shaun reyes

Shaun Reyes got a lot of studio support on what is nominally a solo album but succeeds throughout in establishing himself as a versatile vocalist and a formidable talent on ukulele. He opens strong -- very strong -- with an instrumental rendition of "Kawika" that showcases his uke playing and leaves no doubt that this guy can jam. As the first track on the album it is a perfect choice -- a grand slam out of the park, if you will, or a 60-yard field goal in the final second of the championship game.
Reyes shows his imagination as an arranger with "Hi'ilawe." He plays it as a duet with ukulele master Herb Ohta Jr., and at a tempo considerably faster than the standard Hawaiian version. Jon Porlas (percussion) and co-producer Jon Yamasato (bass) share credit for a memorable reworking of a well-known melody.

On the other hand, Reyes' solo take on "You Don't Know Me" shows that he can make a melody his own and explore variations of it without taking it to the point that it becomes unrecognizable.

"Bubble Tune," one of the two songs he wrote for the project, is another highlight. It would have worked quite well as a change of pace if he'd played the entire thing in the blues arrangement he starts out in, but the sudden jump to a fast and frenetic pace results in another chance to display his speed scratching and picking.

Uptempo work is also the thing on "Nathan's Song," an electric jazz number written by Nathan Aweau that features the Hoku Award-winner on bass.

Reyes establishes himself as a vocalist with "No Ke Ano Ahiahi" and shows his romantic pop side with a plaintive remake of "Turn Your Lights Down Low." Yes, Reyes can deliver a love song!

Reyes and Yamasato make a series of good choices as co-producers. An acoustic piano is all the additional backing Reyes needs on "Turn Your Lights Down Low," and guitarist Vernon Sakata provides sufficient contrast on "Liani," Reyes' other original composition. However, the bigger jazz/rock sound of "Nathan's Song" fits in as well.

The liner notes don't mention Reyes' reasons for including a routine remake of "On And On" when his work elsewhere shows greater capabilities, but don't begrudge him a single marginal song. - John Berger Honolulu Star Bulletin

By Wayne Harada
Advertiser Entertainment Writer

"Food for the Soul" by Shaun Reyes; Kani Makou Entertainment

Genre: 'Ukulele instruments, some vocals.

Distinguishing notes: For Pauoa-raised performer Shaun Reyes, now a Hawai'i Kai resident, music has been a hobby. He earned a degree in fire and environmental response and worked with the fire department. But he counts among his pals Jake Shimabukuro, Herb Ohta Jr., Vernon Sakata and Gary Shimabukuro and claims mentorship by Jon Yamasato, Dave Tucciarone, BB Shawn and Natural Vibrations, so it's not surprising that some — Yamasato, Ohta, Sakata, along with Nathan Aweau — participate on his debut CD, which showcases his frisky strumming.

The happy mix of old and new — Ohta plucks marvelously on "Hi'ilawe," "Liani" features Sakata, "Nathan's Song" (of course) has fingerprints from Aweau himself — suggests that Reyes also has good advisers, seeking a broad fan base.

"Into the Mystic" is a gentle entry in the folk vein, with Reyes providing vocals. "On and On," the Stephen Bishop classic, is another Reyes vocal that welcomes those Gibson women, Maila and Kanoe, with blessedly sweet harmonies.

"Kawika" is that classic revisited with precise fingering and an arrangement that reaches to a new generation of potential fans. "No Ke Ano Ahiahi" is another oldie retooled with vocals.

"You Don't Know Me" is another demonstration of Reyes' eloquent fingers. If folks tune in to Reyes' craft, they certainly will know and love him, the way the community has embraced strummers such as Ohta and Daniel Ho, who continue to bolster the uke tradition.

- Honolulu Advertiser

"Easy Stylin' "

Kani Makou
Kani Makou
Kani Makou joins the roster of interchangeable Jawaiian acts that release an album that use celebrity guests to add star power, hire studio musicians who do much of the work, and trot out a collection of formulaic reggae remakes that ensure local radio play.
But this album shows some promise after repeated listenings. Several plaintive originals are sung without that tired and affected Jamaican accent, suggesting broader horizons as writers and performers.

The key man in the trio is Shaun Reyes. His work on ukulele adds pizzazz even to the most generic material. Reyes and rhythm guitarist Shane Mahiai do a fine job leading the studio musicians through a zesty rendition of "Guava Jam," but two originals seem more likely to become local hits. "Beach Party" is perfect Jawaiian radio fare, while "Sandy's" recycles enough pop hooks to make it a hit as well. - honolulu star bulletin