As a kid, I was in love with assembly lines.  Maybe it was the Cub Scout trip to the Rold Gold pretzel factory in El Segundo, the surfboard shaping and glassing bays of my teen years, or the industrial films that were shown on the rare rainy day recesses at Grandview School, but I love seeing how things I love are made.

On New Year’s Eve morning, 84 year old Fred Kamaka, Sr. was  leading the tour of the Kamaka Ukulele factory—holiday or not.

This is truly nirvana for the uke player, scion of the greatest uke maker, leading a tour of 10 through the small Honolulu factory, talking story, introducing us to his Ohana, all while detailing the amazing story of his father who started the business 93 years ago, and his brother who took over the business with Sam in the 1950’s.

You know by now that I’m an enthusiastic, but not outstanding uke player.  What I may lack in ability, I try to make up for in practice and constant proximity to a uke.  On any trip more than a night, I bring a uke with me, and had one with me last week in Park City for the Sundance Film festival.  Everyone loves picking up the Uke and Vice Magazine’s Eddy Moretti—an accomplished guitar player was hooked.  It’s the easy sound, and comfortable size and weight that makes the uke so cool.  A integral part of Polynesian culture, Tahitian ukes are rare, with a totally different sound and vibe.  Eddy’s partner, Shane Smith and his lovely wife, Tamika,  hauled a beautiful Tahitian uke back for me over the holidays.

The visit to Kamaka was made particularly sweet by Fred’s narrative, and old school toughness.  Clearly this guy was not only a taskmaster, but an ass kicker when it came to, and comes to doing things his way, the right way. Fred clearly knows how he wants things done.  The automation of things like cad/cam cutting of uke necks, are a product of the next generation of Kamakas.  And, while Fred seemed skeptical about the change from a one piece to two piece neck, he was clearly happy to no longer be producing vast amounts of what he calls “the world’s most expensive sawdust,” koa is $30 a linear foot.

The trip to Kamaka was akin to taking my girls to the American Girl store on 5^th Avenue in NYC.  Like Camille and Daisy with their dolls in tow, I had my tweed cased 1969 Kamaka Soprano over my shoulder. I was eager to bring the uke back home and for Fred and Co. to hear the sweet tone of a very special uke.  My ukes aren’t the prettiest, but I only keep the ones that have that sweet tone that I love.  Fred liked my uke, but didn’t gush over it the way a proud father hoped he would.  I was able to sneak off the tour and spend some time with Fred’s nephew Chris, who showed me some of the amazing custom work that only the Kamaka family members work on.  I have a couple of uke projects in the works, but nothing like these Kamaka customs.  After some prodding, I was able to get Chris to acknowledge my uke’s special sound.

It was a special hour on the last day of an amazing year.  Fred’s narrative centered me on the need to focus on the love of family, hard work, attention to detail, and old school appreciation of doing things the right way.  Like my father, who would have been Fred’s age; the islands, family, love, focus, respect and empathy are a big part of what makes Sam and Kamaka special.  They operate Kamaka under a simple motto, “If you make instruments and use the family name, don’t make junk.”

I started playing the Ukulele in 7th grade, Center School talent show was my first performance, while the older surfers at Marine Street—The Marine Street Crabs—were my inspiration.

I rediscovered playing the Uke last year and found my original old Kumalae Uke from the 1920’s. I remember buying it at the Roadium Swap Meet in Torrance as a kid. I take a Uke with me on the road when I traveled for work and vacation. I love the way the Uke sounds, how it makes me feel, how small/light it is—it’s hard not to be happy playing a Uke.

I’ve been working with a friend and teacher, Ron Caron, to develop my skills, add chords and create tabs for some of my favorite songs. The current playlist include some Johnny Cash: “Walk The Line,” “Folsom Prison Blues” and “Get Rhythm“. I’ve also rediscovered some of my favorite Beatles songs: “Til There Was You,” “She’s a Woman,” “Something” and “Only You” (this is a crazy video). McCartney played “Something” on the Uke at Coachella this year. George Harrison was a Uke player and I think a lot of what he wrote was composed on a Uke.

I’m working on getting more Jack Johnson songs in the repertoire, and I dig playing “Breakdown,” which Jack plays on the Uke. If you need any of these tabs, or have any to share, hit me up.

I’m always looking for good old Ukes, and like guitars, sometimes the beaters sound the best. My current favorite is a vintage Koa wood Kamaka from the 1960’s. I picked it up on ebay, cheap, as it isn’t the prettiest example. But the tone is magical.

I also recently scored a vintage Martin on ebay, that while there’s a lot of crazing of the varnish, the sound is warm and beautiful. When the varnish is perfect, they sound tight and tinny and lack the charm and tone of the crazed ones.

There’s been a lot of Ukulele press lately including a really interesting NPR piece on the Uke’s revival as sales are climbing while musical instrument sales in general are on a steep decline. The story centers on a group of displaced UAW workers in Michigan who regularly get together to jam on the Uke.

Speaking of that, I brought my Kamaka to work in Palo Alto last week, and played at lunch with my colleague , fellow surfer and bro Teddy Underwood. Teddy’s a great Uke, guitar and banjo player. It was a treat.

I can’t go a couple days without picking up the Uke, I always take it to the beach with me—some of my Sunday volleyball buddies are getting sick of it. And, with some upcoming trips, I know the tweed Uke case is gonna be in the overhead bin.