Jerry Byrd on Stringmaster + Why He Quit Hotel Work (1988)

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Joe A. Roberts
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Jerry Byrd on Stringmaster + Why He Quit Hotel Work (1988)

Post by Joe A. Roberts »

(I would post this on the "steel on the web" section, but I think its more fitting here.
It would be great to have some Steel Without Pedals sub-forums.) :mrgreen:

A Youtube channel which archives videotapes from the late George "Keoki" Lake's great collection, has, for the first time in 10+ years, recently uploaded more videos:
https://www.youtube.com/@HalfMoonSteel/videos

Interestingly, some of the new tapes are from 1988 featuring Jerry Byrd playing a borrowed 24.5" blond T8 Stringmaster, he even says "I've never played a Fender in all my life"!

One standout for me is a gorgeous version of Deep Purple, starting at around 3:45 in this vid:

https://www.youtube.com/watch?v=rTSbU5Fg5yQ

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In the 1988 HSGA convention tape of his set, https://www.youtube.com/watch?v=uij4e8eTUmk
Jerry Byrd gives candid explanation as to why he quit hotel work in Hawaii.

Transcription:

"Everybody wants to know why I quit... well, I'm already living proof that some people don't know when to quit! I should've quit a long time ago. :D
There's a lot about the music business that you don't know. You come to Hawaii, you go to Halekulani Hotel... a beautiful setting, best in the world.
Here are three guys [Byrd's trio], in an ideal job, all of you would love to have a job like that. Now that is on the face of it, and that is good.
But you don't know what we have to put up with from the management of the hotel. We are not appreciated. We are tolerated. And they'll tell you so.
We are considered to be like all the help; we can't go through the front door of the hotel, and have to go around the back and go through the back door to get in.

Generally, they import all of the hotel managers from Germany. Now, I don't like Germans because I'm about half German, you see. :lol:
But anyhow, we have to try to deal with these people. They come to Hawaii. They know not a damn thing about Hawaii. And they don't care to know.
They learn how to make nickels and dimes at the bottom of the page. And they deal in nickels and dimes. And they expect you to do the same.
So they are forever wanting to see how cheap you work. How many jobs you can do for the hotel for nothing.

We worked at the Halekalani for two years without a raise... and now I'm getting down to stuff you don't know about, see.
They changed hotel managers regularly, about every two years, and in essence, when they do this, you have to start all over again with the new manager.
I'm 68 this year, I'm not starting over again, with another manager, right? :lol: I got a short fuse talking to these guys...
Anyway, the new manager's name is Ernst Abbe (sp?) ...and he's managing the Halekulani Hotel in Hawaii, eh? :D

So I went up, we had a meeting, and he said they are not going to sign any new contracts (our contracts have already been expired for like 6 months).
Those that we could, would be a maximum 5% raise, and with that you would do one free job per month for the hotel. I said, "No. Not me."
You can't talk to them, it's a closed thing. All the time they're telling you they can't afford it. I asked them for 15%, which is nothing. They couldn't afford it.

But while we're doing this, they're building another new hotel across the street. There's a new hotel! :roll: I asked them: "Have you raised your room rates in the last two years?"
(I know they have, about every three months they raise them, cheapest room they got is $250, on up to $600.) They have an apartment that rents for $14,000 a week... yet they "can't afford it").
So I say: "In terms you can understand, all we're asking you for is for three guys for three nights, which is less than one half-night's room rent of the cheapest room you've got in the hotel."
One half-night. And we're not worth that? After two years?
I said: "We're never late, we play anything you want, we look like professionals, we act like professionals, that's what you're paying for."
You might as well talk to a wall. But I tried another way:
"I know the price of your drinks... it's the most expensive place on the beach to drink. You take 4 people, who have 3 drinks. That's the same as our raise."
... "Can't afford it"

But that's what we need. So, I told my two guys. We've been together 10 years: "This is the end of an era for me. I cannot swallow this any more."
I have been there for 16 years, and it's been like that for 12 of them. And I worked for 6 German hotel managers.
And they're all the same. They don't know Jerry Byrd from a hole in the wall. They don't care. People come in and ask if Jerry Byrd is playing here: "Who?"

And people call, saying they want to make a reservation to hear Jerry Byrd:
"Hm? He's not playing here."
Yes, he is!
"No he isn't."

If they make reservations anyway, they come and tell me this. That manager doesn't even know I'm playing there, and this time for two years!
So enough already, I didn't want to bore you. I thought you'd be interested in the whole "why I quit".

You know what we do? We go to Japan, by God, where they love Hawaiian music and they appreciate what we do. They sit totally mesmerized, crying (and they do not cry in public).
They come up apologizing after the show "I'm sorry I cried when you played." I told them it's great! Don't apologize for that. And that's the way they are. So we go over there and play."

- Jerry Byrd at the 1988 HSGA convention in Joliet, Illinois

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Nick Fryer
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Post by Nick Fryer »

Thanks for posting this. I was the music director at a hotel for 5 years and reading about Jerry’s experience is very humbling and frustrating at the same time. It’s really hard being a working musician sometimes. It’s humbling to know that even the greatest of all time had to deal with all of this just like the rest of us. So many greats were deep in the trenches, slogging it out night after night just to make ends meets. It’s inspiring and sad at the same time. I wish American culture as a whole had a greater appreciation for the arts.
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K Maul
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Post by K Maul »

Nick Fryer wrote:Thanks for posting this. I wish American culture as a whole had a greater appreciation for the arts.
AMEN to that! Jerry’s problem was the Germans, though. That’s a joke. The “bean counters” rule the world and WE have have to get our licks in however and wherever we can. As it was it forever shall be.
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Nick Fryer
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Post by Nick Fryer »

My last comment about “culture as a whole” was less in response to the hotel management but more in regards to Jerry’s comments on the attentive listening audiences in Japan. It’s amazing to realize that Jerry and his trio were up on the stand night after night playing music at the highest level but were mostly just “wallpaper” background music. It’s sad to see art not given the value and respect it deserves and that the general public doesn’t embrace it.
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Mike Neer
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Post by Mike Neer »

Nick Fryer wrote:Thanks for posting this. I was the music director at a hotel for 5 years and reading about Jerry’s experience is very humbling and frustrating at the same time. It’s really hard being a working musician sometimes. It’s humbling to know that even the greatest of all time had to deal with all of this just like the rest of us. So many greats were deep in the trenches, slogging it out night after night just to make ends meets. It’s inspiring and sad at the same time. I wish American culture as a whole had a greater appreciation for the arts.
It's so true. I worked for many years as a guitarist/vocalist and played well over a thousand gigs with incredible musicians--many who are well known touring/recording artists who probably wouldn't want to be named, and I respect that--doing wedding/corporate gigs, etc. The pay was always great, because I wouldn't work for less than a certain amount, but the musical ask was always tough to swallow. As long as I was in the company of these fine musicians and getting paid well, it made the other part tolerable.

But with regard to the management and staff in these venues and the treatment: yup, load in through the kitchen, slog up two flights of stairs, put your gear in a smelly dumbwaiter, have the bartender tell you "we don't serve the band", and just get generally shitty treatment--not all the time, but often. It was liberating to walk away from it twenty years ago.

This is not even including bar/club owners! I don't even want to go there...I can feel my BP rising.
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David Matzenik
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Post by David Matzenik »

When Jerry plays Deep Purple he goes into a reverse slant at about 5:30. The way his thumb fits the concave in the heel of the bar is a logical and smooth movement. IMO that is why flat indents are inferior, no matter how good the bar is otherwise.

https://www.youtube.com/watch?v=rTSbU5Fg5yQ
Don't go in the water after lunch. You'll get a cramp and drown. - Mother.
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Post by Rich Arnold »

That guy could make any steel sound great!!!! Amazing player!!!!!!
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Post by Andy Volk »

Thanks for sharing this. Reminds me of Jazz guitarist Jimmy Raney, a true master artist. Raney once offered a comparison between the significance of his fame as a musician and fame in any other profession. "A famous bus driver only matters to other bus drivers," he declared. Sadly, that seemed to be the case for JB despite being at the height of his powers. No MacArthur Awards or NEA grants at that time period existed.
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Post by Tim Toberer »

David Matzenik wrote:When Jerry plays Deep Purple he goes into a reverse slant at about 5:30. The way his thumb fits the concave in the heel of the bar is a logical and smooth movement. IMO that is why flat indents are inferior, no matter how good the bar is otherwise.

https://www.youtube.com/watch?v=rTSbU5Fg5yQ
That whole last passage is stunningly beautiful. This is a new song for me, I will add it to my very long list. Great videos, WOW!
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Joe A. Roberts
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Post by Joe A. Roberts »

Tim Toberer wrote: That whole last passage is stunningly beautiful. This is a new song for me, I will add it to my very long list. Great videos, WOW!
Yeah, Deep Purple is one of the greatest standards for sure! One of the great products of the style of writing that was in vogue then.
I think when Glenn Miller's Moonlight Serenade came out in 1939 it spurred a craze for recordings of this genre of slow ballad, with their dense, close harmony until the musician strike shuttered things.
https://www.youtube.com/watch?v=n9nItq6gjW8

In some of the old c. early '40s sheet music I have, Deep Purple and other tunes like it are advertised. Manhattan Serenade is one of my favorites, too. Definitely on my "very long list". :lol:
The style of songs in this post are a peak of popular music IMHO, considering the sophisticated writing of the composers and lyricists, as well as the large orchestrations by the performers.
Also, I dig the use of instruments beyond the usual big band sound. Lot of bass clarinet and sometimes even bassoon.

Advertisement transcription:
MODERN AMERICAN BALLADS
The modern music of such distinguished American composers as Ferde Grofe, Louis Alter, Peter De Rose and Richard Rodgers, among others, has aroused unusual interest in the new trend in American music.
As performances of these instrumental compositions increased in schools, at concerts, and on the radio, their popularity created a demand for vocal adaptations.
Subsequently, song versions were made of the most familiar themes of these famous American compositions.
Today, this select group of modern American ballads represents the best in contemporary vocal music -- music that is genuinely American in style and spirit.
Foremost concert and radio artists say that no repertoire of American songs is complete without these modern American ballads. Add them to your library now!

Deep Purple lyric by Mitchell Parish (1939) music by Peter De Rose (1934)
Larry Clinton and His Orchestra (1939, Bea Wain, vocal)
https://www.youtube.com/watch?v=fr4HOL1ojzs

Manhattan Serenade lyric by Harold Adamson (1942) music by Louis Alter (1928)
Tommy Dorsey and His Orchestra (1942, Jo Stafford, vocal)
https://www.youtube.com/watch?v=ujZP6UfkFe0

Daybreak lyric by Harold Adamson (1942) music by Ferde Grofe (1926)
Harry James and his Orchestra (1942, Johnny McAfee, vocal)
https://www.youtube.com/watch?v=T6HN6MFC0oI

Blue Moon lyric by Lorenz Hart (1934) music by Richard Rodgers (1934)
Glen Gray and the Casa Loma Orchestra (1935, Kenny Sargent, vocal)
https://www.youtube.com/watch?v=5TZXndOJmL4

Moonlight Mood lyric by Harold Adamson (1942) music by Peter De Rose (1942)
Glenn Miller and his Orchestra (1942, Skip Nelson & The Modernaires, vocal)
https://www.youtube.com/watch?v=61JnrSzccxc

Stairway to the Stars lyric by Mitchell Parish (1939) music by Matt Malneck & Frank Signerelli (1935)
Al Donahue and his Orchestra (1939, Paula Kelly, vocal)
https://www.youtube.com/watch?v=0p0pOfpAA10

Lazy Rhapsody lyric by Mitchell Parish & Ned Washington (1934) music by Howard Jackson & Harry Sosnik (1934)
Matty Malneck and his Orchestra (1939, Martha Mears, vocal)
https://www.youtube.com/watch?v=n0SQpxb5BwA

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

There's actually a decent Oahu Hawaiian guitar arrangement (they can be awful) for Deep Purple in A major high-bass E C# A E C# A and it's actually pretty fun! I think it would be a great reference point for a spiced up arrangement in A6th or B11th. I did not try the E tuning one on the bottom stave. I think E high-bass might be hi-to-lo E B G# E B G#

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Jack Hanson
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Post by Jack Hanson »

Had the pleasure of seeing Jerry's trio at the Royal Hawaiian Surf Room for a pleasant dinner (big buckolas) in the mid-'80s. Had the waiter request Steelin' The Blues, and from that point on Jerry sat down and visited at our party's table during breaks for the rest of the evening. A guy who really appreciated, and knew how to treat, his fans. One of the best shows I've ever seen. Superb!
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Post by Erv Niehaus »

If anyone would be interested, I have "Deep Purple" tabbed out for the E9th pedal tuning.
$2.50 plus postage. :D
Erv
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Post by Michael Johnstone »

When I first settled in North Hollywood in the early 70s, I lived about 2 blocks down Lankershim Blvd from Donte's jazz club. Every Monday was "Guitar Night" and they would either have Lenny Breau, Joe Diorio, Herb Ellis, Joe Pass, Bob Bain from the Tonight Show band, Al Viola or a couple other big name jazz pickers play solo or w/a trio. I used to get there every Monday early and get the front table next to the bandstand. Many nights the place would be nearly empty but I got to know Lenny and especially Joe Pass on a first name basis. One night Joe pulled up a chair at my table between sets and said "Hey man are you a player"? I told him I was an R&B guitar player-new in town, and doubled on pedal steel. He said "You're a fool not to concentrate on steel in this town because guitar players are standing in line to play for free and you'll get more steel calls than you can handle". I took his advice and he wasn't wrong.
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Doug Beaumier
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Post by Doug Beaumier »

Sad to hear Jerry's comments about his "house band" gig. I understand though. I had four long-term house gigs in the 70s and 80s, and we were treated as "employees" of the venue and replaceable, as far as the management was concerned. But it was steady work, 5 nights a week, leave your gear at the gig, steady money.

One of the downsides, as Jerry said... it was nearly impossible to get a raise in pay, even after 3 or 4 years at the place. I had a "Wednesday through Sunday" house gig for 5 years. And for 4 of those years we had another house gig every Monday and Tuesday. So that was 7 nights a week for 4 years. Two nights off per year... Thanksgiving and Christmas. I played stretches of over 200 nights in a row. After that I had a 5-day a week gig at an amusement park, all summer long. Again, we were basically wallpaper and considered "park employees".

House band gigs are long gone in this area. That's fine with me. Nowadays it's breweries, parties, town concerts, weddings, dance clubs, about 70 gigs a year. More variety, shorter hours, earlier hours, better pay, more respect.
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Post by Andy Volk »

Teachers and artists are perennially undervalued. We sure value you around here, Doug.
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Jack Hanson
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Post by Jack Hanson »

Andy Volk wrote:We sure value you around here, Doug.
I second that emotion.
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Garry Vanderlinde
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Re: Jerry Byrd on Stringmaster + Why He Quit Hotel...

Post by Garry Vanderlinde »

One standout for me is a gorgeous version of Deep Purple, starting at around 3:45 in this vid: [/b]
https://www.youtube.com/watch?v=rTSbU5Fg5yQ
Amazing to see him play a 24 1/2" scale. Jerry said he always preferred 22 1/2" or even 22" scale. This 24 1/2" scale Stringmaster didn't seem to interfere with his slants very much... if at all 8)
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