Steel guitar players is Hawaii

Andy Barlo · Post by **Andy Barlo** » 20 Jan 2006 9:22 am

I am probably going to open up a can of worms here but here goes anyway.
With all the emphasis on lack steel guitar players in Hawaii, and especially the young, let me ask a few questions first. How many of you Forumites started playing the steel guitar at an early age, especially Hawaiian steel music? How many of you were interested in Hawaiian music at an early age? At what age did you really become serious about learning to play Hawaiian steel music? As for myself I loved Hawaiian music ever since I was in grade school. I had hundreds of records and would listen to them every day. I knew every album and could tell you what song came next on the LP. So, why didn’t I learn to play the steel back then? Well, it never crossed my mind. My sister played accordion and my father wanted me to play accordion also. I hated the accordion and fought tooth and nail not to learn. I managed to learn one song and cried the whole time I was playing it. I just did not want to play the accordion. It doesn’t work trying to force someone to play an instrument he or she does not like. I did want to play guitar and left subtle hints like pretending I was asleep on the couch with the Sears catalog open to the guitar page. And you know what, it worked. I got my first guitar (a Roy Rogers model) and started taking lessons. What possessed me to play guitar was that everything was rock‘roll back then and I wanted to be part of it, although my first love was Hawaiian.

I guess what I’m trying to say is that my culture had nothing to do with the fact that I wanted to play rock’roll. Just because someone is of Hawaiian decent dose not mean that he has to play the music his ancestors played. How many of you, being of Irish, Polish German or whatever have been greatly influenced to play the cultural music of your heritage? I think not many. It would be nice to see tradition carried on through the young, but it ain’t happening. Like the old saying, “You can lead a horse to water, but you can’t make him drink”.

What I’m getting at here is, yes it is commendable to offer scholarships and free instruction to the young people of Hawaii to encourage them in their cultural music and instruments but you cannot force it on them. Just as I rebelled with the accordion so will they if they are pressured into doing something they do not want to do. If there is an interest there, it will happen. I would rather see 20 or 30 young people from the mainland learn the steel rather than focus all of our attention to the Islands. I have four grandchildren now and will try to influence at least one of them to learning the steel. One is now starting to play guitar, so I may get lucky. I really think we don’t know what we like to play until we get older. We are not Jeff Au Hoys or Alan Akakas or even Pahanuis. Jerry Byrd himself did not devote his love for the Hawaiian music until his later years.

Well enough said on the subject. Now you guys can let me have it. I think I am man enough to take constructive criticism

Patrick Newbery · Post by **Patrick Newbery** » 20 Jan 2006 9:49 am

Nothing wrong with your point of view.

I would add, however, that when you learn a genre of music without being steeped in the context from which it sprang, it is more difficult to both fully master it and help add to it.

It's not just ear training. I think there's a sensitivity to rhythm, a comfort with the harmonizations that is conditioned by many factors, including but not limited to the study and practice of music.

I started playing steel because of Jerry Byrd, and thought that "was" Hawaiian music. I read a post on this forum from a player in Hawaii that said he listened more to Gabby Pahanui for real Hawaiian, because Jerry sounded more country. The more I listen to all eras of Hawaiian, the more I agree with that point of view.

Another interesting comparison is listening to Bob Brozman play a song and then listen to the same thing by one of the early artists. Bob is incredible, but always sounds different to my ear — almost too perfect.

I think it great that Hawaiian music continues to live through interest by non-Hawaiians, but if no Hawaiians continue to play it, will it become Hawaiian-style music?

Jeff Au Hoy · Post by **Jeff Au Hoy** » 20 Jan 2006 10:19 am

Amen to that, Andy. People are always bitching about Hawaiian youth not picking up their "native instrument", what a crying shame it is, why do they play that reggae crap, Elvis is Satan, blah blah blah. Phooey. Sure I have my personal tastes, but I think kids should play what they want to play as long as they're playing music.

I play steel because I think it's cool and unique, and the older Hawaiian music gives me a special feeling. It reminds me of garage parties my family used to have growing up. To some other kids, Jawaiian music gives them that special feeling. Good for them.

So I think these people that are on a crusade to "save Hawaiian steel guitar" and make it a mandatory course in the public schools are a bunch of clowns.

I liked your accordion story. Incidentally, I ordered an old refurbished Excelsior from Illinois yesterday. Can't wait to get my hands on it!

Gerald Ross · Post by **Gerald Ross** » 20 Jan 2006 10:36 am

The HSGA scholarship fund's purpose is to perpetuate the art of the Hawaiian Steel Guitar by sponsoring promising students who want to learn the instrument and it's music.

There is NO requirement that the student be
of Hawaiian or Asian origin, a resident of Hawaii or a Jerry Byrd devotee.

------------------
Gerald Ross
'Northwest Ann Arbor, Michigan's King Of The Hawaiian Steel Guitar'

CEO, CIO, CFO - UkeTone Records
Gerald's Fingerstyle Guitar Website
Board of Directors Hawaiian Steel Guitar Association

Mat Rhodes · Post by **Mat Rhodes** » 20 Jan 2006 10:50 am

Andy,

When a locally popular Jawaiian band like Nuff Sedd 180 (or any other Hawaiian-flavored pop act) incorporates steel, you'll see a greater resurgence of interest in it by kids than by the other methods. Steel has to be "cool" and "sexy" regardless of the genre and I believe it takes a "cool" and "sexy" band/solo act to do it.

(not that I think Nuff Sedd 180 is "cool" and "sexy")

Matt

Andy Barlo · Post by **Andy Barlo** » 20 Jan 2006 12:27 pm

Thanks for all your comments but let me ask again, "At what age did any of you start to learn to play the steel or become interested in Hawaiian music"? For me it took 55 years before I picked up the steel. Now I wish I would have started way back when. Just curious .

basilh · Post by **basilh** » 20 Jan 2006 12:44 pm

When I was 10, BUT by that time (1953) Hawaiian music had been in our family for 16 years ..
The waikiki Islanders started playing around Birmingham (United Kingdom) in 1937..

Mat Rhodes · Post by **Mat Rhodes** » 20 Jan 2006 12:45 pm

Sorry for the topic drift, Andy. I picked up the PSG at 23. Had no interest in Country music or Hawaiian. Just wanted to buy one because my 6-string hero, Alan Holdsworth, used one on one of his albums in the 80s.

When I turned 31, I bought my first Jerry Byrd course ("...for the Serious Student") and have been a Hawaiian music fan ever since. I'm 36.

Now, about how to get those kids interested in steel...

------------------
Matt
<img width=50 src=http://mywebsite.register.com/db2/00180 ... CN0138.JPG>
Stained Glass Artwork

Mike Neer · Post by **Mike Neer** » 20 Jan 2006 1:06 pm

I would think it would be borne of family tradition. I don't think enough families share music with one another, at least not like was done in the days before radio.

Rick Aiello · Post by **Rick Aiello** » 20 Jan 2006 2:03 pm

I would think it would be borne of family tradition.

I was 28 yrs old when I started playing Hawaiian steel guitar ... I'm 47 now.

Ellie was 3 yrs old ...

Our family hails from Sicily ... not a long-standing tradition of music making in my family ...

But I'm tryin' to take my babies down a different path ...

------------------

[This message was edited by Rick Aiello on 20 January 2006 at 03:25 PM.]

Rick Aiello · Post by **Rick Aiello** » 20 Jan 2006 3:47 pm

Here's Ellie Jo's First Recording ... at 5 yrs old.

------------------

[This message was edited by Rick Aiello on 20 January 2006 at 03:48 PM.]

Rick Aiello · Post by **Rick Aiello** » 21 Jan 2006 3:43 pm

Bump for Ellie ...

She has asked me to check the forum 20 times today ... to see if anyone liked her performance ...

I've seen big accalades for players with only a fraction of her abilities/skill ...

Gerald Ross · Post by **Gerald Ross** » 21 Jan 2006 3:56 pm

Your dad taught you well Ellie (or did you teach him? hmmm...).

Maybe one day we will see you perform on stage with us.

------------------
Gerald Ross
'Northwest Ann Arbor, Michigan's King Of The Hawaiian Steel Guitar'

CEO, CIO, CFO - UkeTone Records
Gerald's Fingerstyle Guitar Website
Board of Directors Hawaiian Steel Guitar Association

Jeff Strouse · Post by **Jeff Strouse** » 21 Jan 2006 4:03 pm

You've got the magic touch, Ellie! Spongebob would be proud!

Jeff Strouse · Post by **Jeff Strouse** » 21 Jan 2006 4:53 pm

I also want to comment about steel players in Hawaii. Steel guitar is a very difficult instrument to learn. And, it is so closely associated with a particular "style", that young people won't take a serious interest unless they are either dig that style, or an innovator crosses the sound over into Jawaiian or whatever the popular sound may be at the moment. This may even require a specialized tuning, since most of the current tunings fit the style of previous or established genres. Although any song can be played in any tuning, certain tunings are natural for a particular sound.

To speak of style, and I know many people who agree with me, Jerry Byrd has a very Hawaiian sound, contrary to what some critics will tell you. We've discussed and debated before on the forum about what the Hawaiian sound is. It boils down to what YOUR ears hear. If all you listen to is Feets Rogers (I love his style), is that how you define Hawaiian? Or do you further classify that as Hawaiian folk? How about McIntire, Iona, AhSee, and other greats? They sound very Hawaiian, but each of their styles is different.

Jerry has a very smooth, flowing, continuity to his playing...literally like a bird floating through the air. If he had a less smooth sound, would he be more Hawaiian sounding? No. If he had taken his volume pedal and thrown it into the ocean, would he then sound more Hawaiian? No. Jerry's playing is just as Hawaiian as anyones...incorporating all the sounds and stles associated with Hawaiian players, connected with the smoothness of his own that will always make him the Master of Touch and Tone.

Jerry started playing Hawaiian music, and integrated the steel guitar into country music, which was the popular music of the era, and the area in which he lived at the time. He incorporated the Hawaiian steel guitar sound into what is typically considered "country" music. Even though that sound is very different from country music today. Whether Jerry played Jazz, Country, or whatever, he played it in such a way to make the listener conjur up mind images of Hawaii, thus, Hawaiian style. Jerry plays country licks at times, but he does it with a smooth Hawaiian tone and flavor. What if Dick McIntire had played a lick that sounded "country" now and then? Would he no longer have a Hawaiian sound? No. What if Jerry played blues or bluegrass licks? Would the music still have a sweet, warm, Hawaiian tone to it? Yes.

It's great to debate musical styles and genres, and what is or isn't a particular style. But, many comments on the forum from time to time almost seem to have chastised Jerry. One is particular that stands out is the, "Too Hawaiian for country, and too country for Hawaiian." Hogwash. Jerry was a stylist. And for those who have a strict definition of what Hawaiian is, eviently aren't hearing beyond the occasionaly country lick he played.

I'd love to see the steel guitar integrated into Jawaiian and such. I'd like to see the youth of Hawaii embrace it, just as I would the youth anywhere. But first, an innovator has to cross it over into that style, to make the sound of it attractive enough.

Because it's rarely heard it Hawaii anymore, it does need to be "saved"...that was Jerry's mission...the youth can play any style or music they want to on it. But if they aren't at least exposed to it in music class in public schools (like they are exposed to other instruments), they won't know what it is, and by the time they grow up, most all of the folks who could have shown them will be dead. What better way to mass expose it than through the public school curriculum? "Saving the Hawaiian steel" is a necessary crusade for those who understand the history, decline, uncertain future and populartiy of steel guitar in Hawaii and the rest of world. The only clowns are the ones who don't realize it, and don't help to preserve it through exposure and/or innovation.

Jeff Au Hoy · Post by **Jeff Au Hoy** » 21 Jan 2006 5:51 pm

That's a strong perspective from Florida.

Post by **Brad Bechtel** » 21 Jan 2006 6:23 pm

Please tell Ellie we loved her playing.

Jack Byrd · Post by **Jack Byrd** » 21 Jan 2006 6:40 pm

Quote:
Jerry Byrd himself did not devote his love for the Hawaiian music until his later years.

For anyone who REALLY knows Jerry’s career will certainly take exception to that statement. As a very young boy of eleven he started his love affair with Hawaiian music. That was all he played during his early years gleaming all he could for the many records he was able to secure and listening very faithfully to Hawaii Calls. His senior year in high school he auditioned for a position on the Renfro Valley Barn Dance. It was February 4, 1939 on WLW. And you know what he played. On the Shores of Waikiki. Now it didn’t take much of a genius to realize at the time during the depression with jobs at a premium he had no chance of going to Hawaii to make a living in music so he HAD to do other things, not what he really wanted to do. But he remained true to his love of Hawaiian music and played it as often as he could even in the country venue that was his early career. In fact almost every record he recorded (78’s) one side had a Hawaiian song on it. He DID not take up the Hawaiian music in his later years. It was with him all of his years, never taking a back seat. When he was requested to do his first album (Nani Hawaii) he insisted that it be all Hawaiian with Hawaiian musicians and so it was.

To say that he did not devote his love to Hawaiian music until his later years to anyone who knows the facts is surely inaccurate in all it tries to convey in any argument. Get the facts first to add creditability to your position.

Don Kona Woods · Post by **Don Kona Woods** » 21 Jan 2006 8:49 pm

I believe all of the points made have some validity, but it is not that simple, nor does it represent a more comprehensive picture. Even I will not be able to do that in this post. Here are a couple of points.

It is a given that some young people will gravitate toward Jawaiian and other musical genres, but that is not all young Hawaiians. Are there other young people that would have the same desire to learn the Hawaiian steel as Jeff Au Hoy if given the same exposure?

What do you think would happen if Jeff were given a million dollars to perpetuate Hawaiian steel guitar in Hawaii? Let say that the plan is for him to go into all elementary, all intermediate and all high schools in Hawaii for the next five years. The plan would include a good live Hawaiian backup group for Jeff’s Hawaiian steel guitar playing. Do you believe that many who hear him would be stimulated to want to learn to play the steel guitar? I believe the answer is obvious.

So part of the problem is exposure of Hawaiian steel guitar through the playing of it by some one with giftedness. Then one comes away with a significant experiences of it, which will make a difference.

Another part is the influence factor. There is no doubt in my mind that Jeff would not attract quite a number of young enthusiasts. He enjoys his playing the steel and it comes through. He plays with heart; Hawaiian style and that would resonate. I believe that many young people would want to emulate some one they respected.

When I was young I heard a Hawaiian man play steel guitar in California. I was fascinated with the sound and the manner in which he played. I wanted to play like him. If my Father had not moved, I believe that Hawaiian man would have been teaching me and I would have early on learned to play the steel, even though there were other musical influences, sports, etc.

Does any one doubt if Dick McIntyre, Andy Iona, Sol Hoopii, David Kelii, Jules Ah See were going through the schools that groups of local kids would not flock to them, and want to learn to play?

How about today if Alan Akaka, Greg Sardinha, Paul Kim, Kaipo Kukahiko, Jeff Au Hoy, Iaukea Bright, Al Greene, Jr., etc., would they not be able to interest kids, stimulate them to learn to play the steel?

I have presented only two other variables, exposure and the influence of good players, but I believe there are more variables than these.

Aloha,
Don

Patrick Newbery · Post by **Patrick Newbery** » 21 Jan 2006 8:53 pm

True — it's all up to the ear to interpret and decide.

But whose ears do we rely on to define Hawaiian music today? And who will define it tomorrow?

It's great that young people can choose their own relationship to music and reason for choosing to play...but it doesn't guarantee that a music is preserved. There's a big difference between Sol and island-reggae; Sam Cook and Fifty Cent. It's not a vaue judgement, it's simply different music.

Derrick Mau · Post by **Derrick Mau** » 22 Jan 2006 12:20 pm

A note about the HSGA scholarship for those considering it:

HSGA pays for only 50 percent. The other 50 percent will have to paid by you, the student.

Scholarships will have to be applied for.

Paul Arntson · Post by **Paul Arntson** » 22 Jan 2006 5:39 pm

Nice Playing Ellie!!!

basilh · Post by **basilh** » 22 Jan 2006 5:45 pm

Sounds like a "Carefree" young girl !!

------------------

Steel players do it without fretting

Bill Creller · Post by **Bill Creller** » 22 Jan 2006 8:48 pm

The HSGA scholarship fund has a lot of bucks in it, with no one using it in recent years. Maybe a new approach is needed. Throwing money at it (some mine)didn't do the trick. I agree with Jeff that any music for young people is better than none at all. Heck, even I have a favorite rock station on my truck radio, as well as classical from a college station.

Bob Hickish · Post by **Bob Hickish** » 23 Jan 2006 6:58 am

Ellie ! That was wonderful !!!
Bravo ! More !!