The steel break at around 2:00 or so is just absolutely beautiful. Sorry for my ignorance, but who is this playing steel?
http://www.youtube.com:80/watch?v=b40cp7jDAuQ
Great tone, great playing, tasty phrasing -- just awesome. Duke's playing is of course, also just sweeter 'n pie!
TJW
Who IS this lap steel player with Duke at Banjo Jim's?!
Moderator: Brad Bechtel
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Todd Weger
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Who IS this lap steel player with Duke at Banjo Jim's?!
Todd James Weger --
1956 Fender Stringmaster T-8 (C6, E13, A6); 1960 Fender Stringmaster D-8 (C6, B11/A6); Custom-made 25" aluminum cast "fry pan" with vintage Ricky p'up (C6); 1938 Epiphone Electar (A6); 1953 Oahu Tonemaster; assorted ukuleles; upright bass
1956 Fender Stringmaster T-8 (C6, E13, A6); 1960 Fender Stringmaster D-8 (C6, B11/A6); Custom-made 25" aluminum cast "fry pan" with vintage Ricky p'up (C6); 1938 Epiphone Electar (A6); 1953 Oahu Tonemaster; assorted ukuleles; upright bass
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Dave Mudgett
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From "About this Video": "A beautiful tune composed by Arthur Adams featuring Kevin Barry on lap steel, Tim Luntzel on bass, and Andy Borger on drums. Video by Anthony Pepitone at Banjo Jim's in NYC."
I totally agree on all counts. Duke is one of my favorite guitarists, and the steel solo is great.
BTW, there are at least two other videos fromt this show up, one with lap steel, the other with two guitars in a Tele shootout.
http://www.youtube.com/user/anthonypepitoneVideo
I totally agree on all counts. Duke is one of my favorite guitarists, and the steel solo is great.
BTW, there are at least two other videos fromt this show up, one with lap steel, the other with two guitars in a Tele shootout.
http://www.youtube.com/user/anthonypepitoneVideo
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Bill Hampton
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Found this, thanx to Todd's link www.youtube.com/watch?v=MKfkrodZvbY&feature=related
Ronnie Earl tearing it up in what is nowaday's a very rare live apprearance.
Ronnie Earl tearing it up in what is nowaday's a very rare live apprearance.
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single note work...
David Doggett wrote:Well, he does have some nice chords, but he also is playing that blues-rock single string stuff we're not supposed to be doing unless we are on a Strat.
BTW, I played that room a month or so ago. How come I didn't sound that good?!
To my ears, his lines and phrasing have a very sacred steel influenced sound. I've been trying to incorporate more of that into my blues playing, but dang, it's not so easy to make it sound so effortless as that.
Todd James Weger --
1956 Fender Stringmaster T-8 (C6, E13, A6); 1960 Fender Stringmaster D-8 (C6, B11/A6); Custom-made 25" aluminum cast "fry pan" with vintage Ricky p'up (C6); 1938 Epiphone Electar (A6); 1953 Oahu Tonemaster; assorted ukuleles; upright bass
1956 Fender Stringmaster T-8 (C6, E13, A6); 1960 Fender Stringmaster D-8 (C6, B11/A6); Custom-made 25" aluminum cast "fry pan" with vintage Ricky p'up (C6); 1938 Epiphone Electar (A6); 1953 Oahu Tonemaster; assorted ukuleles; upright bass
Hi Todd,
I agree about his lines and phrasing having a "sacred steel" sound. I wouldn't be too disappointed about not being able to get that sound--yet. Young sacred steelers are around that sound several hours a week from the time they are toddlers. It is ingrained in them. You weren't raised in the same musical environment.
The only advice I can offer is to listen a lot and try playing extended passages on one string--something most of us are not used to and may even view as "wrong." It just doesn't sound the same when you play across the neck on several strings.
Dan Tyack has probably spent more time playing with sacred steel musicians than anyone else from outside the tradition and understands the importance of playing extended passages on one string. Maybe he'll chime in.
Good luck and keep up the great music.
Best,
Bob
I agree about his lines and phrasing having a "sacred steel" sound. I wouldn't be too disappointed about not being able to get that sound--yet. Young sacred steelers are around that sound several hours a week from the time they are toddlers. It is ingrained in them. You weren't raised in the same musical environment.
The only advice I can offer is to listen a lot and try playing extended passages on one string--something most of us are not used to and may even view as "wrong." It just doesn't sound the same when you play across the neck on several strings.
Dan Tyack has probably spent more time playing with sacred steel musicians than anyone else from outside the tradition and understands the importance of playing extended passages on one string. Maybe he'll chime in.
Good luck and keep up the great music.
Best,
Bob
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Duke Levine Video
Yeah, Kevin Barry has an extremely nice touch and a fairly unique style. Love and Peace (by Arthur Adams) is one of my favorites. Duke told me he got it from a Quincy Jones recording.
They also do a really cool instrumental version of Strawberry Fields. They play every Monday night in March at Atwoods (Cambridge, MA) - 9pm - no cover! I will be there tonight (and every other Monday too).
I think I have Kevin Barry talked into giving me lessons in the near future
--Jamie
They also do a really cool instrumental version of Strawberry Fields. They play every Monday night in March at Atwoods (Cambridge, MA) - 9pm - no cover! I will be there tonight (and every other Monday too).
I think I have Kevin Barry talked into giving me lessons in the near future
--Jamie
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Kevin Barry uses high C6 (hi-lo) G-E-C-A-G-E. He mostly plays a pre-war Rickenbacher Bakelite through a Fender Amp, and he does play without picks, using a Stevens bar, and sometimes a big honking Pedal Steel bar.
He's awesome
He's also a great Blues/Jazz Guitarist -- he teaches Guitar at Berklee when he's not on the road with various folks (notably: Peter Wolf, J. Geils Band).
He's awesome
He's also a great Blues/Jazz Guitarist -- he teaches Guitar at Berklee when he's not on the road with various folks (notably: Peter Wolf, J. Geils Band).