Guitar Mastery Meets Cross-Cultural Celebration with Rameka Tamaki

The fourth gig of the Soundscape Series at The Bond Store was on Saturday night, 27 September. It featured classical guitarist Rameka Tamaki with an awe-inspiring repertoire and display of cross-cultural musicality. How has he become the maestro that he is? Where to from here? And, pointedly, what advice does his longest-serving fan have for him?

We expected quality musicianship. We got it. Classical guitar masterpieces from Europe, Latin America, Japan and Aotearoa were delivered sublimely by an emerging maestro of Tūhoe, Maniapoto, Samoan, Tongan and Irish heritage. It was a mosaic of ethnicities; a melting pot of musical cultures. Rameka Tamaki had us transfixed, enchanted, and thought-provoked throughout.

Paradoxically, given the international flavour of set selection, there was no need to search the far corners of the world to find a classical guitarist of suitable brilliance for this event. Rameka’s travel time was just 20 minutes from his home in Ōtaki to The Bond Store. Nice of him to drop by!

What a selection! We were treated to Erik Satie’s ‘Gymnopédie’, Leo Brouwer’s ‘Danza del Antiplano’ and ‘Un Dia de Noviembre’, Yukihiro Yoko’s arrangement of ‘Sakura’ (a Japanese folk song), Jorge Morel’s ‘Danza Brasilera’, Fernando Sor’s ‘Spanish Romance’, David Grace’s ‘Rua Kénana’, Hirini Melbourne’s arrangement of ‘Ngā Iwi E’, Rameka’s own ‘Wakawhaiaipo’, Francisco Tárrega’s ‘Lágrima’ and ‘Adelita’, Isaac Albeniz’s ‘Asturiaz’, and – as a magnificent finale - Roland Dyens’ – ‘Tango en Skaï’.

How could this have happened? For a start, the opportunity was provided by a collaboration between Mostly Music and The Bond Store. Bravo! Rameka, himself, enjoyed the space. “It is a good size for the genre – intimate, great acoustics, with suitable ambience and equipment provided by the gracious hosts, who are passionate about music.” Beyond that, the intriguing question is how someone so talented, in such a challenging discipline, could spring from our region and wow all listeners. Let’s find out more about the man and his music and then get a scoop from his longest- serving fan.

We asked Rameka about his set selection for this occasion. “The list was a selection of pieces I have been playing since I first started learning classical – ‘Lágrima’, ‘Adelita’, ‘Spanish Romance’ – pieces I learnt during my studies at the New Zealand School of Music, and my own compositions. I wanted a varied set that reflected my journey on the guitar, given that this is my first classical guitar concert I’ve given since completing my three years of study of full-immersion Māori.”

What are special features of the guitar he used? Does he have other guitars? Other musical instruments? Different guitars/instruments for different contexts? “He commented: “The guitar is a small orchestra, with various timbre, voices, and capabilities. Some were tremolo – the illusory voice; pizzicato – that of the violin; ponte cello – as with the [Japanese] koto. I have been learning taonga puoro [traditional Māori musical instruments] over the last few years in alignment with full-immersion Māori – I have my own collection that I made and I have recorded commissioned works using both. Then there are other stringed instruments like the ukulele and bass. I also just learnt to play the oud. If it has strings I’ll play it – I’m a plucker.” (Now that might be the best euphemism we’ve ever heard!)

What are his favourite metaphors or descriptions for music in general and classical guitar playing in particular? “Music and dance are integral parts of any culture. It is an absolute expression of our experience as human beings and expresses that which cannot be expressed in words. Classical guitar is but a tool, one that is only limited by the player’s capabilities and understanding.”

What first drew him to classical guitar playing? “I still remember it. When I was 7, a fashion model who was modelling for my Mum was playing ‘Asturias’ in the rehearsal space. I was drawn to its fire and I’ve carried that ever since.”

What does he rate as the funniest moment involving his musical journey so far – ha-ha or peculiar? “Probably The Barber of Seville with the New Zealand Opera Company. There is a moment when I am hiding in wait in a closet and I pop out to surprise the audience. Their reactions each night were raucous.”

What is the significance of his cultural background for what he is doing? “Māori and pākehā culture are part of this country. It’s who we are, and I honour both sides of that. There were times when I’ve had an identity crisis – for the two could be seen as conflicting. However, there are many opportunities to grow and evolve by working with both of these worlds. I’ve accepted that and have had many amazing opportunities for my talents – there are not many classical guitarists, let alone Māori ones. It is growth and the natural evolution of multiple intersecting cultures, and an expression of the human journey.”

What is the significance of family encouragement and support for what he is achieving? He is highly appreciative of his immediate and extended family. “It takes a village.”

Longer term, what are his aspirations? “To tour Aotearoa, then the world – in whatever capacity or collaboration. I remain open. I am currently working with Te Rākau [the Māori theatre company] and will be touring with an ‘Out the Gate’ production. That’s one iteration of where my guitar playing is leading me. Longer term, I want to go to the motherland of the guitar –Spain – to deepen my understanding and enrich my practice. Also to tell our stories – our Māori stories – ka rarangatia ngā purakau o te iwi Māori ki tea ao waiata. [Such stories are woven into the world of music.] We have always been storytellers and I think I have one to tell.”

Yes. We’re listening and we’ll continue to listen in the months and years ahead to what this impressive young man has to say vocally, musically, and by his culturally sensitive and embracing actions.

And how did Rameka’s longest-serving fan find the show? What more might she like to add about him as a person, how his interest in music developed, and what lies ahead? “The show was mesmerising,” said Suzanne Tamaki, his mother, who noticeably had a smile on her face throughout the performance. “Yes, I’m very proud of him,” she added. “He’s an incredibly talented and humble man. My whanau adore his music.” Several of the family were there. They nodded their agreement. So did the rest of us.

So how does a kid from Otaki become an accomplished classical guitarist? This needed further investigation and Suzanne had ready answers. What were the things that sparked her son’s interest in music? “Always having music in the house, singing and dancing together as a family, having a record player and being allowed to choose records and put them on himself. I play guitar and would write silly songs with him when he was little. He started showing an interest in playing guitar at about the age of 10 and picked it up quickly. I did a lot of fashion shows and worked with musicians – so he was around them all the time, or listening to their music.”

What drew him to the classical guitar as an instrument of choice? “He loved guitar, playing and singing. He liked the challenge of classical music, and was inspired by a guitarist he’d seen at one of my fashion shows,” recalled Suzanne.

What were early signs of his extraordinary talent? “It became apparent at Ōtaki College when he started serious lessons. He picked it up so quickly, always practised, and started a band with his best mate, Vinnie, and they performed at a local fireworks festival. He had fans with signs. People followed him around while he played guitar; it was like watching the Pied Piper.”

All too perfect to be true? In what ways was he just a ‘normal’ kid growing up? “He loved Lego, reading, riding his bike, dressing as Batman, and fighting with his sister.” So there you are. He pulls his pants on one leg at a time like the rest of us. We note that he is still building things, musically in particular; studying at a level that has earned him a first-class degree in music and fluency in Māori; keeping fit; being a soloist with no need for a ‘Robin’; and we can assume his sister has forgiven him.

Looking ahead, what is your advice to him in terms of pursuing his musical career? “Don’t do gigs for free. He even charges me! Have a 30-minute repertoire on hand if you get a gig at short notice. Network with like-minded souls. Don’t be afraid to switch up your genres. He did a Split Enz gig with me in Melbourne. Do more international gigs. Check with Mum what outfit you’ll be wearing.”

Great musician. Great Mum. Great advice. Great gig.