“Hō‘ihi”is a Hawaiian word that means to treat with reverence and respect and here Hawaiian drummer Okimoto shows respect for the jazz tradition and the giants who preceded and inspired him while infusing his own musical personality and style into the performances. For this project, the drummer is joined on various selections by vibraphonist Abe Lagrimas Jr, Tommy James on piano, electric piano, and organ, guitarist Haru Takauchi, bassist Dean Taba, Allen Won on tenor, alto, soprano and flute, and trumpeter/flugelhornist DeShannon Higa.
We are treated to a huge variety of styles on this set, from samba to post-bop, to funky groove and jazz waltz, wherever he decides the song needs to go. These 12 instrumentals certainly do pay respect to what has gone before, and although he leads the band with his drum kit nicely up in the mix, he allows all the soloists plenty of time and space to who their worth. It is one of those albums where there is a strong structure, yet also plenty of freedom, which makes this album a delight to listen to. The band easily switch from piano as the lead to horns, while the bass is tight in with Okimoto who provides the foundation but continuously shows flair with some lovely touches especially on cymbals. I don’t know how this stand up with the rest of the Hawaiian jazz scene, as there is little contained within which makes me think of the Pacific (apart from the title which contains a macron, so immediately made me think of te reo Māori), but it is a delight from the first note to the very last. 8/10
