.”
The Hawaiian connection came later, as the Harrison family increasingly spent time in Maui in the 1980s and ’90s. As a teenager, Dhani fell for Israel Kamakawiwo’ole, Gabby Pahinui and Bennie Nawahi, and so began his own journey as a musician.
As well as family friends Tom Petty and Jeff Lynne, he’s since collaborated with artists as diverse as Wu-Tang Clan, UNKLE and Pearl Jam — a connection his father helped facilitate back in 1993, backstage at a massive Bob Dylan tribute at Madison Square Garden.
“Dad had to go and rehearse with Booker T and the MGs and he left me with Pearl Jam for the afternoon, with Mike McCready and Eddie Vedder,” he remembers. “They were super nice and my dad thought that was funny because he knew how much I loved them.”
Years later, Dhani was touring Seattle with Fistful of Mercy, his trio with Ben Harper and Joseph Arthur, and decided to visit Vedder — by now one of the rock world’s foremost ukulele aficionados and ambassadors. He wound up playing with Pearl Jam at the Rock’n’Roll Hall of Fame, and at their 20th anniversary shows in Wisconsin.
“I think the only time we’ve ever played ukes together was [when Vedder] was playing a solo show at Brixton Academy. I came on and we covered Should I Stay Or Should I Go by The Clash on steel-string ukuleles. I remember really cutting my fingers on the strings because I always play with my fingers.
“He has some kind of metal ukuleles with metal strings and all kinds of fun stuff. He’s in his own ukulele world, I’m in my own ukulele world, but our mutual love for Hawaii, surfing and ukuleles is kind of the heart of our lives.”
So far, the uke has been a modest presence on Dhani’s Harrison’s records. Check out his soundtrack to the 2013 movie Beautiful Creatures, and the occasional track by his band, thenewno2. But “I’m sitting in the middle of tons of them right now,” he says. “So the chances of them ending up on a piece of music is pretty high.”
Meanwhile, his advice to uke players — and not coincidentally, one of Fender’s obvious strengths — begins with good machine heads. The old tuning pegs are charming enough if they hold, but too many new players are put off by the fact that they won’t stay in tune. “If you’ve got crap ones, it’s no fun to play whatsoever.”
And after the hardware is sorted?
“It’s really in the right hand where you can soar in ukulele, you know what I mean? When you lock it in the right hand, and you know you’ve got some tricks, like scissors and all that kind of stuff… [then] it’s just practice, all the time. Play as much as you can. Take one with you, wherever you go, then you play it everywhere… And if you take two, then you can play with someone else.”
Funny. His dad used to say much the same thing. Maybe the evangelistic fervour is a tiny bit contagious.
“Absolutely,” he says. “It brings smiles, joy, heals, unites. They’re powerful little things. In the right hands they’re also very disarming. I think that’s why they help unite, because people tend to be disarmed by them. You can’t hate on a ukulele. Simple as that.”
Dhani Harrison’s signature Fender ukulele retails in Australia for $549.
Michael Dwyer is a Melbourne journalist and tenor ukulele player with The Thin White Ukes, who launch their second album, A Better Future, at Brunswick Ballroom on Sunday, August 29.
I TRY not to be too effusive when it comes to reviews, but this album is a rare gem! Thoughtful arrangements, impressive musicianship and great production combine to create a foot-tapping listening experience.
Based in Liverpool, England, The Ukulele Uff Trio has been wowing audiences since 2014. Breezin’ Along With The Breeze is their second album and they’ve put together a diverse selection of 15 excellent tunes, most of them dating from the 1920s. Anyone who’s already a fan of Janet Klein & Her Parlor Boys, the Sweet Hollywaiians and Ukulelezaza will find a lot to like here.
While the vintage Martin soprano of Chris ‘Ukulele Uff’ Hough shines through on almost every track, he’s accompanied superbly by Dave Searson on guitar and Bill Leach on Hawaiian steel guitar. Singing duties are shared throughout and special mention must go to John Lewis, who adds some lovely, lyrical clarinet on Oh How She Could Play A Ukulele.
Highlights include the jumpy Red Lips, Kiss My Blues Away, a pacy version of the English folk classic The Leaving Of Liverpool and Singin’ In The Rain, which may as well be retitled Swingin’ In The Rain, such is its inherent grooviness.
For uke purists, it’s hard to go past the two marches from 1893, Under The Double Eagle and The Liberty Bell, and the final tune on the record, Uke Medley, gives Chris a chance to show off his solo skills.
Make yourself a cup of tea (or a dry martini), put your feet up and prepare to be carried away with the breeze. I guarantee you won’t regret it.
Daniel Ho & Cameron Murray at the 2019 NAMM Show in Los Angeles
Born in Hawaii and based in California, Daniel Ho is a one-man industry. The talented singer-songwriter, producer, arranger, composer and audio engineer has won six Grammy Awards and shows no signs of slowing down…even during a global pandemic!
In our wide-ranging chat, Daniel talks about the future of the music industry, gives us an insight into co-designing Romero Creations instruments, and tells us exactly what the ukulele means to him. And you won’t want to miss his fantastic tips for players and songwriters.
If you are a fairly novice player and don’t know about stringed instruments, it’s nice to have an experienced player with you to help you choose your instrument. But that may not be possible and, ultimately, it is you who will live with the choice. So if you can do the choosing yourself, it promises to be a satisfying and memorable experience.
Here are 10 basic things to help you be more confident with your choice.
Remember you will be spending more time with this object than possibly anything else you own outside of your furniture. So don’t be cheap.
A great-sounding instrument can uplift you, make you want to play more and will make you sound good from the first strum.
How much are you willing to spend? Or, what is the most you can afford to part with? Think about how much you spend in other areas of your life (like your car or clothes) and figure out what an appropriate amount should be for you.
There are 3 main sizes of uke:
Small = Soprano (or the slightly larger but less available Concert)
Medium = Tenor
Large = Baritone
Try all three and decide which suits you best. This could be for physical reasons (large or small hands) or it might be the sound you prefer. Soprano and Tenor have the bouncy ukulele sound whereas the Baritone uke tends to be closer to a guitar – if that’s what you want.
Look closely at all the points where the various parts of the instrument have been joined. Check out the frets. Are they straight and cleanly inserted into the fingerboard or raggedy looking? If all the wooden joins are smooth and pleasing to look at, it’s a visual sign that the maker has taken care.
Does it look good on you? It’s unfortunate but true that modern audiences listen as much with their eyes as with their ears. How your instrument looks will send a message to your audience about you and the music you’re about to play. A beautifully inlaid uke will say one thing and a bright pink uke will say another. It’s not really a huge deal though and, if you play well, people will eventually listen no matter what. Generally, I would say don’t choose your instrument according to the colour, that is unless it also fulfils the other qualities you’re looking for.
With the uke facing you on the wall or on a stand, strum across the open strings. What does the sound make you think or feel? If you like the basic tone, that is a good starting point. Once you’re holding it and pressing the wood with the sound-hole pointed away, it will sound different again. However, some instruments lose their tone when you play them. Find out if the uke holds the tone all the way up the neck by pressing a finger across all four strings at some of the higher frets. Does the tone still sound full and ringing or has it become dull?
Does it feel good to hold while resting easily in your arms? If the neck and headstock are too heavy for the body, the instrument will be constantly tipping to one side. It’s not necessarily a deal breaker, because you can use a strap to hold the uke in place, but is that what you want?
A beautiful-sounding ukulele has great resonance. It sounds loud and full and the sound carries on without disappearing right away. This happens because a good uke is made from thin wood that is free to vibrate thanks to well-placed bracing (thin pieces of internal supporting wood). The physical light weight of your instrument is a clue that it is well-made and potentially great sounding.
Check that the instrument holds its tuning. The tuning pegs need to be sturdy and tight while also being easy to adjust. Planetary tuners with their hidden gearing (1:4) make tuning quick and precise while still looking like friction pegs. There is nothing wrong with good friction pegs either, so long as they stay in place and don’t slip during the middle of a song or when you accidentally brush them with your finger. Guitar-style geared pegs (they may come out sideways from the headstock) work well too if good quality.
There are several ways to check intonation and I offer this one as a way of doing a quick and easy test:
Tune the strings. Then play a chord like say G7, or E minor, and notice if the string that is not being pressed sounds in tune with the 3 strings that are being played as part of the chord. Does it still sound sweet?
Next move the chord up one fret with the fourth string still open. How does that sound? Move the chord all the way up the neck one fret at a time, strumming as you go. Even the discords along the way will sound sweet if the intonation is good. If it gets nasty and jarring, it means that the build of the uke is poor and the intonation is off. You will never sound good with this instrument no matter how how much you practice.
But keep checking the open tuning of the strings. New strings have a tendency to stretch and need to be regularly retuned for the first few days. If the strings keep going out of tune, this will confuse the above intonation technique.
(It’s worth noting that banjo ukuleles have a moveable bridge which can be adjusted to get good intonation. That is if all the frets have been well placed to begin with.)
Find out what is available in your music shop within your price range and read reviews about the instruments you’ll be handling. You might discover a fine instrument that is also a reasonable price. But try several if you can. Some companies can be inconsistent in their quality and two identical-looking ukuleles may sound and feel quite different.
If you really want to get into research, then the variety of tone-woods, strings and building styles will provide you with a world of interest but essentially if you are happy with the sound, the look and the feel of your new ukulele, then you’ve made a good choice.
SUPPOSEDLY derived from a guitar-like instrument brought to Hawaii by Portuguese sailors, the taropatch is similar in size to a concert ukulele and has eight strings, arranged in four pairs.
Although manufacturers such as Nunes, Kumalae and Oscar Schmidt produced the taropatch during the early-mid 1900s, it’s generally accepted that the finest examples were built by C.F. Martin & Co in Nazareth, Pennsylvania, USA.
The first recorded sale of a Martin taropatch was on August 9, 1916, and it first appeared in the company’s price lists in 1918. Available in three styles of mahogany and koa, it didn’t sell as well as Martin’s easier-to-play, four-stringed ukes, particularly after the company released its own concert size in 1925. The taropatch was dropped from the Martin line in 1932.
Pictured here is a Martin 1K (koa) taropatch dating from around 1929. The instrument was purchased in England in 1977 by Richard Maingôt and the case was made for it in 2004 by Cedar Creek Custom Case Shoppe (cedarcreekcases.com) in Oilville, Virginia, USA.
“I acquired my lovely taropatch while I was living in Richmond, Surrey,” says Mr Maingot. “I purchased it on the spot; an eight-stringed beauty without a scratch or blemish on her body. And what a tone! You are immediately transported to Hawaii when you hear this instrument.”
Some contemporary manufacturers, such as Kamaka, Lanikai and Kala, make eight-string ukulele variants, but none are quite up to the standard of the vintage Martins. At least not yet…