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Topic: Bloop Bleep |
Andy Volk
From:
Boston, MA
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Lee Holliday
From:
United Kingdom
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Andy Volk
From:
Boston, MA
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Mike Neer
From:
NJ
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Charlie McDonald
From:
out of the blue
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Posted 6 Jul 2017 5:00 am |
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| It is kind of minimalist. All of this stuff is knocked out, especially the solo on St. Louis Blues. |
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Doug Beaumier
From:
Northampton, MA
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Posted 6 Jul 2017 6:06 am
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In the Alvino Rey video interview I posted in the Steel Players section he says that he used the steel guitar to make "wah-wahs and tiny noises... it fascinated me, electrically, not musically".
I first heard Alvino on one of Tom Bradshaw's Steel Guitar Record Club albums back in the 70s-80s and I was amazed at his approach to the steel guitar. His big band played swing tunes and Alvino would add backup accents, not the melody. His quirky slides, shimmers, chimes, wahs, bar bounces... were backup to the melody, but they were featured and up in the mix. Similar to what we're hearing on the song posted in this thread, but louder backup parts. It's an interesting approach. The backup becomes the featured part of the song and draws the listener in.
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Charles Stange
From:
San Francisco, California
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Posted 6 Jul 2017 7:11 am
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Tab anyone ? 
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Charles 'Skip' Stange |
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Charlie McDonald
From:
out of the blue
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Posted 6 Jul 2017 7:41 am
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| I can dig it, Doug, some parts that start to go Esquivel. Pretty brilliant playing, actually. |
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Andy Volk
From:
Boston, MA
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Posted 6 Jul 2017 12:00 pm
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No question Alvino Rey was a master arranger who worked out a role for the steel that fit his style. I'm not a fan of Stringy or the novelty work, but I find cuts like this one beautiful and atmospheric and use the instrument well: http://picosong.com/WbJX
Jimmy Clark posted this on FB:
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| Alvino Rey was an incredible artist/arranger who had an amazing big band. He headlined the top ballrooms of his era, had his own network radio shows, hired top tier musicians, was a fixture in movies and soundtracks from the 30's through the 60's and probably wasn't terribly concerned with headlining Cain's ballroom when he was featured in film shorts alongside Benny Goodman, Gene Krupa, Joe Venuti, Harry James, and was a co-headlining in feature films. After years of movies he had a popular television show featuring the "King Sisters" into the 60's. He is the undisputed father of the pedal steel guitar (for complex chordal voicing) and he is widely admired for his "talking steel" tricks. On rare occasion he would play a Western swing tune if he arranged one for his orchestra, but Rey's orchestra was more likely to be hired for a soundtrack or starring in a movie. "Hindustan," "Tiger Rag," "Stardust," etc Western Swing steel guitarists and band leaders copied Mr. Rey, not the other way around. Mr Rey, was however a great friend and influential big band leader on Lawrence Welk who throughout the late 50's featured him as a guest on the Lawrence Welk Show prominently. |
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Steel Guitar Books! Website: www.volkmediabooks.com |
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Larry Lenhart
From:
Ponca City, Oklahoma
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Posted 11 Jul 2017 10:59 am
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Andy, I liked that version of "Moonlight in Vermont"-pales compared to Johnny Smith's award winning guitar version, but it was interesting and pretty non-the-less. thanks for posting that...what tuning do you think he was using ?
thanks !
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Andy Volk
From:
Boston, MA
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Posted 11 Jul 2017 12:08 pm
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Johnny's is the gold standard for guitar version of that tune. I believe Rey used an E13th tuning but I don't know what notes he used on what strings. I'd bet someone here does.
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Steel Guitar Books! Website: www.volkmediabooks.com |
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Jon Kostal
From:
Westmont, Illinois, USA
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Posted 14 Jul 2017 7:02 pm
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The guy was great! Cool suit and pocket square, the epitome of sophistication! Thumb pick only! He was a Les Paul kind of guy for the steel guitar.
https://youtu.be/hHlmsMhcdrM |
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