| Author |
Topic: Letritia Kandle Update-Carl Dixon |
John Norris
From:
Peterson Strobe Tuners, Illinois, USA
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Posted 1 Aug 2008 12:23 pm |
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Work is continuing on the restoration of the Grand Letar, meanwhile Paul has managed to find some photos from the 1930s & 1940s when these instruments were in daily use.
First a few of Letritia Kandle with the Grand Letar...
Here she is in 1937 with a Weissenhorn, Lap Steel and what looks to be a 6/12 string.
Letritia is third from the right in this interesting photograph from a Grand Army of the Republic event in Joliet (HSGA take note!)
Here she is with the Small Letar
Ms. Kandle was certainly in the forefront of steel guitar in her day, here she is on the cover of Fretted Instrument News in 1948 with a Multikord, 1948 was also the year the Telecaster was first introduced as the Broadcaster...
With the Small Letar
Here's Letritia Kandle with Paul Whiteman, who commissioned George Gershwin to write "Rhapsody in Blue"
Still steelin' after all these years - Letritia Kandle at 93...
Thanks to Paul Warnik for all the detective work!
John N.
_________________
John Norris
Peterson Strobe Tuners
- Celebrating over 75 Years of Tuning Products in 2024! |
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Ron Whitfield
From:
Kaaawa, Hawaii, USA
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Posted 1 Aug 2008 1:16 pm This just keeps getting better!
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How absoluetly cool.
And she still has the same hand position!
I can now see how the 'rising sun' motif would have been an issue. |
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C Dixon
From:
Duluth, GA USA
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Posted 1 Aug 2008 1:31 pm
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| Quote: |
Carl, thanks for the reply.
Maybe one more question, if you please.
Being classically trained she might have had
different views on tuning than would have been
typical for most steel players at the time.
If you know how she preferred to tune her instruments,
this might be quite enlightening.
Both tunings across the Letar necks,
and intonations of those tunings.
I am NOT in ANY SENSE trying to ignite a ET vs JI food fight,
This is not about opinions, but historical fact,
Earlier I wasjust wondering how this highly
educated musician decided to do it.
Did she record with Paul Whiteman also?
Ok three questions!
PS. have a wonderful time at ISGC
and with that new Excel too. |
I am sooo sorry David, but I never got a notice that there were knew posts on this thread after my last post. I make a concerted effort to respond to any question in a post or email. Please forgive.
I shall correct that now.
As to how she tuned, I simply do not recall. In those days the terms were probably not in vogue. But my best guestemant is she tuned straight ET. I base this on the fact, that having been soooo thoroughly trained in classical music; and having played soo many different instruments with great acuity; I don't believe there is a snowball's chance in hades that she did not tune ET.
I am not aware that she ever recorded with Paul Whiteman, but it would not surprise me to learn that she did.
As to the tuning of the Letar's, I never saw them in person. I only heard her talk about them repeatedly; and all of the pictures posted, except the one AFTER she had nose plastic surgery, I saw in her studio(I believe).
I do recall her saying once that the two 4 string necks were tuned to a bass tuning. I imagine like a bass is. But not sure.
In those years, I was more interested in playing Steel Guitar Rag and trying to copy note for note EVERY thing Little Roy Wiggins did on Eddy Arnold's records. He WAS my idol at the time. LRW that is.
She despised both! 
Letritia was an awesomely unique lady. And a lady she was in the highest magnitude of the word. I as a 17 yr old teenager said something one night rehearsing for the upcoming concert of the Chicago Plectrophonic Orchestra, and to me it was funny.
But to her it was improper. And she let me know it in NO uncertain terms. Here is the story:
We were taking an unscheduled break because (for some reason) a number of musicians did not show that night. So she said as the break began, "I just wonder where all my 'pets' are tonight?"
I responded, "Maybe they are all out 'petting'.
As long as I live, I will NEVER forget how angry she became. But as I look back, she was brought up in the days of the remnants of "Victorianism". And those things one simply did NOT say in mixed company.
My have things changed huh?
Sorry again David.
c.
_________________
A broken heart + †= a new heart. |
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Ron Whitfield
From:
Kaaawa, Hawaii, USA
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Posted 1 Aug 2008 1:42 pm
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| How interesting, Carl, that you mention her nose surgery. I had wondered. They did a great job, especially for those days. |
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Ben Jones
From:
Seattle, Washington, USA
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Posted 1 Aug 2008 2:01 pm
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| fascinating! one can see and understand why the rising sun motif required a change after the onset of ww2. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 1 Aug 2008 6:34 pm
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Carl not a problem at all. You came, you answered, all's well.
I can see why she was not pleased by your comment back then.
But I imagine she will quite pleased with how you've turned out today.
Yes times certainly have changed,
seems my generation (I'm 52) was right in the pivot
of a societal shake up for good or ill. Likely both.
She was quite a fashionable lady for her time,
easy to see why Paul Whiteman picked her to play in his band.
She was a stand out and an accomplished player,
who needed no hand holding to do her job.
I suspect her stock went up after the nosejob too.
But it was her talent that was the real draw.
Also easy to see why the sun motif disappeared quick
in the early 40's. Looked great of course, but no matter.
Having read on that periods classical tuning theories,
it does seem likely that ET was her choice over all.
It had pretty much taken over most classical circles by that time.
I suspect she may have fudged just a touch on 3rds
on some songs,
on one neck or another, but not so much to make it an issue.
Why? Perfectionism. If she heard something objectionable, she dealt with it. INSTANTLY.
You can see that look; she brooked no bad things in life or music.
Must have been quite the gentleman who married her
and pulled away from the business.
Carl, thanks for the great history. Much appreciated.
Also; Love the pics guys!
Certainly she is an icon for this instrument.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many!
Last edited by David L. Donald on 1 Aug 2008 10:29 pm; edited 1 time in total |
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John Norris
From:
Peterson Strobe Tuners, Illinois, USA
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Posted 1 Aug 2008 8:35 pm
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| Quote: |
Posted 1 Aug 2008 6:34 pm
Having read on that periods classical tuning theories,
it does seem likely that ET was her choice over all.
It had pretty much taken over most classical circles by that time. |
David, I would have to disagree with you there. The first electronic tuner came out in 1936, but it was expensive for the time and certainly too much for a steel player (the Stroboconn cost about $600 in the 1930s)
It was pretty much exclusive to piano tuners/technicians. Added to that, concert pitch wasn't even decided upon until 1939 in the orchestral circles where Letritia moved, it still hasn't been resolved to the present day! Horns use JI and strings use Pythagorean.
Nothing except piano uses ET in classical orchestras today.
Equal temperament would have been impossible to tune by ear without a tuner back then, I think Letritia simply tuned by ear 'til she was satisfied that it sounded good, and with an instrument like the Letar, unfretted as it was, there would have been no reason to use ET.
Listen to the Andrews Sisters around the same period, its pure JI.
John N. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 1 Aug 2008 10:43 pm
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Everyone tune to the oboe.
W hat ever it was tuned to,
and the piano or organ if it was used.
I am going partly on my old conductors statements here.
But she studied with Herbet Von Karjan, Georg Solti
and Lenard Bernstien.
And this was their general consensus.
This trio I wouldn't dare to dispute,
I've heard their work.
ET had generally taken over, at whatever
center point an oboe was tuned to for each orchestra,
because the composers at that point had written too much work that would be unplayable otherwise,
to use anything but a tuning center that brought
those horns and strings and pianos closer to
something that worked ensemble.
It was no doubt tempered by the personal ear of each conductor.
And no doubt, as you say, argued interminably in the literature.
It didn't need a strobe tuner to be understood by conductors of this level,
and no doubt they had them available as soon as piano tuners did.
We got this lecture because some players were not following orders.
So she stopped and gave a history class.
We got a LOT tighter shortly after.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many! |
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Reggie Duncan
From:
Mississippi
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Charlie McDonald
From:
out of the blue
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Posted 2 Aug 2008 2:12 am
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The story gets better; Betty Grable sitting at a Multi-Kord in proper fashion. Only anecdotes give a clue as to her serious nature.
| John Norris wrote: |
Equal temperament would have been impossible to tune by ear without a tuner back then.... |
I agree with one poster that this is not the place to start a tuning war....
But how would it be possible to tune ET without a 'tuner' these days? ET is easy, as it depends on fairly strict beat rates among the intervals, which can be taught. I've never used a 'tuner' in all my years of tuning in concerts, studios, etc, and know of no top tuners who use strobes. I was never even exposed to one until I was directed to when applying for a job with ProPiano in New York, by which time my career was already made.
We would simply have to ask Letricia or someone else who was there. Concert pitch may have been upped from 439 to 440 in 1939, but ET was used in pianos regardless of a standard pitch. I am simply saying that if ET was impossible to tune in 1939, it would be impossible today, and that is absurd.
No point in taking it further, but your blanket statement is patently false--with all due respect. This is not a personal matter--I tune to my best idea of meantone on PSG, and have no problem with those who choose ET or JI. But until someone has some anecdotal evidence about HER method, it's all conjecture.
I could as easily conjecture that she employed a piano tuner, because where there are tuning pins, there's a pin block. Undoubtedly she travelled with a tuning hammer or T-handle, but it would not be unusual to see a piano tuner on Whiteman's stage. He may have been employed to tune the Grand Letar, and she may have tampered or sweetened the thirds, but all these may haves are here because we simply don't know with what's been presented so far.
Thus, I would tend to trust Carl's supposition over yours or mine. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 2 Aug 2008 2:47 am
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Carl gave a 'guestimation' based on his actually being her student.
No one else is likely to get closer.
So it rests there.
What the rest of the world did then is open for conjecture,
but I think NOT HERE.
My anecdote was 3rd hand and many books were written on both sides.
It is pretty obvious she tuned to the piano in what ever venue she played in,
what ever temperment it had.
Yes I caught that Betty Grable look too. Impressive.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many! |
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Charles Curtis
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Posted 2 Aug 2008 4:46 am
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| IMO, truly a beautiful lady, then and now. Carl, I'll bet you have a lot of fond memories with her as a teacher and mentor. Maybe someone will put her story and photos in a book someday. When I first saw the photos, I didn't notice her nose, but her beautiful eyes and high moral countenance from an era gone by. Carl, IMO, this would have been a great addition to your book, that I enjoy. Thanks a million for sharing this information. This makes my day! |
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Jonathan Shacklock
From:
London, UK
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Posted 2 Aug 2008 6:58 am
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| Fantastic pictures. Paul and John, I'm sure this isn't top of your list but are there any plans to restore the rising sun to the Letar? It's certainly a lot more stylish than the clef – pure Deco! |
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C Dixon
From:
Duluth, GA USA
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Posted 2 Aug 2008 10:42 am
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| Quote: |
| Carl, I'll bet you have a lot of fond memories with her as a teacher and mentor. Maybe someone will put her story and photos in a book someday. When I first saw the photos, I didn't notice her nose, but her beautiful eyes and high moral countenance from an era gone by. Carl, IMO, this would have been a great addition to your book, that I enjoy. Thanks a million for sharing this information. This makes my day! |
Yes I do. I will just synopsize two of 'em for "yall" to ponder.
When I was age 15, my mom devastated me by saying, "I am leaving your dad and WE are moving to Chicago!" We were living in Tampa, Florida at the time. To this day, I still relive that moment of horror. My Dad and Mom were like the Rock of Gibraltar to me.
Shortly before that, my dad had enrolled me in a "Hawaiian Guitar" studio. And I loved it and took to it like a duck....., like few ever. So, my mom and her boyfriend bribed me when I refused to go, by telling me they would buy me a new steel and enroll me in a comparable studio in Chicago.
I rued the day I ever gave into that lust of materialism. But that is another story for another time.
Anyway, after we got to Chicago, I was bound and determined they WERE going to do as they had promised. Thus that brings us to Letritia.
In the ensuing years, my dad thing turned into a very bad time for me. I loved him soooo much, but I was not allowed to see him but 2 mos of each year. That turned to hatred of you know who, sadly.
As I look back now, I realize that Letritia sensed something was terribly wrong, (I never told her why I was soooo inward and distraught), so she became in essence, my second mom.
Now you know why I love her sooo dearly. MANY, MANY hours she counciled me into the good things about life. I shall take that to my grave. Rarely did a 30 minute lesson remain that. For often she would talk to me like a loving mom and teach me far more than about music, albeit she taught me pure solid gold when it came to music also. And it was not unusual for the lesson to extend well past an hour and possibly even two.
The second bit of trivia:
She had never dated. Her parents were VERY strict even though she was in her late 30's. But one day when I got to the lesson, she was as giddy and gay as a young school girl who had just gotten her first kiss.
The lesson was all about "HIM". And wow, was she IN love. She could not contain herself. She later married him. They are still married!
So that is something I shall never forget.
The point of all the above is: she was much much more than just my music teacher. And the moment I lay eyes on her again after a 60yrs of not knowing where she was, I am not sure just what is going to happen. My wife I hope will stay close by my side when that moment comes.
Thanks for asking dear friend, And yes I may include more about her in the next issue of the book. And thanks for asking for the book, even though it had not yet been printed.
may Jesus richly bless her and you, and all the rest, always,
carl
_________________
A broken heart + †= a new heart. |
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Paul Warnik
From:
Illinois,USA
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Posted 3 Aug 2008 3:56 pm
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Thanks to John N and Sue H of Peterson Electronics for all the help in the restoration of the Grand Letar-I talked to Letritia today to tell her about this wonderful thread in tribute to her and she was crying for joy that her contributions to the history of the steel guitar are no longer forgotten-thanks to all of you who have expressed interest in this story and especially to Carl Dixon 
As for the tuning I discussed the matter of JI vs. ET with her and she said that she always tuned as close to equal as she could-no tempered thirds if playing with the orchestra-So Carl is correct about that 
The tuning layout for the Grand Letar does not have necks which are "tiered" like most multi necked steels
She used A Major (high bass) on the furthest neck from player then E7th followed by A minor and the tuning closest to the player is an eight string divided into two "courses" of 4 strings one group tuned to an A Augmented and the other to a diminished
Here is the way she tuned the Grand Letar for each neck lowest string to highest:
A C# E A C# E
B D E G# B E
A C E A C E
F# A C E / F A C# F
The small Letar had seven string necks instead of six as well as the augmented and diminished groups on the bottom
E A C# E A C# E
B E G# B D E F#
E A C E A C E
F A C# F / G A# C# E
Note the difference in Her E7th tuning between the two Letars She had the F# on top like we use on E9th pedal steel these days also she changed the diminished chord and moved the augmented below it
By jumping from one neck to another Her tunings allowed chord progressions to be played without pedals in similiar relation to the way we use pedals today! She was truly an innovator and pioneer of the steel guitar!
Also thanks to Southside Chicago's tube amp repair expert Jeff Mikols for refurbishing the original National-Dobro amplifier! the two Lansing 12" model 212 field coil speakers are now singing again
And next the good folks at Peterson will be assisting to restore the "light show" 
Stay tuned for more on this historical instrument!
Including a possible replacement of the "Rising Sun"
front panel 
Last edited by Paul Warnik on 3 Aug 2008 4:15 pm; edited 1 time in total |
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Paul Warnik
From:
Illinois,USA
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Posted 3 Aug 2008 4:10 pm
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I would just like to add one thing in response to Carl's comments about Ms Letti The things Carl said are very heartwarming I too feel somewhat of an adopted "son" to her The man she fell in love with and still loves today (Walter) is still her rock as she is His They both have medical issues that are ever increasing burdens at their age Please pray for them I am not one to often ask for or offer up prayers but these two dear old folks could use some
Letritia cannot drive a car anymore and Walter had a little problem a month or so ago and He may not be able to drive the car for much longer
Pending immobility will cerainly prove to be a hardship for these folks especially with all the doctors appointments they have
I ask for your prayers for the health of Letritia and Walter THANK YOU PAUL W |
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John Norris
From:
Peterson Strobe Tuners, Illinois, USA
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Posted 9 Aug 2008 10:26 pm
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The National-Dobro amplifier, which was integrated into the Grand Letar, has now been refurbished by Jeff Mikols...
The tubes/valves used are as follows:
Preamp: 5 x 6A6 (including the drive tube)
Rectifier: 1 x 5Z3
Power amp: 2 x 6A3
There are four volume controls - one for each neck and two boost switches.
We added a fuse holder to replace the original which was housed in the mains plug and was hard to get to.
As you can see, the amp has a serial number but no model description...
We rewired the two 12" Lansing Field Coil speakers two weeks ago...
These speakers were built five years before the All Technical Service Company (Altec) bought Lansing in 1941...
...forming Altec-Lansing, whose speaker systems went on to power Woodstock and the Apple iPod in later years.
Now that the amp and speakers have been re-installed in the Grand Letar...
...the remaining tasks will be to refurbish the unique dimming and lightshow system, restore the exterior chrome finish and hopefully recreate the glass rising sun front panel.
We are very close to breathing life into this 70-year-old instrument.
Tomorrow we will be tackling the lightshow system and Paul will be applying some elbow grease to the chrome .
John N.
_________________
John Norris
Peterson Strobe Tuners
- Celebrating over 75 Years of Tuning Products in 2024! |
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Drew Howard
From:
48854
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Posted 9 Aug 2008 11:51 pm
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| Absolutely amazing. How much did Letar weigh with the amp and cabinet? Doesn't look light! |
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Charlie McDonald
From:
out of the blue
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Posted 10 Aug 2008 3:16 am
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Magnificent job with the refurbishing of the amp and the period speakers. It's starting to come to life.
Carl, I wish I could express better about the wonderful story that includes a part of your life which I find touching. It's something personal that a person doesn't get to share in very often.
What a beautiful lady.
_________________
Those that say don't know; those that know don't say.--Buddy Emmons |
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Charles Curtis
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Posted 10 Aug 2008 4:08 am
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| I hope that someday, someone will include this history and these pictures in a book. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 10 Aug 2008 4:11 am
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That looks like a relatively small output transformer.
Am I correct in assuming it is a push pull amp,
and not Single End?
You mention a "drive tube" that would be the
Phase Inverter for a PP
and a summing amp gain stage for the other tubes of a SE.
If it is a PI for a PP what type? Concertina, Paraphase, Longtail pair, etc.
Very cool amp nice job, looks sweet!
My dear wife is in Yangon Burma as I type and hopefully
she will find some ancient thingie like this to bring back for me.
I sent a few pictures, but I would DEFINITLY have sent
this pic with her if I'd had it when she left.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many! |
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C Dixon
From:
Duluth, GA USA
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Posted 10 Aug 2008 8:28 am
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Charlie,
Thank you! You are very kind.
Here is my schedule:
On Sunday afternoon August 24th, my wife and I drive from Atlanta to Nashville. On Monday early, and for a few hours, I hope to visit with my dear friend Bobbe Seymour at his store.
I will have lunch with another steel guitar player if he is able to make it.
In the afternoon, we will then drive to Kayton Roberts home; where we will fellowship with Kayton and his wife Iva-Lee. I am sure Iva and Hazel will have other interests, as Kayton and I engage in playing steel guitar.
Possibly until the wee hours of the morning. (For those of you that don't know of him, Kayton was Hank Snow's SG player for over 30 yrs.)
He is one of THE most awesome non pedal steel players I have EVER met. I can't wait. We will spend the night with them.
We will spend a few hours Tuesday morning with them, and then head on to Chicago. We will spend the night in Indianapolis. Where I will call some cherished SG friends. On Wednesday morning, we will drive to NW Chicago and check into a motel.
Hopefully somewhere in early afternoon, we will drive to Letritia's home.
ONLY Jesus knows, what is going to happen when I lay eyes on someone I have not seen in 60 yrs that I have loved so dearly!
I am unable to contain myself as each day grows closer.
Thursday we will drive to St. Louis, where I will receive my new Excel and spend 3 super days in the Excel room meeting many many old friends, and hopefully making a slew of new friends. Do come by and "sit a spell", if you are there. I would like that.
We leave early Sunday morning, because I have to get back home and begin working on my present Excel that I sold on the SGF 5 weeks ago. The buyer is driving to my house the following weekend to pick it up. He wanted me to add an 8th pedal and rerod it to his copedent. Which I am more than happy to do.
That will be a joy filled trip money can NOT buy. Praise Jesus.
Thanks again Charlie,
c.
_________________
A broken heart + †= a new heart. |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 10 Aug 2008 9:25 am
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Carl sounds like a great road trip!
You take is slow and safe y'hear!
I rediscovered Kayton when I rediscovered Hank Snow.
I really enjoyed all of Kayton's work with him.
I most was impressed with the range in Hank's later work,
He was not afraid to explore. And I imagine what the
two of them could have cooked up had Hank lived longer.
I am sure you will find the right words
when you meet your mentor even after so long a time.
I am sure she will suddenly remember MANY things once you start talking too.
I wish I could sit a spell with you at ISCG,
but alas,
I am about as far away as you can get.
I do remember our talks from the last time I got there.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many! |
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Frank Freniere
From:
The First Coast
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Posted 10 Aug 2008 1:33 pm
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This is a truly incredible story, replete w/ pictures and personal memoires. Huge thanks to Paul W., John P. & Carl Dixon for bringing this history out to a broader audience and making it come alive.
Are there any extant recordings of Letritia and/or the Letar? |
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C Dixon
From:
Duluth, GA USA
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Posted 10 Aug 2008 4:59 pm
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Thank youi frank .
I am not aware of any recordings of Letritia or the "Grande Letar" or the lap "Letar".
But that is one of the questions I am going to ask her when I visit her on August 27th.
I will let you know on THIS thread when I get back from the ISGC.
Thank you for enquiring dear friend, and thank again Donald for your kinds words. They mean a lot.
c.
_________________
A broken heart + †= a new heart. |
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