Jerry Byrd

Dave Clark · Post by **Dave Clark** » 31 May 2006 11:10 am

I have to agree with Rick - the performances with Hiram Olsen, and Kalani are fantastic,Along with albums such as "Satin Strings of Steel" and many others.

No one in the past has come close to Jerry Byrd - the true master of tone and touch.

Dave

Jeff Au Hoy · Post by **Jeff Au Hoy** » 31 May 2006 12:39 pm

I recommend the 2005 compilation CD of Jerry's "Master of Touch and Tone". A nice sampling without cheese.

I'll agree that no one (that I know of) in the past came close to JB in terms of achievement, but for my tastes there are a number of players who not only come close but also surpass him in touch and tone. Walter Wailehua is my master of touch and tone.

John McGann · Post by **John McGann** » 31 May 2006 12:55 pm

Rick- Thanks for posting those great clips.

Maybe I'm just in an "it's all good" mood, but I have to say I like the "dated" arrangements - they are SO conservative and over-the-top Pleasantville that they give me a big smile (even if it's a lobotomy style smile)... and of course the steel playing is "beyond category" as Duke Ellington would say. Stunning, especially to anyone who has tried to slant a bar!

Scott Thomas · Post by **Scott Thomas** » 31 May 2006 2:26 pm

Walter Waile -(who?)-a??
Just kidding.
His tone is so gorgeous, that it had me thinking about tracking down a Multi-Kord when I read, according to the liner notes in the "History of Hawaiian Steel Guitar", that is what he played. But I knew, "naw , like all the greats, it isn't the guitar" (at least not mainly). . . but still?

I was lucky enough to find some more original Bell 78's with Bill Ali'iloa Lincoln along with a bunch of other great hula records at a garage sale some years back. I think the seller may have taught dance at some time.

That a way to throw down the gauntlet there Rick! Jerry Byrd seems to bring out the superlatives in his fans more than any other player it seems (THE best, THE most, and NO one, etc .) I love the discussion that usually follows---as long as folks don' get bent out of shape--'cause to me reading about why some disagree, and why and who they like better and so forth makes the forum go around.

I'm taking a break from practicing with my JB course to write this, by the way. I never got the chance meet him, but I'm glad I got the chance to write and thank him for all that his music and course has meant to me. His immediate hand written reply was touching and something I will always treasure. I knew he was in very ill health at the time, and he didn't know me from Adam. The writing is shaky and fades to an illegible scrawl at the end, where you can barely make out, "sorry for the terrible writing." That tells me more about the man's heart than any piece of music.

Rick Aiello · Post by **Rick Aiello** » 31 May 2006 3:08 pm

Well ... after a tough day of changin' diapers, colorin', breathin' treatments and T-Ball practice ...

I sit back with a few "cold ones" ... and listen to Andy Iona.

But when it's "time to study" ... it's He Who Shall Not Be Named...

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

Slants of the Week
Hawaiian Steel Stuff
The Casteels

[This message was edited by Rick Aiello on 31 May 2006 at 04:09 PM.]

Bob Hickish · Post by **Bob Hickish** » 31 May 2006 6:18 pm

Aah Rick
You nailed it !
quote
"It was Tom Bradshaw's catalog ... that was it ..."

Lets hear it for Capt. Midnight Of Steel ! it
was like getting a decoder ring in the mail .
& his flyers let you know were it was all
happening . Bradshaw is still the king in
my book !

Jesse Pearson · Post by **Jesse Pearson** » 31 May 2006 6:32 pm

I've got to say that the JB course taught me important things I needed to know about C6, but he's not someone I wanted to learn much phrasing from for the Hawaiian stuff. I love his early country stuff in every way however. [This message was edited by Jesse Pearson on 01 June 2006 at 07:59 AM.]

Garry Vanderlinde · Post by **Garry Vanderlinde** » 31 May 2006 7:57 pm

cheesy or not I really like the tropical "bird" sounds along with the coconut rhythm section,
CLASSIC

John Bechtel · Post by **John Bechtel** » 31 May 2006 9:20 pm

Jerry Byrd could have played those strings while they were still packed in their original envelopes and I would have listened to him! Especially the ones for the C-Diatonic Tuning!!! I wouldn't care what the title of the tune was or who else was singing or playing along either, as long as they didn't over ride his sound!

------------------
“Big John”
a.k.a. {Keoni Nui}
Current Equipment

Andy Volk · Post by **Andy Volk** » 1 Jun 2006 2:03 am

Well, if the quality of Jerry's output doesn't always meet a critical limus test I agree that his playing always did. Heck, he was a professional musican and took every gig that came his way in the early years - who wouldn't? He even painted houses in the lean years. Wonder if he had unmatched technique with a paintbrush? He is not my first choice when listening to Hawaiian steel but he played that music with fire and soul.

THe fact that he took time to answer questions with a personal, handwritten letter from people all over the world for 50+ years reveals his character. His best recordings are astoundingly good. No one's going to convince me that JB could swing but that's not what he was about anyway. He certainly had the best intonation ever, the most varied phrasing, the most faultless technique, and a style that was unique and instantly recognizable. It's a safe bet that people will be playing JB records as long as there are steel guitars.

Jussi Huhtakangas · Post by **Jussi Huhtakangas** » 1 Jun 2006 3:40 am

Quote: "Did anyone really like this stuff or was it all meant to be background dentist office musical wallpaper?"

I bet in thirty years people will say the same about Bon Jovi. ( or actually why not say it now!! )

Buck Dilly · Post by **Buck Dilly** » 1 Jun 2006 8:23 am

So...I take it your guys like him?

Robert Shafer · Post by **Robert Shafer** » 1 Jun 2006 4:11 pm

As a comparative newcomer to this lap steel malarkey at a late stage in life and possessing a completely untutored ear in the subject, I know what I like and I know what I don't like. With regard to the playing of the innominate one I am torn between two opinions.

Thanks to the direction of Mr. Volk and the sample from Nani Hawaii provided by Mr. Aiello, I have snapped up the eBay copy for $4.99. My apologies to any other prospective buyers. That's the type of Hawaiian music that I like. Simple and unaffected. Even with the authentic 'scratchiness' of Mr Aiello's copy the masterful skill and tone of the innominate one shines through and gives me great pleasure. It reminds me, somewhat, of Sam Ku West in the 1920's. Whereas, other, IMHO, over-orchestrated and over-arranged pieces do little for me. Obviously the man's skill and technique are beyond question and after all I suppose 'he who pays the piper calls the tune' etc. He played for a living after all. I have always preferred my music with little more 'edge' and I look forward to receiving my copy of Nani Hawaii for the furtherence of my obviously much needed education.

I am also looking forward to the Aloha Dreams Hawaiian Guitar Convention to be held next week in Brecon UK, where, believe it or not, I will be priviledged to see lap steel played 'live' for the first time in my life. There's certainly none around here, apart from me of course. I have been reliably informed that I will learn more in a couple of hours of relatively close observation than I will in months of self instruction at home. I can't wait.

Nevertheless, I have recently 'stolen' the innominate one's rendition of Ebb Tide, minus the chimes of course, and continue to impress friends and family with my humble scrapings. It even sounds reasonable to me.

My continued thanks to Mr. b0b and the illuminati of this site for your invaluable services and contributions as without you I am sure many of us would never have dared to even think of attempting to play this fascinating instrument.

Just a humble half a groat's worth.

Wayne Cox · Post by **Wayne Cox** » 1 Jun 2006 5:55 pm

Just my $00.02, here. At the time Byrd of Paradise was cut, the Anita Kerr singers were the "best of the best",just like Jerry.
Everyone has a right to express their opinion and like or dislike whatever they choose, but before rating this album too low, try to to duplicate one song on it with modern musicians and singers. I promise you will gain an appreciation for the masterpiece it truly is!
~~W.C.~~

Rick Collins · Post by **Rick Collins** » 1 Jun 2006 7:25 pm

I bet in thirty years people will say the same about Bon Jovi.

Jussi, if you want your kitchen sink to be sparkling clean, clean it with Bon Jovi. I think the active ingredient, clorine, is what makes it so great.

It meets the Mr. Clean seal of approval.

Ron Whitfield · Post by **Ron Whitfield** » 1 Jun 2006 8:20 pm

While Byrd of Paradise is usually at the bottom of most JB 'favorites' list, it IS an interesting album and as Wayne sez "just try duplicating it".
As usuall, it's full of uncomparable playing and the way it came about is a cool story, plus it has examples of the closest thing to 'rock' stylings he ever did.

Yep, MOST of us do like him!

Dan Sawyer · Post by **Dan Sawyer** » 1 Jun 2006 11:27 pm

Rick, thanks for posting Kimo Hula/Kolopa. It's quite amazing to be able to play for that long without a break on a live gig. No guitar solo, no vocals, just steel impeccably played. The last 8 bars or so are really outstanding.

Charles Davidson · Post by **Charles Davidson** » 2 Jun 2006 6:21 am

I agree with Buck Dilly,I almost made the same post one time,but had second thoughts because I was sure I would be chastised and be accused of almost being sacrilegious if I mentioned ANYTHING negative about a Byrd recording.But there is just too much crap in the way of Jerry's playing here.[No matter how good the vocals are]just like Jimmy Day's Golden Steel Guitar Hits,Steel and Strings,I think the only cut that may have been inhanced with the fluff was Indian Love Call.The Anita Kerr singers did a beautiful job on this one.But I don't think the oh's and ah's helped the uptempo songs at all.

Buck Dilly · Post by **Buck Dilly** » 2 Jun 2006 9:29 am

Since I bought this CD I have played it repeatedly. My opinion of Byrd has grown to reverence. His accuracy, tone, and expression are those of a virtuoso. Prodution is often a product of the time a recording is made. I can love an artist without loving a production. I thank everyone for the feedback and education, in this an other threads. When I started playing steels in 1971, there was no forum, only a few educational materials, no local players to speak of, and I was totally on my own. Now I can rely on the forum to guide and help me. I want to thank bOb and all those who contribute. I am indebted to you all. [This message was edited by Buck Dilly on 06 June 2006 at 10:42 AM.][This message was edited by Buck Dilly on 07 June 2006 at 08:29 AM.]

Buck Dilly · Post by **Buck Dilly** » 5 Jun 2006 4:50 pm

I got "Jazz from the Hills" today. Wow! Byrd is smoking and so is everyone else. I am a convert. His touch, tone and intonation are all amazing. Time to go home and practice.[This message was edited by Buck Dilly on 06 June 2006 at 10:43 AM.]

Chris Scruggs · Post by **Chris Scruggs** » 5 Jun 2006 9:35 pm

Alot of records from years past sound cheesy now, but I try to appreciate them for what they are in context and look past the dated production (much the same way you look past the skips and scratches of your favorite 78's).

It is a good point to bring up that instrumental records in those days were recorded for the general public to enjoy, not just fellow musicians. The reason for this was there used to actually be a market for instrumental records. Dentist office music? You bet! As well as backround music at your dinner party or whatever else.

Since only steel players buy steel records today, we get stuck buying records with terrible drum machines and synth strings. At least Jimmy Day's "Steel and Strings" had Buddy Harmon and Bob Moore and not "jazz drum preset #4"

My favorite Byrd records are still the country jazz flavored "Hi-Fi Guitar", "Steel Guitar Favorites" and "Admirable Byrd". I love "Jazz From The Hills", but to me that's just as much Jerry Byrd as it is Chet Atkins, Homer Haynes, Jethro Burns, and Dale Potter.

Andy Volk,

If you think Jerry can't swing, listen close to his solo on "Sweet Georgia Brown" from Jazz From The Hills. The rest of the band is unforgivably square, but Jerry burns it down!

CS[This message was edited by Chris Scruggs on 05 June 2006 at 10:37 PM.][This message was edited by Chris Scruggs on 05 June 2006 at 10:38 PM.]

Andy Volk · Post by **Andy Volk** » 6 Jun 2006 4:10 am

I just listened to that solo and sorry, Chris, it's a great solo but in my book it's JB's usual flat-on-the-beat feel. Not swing in my book. Noel Boggs, Joaquin Murphey, late period Leon McAuliffe .... now THAT's swing steel. I submit the following: http://www.johnmcgann.com/Images/JOAQUINANYTHINGBUTLOVE.mp3 [This message was edited by Andy Volk on 06 June 2006 at 06:13 AM.]

David Cook · Post by **David Cook** » 6 Jun 2006 6:43 am

Andy, Where did this come from? Is there an album with this?

Andy Volk · Post by **Andy Volk** » 6 Jun 2006 6:55 am

I believe it's from an out-of-print (since the 80s) collectors LP series called "Club of Spade".

Bill Hatcher · Post by **Bill Hatcher** » 6 Jun 2006 7:18 am

The style of swing and the feel is not as important to me as the musical ideas.

The "From The Hills" guys are coming out of the Django "Hot Club" style and the Murph cut is out of the 40s big band thing.

Both players are "swinging" but just differently. Compare either of these to Coltrane playing "Giant Steps" and you will see what a huge "swing" there is among players playing that style over a period of many years.