Our twice-monthly ukulele group will be hosting a half-day ukulele festival on Sunday, October 5, 2025. More info here.
This entirely free event is being sponsored by my employer, First Parish in Cohasset, in cooperation with the Cohasset Historical Society. We’re able to make this a completely free event, thanks to a grant from the Gleason Music Fund at First Parish, in-kind support from both First Parish and the Historical Society, as well as a generous anonymous donation. We’re also on a Massachusetts Cultural Council grant application submitted by the Historical Society — if that grant comes through, we’ll be able to increase accessibility with an ASL interpreter for the final concert.
If you’re in the Boston area, hope to see you there. Even if you don’t play ukulele, come join us for the free concert at 4:30.
February 2 is “World Play Your Ukulele Day.” This holiday was established in 2011 by Mike Lynch (a.k.a. “Ukulele Mike”; see below). In the original announcement, Mike Lynch kept his expectations low. “Take your uke out of its case,” he said, “and play it.”
Simple enough.
Screen grab from Mike Lynch’s original Youtube video announcing World Ukulele Day. Click the image to see his video on Youtube.
OK. I did that.
What else can I do?
Mike had a suggestion: “Find someone who needs a smile. You might take it to an elder care, you might take it to a shut-in….” In other words, try to make the world a better place by playing your ukulele. But I went on a field trip with teens from our congregation’s youth group, which didn’t leave time for ukulele excursions.
Since I don’t have time to do anything else, I’ll share a ukulele song sheet for “It Was a Lover and His Lass,” Thomas Morley’s 1600 setting of poetry by William Shakespeare. Before you get all critical, yes I know it’s a pretty primitive song sheet. And no, I didn’t attempt to transcribe Morley’s lute accompaniment for ukulele (way above my pay grade), I just put in chord indications based on a simplified form of Morley’s harmony. Yet even in this simplified form, it’s kind of challenging. We tried it at our Cohasset ukulele circle, and people noted the nine different chords you have to know, the fast chord changes, and the tricky rhythm in mm. 22-23. Whatever, it’s a great song — and this is the best I’ve got for World Ukulele Day 2025.
(N.B.: Public domain music, public domain words, and I’m releasing my mediocre typesetting into the public domain. Go ahead and copy it all you want.)
More about Ukulele Mike
Michael B. Lynch (1945-2018) was a career music educator and an accomplished ukulele player. As a youth, he played in a ukulele ensemble led by the legendary ukulele educator Chalmers Doane. Beginning in 2009, he produced a popular series of instructional Youtube videos under the name “Ukulele Mike.” He also published a number of instructional CDs and books, still available through his website that his wife continues to maintain.
2 p.m.: Fun with Ukulele — for all levels, but especially useful for beginners. 3 p.m.: Common Chord Progressions — what you need to know to play your favorite songs.
Doors open at 1:40 p.m. Be ready to start at 2 p.m. with a tuned ukulele. Need help tuning? Show up early and we’ll help!
Bring your ukulele, music stand (if you have one), and water bottle. Tea and snacks will be provided.
Registration
Please register at the link below. This workshop is customized to workshop participants, catering to all levels. The more you describe yourself, the better the fit.
Today I got to listening to Ella Jenkins songs on Youtube. I was mostly curious how she used her ‘ukulele when she was singing with children.
But as I watched the few videos there are of her actually singing with kids, I began to appreciate how good she is working with children. She was especially good with preschoolers and early elementary grades. There’s a great photo on her website showing her sitting on the floor in the middle of a circle of young children leading a song. Of the 18 children visible in the photo, every single one appears engaged with the music — even the ones who are looking away are clapping along with the song.
Her music is also just right for young children. Her singing is understandable and straightforward, and she’s brilliant at using call-and-response techniques to get kids singing. Her skillful ukulele accompaniment is understated, so that it supports but never overwhelms the singing. Both the songs she has written, and the folks songs she has found, are prefect for singing along. Pretty much everything she does seems designed to get kids to sing along with her.
You can watch her in action in a video where she sings “Who Fed the Chickens” with another group of preschoolers. This is a call-and-response song with hand motions. Ella sings, “Who fed the chickens?” and the children respond with “I did,” or “she did,” or “they did,” or “we did,” while pointing at the appropriate person or group of people. Ella makes it all fun, and the children respond. It’s also worth noting that the video was recorded in 2012, when Ella was 88.
Ella Jenkins is pretty fabulous. Makes me want to play the baritone ukulele.
(Still recovering from a mild concussion…slowly emerging from brain fog….)
Twenty years ago, sociologist Mark Chaves demonstrated that one of the things that congregations are really good at is exposing people to the arts, especially music (Congregations in America, Harvard Univ. Press, 2004). In the course of studying everything that congregations are really good at, Chaves came to a rather surprising conclusion:
“If we ask what congregations mainly do, the answer is, in the first place, gather people for worship and religious education. But another answer is that, in their pursuit of worship and religious education, congregations generate as a by-product more artistic activity than either social services or political activity. Although many may wish it were otherwise, congregations facilitate art… more commonly and more intensively than they pursue either charity or justice.” [p. 201; emphasis mine]
I believe this remains true today. In fact, in my limited experience I’d say participating in music-making (as opposed to consuming music, or as opposed to other art forms) is what really hooks people in the UU congregations I’ve been part of. If you want to grow your congregation, and you have the choice between asking staff to spend more time on public acts of social justice, or asking staff to spend more time on nurturing the choir — go with nurturing the choir, every time.
Recently, though, I had a conversation with a UU who pointed out that many people feel intimidated by choir participation. This comment came from someone who is a fairly skilled amateur musician; they were not talking about themselves, they were making what I feel is an astute observation. And it tallies with my own observations. I remember leading some songs with a group of UU children a dozen years ago, and realizing that several of the children had never sung in a group before — we are a society that either consumes music, or performs music, but rarely makes music together.
“The amateur ukulele club scene is a kind of musical revival of participative music making, reminiscent of the sixties folk music and eighties rock band, with the ukulele as a self-accompanying instrument for singers and non-singers alike. The explosive growth of ukulele clubs and sales raises the question: how does the combination of a simple song sheet with no music symbol or notation and a small, lightweight four-stringed acoustic instrument provide sufficient material for group music making by performers who are not trained to read music or at all in music?….”
Ku documents how ‘ukulele clubs are evolving new ways of making music together, while drawing from a widely-known repertoire of popular music, and using online learning tools such as Youtube videos and lyrics websites.
So then of course I started searching for UU ukulele groups. I found them in: Ithaca, N.Y.; Eugene, Ore.; Salt Lake City; Dubuque, Iowa; Boca Raton, Fla.; Newark, Del.; and Raleigh, N.C.. No doubt there are others out there, but I was too lazy to continue my web search.
I’m not saying that your UU congregation should start a ‘ukulele group. But if we want to reverse the decline of Unitarian Universalism, I suspect we should all start thinking more about expanding the kinds of participative music making we nurture.
I took a sick day today (for a truly boring reason not worth going into). My main need was plenty of rest, so I did as little as possible. Since I’ve been getting increasingly serious about playing ‘ukulele, I decided to listen to a bunch of ukulele virtuosi. What follows are my notes to myself about what I’ve been listening to.
Jake Shimabukuro is perhaps the preeminent ‘ukulele virtuoso today. I’m in awe of his technical proficiency. However, his music doesn’t do much for me. I have to say the same thing about James Hill, who occupies the number two spot amongst ‘ukulele virtuosi — amazing skills, but I’m not much moved by his music. Taimane, who I think now edges Hill out for the number two spot, also dazzles me with her technical brilliance but once again her music just doesn’t do it for me.
Now on to some lesser-known ‘ukulele players who do move me with their music.
I first discovered Corey Fujimoto from his 2015 video of the Presto movement of Bach’s Sonata No. 1 in G minor (BWV 1001). His technical skills have only increased since then. He doesn’t appear to be recording much these days, butt he’s a regular on the Hawaii Music Supply ‘ukulele podcast, where he usually plays with Kalei Gamaio, another ukulele virtuoso. Here’s one of their recent recordings. In my opinion, Fujimoto is not only technically brilliant, but his musical sensibility is worth spending time with. His deep knowledge of classical, pop, rock, jazz, and traditional Hawai’ian musics comes together in something uniquely beautiful. He has a deeply humane musical sensibility.
Kalei Gamaio’s solo work is also well worth listening to. I think I first ran into his playing from this video of him jamming on Pachelbel’s Canon in D with Brittni Paiva and Sungha Jung (they really get going about a minute and a half in). Gamaio is probably best known for his own composition “The Unknown,” which has been covered by hundreds of aspiring ‘ukulele players. But I like him best when he plays jazz, as in this recording of “Autumn Leaves” with Neal Chin — or this recording of “Spain” with Chin and Andrew Molina. What I especially like about Gamaio is how well he listens to other players, and complements what they’re doing without overwhelming; he never shows off, but always uses his technical abilities in service of the music. For me, this kind of humility and sensitivity raises him above many other players.
Turning back to jazz and pop, Brittni Paiva is, in my opinion, underrated as a ‘ukulele player. Women are often ignored in the ukulele world, and of the women uke players Taimane Gardner seems to get the most attention. Paiva isn’t as flashy a player as Gardner, but her technique is so good she doesn’t need to be flashy. You see, Paiva doesn’t need to play a lot of notes because every note she plays is perfect, every note has a purpose, as in this recording. She’s also a multi-instrumentalist, and has issued albums where she played every instrument, and produced the album as well. Listen to her version of Dave Brubeck’s “Take Five.”
Fujimoto, Gamaio, and Paiva all come from Hawai’i, the home of the ‘ukulele. The other major hotspot for ‘ukulele players is Japan. I’m just beginning to learn about Japanese players — if you don’t speak Japanese (like me), it’s hard to find out about them. Fortunately, I just discovered the ‘Ukulele Japan website, an English-language site with links to a dozen of the top Japanese players. I’m still exploring this site, and learning about players like Kiyoshi Kobayashi, Iwao, and Tomoko Suzuki. Check out Suzuki’s version of Benny Goodman’s “Sing Sing,” which includes an amazing percussion break — sheer unadulterated fun
George Formby singing “When I’m Cleaning Windows”
Speaking of unadulterated fun, that brings me to the ‘ukulele player who inspired George Harrison, and indeed all the Beatles. That would be none other than George Formby. It’s easy to dismiss Formby’s humorous songs as dated, but there’s more than than you’d think. Maybe he’s not an impressive ‘ukulele soloist like Paiva, but his syncopated right-hand technique is world-class — as in this film performance of “When I’m Cleaning Windows.” And while his songs are goofy, there’s a kind of innocence and simplicity to them. He’s an Everyman ukulele virtuoso.
Which brings me to one final ‘ukulele virtusoso, George Harrison himself: here he is playing the ukulele not long before he died. Simple stuff, but so well done. It’s just about perfect. (And I do think I hear a little bit of Formby in Harrison’s playing.)
So what do I look for in a ‘ukulele player? Dazzling technique is ultimately empty, unless there’s some deep meaning behind it. The best music has to have — for want of a better word — humaneness.
And that’s what I did on my sick day: I listened for the humanity in the music.
Also, I left out Aunty Genoa Keawe, but that’s mostly because I couldn’t find good free videos of her online (she died in 2008). I love the way she accompanied her singing with her uke.
One of my leisure-time projects for this year has been learning a bit of ukulele. So I’ve been watching a lot of videos of young ukulele players. And it suddenly occurred to me that many of the best young ukulele players are racially very diverse: Abe Lagrimas, Jr., Taimane Tauiliili Bobby Gardner, Rio Saito, Honoka Katayma. Yes, there are fabulous young white uke players, like Britni Paiva and Andrew Molina. But more seem to be non-white and/or mixed-race. Maybe this is just because the younger generation is majority non-white. Or maybe because the best uke players seem to come from Hawaii, which is racially very diverse. Of course, the most famous young ukulele player is white — that would be Billie Eilish (not that her ukulele playing is particularly good).
If you know anything about the current ukulele scene, you’ll immediately figure out that “Jake” refers to Jake Shimabukuro, a ukulele virtuoso who is probably best known for his ukulele versions of “While My Guitar Gently Weeps” and “Bohemian Rhapsody.” But his range as a musician goes far beyond rock and pop music. He has arranged jazz, classical, funk, and bluegrass music for the ukulele, and written his own compositions. He is known for playing complex music requiring amazing feats with both left and right hands.
The point of “JAKE or Young KID?” is simple: a panel of professional ukulele players listen to only the audio portion of a Youtube video of one of Jake’s arrangements or compositions. Sometimes it will be Jake playing, but sometimes it will be a child or young teen playing. The panelists have to figure out which it is. Given what a virtuoso player Jake is, this should be no problem, right?
Actually, the panelists regularly mistake Jake for the Young Kid, and the Young Kid for Jake. This says a lot for the high level of playing in the rising generation of ukulele players (it also says a lot about the popularity of the ukulele these days, that kids are willing to spend so much time learning the instrument). But it also makes us confront one of the nagging questions of our time: how do we know what is true and what is false? If a ten year old kid can play like Jake Shimabukuro, then what?
But the video doesn’t get into existential questions like that. It’s just hilarious. Although panelist Kalei Gamaio easily beats panelists Abe Lagrimas, Jr., and Aldrine Guerrero, each of the panelists makes hilarious mistakes.
L-R: Abe Lagrimas, Kalei Gamaio, and Aldrine Guerrero — Kalei was the only one who figured out this player was NOT Jake, but a little kid
Recently, I got introduced to two new ways of thinking.
First, I’ve been taking ukulele lessons. My teacher gave me a transcription of part of the Largo movement of Vivaldi’s Four Seasons. As I play through that, it feels like my brain is being rewired. (“Rewired” is actually not the correct way to describe whatever is going on, but that metaphor — thinking as electronics — is common these days, so I’ll stick with it.) Or, more precisely, it’s not just my brain that’s being rewired: it’s my brain, my fingers, my ears and eyes — all of which are part of thinking — these are all being rewired.
Second, Carol’s father mentioned ones’ complement arithmetic. That sounded interesting, so I looked it up. On the CodeKraft blog, I found a good explanation of why ones’ complement arithmetic is useful. Then the Wikipedia article on ones’ complement provides a few good examples of how it works. This form of arithmetic is rewiring my brain in several interesting ways. The concept of signed zero is pretty interesting, though it doesn’t rewire my brain quite as much as, for example, when I learned about transfinite numbers.
I don’t know about you, but I feel as though I actually need to learn new and different ways of thinking. It keeps me fresh. Perhaps this is why I like improving my intercultural competence: this is another way to learn how to think in different ways.
I’ve picked up the ukulele again, but there’s not a lot of live ukulele happening in southeastern Massachusetts. So I’ve been getting my uke fix watching the weekly video podcast of Hawaii Music Supply, which you can find on their YouTube channel. Yes, they promote their high-end ukuleles. Yes, there’s a lot of pointless chit-chat, as on every podcast. But there’s also plenty of music, with some of the best of the newer ukulele players, sometimes playing songs and compositions they haven’t yet recorded. Players like Honoka, Neil Chin, Taimane Gardner, and many others, appear on the podcast and jam with regulars Corey Fujimoto and Kalei Gamaio.
For someone like me who’s trying to pick up the uke again, it’s really helpful to hear what really good ukulele playing sounds like. Plus ukulele players tend to be welcoming friendly people, and the ukulele itself is a gentle happy instrument. I put this podcast on while I’m cleaning the floor or doing laundry, and it cheers me right up even on a rainy windy winter day.
