WHO CALLS THE TUNE?

Kaea, Issue 5, 1 February 1981, Page 22

WHO CALLS THE TUNE?

Why there isn't more Maori music on record and what to do about it

What is the state of Maori music today? What we hear on the marae bears little relation to what is available on records. So who calls the tune the recording companies? In our last issue, Kuini Wano argued that the commercialism of record companies effectively discourages groups and clubs from going beyond the “monotonous and boring” bounds of haka boogie. Little traditional music exists on record, and little attempt seems to have been made to develop new forms or themes. But, according to one of New Zealand’s leading record producers, times are changing ...

Tony Vercoe is managing director and producer of KiwiPacific Records Ltd, based in Wellington. He knows a lot about music and though it may not be apparent from the Kiwi-Pacific catalogue, that includes traditional Maori music. Of “haka boogie”, he says:

“Groups are happy to record it and to see their records bought by tourists. We are in no position to discourage that, though we as publishers have a responsibility to ensure that the group’s performance and our recording quality are up to

scratch, and that the notes which accompany the record are accurate.”

But there are problems with recording traditional music. “One is that people always want it to be of the best possible standard and done at the ideal time but this is rarely practicable, and getting the stuff is the difficult part.”

Certainly, our best exponents are unlikely to feel at home in the awesome confines of a recording studio, singing ancient waiata into a microphone while Pakeha technicians in headphones press buttons and manipulate switches. And equally certainly, a recording team cannot turn up at a moment’s notice to a tangihanga with all their gear not that they would be welcome if they tried. These are, oviously, extreme cases, but they illustrate the gulf which can separate

Maori traditional preferences and Pakeha technological ones. Although more and more marae are used to TV cameras, tape recorders and microphones in evidence at hui, this gulf can still result in suspicion, shyness, or a blunt refusal to perform. Sometimes too deference to Maori feeling by Pakeha will prevent a commercial recording, as Tony Vercoe relates:

“Several times I tried to arrange the release of tapes from the archives of Auckland University so that records could be issued to coincide with Mervyn McLean and Margaret Orbell’s Traditional Songs of the Maori. But it was felt that these recordings were held in trust with the artists, mostly Tuhoe, and to make a commercial recording would be in breach of that trust.”

Nevertheless, the traditional field has not been ignored entirely. “We did a set of three seven-inch discs back in the

. . more and more marae are used to TV cameras, tape recorders and microphones in evidence at hui ...” Full-scale media exposure at the John Waititi opening deterred no one from singing. Here are Emma Rogers, Ada Haig and Ngoingoi Pewhairangi

605,” recollects Mr Vercoe, “from the Ngata collection of Nga Moteatea. They were in our catalogue for many years. And we made a record of waiata sung by Rangi Dewes. But of course, they were all some time ago now.” What of the future? With the resurgence of interest in all areas of Maori culture, Tony Vercoe expects the recording scene to change. “It begins to look like the revival will extend to musical recording, and I would welcome it. I don’t delude myself that there’s commercial potential in it, but I feel it’s important to have such records available.”

This process has already begun. Some time ago Sam Karetu of Waikato University felt that his group, Te Whare Wananga o Waikato, had reached a standard of quality which deserved an airing on record. Furthermore, their repertoire included a wide range of items, new and old. He sent a “demonstration tape” to Kiwi-Pacific and asked for their comments.

“I was delighted when he approached us,” says Tony Vercoe. “Here was a young group (mostly students) with talent and enthusiasm. Apart from the usual standards they also had old traditional chants and waiata and weren’t afraid to try something new.”

In due course a date was set to make a recording. The chosen venue was Tuwaerea, the dining hall of Hui te Rangiora marae in Hamilton. It was a good choice as the acoustics are good and Te Whare Wananga have performed there before and felt comfortable in familiar surroundings. Enough material was recorded to fill two albums, and the choice of material was significant.

Half of it was in a traditional vein, either old songs or newly composed by Sam Karetu. He had reservations about performing old items: “We tried to select material which has become ‘common property’. If it was still exclusive to a tribe we wouldn’t record it. Another danger about recording an old item is that it may inadvertently become the version.”

Their traditional repertoire includes the Ngati Raukawa patere “Poi atu taku poi”, never before recorded, and the

Waikato lament “Takoto ana mai”. On the modern side they recorded such well-known songs as Te Puea Herangi’s “E noho e Ata”.

Te Rita Papesch-Huata, a leader of the group, says without false modesty, “I reckon our group handles traditional music really well; we prefer doing it to modern music, and we prefer to do our own.”

“No one can fault us when we do our own,” adds Sharon Harawira, another group member. “Although we try to be traditional, we have a modern approach we can’t handle the half-notes of our koroua and kuia.”

The new material they speak of includes, for example, a waiata a poi about urbanisation and pollution and a haka complaining about those old people who criticise but will not teach or correct. Continues Sharon, “Sam keeps our enthusiasm going. He’s a prolific composer, and there’s enough going on in Maoridom for him to write about.”

Te Whare Wananga o Waikato deserve credit for their energy and creativity. But there are bound to be other groups around New Zealand trying to achieve the same objectives: the difference is that Sam Karetu and his group have done something about it. Perhaps your group deserves a break. Have you considered getting a tape together and sending it to a recording company? Have you delved back into our rich past for ideas or experimented with new themes? Or are you like a worn-out needle, stuck in a groove and playing the same things over and over again?

“It begins to look like the revival will extend to music recording, and I would welcome it. I don’t delude myself that there’s commercial potential in it, but I feel it’s important to have such records available”