About Patrick

"I believe that a second Hawaiian renaissance is taking place, however it is taking place here on the mainland." — Patrick Landeza

As these (musical and liner) notes are being prepared for Patrick Landeza's latest slack key guitar album, the 2010 Census is getting underway. Although no one can yet say what the final count will reveal, it is very likely that one startling fact will leap out at anyone who has an interest in Hawaiian music: there are now more people of Hawaiian ancestry living on the mainland than there are in the Hawaiian islands.

We can predict this with pretty strong certainty since the 2000 census already established it as a fact, or at least as a government statistic.

While Hawaiians settled in North America at least as early the 18th Century (and perhaps a great deal earlier), and by the mid 19th Century established a clear cultural presence on the West Coast in such locations as Kanaka Village, along the Columbia River, the largest waves of Hawaiian migration to the mainland started in the late1950s, just as Hawai`i was beginning to absorb large numbers of new arrivals from the mainland.

Over the past fifty years, many small and more than a few quite large communities of Hawaiian expatriates have sprung up all over the mainland as far east as New York City, as far south as Mexico, as far north as Canada and of course all over the West Coast. They have been joined by ex-islands of other ethnicities and also befriended large groups of people who have either visited Hawai`i or are simply smart enough to enjoy Hawaiian culture.

End result? Today in many places on the mainland, both obvious and surprising, you find civic clubs and cultural centers working hard and having fun keeping keep the spirit of the islands alive and well in the hearts of transplanted, frequently homesick people.

These wonderful, often volunteer organizations sponsor their own halau hula, canoe clubs, music clubs, restaurants, surf shops and classes of all kinds. They also invite Hawai`i-based artists and teachers to join them for special events, often supporting them more strongly and appreciating them more deeply than we do back home!

On any given weekend it is more likely you will find a famous Hawaiian musician performing on the mainland than you will in Hawaii. Go figgah!

Now you understand more about the quote by Patrick Landeza at the top about a second Hawaiian Renaissance going on.

Patrick Landeza is the youngest recipient to date of the Kapalakiko Aloha Spirit Award, created by longtime Bay Area Hawaiian cultural leader Saichi Kawahara. Patrick received it, however, as he describes it: "Put it this way, my father received this award posthumously for his dedication to the Hawaiian community."

Patrick Landeza's parents, Danny Landeza, Jr. of O'ahu, and Frances Kawaipulou Kuakini O'Sullivan of Moloka'i, arrived in California at this time. Like most first generation immigrants the world over, they tried to keep close ties to what is poetically called "ku'u one hanau," or "the beloved sands of my birth."

"My father helped start several Hawaiian organizations, cooked at many luaus, helped those in need whether they were from Hawai`i or not," Patrick says. "In the 1960's, there was a void and islanders who were already established on the mainland helped those who weren't. Many of the newcomers experienced culture shock. They were hungry for local food or whatever, and a strong bond began to grow. Now, wherever I travel people will ask if I am related to Danny Landeza, or I will overhear them say 'That's Junior's son'. That makes me feel good, especially when tell me their favorite stories of my dad. Of course, my father wasn't the only one in the Bay Area who did this, however he did it in his own way."

"Today, the transition for Hawaii people is easier," Patrick adds. "Many new arrivals already have relatives or friends in the area. There are so many cultural centers. It's even easier to fly back and forth. So the culture shock is not my main concern. For me, as a as a father myself now, I am concerned about what I can do to assure that my children will learn their Hawaiian cultural legacy here on the mainland."

Like many second-generation mainland residents, Patrick got much of his Hawaiiana directly from his family. Instead of rebelling against it when he became a teenager, he willingly, on his own, eagerly sought out more of this local culture that was not local to him.

At age 15 he was introduced to slack key by two uncles Clarence and Francis Ahyee, who played him the recordings of the legendary Raymond Kaleoalohapoinaoleohelemanu Kane. Uncle Raymond is often affectionately remembered in the Hawaiian music world as the slack key ambassador for his welcoming approach to teaching and his frequent travel. His music is warm and his playing sounds simpler than it is; it makes an ideal introduction to the music. For Patrick, Raymond became a hero.

"He was my idol," said Patrick. "I listened to him religiously."

In 1990 Raymond came to Berkeley for a concert at the famous Freight and Salvage folk club, just two blocks from Patrick's house. The two met and Uncle Raymond, true to form, agreed to take Patrick on as his student. (Anyone who remembers Uncle Raymond can hear his inimitable gravely voice telling Patrick "Of course. Easy! No cause for alarm" and any number of other catch phrases to relax the scared kid and make him feel welcome.)

Whenever he could find the time and the money, Patrick would travel to Hawai'i and pick up pointers from Raymond, as well as other slack key masters such as George Kuo, Dennis Kamakahi and the late Sonny Chillingworth. He also performed for events around the Bay Area under the wing of Saichi Kawahara who generously shared the time and traditions.

By age 19, Patrick started playing solo opening Bay Area concerts for Hawaiian artists like Israel "Bruddah Iz" Kamakawiwo'ole, Cecilio & Kapono, Keali'i Reichel and HAPA. He also religiously attended the many slack key performances sponsored by Dancing Cat in and around the area.

Slack key has always been as much a social event as a music style, and even the great masters are usually open to a jam session backstage before, during and often after a gig.

Shy at first, Patrick fell into the circle and eventually found a seat at the sessions. Known simply as "The Kid," he had to dodge more than one security guard in his time but the artists were always gracious about rescuing him in and seeing that he got a chance to pa'ani.

Throughout the 1990s, as Hawaiian music gathered momentum on the mainland, Patrick kept playing and started writing songs. In 1997, he composed "Mahealani" for 1997 Hawaii's own Miss Universe Brook Mahealani Lee. The song was featured on her half-hour television special that aired before the 1998 Miss Universe Pageant.

Later that year, Patrick released his first album, "Pu'unaue" ("to share"), in which he mixed original compositions along with traditional Hawaiian music. His special guests included several friends from his days as The Kid: Martin Pahinui, George Kuo, Dennis Kamakahi, and Pekelo Cosma. He also set up LandezaPresents to bring slack key to different markets introducing a variety of artists.

As many parents tell their children, music is a great hobby! There are two possible meanings to this and for the second one, Patrick was wise enough to get a day job teaching junior high school. This not only provided him with a meaningful career and money to live (the Bay Area is one of the few places almost as expensive as Hawaii!) but also helped him understand, more than most, how to set up practical approaches to teaching Hawaiian music to mainlanders in his spare time.

"I saw that the need for education in all things Hawaiian was in great demand here on the mainland, " Patrick says. "I realized that whenever the gang was here on tours or recording , we also needed to set up teaching gigs. This would allow the Hawaiian music enthusiasts to get up and personal with the musicians."

Patrick's hope was that this would lead to other groups as students from these classes went home and established networks in their own communities. "My wish was that they would be able to form slack key support groups, 'ukulele clubs and so on."

To this end, in 2004 Patrick established the Institute of Hawaiian Music and Culture. "It was a traveling workshop or mini camp where you would learn Hawaiian language, culture, slack key and `ukulele," Patrick says. "The instructors included Cyril Pahinui, Dennis and David Kamakahi, Keoki Kahumoku, Herb Ohta, Junior and me for the music and Kalae Miles on leo ki`eki`e (falsetto singing) and Hawaiian language. We would run different configurations. We covered the Bay Area, Seattle and Los Angeles."

In the last five years, as Patrick's work as a teacher, school administrator, composer, producer, musician and first-time father began to occupy more of his time, he has been happy that he could pull back some from the Institute. "It worked!" he says with pride. "There are lots of others doing it now. I would not have known that then, but as I look now, I see that the seeds we planted years ago have come to fruition."

In 2004, as the Institute was winding down, he also released his first instructional DVD, "Hawaiian Slack Key Guitar Made Easy" (Lamb Productions). "Easy was an important concept to me," Patrick says. "Hearing Raymond's music and thinking, wrongly, that it might be something I could do is what inspired me to start playing. It is always difficult to master any art and slack key has lots of complexity. Everybody has their own sound and their own style. It takes a lot of devotion to develop the skills and the feel. There is also great cultural depth in the music that takes years to understand, but you have to start somewhere and easy is the best place for that."

Patrick is also making appearances as an instructor at various workshops around the nation such as the prestigious Swannanoa Gathering in North Carolina and the Healdsburg Guitar Festival. In addition, his lessons will be published in Acoustic Guitar Magazine as a guest clinician.

Recently, he began teaching weekly at the Freight and Salvage in Berkeley, where he first met his first teacher, Raymond Kane. Their new state of the art venue also has classroom space.

"I am so grateful for the privilege of learning ki ho'alu from the masters and being able to entertain so many people with that gift," said Patrick. "Now it's time for me to share the mana'o, or knowledge and understanding, with others."

Like any good teacher, Patrick enjoys all of his students, but when asked mentions a few who have gone on to do some really public things in slack key. "Chris Yeaton, my most accomplished student has traveled with Keola Beamer and John Keawe," he says. "Fran Guidry tours with Ledward and is the strongest advocate for slack key on the internet., if I ever had to give an award for most improved it would be Jim Kramer! He plays with the lovely Faith Ako and does a great job."

For the day job (remember: music - a great hobby!), Patrick is currently teaching social sciences and holding down an administrative position at St. Elizabeth High School in Oakland. "It's in the deep inner city," Patrick says, "and LOVE IT!!!! I deal with many issues everyday, teach class, then teach slack key, then go home to my family."

Like his father, Patrick feels the call to help organize the community to help others in need. "I often take my students and do community service work in our school community," he says. "I truly believe by setting this example to the kids, they will go on and help others throughout their lives. I cook at shelters and teach the students how to cook as well, it's service learning at its finest!

Also like his father, Patrick likes to cook. "I also have a catering business with my family called Landeza's Island Catering. This too keeps me busy. I tour the music during the summer and do everything else during the school year."

This album is Patrick's fourth solo release. Like the others it mixes original compositions and slack key classics honoring his teachers and inspirations.

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