THE NAKED CITY – EMBRACING THE UKE!
These days you can borrow more than just books from your local library. CDs and DVDs are always plentiful and now you can even take home a ukulele. Yes, that wonderful four string instrument that has seen a major renaissance in recent years is now available for loan at City of Sydney libraries as well as free instructional lessons.
It says a lot for the popularity of the modest guitar-like instrument that dates back to 19th Century as a Hawaiian adaptation of the Portuguese machete. Today there are numerous ukulele social groups, festivals and bands like the Old Spice Boys who put a modern spin on an old fashioned instrument with a repertoire that ranges from classic swing to modern day Prince.
But what about somebody who has embraced the ‘uke’ in almost a time warp setting, when the pop music of the 20th Century was just beginning to emerge. Enter Godfrey Uke, a Sydney musician and uke obsessive who has immersed himself in not only the music of the Roaring Twenties and beyond but the whole frivolity and absurdity of the prohibition jazz era.
Godfrey’s interest in the music of this era began with him sifting through his parents’ and relatives’ dusty record collections. He notes:
“This opened the door to jazz of all genres, but as I get older I return more and more to where it all began: the great melodies, infectious rhythms and pure entertainment of what was essentially pop music of the early 20th Century.”
As for the ukulele, he sees it as an instrument that compliments the beauty of early jazz music very well and explains:
“While it is a tool capable of playing complex music very convincingly, the uke always retains a disarming sense of joy and abandon that undercuts the pretentiousness sometimes associated with jazz. Its sound is light and springy, with very little sustain. It’s small but it can’t hide, and it certainly can’t pretend to be anything it isn’t.”
Godfrey also has an interesting spin on the modern day revival of the uke, suggesting:
“To some extent the appeal of the ukulele is its relative sense of worthlessness, which is then fetishized by people who are a little outside of the mainstream. I think a lot of uke players feel they are part of an enlightened minority that ‘truly’ understands the value of the instrument, lading to a slightly scary cult element within the ukulele community. Also, many ukuleles are very cheap. They are second only to the kazoo when it comes to accessibility (and only marginally less irritating for some listeners). Very few people are afraid of picking one up and having a go. The uke has always been a popular amateur instrument and in the days of Tin Pan Alley it was ubiquitous. Ten years ago a lot of people learnt how to pick a Ben Harper song on a guitar, whereas in the 1920s and 30s folk of a similar musical bent could play ‘Shine on Harvest Moon’ or ‘Blackbottom’ on a uke.”
The musicality aside, Godfrey Uke is quick to emphasize the importance that humour plays with his live show.
“Humour is a big part of the show because it’s a big part of life. It’s probably the most fundamental thing in the world (to me at least). I’m not sure how to act in the world or understand anything without a sense of humour, and I am deeply puzzled (and amused) by people who manage to exist without it. The era we are recreating also demands a particular style of humour that is fast being forgotten.”
Godfrey Uke’s ‘Tinpan Alley’ show plays the Django Bar at Camelot this coming Friday August 5. Take a journey back to the music and showmanship of the Roaring Twenties with a troupe of seven superbly talented performers plus a special guest performance from the remarkable young tap dancer Hilton Denis. You can also catch this infectious madness at Hotel Blue in Katoomba on August 13 & 26. Tickets & info: www.godfreyuke.com
