Featured Video #3: "Teardrops#7"

YouTubes’s sjeter61, aka Steve Jeter, has crafted a very moving and beautiful song called “Teardrops #7.” Steve’s been playing guitar for around 25 years but, like so many of us, has found and fallen for ukulele. As for this song, one of many on Steve’s YouTube channel, Steve says it came to him in bits over a couple of evenings. Glad it did and glad he shared it with us.




By the way, Steve plays a mean mandolin as well – see for yourself in “Swallowtail Jig.”

Marigold Stream

I did not plan on putting my own video up - just wanted to see what the Blog button under share would do and found out, but, oh well, here's what I did this weekend.  Mike

Featured Video #2: Danielle Ate the Sandwich

I luckily came across this second featured video by Danielle Ate the Sandwich.  I am just loving the playing and the vocals of her original tune “Where the Good Ones Go,” which is on her latest album “Two Bedroom Apartment.”  Lots of other good stuff on Youtube or check her out at http://www.danielleatethesandwich.net/.



Many of Danielle's video are preceded by comic vignettes featuring a cool space helmet or facts such as her toaster having a Pop Tart setting.  Very, very cool!

Saw this today, the album's title cut, and just had to add it:



Just amazing lyrics and images.   

Featured Video #1: "One Less Tear" by the Barnkickers!

I'm going to kick off the first of what I hope to be many featured original videos with the Barnkickers' award-winning video "One Less Tear."  Steve Boisen and his daughter Amanda are a powerful duet that makes for a very funny and poignant tune.

When asked on the backstory to the song, Steve said “I originally wrote this song as a ragtime piano piece and added the lyrics and counter melody much later. My daughter Amanda and I played all of the instruments on this recording except for the snare drum that was added to the CD version. "One Less Tear" was our second original "homemade" video and has proven to be our most popular song. I think people like the vocal trade off and the tin-pan-alley feel. They also like the ukulele references in the lyrics."

I say they also love the voices.  Both Steve and Amanda have unique vocals that really work well together; well, just see for yourself:



According to Steve the song is available (with remixed and remastered audio) on their debut CD "Up Before Noon," which is currently being sold on Flea Market Music, Elderly Instruments and most internet music sites. It has also been released on a compilation CD and covered by Rick Bolton and the Dwyer Sisters, which is a band out of Saratoga Springs, New York. The chords and lyrics are also available on ukefarm.

Building the Savarez Set

If you’ve spent any time on the UkuleleUnderground, you know there is much love for Savarez Alliance classical guitar strings. Curious, I decided to buy a set and put them on my Laniaki S-TEQ spruce top; while I was not that impressed at first, I quickly grew to love their full, rounded tone and supple feel and am, indeed, now a Savarez devotee.

The only problem with Savarez is that they do not make a set for the ukulele. Thus, you need to order single strings. There are a number of places that sell Savarez single strings by mail, such as stringbymail. Many of these places sell just strings, such as juststrings.


If you are thinking of sampling a set, here is how to “roll your own.”

Order two 541R strings (a guitar E string used for both the High g and the A on the ukulele), a 542R (a guitar B string used for the ukulele C), and a 543R (a guitar B string used for the ukulele E). If you want a low G, substitute the 541R you are using for the high-g with a wound Savarez 544R (which is a guitar D string). Some people, by the way, prefer to use the high tension Aliance E for the high G (the 541J, I believe). 

To recap, the basic guitar-to-ukulele string conversion is:

Ukulele high G = Guitar high-E guitar
Ukulele low G = Guitar D
Ukulele C = Guitar G
Ukulele E string = Guitar B
Ukulele A = Guitar high-E

Strings Compared

If you are playing Aquila Nylguts and want to hear them compared to a nylon string like the Savarez, Ken Middleton has a wonderful video that captures the true sound of both the Nylguts and Worth clears, which, to my ears are virtually identical to the Savarez Alliances (the Worths, I mean).



If you need to hear the actual Savarez sound, uluapoundr has a YouTube video which compares Savarez Alliance, Savarez New Critsal Corum, D’addario ProArte and D’addario T2 Titanium. I actually love the sound of the ProArtes and may try them soon. The video, by the way, is rather thorough, so to get right to the strings, the Savarez Alliance demo starts at 3:57, the New Cristal Corum at around 5:02, the ProArte at 6:09 and the T2s at about 7:17.



There is no right or wrong here—what sounds good to your ear is all that matters. I love Savarez, but I still love the sound and feel of the Nylguts, too (which is why my Boulder Creek tenor is still strung with them). And Worth, D’addario and Aquila all have one advantage over Savarez—you can buy them in pre-packaged ukulele sets, making ordering just a little easier.

By the way, I want to send a special thanks to UU member Craig of http://www.ukulelecraig.com/ for his forum posts on making a Savarez set and the guitar/ukulele string equivalents, and to Ken Middleton and uluapoundr for their helpful YouTube videos.

-Lamb Chop

Jake Shimabukuro Interview: "If everyone played the ukulele, the world would be a better place."

When you Google the word “ukulele”, the very first video that comes up is Jake Shimabukuro’s version of George Harrison’s classic “While My Guitar Gently Weeps.” Posted to YouTube in 2006, the video, which has gotten nearly six-million hits to date, propelled Jake to international stardom and has helped make the ukulele the respected phenomenon it is.

Not that Jake will take any of the credit. Hooked on ukulele since his Grandmother introduced him to the instrument at the age four, Jake is more likely to peg his success on the ukulele itself. Perhaps it is his humility—his lack of taking himself too seriously—that has propelled Jake to the top of the ukulele world.

Whether playing along with Bette Midler for Her Majesty the Queen, working as a semi-regular in Jimmy Buffett’s band, scoring films, making CDs or delighting American and international audiences with his solo virtuosity, Jake has become synonymous with the ukulele. He has taken the instrument to places it has never been before and proven time and again that four strings can be better than a whole orchestra.

The response to Jake and his music is, itself, a phenomenon. Having seen Jake in person, I can attest to his universal appeal. I stood in line outside The Ark in Ann Arbor, Michigan last year with hundreds of other fans who ranged in age from teens to seniors, men and women representing diverse races and ethnicities. One man drove four hours from Ohio to see the show, and several others brought their ukuleles along in hopes Jake would sign them. He did, of course, as well as meet everyone who stood in line to shake his hand.

More than an evening of good music, Jake’s performances are a glimpse into the mind and heart and soul of a true musician who leaves his audience feeling privileged to have witnessed his work. One is not just entertained by Jake’s work, but uplifted as well. You walk out of that auditorium knowing you have been a part of something very special (Need proof? Check his calendar for a show near you, or get a copy of his latest CD “Live,” which has captured some of the best moments from his live shows).

I feel equally privileged that Jake has taken a few moments out of his hectic world tour to share his thoughts on the creative process, his upcoming song book, Bruce Lee’s lasting influence on his approach to life and music, and that “four string underdog,” the ukulele.

Mike Kassel: Jake, I understand you are in the middle of a rather extensive tour–what are some of the places you are going for the rest of the summer and into Fall?

Jake Shimabukuro: Just got back from France last night and will be heading to Japan for a six week tour in a few days. After Japan, I'll be heading back to the states for a few legs and then taking off to Germany for a couple of shows. Can't wait—it’ll be loads of fun!

MK: Your arrangement of popular songs always sound so rich and full, yet you are playing one instrument with four strings. How challenging is it to adapt a song for ukulele?

Jake: It's always quite challenging for me to arrange songs as solo, instrumental ukulele pieces. One element that makes it tricky is the absence of bass notes. Also, the limited range and sustain can be difficult to work with. I just try to keep things simple in the beginning and let the piece evolve naturally over time.

MK: Is there a difference in how you approach creating your original songs? Do songs or ideas just come to you while playing, or do you get an idea in your head and then go work it out?

Jake: Actually both methods work well. There are so many ways to inspire creativity. The key is to figure out what works best for you—but not get locked into that one system. Most of the time, I just try to relax—watch a funny movie or go to the beach, then pray that some interesting idea will come out of that experience.

MK: The documentary, The Mighty Uke, of which you are a part, explores the phenomenon of the ukulele—how do you feel about your role in expanding the popularity of the instrument?

Jake: I'm just thrilled to be alive during this time to experience the growth and maturity of the ukulele. People from all over the world are rediscovering the four-string underdog and appreciating it in ways they never expected. I have always been a huge fan of the instrument—so meeting other supporters of the instrument connects us in a very positive way.

MK: In your CNN interview this past March, you talked about the influence of Bruce Lee and his focus of being “there” with everything he has when practicing his art – in your case, you are not just playing with your hands or your arms, but the music is coming from everything inside of you. Can you elaborate on that a bit?

Jake: Bruce Lee was my hero when I was a kid—not just because he could knock a 250 pound man down with his one-inch punch—but his philosophy on life and the conviction that he had when he spoke about it really drew me in. I was so inspired by his teachings that I based my approach to music on the contexts of his personal diaries. I learned to be open to all styles of music and embrace everything in and around me as part of my art form. Lee also taught me that music is not just notes and sound, but like every form of art, it is simply human expression.

MK: Tell us about “Music is Good Medicine” and your work as their spokesperson.

Jake: “Music Is Good Medicine” is a program that believes in the positive influence of music. I work with a lot of young people, using music as a vehicle to inspire them to have passion and live drug-free.

MK: Going to one of your shows is unlike anything else, because there are teens, college kids, middle-aged guys, seniors—what is it about your shows and your music that has the power to unite such a diverse group?

Jake: I believe the credit there goes to the instrument I play. People of all ages can appreciate the ukulele. That's what I love most about it—it bridges all generation gaps.

MK: If you had a dream duet or small group, what would it be?

Jake: Playing in an ukulele band with George Harrison—and Steve Gadd on drums.

MK: So many people want to learn your songs—is there a Jake Shimabukuro ukulele book on the horizon?

Jake: Yes. I am slowly working on one. I hope to release it sometime next year.

MK: On the technical side, what are the woods in your Kamaka ukulele? And what sort of on-board electronics do you use?

Jake: I play a Kamaka 4-string tenor ukulele made out of koa wood. It has an ebony fretboard and bridge, and a mahogany neck. The pickup system that I use is made by Fishman—it’s called the Matrix.

MK: It looks and sounds as though you play high-G; do you ever play low-G?

Jake: I have always played with the high-G string because it's the traditional tuning of the ukulele. I also love the unique chord voicings that you can get with the 2 higher pitched strings positioned on the top and bottom.

MK: What advice do you have for the aspiring players out there? What do they need to focus on to improve their playing and their musicianship?

Jake: The most important thing is—have fun. Play songs that you enjoy and remember that there is no wrong way to play an ukulele. Encourage others to learn and attend ukulele jam sessions. If everyone played the ukulele, the world would be a better place.

Thanks for your support. Aloha,
-Jake

To learn more about Jake, his current tour, and his albums, visit http://www.jakeshimabukuro.com/.

Picture credits: Top and middel photo by Hisashi Uchida; all othr photos by Ryota Mori.  All photos courtesy of the media page at http://www.jakeshimabukuro.com/

Lanikai S-TEQ Makes Me Happy

The first thing I noticed about the Lanikai S-TEQ spruce top tenor—the thing that made me fall in love with it, actually—was its incredibly low action. I sampled two identical models at Elderly Instruments in Lansing, Michigan and both played effortlessly. This smooth-as-butter playability is the Holy Grail for those like me who come from a steel string background, but there’s something else magical about this ukulele; it sounds good, too.

Every time I play this ukulele, plugged or unplugged (but mainly plugged), I get a great reaction. People crowd around to get a closer look and compliment me on how rounded and deep it sounds. They seem totally surprised to hear this big of sound from such a small box..

The fact that it looks so good is just icing on the cake.

The S-TEQ is the electric, cut-away version of the Lanikai S-T, which I assume stands for spruce tenor. The top is solid spruce with a beautiful, tight grain pattern. Back and sides are mahogany (most likely laminated, although the spec sheet does not say). Rosewood fingerboard and tie-bridge along with maple binding round-out the good looks and solid feel of the instrument and the 18 frets were level and immaculately manicured. A little excess glue on the fingerboard are about all I can complain about in regards to fit and finish.

Electronics on the two I sampled were Belcat UK2000 undersaddle transducers with 9-volt active preamps. The quality of the Asian-made electronics on the two ukuleles varied a bit, with one sounding quite trebly while the other was more rounded and had a better bass. I have seen other S-TEQ’s advertised with a German-made Shadow P3 active systems; not having compared a Belcat to a Shadow, all I can say is I was more than satisfied with the bassier of the two Belcat models.

The only real complaint I have is a somewhat loose “C” string die-cast tuning machine (looks like a Grover, but it’s not marked) on one of the samples. That the nicer tuners were on the more trebly example shows some of the trade-offs one encounters when purchasing lower-line instruments, but, again, the overall quality and sound was so good on both, these are just not very big concerns.

At bottom, I’m very pleased with the S-TEQ. At only $189 with the Belcat, this is one of the best values in all of ukedom. I have been fortunate to play a wide variety of ukuleles at Elderly—from $30 to Mahalos to thousand dollar Hawaiian makes, and I have yet to find one that feels and plays as smoothy and effortlessly as the S-TEQ.

While the tone may not snap out like it does on ukuleles costing hundreds, if not thousands more, it certainly holds its own, beating nearly everything in its price range. To quote the company slogan, this Lanikai "Makes me happy."

-Lamb Chop

Aldrine Guerrero's "Uke Minutes" Theory Collection

Ukulele Underground is my absolute favorite ukulele site, and singer, ukulele performer, and teacher Aldrine Guerrero’s “Uke Minutes” are one of its best features. Although each video is only two or three minutes long, Aldrine takes some really complex concepts and makes them easy for everyone, regardless of skill level, to understand – the mark of a great teacher!

While many of the "Uke Minutes” involve strumming, strings, technique, and tablature reading, several deal with music theory, chord formation and scale practice. I spent quite a few minutes with the “Minutes” last evening and compiled a list of videos useful to those wanting to know a little more about what’s behind the patterns and shapes of their sounds.

To get a basic idea of musical scales and how chords and runs are built, check out Aldrine’s videos covering Major Scales, Major Chords, Minor Scales and Chords and Chord Families. The one on Chord Families is particularly helpful as it not only shows how chords of a key go together, but how one is to play those chords—major, minor or diminished. By the way, when you get to the video on Minor Scales and Chords, keep in mind that you can form a minor chord by flattening the third of the major scale as opposed to playing the third of the minor scale (it’s a lot easier to remember your major scale as that’s the one that coincides with the famous “do-re-mi-fa-so-la-ti-do.”

There’s more theory with Harmony Thirds, which includes a cool quoting of the Rugrats theme. Aldrine also has videos on Suspended Chords, showing how to form sus-2 and sus-4 chords, Diminished Chords, Augmented Chords, and Arpeggios. The arpeggio video pages also has a link to an extended live lesson on arpeggios and 50s music.

Rounding out basic theory are “Uke Minutes” devoted to Power Chords, Harmonies on the A and C Strings, Relative Major Substitutions (useful when you do forget your minor scales), and the latest “Uke Minute” (as of this writing) which shows how to build Add9 Chords.

If you are into rock and blues, Aldrine’s lessons on Blues Chords, Major Pentatonic and Minor Pentatonic Scales, and the Blues Scale are essential.

Scale Exercies I and Scale Exercise II, along with Left Hand Exercise I and Left Hand Exercise II, show you how to gain increased mastery over the fretboard you now know so well.

Putting theory into action, Aldrine explains some of the essential Moveable Chord Forms, from the basic shapes, Seventh Chord Shapes, and Major Seventh Shapes (and, yes, there is a difference between a seventh and a major seventh). Aldrine also covers Alternate Chord Positions, or inversions as they are also called, Added Octave Chords, and a really cool lesson on a Diminished Run that takes advantage of how diminished chords on the ukulele repeat themselves every four frets.

Three additional videos that deal somewhat with theory include one on Ghost Notes and one on Muted Ghost Notes, both of which are used to make your solos stand out. There is also a cool video on Slack Key or Drop G tuning, which, by tuning the A string to a G, allows you to more easily play major and minor chord forms up and down the neck.

I loved watching these videos and really appreciate Aldrine’s easy-going, very informative style. It would be wonderful if we could all get private lessons with such an excellent teacher, but until finances and time allow such luxuries, we are very lucky to have these and all the other “Uke Minutes” just a mouse click away.

-Lamb Chop

The Brittni Paiva Interview: "The only limit you have is the limit of your mind."

Of the thousands of ukulele players around these days, only a handful have reached the level of Brittni Paiva, the 21-year-old ukulele artist who, like Jake Shimabukuro, is stunning millions in YouTube videos and on stages around the world. Propelled to fame by her four albums, as well as her highly acclaimed version of “Somewhere Over the Rainbow,” which has counted nearly 640,000 YouTube hits, Brittni is one of the preeminent ukulele players of our time.


Brittni’s latest album, Four Strings: The Fire Within, shows a level of musical maturity and mastery that belies her years. While Brittni has been playing ukulele since her grandfather Isaac Takayama gifted her one over ten years ago, her style is one of decades more experience. Showing Latin and Hawaiian influences, the latest album is a jazz work that puts me in mind of such artists as Strunz and Farah or bassist Brian Bromberg.

The work begins with a cover of Rodrigo y Gabriela’s fast Latin instrumental “Tamacun,” and while I love R y Gs original, Brittni brings such a wonderfully rounded sound that, as with all her covers, makes it her own. Other covers include her highly moving version of Santana’s “Europa” as well as a studio version of her now-classic take on “Somewhere Over the Rainbow.”

The second cut is the first of the album’s four written by Brittni. "Crusin’ on 7," named in honor of the seven pounds of boost on her newly turbocharged car, is a fast moving, happy tune reminicent of such iconic jazz anthems as Chuck Mangione’s “Feel’s So Good” or Spiro Gyra’s “Morning Dance.” “Made for Me” is a slower, more romantic number written for her husband, Branden (who, according to Brittni’s liner notes, helped Brittni “muscle” in her car’s turbocharger). “Fusion: East” and “Fusion: West” are twin takes on a common theme, one in Western and one in Eastern style. The two work together wonderfully and conjure up an early Return to Forever vibe.

The album also features Brittni’s renditions of “Sunday Morning” and “Acelrou.” Toronto guitarist Johannes Lindstead plays classical guitar in his duet with Brittni on his “Hour of the Lamps.” Once agin, the technical brilliance and musicality is stunning and the two play well off one another.

Brittni, a native of Hilo, on the Big Island, recently took time out of her busy schedule to answer a few question about her new album, her musical spirit, and her love of ukulele.

Lamb Chop Ukulele (LCU): Brittni, one of the things that strikes your listeners is how, at age 21, your music is so mature and informed. What has helped you form such a musical spirit that some describe as beyond your years?

Brittni: Well, I'm not too sure how I would describe being able to form my musical spirit, as I've found that I tend to relate to music on more of an emotional level and less of an analytical level. I guess how I could best explain it is that I allow my soul to "speak" through my fingers and have it come out in the language of music, so what you hear is the "artwork" that my heart and soul has painted.

LCU: Tell us about the new album, “Four Strings: The Fire Within.” What is the meaning behind the title and how did the project come about?

Brittni: Four Strings: The Fire Within is my fourth release here in the State of Hawaii. When it came time to name the album, it was one of those questions where we thought too hard to find the answer when it was just very simple. The title is about the fire and passion that I have for my music, and for music in general. It also explains in a nutshell the growth in my craft since the last album.

LCU: What was it like to work with Grammy Award-winning producer Charles Michael Brotman on the album?

Brittni: Working with Charles was lots of fun! He's a great engineer and has a great studio setup. It was also fun tossing ideas back and forth and talking about music.

LCU: How do you feel your work has changed from your first to your fourth album?

Brittni: I think it's changed a lot in terms of musical understanding and experience. When I made my first album, I didn't listen to as many different genres of music as I do now, so experiencing many different forms of music helped me to understand how certain things are played in various types of music, and with that understanding I can implement them into my own style.

LCU: Your grandfather introduced you to ukulele – how did that come about and what was it about the ukulele that made you want to make it your instrument of choice?

Brittni: My grandfather introduced me to the ukulele when I was 11 years old. He bought me my first ukulele and said, "Here, Brittni, try playing around with this and see if you like it." It was love at first touch! It's a small instrument, very unassuming. You can take it anywhere and play anything on it. It's so fun to play and makes everyone smile, and I guess that's what makes me, as well as others, keep going back for more.

LCU: I know you have had musical training since age four, but would you describe yourself more as a musician who plays by reading or by ear or a combination of both?

Brittni: On occasion, I do learn through a combination of both, but if given a choice, I'd rather learn by listening and/or watching. It allows me to feel the music better and gives me a better guide to play it with my own interpretation.

LCU: Who are some of your favorite musicians and what do you draw from them? Carlos Santana, for example, seems to have had a role not just in cover choices, but in that you are both such clear, articulate players.

Brittni: Definitely. Carlos Santana is a big influence for me. Another major influence is Orianthi. She is one of few female guitarists and I really look up to her musicianship. Other influences include Fourplay, Oz Noy, Rogrigo y Gabriela, Slash, Earth Wind & Fire, Steve Vai, Jeff Beck, Marty Friedman, Rob Marcello, Guthrie Govan, Michel Camilo, Chick Corea, America, Paramore, Victor Wooten, Maroon 5, and the list goes on.

LCU: How do you come up with your originals? Do you have an idea and work it out on ukulele or do you discover tunes as your practice?

Brittni: There will be certain situation that will spark and idea for a tune, but most of my writing takes place as I'm practicing. Usually I'll be playing random chords and progressions and I'll end up putting one together that sounds like it could be a song.

LCU: Every cover I have heard you play is uniquely yours, from “Europa” to “Somewhere Over the Rainbow.” How do you go about making such recognizable songs your own?

Brittni: Well, I like to say that my style is a mashup of many different styles. When I pick a song to arrange, like "Europa" for example, I'll first learn to play the song how the original artist played it, and then I'll add different little chops here and there to make it sound different but still recognizable.

LCU: Please tell us a bit about your beautiful KoAloha ukulele. How long have you had that one and do you play any others?

Brittni: I've had my current ukulele for almost two years now. I absolutely love playing my KoAloha! The tone is exquisite and the feel of it is perfect for me. I have a few other KoAloha ukuleles that I play on a daily basis, as the one you see in pictures is the one I use on stage.

LCU: You play low-G. How do you feel the low-G compliments your playing?

Brittni: I think it compliments my style well. I like to keep a little "bassline" going sometimes and the low G string helps me accomplish that. It also gives certain songs a bit of a bigger sound when it needs to.

LCU: Do you ever use a high-G ukulele in concert or on your albums?

Brittni: I haven't used an ukulele with a high G string on any of my albums yet, but I do practice with one often.

LCU: Ukulele has become so popular over the past decade, and you are a big part of that popularity. People know of your work, watch you on YouTube, attend your workshops – what is it that you think explains the popularity of the instrument?

Brittni: The ukulele is a tiny instrument, unassuming, and brings a smile to everyone as soon as it's played. I believe the joy that it brings drives everyone to want to learn it.

LCU: What advice to you have to the aspiring ukulele player?

Brittni: Just keep on keeping on. We'll hit bumps in the road when we're learning how to play, and that's perfectly normal, but don't tell yourself "you can't do it." Once you get into that mindset, you're limiting yourself and in the end you won't ever accomplish something greater. Always be positive and tell yourself that you can do it because you can! The only limit you have is the limit of your mind.

LCU: Any upcoming projects or tours that you would like to tell us about? Any chance you might get to the Midwest?

Brittni: We're headed to Guam on July 20th and to the East Coast on July 31st. I'm hoping to tour the Midwest sometime in the next few months. That would be fun.

LCU: Thank you so much for taking the time to answer these questions.

Brittni: Thank you so much for interviewing me! I really appreciate it!

Brittni’s other albums include Brittni x 3 (2004), with her playing guitar, bass and ukulele, Hear (2005), and Brittni (2006). Her 2006 album was the 2007 Hawaii Music Awards Peoples' Choice Winner for Ukulele Album of the Year, and was the 2007 Na Hoku Hanohano Nominee for Best Instrumental Album of the Year and Best Album of the Year. Brittni x 3 was the 2005 Na Hoku Award winner for Most Promising Artist of the Year, as well as the 2005 Na Hoku Award nominee for Instrumental Album of the Year and the 2005 Hawaii Music Award nominee for `Ukulele Album of the Year. All of her albums, including her latest, can be purchased on her web site store.

Brittni’s 4-string KoAloha tenor is made of Koa with ebony binding, fretboard, bridge and head plate (which has a black mother of pearl logo). Other inlay work includes an ebony Star of David on the back and her trademark "Brittni" fretboard inlay done in Tulip wood. Brittni’s pick up is a Fishman Prefix Pro.

For more information go to Brittni's website and for more music videos, check out Brittni's YouTube channel.

-Lamb Chop

Been a Long Time: Takashi Nakamura and Thanks to UkuDaily

Just when I was getting so good at keeping things up, at least here in Blogsville, life goes getting in the way and keeps me from posting.  I have some great plans for a Brittni Paiva CD review (and, later, interview), as well as finishing my Laniaki S-TEQ tenor ukulele review, but while that's all in the works, here are two quick items.

First, and most important, I may be really behind on this, but I just found a video of ukulele artist Takashi Nakamura and am just so impressed.  Here is a wonderful (I avoided the urge to say "lovely") version of Stevie Wonder's "Isn't She Lovely." 



On a more personal note, I owe a big thanks to Mike over at UkuDaily.com, who was kind enough to list my latest video, "Middle Aged Guy with a Ukulele" as today's Video of the Day.  There's a little interview if you follow the Video of the Day hyperlink in the last sentence, so if you want to learn a bit more about me than I share here, feel free.  As I say in the interview, Ukudaily is one of my favorite places on the web and, as the title implies, I do visit daily.

OK, on to getting things done. All the best,

-Lamb Chop