‘demonstrations’ instead. Now Kiwi have featured Bill Kerekere in his own right and he thus becomes the first popular Maori pianist on record. He plays in the modern style but mercifully does not belong to the school which are so carried away by their own virtuosity that one can only guess at the original tune amidst the jumble of ‘variations.’ Although Mr Kerekere improvises with zest and ingenuity—he is an able exponent of the rippling arpeggio and the counter melody against his own accompaniament—yet he is careful not to overplay his hand. The melody comes through strong and clear, but with plenty of light and shade. The result is a sparkling little record which is playable over and over again.

This Is Maureen Kingi Maori Songs With Strings: Kiwi Lc-8 12in. 33⅓ LP Maureen Kingi, of Miss New Zealand 1962 fame, makes an encouraging debut as a singer on this record which is also a get-together of some of Kiwi's best known artists. Because of this the disc is something of a mixed bag (as indeed it is intended to be), but there is plenty of variety and the result should please Miss Kingi's fans. The first side is of Maori tunes and also features the Maranga Club and the Harrison triplets. I hope in future that the Triplets stick to pop music (which they sing well) and leave Maori music alone (which they sing badly). Miss Kingi has a clear sweet voice heard to best effect in ‘Matangi’ and ‘Pokarekare’. The former is one of the best versions I have heard of this song and contains a fine baritone solo. ‘Hokihoki’ and ‘Po Atarau’ contain English interpolations by Miss Kingi explaining the meaning of the Maori verse. This device seems a favourite with Maranga and can be used very effectively to enhance the interest of a particular song. Unfortunately, in this instance, Miss Kingi and the Choir compete with one another for a hearing and the Choir wins hands down. Apart from this however, the backings by the Maranga Club are well done and do a great deal to enhance the items on the Maori side of the disc. Side two is music in the modern Pakeha manner which many Maoris in this country seem to perform with more avidity and better results than the Pakeha. As Miss Kingi says in her spoken introduction, the aim of the record is not only to present some of the best-loved Maori songs but also numbers which are sung today by all New Zealanders. Hohepa Mutu makes a welcome though brief appearance on this side of the disc in a duet with Maureen Kingi, ‘Indian Love Call’.

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