The Steel Guitar Forum

Wow, what can I say? THE most enjoyable Steel Guitar show I have EVER attended!

I arrived on Thursday at noon. I was greeted by Maurice Junod, who made me feel so very welcome. Not only that but he checked on me the entire weekend to see how I was doing. So did fellow forumite John Tipka. I have never felt more a part of a "family" ever.

For those of you who do not know, I posted a question earlier this year about the Hawaiian Guitar show in Joliet. I wanted to know whether the sound level was lower than has become the norm at all the others. I received emails from the two gentleman metioned above along with one from the PA man (Mr Doug Smith). They all said the same thing, "the sound level at the Hawaiian show is considerably lower than at regular steel shows".

And they did NOT lie!! What a blessing. How wonderful it was to sit there for three days without having my ear drums burst!

I cannot tell you folks how much I enjoyed this show which culminated last night with a fantastic Luau and Hawaiian show. The incredibly good Hawaiian guitar player Alan Akaka dazzled us with his touch and tone, second ONLY to Jerry Bryd, IMHO! What a show!

From the moment I went into the hall when I arrived, I kept thinking, "any moment the sound is going to get louder". NEVER happened folks. And much of the credit for this goes to the PA man, Mr Doug Smith. And what a talented musician he is also. Never did see a steel player use and ironig board for stand and use an electric iron for the bar. He said "no problem" slanting the bar!!

He also split our sides with his Larriet talents as the all Hawaiian band played "cowboy music" !!

And such a blessing not to see a drummer framming the daylights out of a snare. In fact NO drums at all. And the bass was "felt and NOT heard". Which is the way I was taught it should be played. I could not agree more, epecially since most of the bass was "upright" and even when it was an electric bass, it was barely audible but "felt" soooo good to hear it played.

Every steel player was good, including many ladies playing the steel. 3 MultiKords were played with much taste. As were single double and 3 neck Fenders. Also, the very much sought after bakelite Ricks with their spine tingling "moan" took me back to the days of JB. as were a few regular pedal steels played in a Hawaiian style. Dang! I loved it.

But no one impressed me like Alan Akaka, Herbert Hanawahine and Duke "Kaleolani" Ching on their Fender standup double and triple neck steels. Last night brought tears to my eyes from long ago as a child of 9, when I heard the old "Hawaii Calls" live radio broadcast from Waikiki.

With 3 steel guitars, ukes, soft played regular guitars, bass and hula dancers, I became very choked up as the inimitable voice of Bob Waters emceed and sang (with that gorgeous "falsetto"), while the above 3 steel guitarists played authentic Hawaiian music in the background.

And Bob's lovely wife (whose name eludes me) harmonized in that sweet Hawaiian way, just excactly as they did when the original radio broadcasts were transmitted.

And I would like to mention two other forumites who just knocked me out. One, the incredible talents of Gerald Ross on the regular guitar. I could listen to him play all night long. Close my eyes and I could swear it was ole Merle Travis himself. Such an awesome player.

And Bill leff. What an intelligent young man and his talents spill over into his soft touch on guitar and steel. A pleasure to sit back and see these two wonderful players dazzle us with "fret work"

A tip of Carl's hat to the "both of ya's" Thanks for the memories fellow forumites.

And there were two ladies who impressed me as much as any musician in a very long time. Barbara Kuhns who played ukelele (and one tune on a fiddle). What a musician! Not only amazingly talented, but just a joy to watch her stage demeanor.

And second but not last, was Lorene Ruymar. Talent such as hers is NOT suppose to exist in my book. Yet she flawlessly exhibited it on the ukelele, guitar and Rick frypan. And she did this all 3 days inculding the Luau show.

Words cannot describe what a "beautiful" and gracious lady she was and is. I shall forever cherish her autograph on the book she published on the history of the "Hawaiian Guitar". This is one book I won't be able to put down I am sure.

All the others were great. Needless to say I am on a natural high after returning home relishing the beautiful steel guitar music I heard for 3 straight days.

And the most wonderful thing of all is, my ears are NOT ringing!

May our Precious Lord and Savior bless the HSGA always.

I will make the show in Hawaii next May and shall make the Joliet show a regular annual event.

Folks, if you love Hawaiian steel guitar music and/or you can't stand sound levels that are 3 times past the level of pain, do plan to go to one of these shows. You will be amazed at how nice it is to be able to listen and enjoy music at a level that displays true dynamic range at its very best.

My deepest and sincerest thanks to Alan Akaka (retiring president of the HSGA) and Don Weber (newly elected president) for putting on a show I shall never forget. I am in complete and utter awe at what you have done. And that goes for your staffs and all the rest who contributed to this beautiful show.

God bless you,

carl<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by C Dixon on 08 October 2000 at 05:34 PM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by C Dixon on 08 October 2000 at 05:49 PM.]</p></FONT>

Carl you have written a beautiful tribute to
all of those who planned and put the convention program into place.

Since returning my thoughts have taken this
course......what a great privilege we have
provided for us by Bob Lee that we can
become aquainted with people of like
interests through this forum. What a
privilege it is that we can further actually
come together in person with a feeling of
comradship. What possible
chance would there be for that to happen
without the forum ? When we come together
"live" we have been pre-conditioned to be
able to trust one another. This because of
our many observations of how our members
respond to the postings that appear. To
those seeking help with their guitars, to
those who are wondering what happened to
an old aquaintance, and, bless them, those
who have a new idea or approach to a common
problem's solution.

I am personally very happy that you found
joy in visiting the HSGA convention. I am
looking forward to meeting with you and
our other forum members who wish to attend
this gathering next year.

Maurie

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www.megsinet.net/~junod
junod@megsinet.net

So Carl, did you enjoy the show?

As a follow up, I would also like to extend my thanks and sincere appreciation to fellow forumite J D Sauser and his lovely wife, Gabriela for driving me from and and to Chicago's airport. They were so gracious to me the entire weekend.

J D is a very brilliant man. I am just in awe as to how this young man from Switzerland has amassed his tremendous amount of knowledge of our beloved instrument and all it's evolution.

He has purchased and restored beautifully a bakelite Rick 10 string. And a circa '34 Rick frypan. They look gorgeous!

He has even gone so far as to "remagnitize" the horshoe magnets. They had lost much of their magnetism over time and the sould level was very low when he aquired the guitar.

The restoration workmaship on these two guitars is something to see.

Thanks J D and Gabriela. You are the greatest!

Incidently, I failed to mention that several players at the show played Rick frypans. And like all the rest, it was true Hawaii on that stage.

God bless,

carl

Carl,

What a beautiful recap of the weekend you wrote. Thank you. And it was nice to finally get to meet you after corresponding over the past year.

Ditto on everything Carl wrote. A few of my memorable moments of Joliet...

The late night jams... Talking, joking and eating wasabee peanuts. Alan Akaka's 3AM playing of "Stardust", "September Song", "Unforgetable" and "Girl From Ipanema" (duet with me) on a six string Gibson Ultratone. You don't need 8 or 10 strings or pedals. Just talent and desire.

First time Jolieter Bill Leff's Thursday PM set where he dazzled the audience with his delicate and intricate slack key style. Also his steel playing is right on. He's got the feel for the steel. We joked with Bill that he got the slot in the show that was reserved for Jerry Byrd (really), closing the show on Thursday afternoon. He did a beautiful job and was warmly received by all in attendance. Also, introducing Bill who is a native Californian to the 'joys' of the Midwest. He had never seen Pot Roast on a restaurant menu. He ordered it and liked it.

Tons of instruments for sale. Excel double 8,
Triple Stringmaster, Oahu 6, Gibson BR-4,
Tonemaster 6, Gibson EH100, Fender 6 string
acoustic guitar, Rickenbaker JB 8 string console, Gibson Arch-top, Supro 6. Just to name a few.

Doug Smith's acoustic set. No amps! Imagine
that! Dobro, Tri-Cone, Uke, Martin guitar and mandolin. Beautiful tasteful tunes. Dynamics and tone that only acoustic instruments can achieve.

Workshops! Finally! The HSGA piloted
three instructional workshops this year. Ukulele, Hula and Steel Guitar. They were all well attended, got great reviews and hopefully will become a standard part of the weekend for future conventions.

Isaac Akuna performing a medley of
Hawaiian marches at 4AM after the last
show. He played three marches on a six
string Rickenbacker bakelite in C6 tuning.
These are usually played in an A tuning.
I don't know how he did it but it was
way cool. Speed, taste and dexterity!

Getting my first time ever, real flower lei.
I was 'drafted' into the Luau band due to
Ian Ufton (amazing guitarist) throwing
out his back and being laid up in bed.
Mr. Ufton usually plays the Luau show.
Before going on stage I was presented with the lei by Joanne Hanawahine. Thank you, a real treat and an honor.

BTW Carl, Bob Water's wifes name is Julie.
She is a beautiful vocalist, Uke player and
a very warm person.

Socializing, playing and dining with everyone
including Maurice Junod, John and Millie Tipka, Barb Kuhns, Floyd Alexander, J.D. and Gabriela Sauser, Duke Ching the Ruymars, Webers, Hanawahines, Barets, Langs, Honolds etc etc etc etc.

What can I say. The HSGA convention is like no other. Not only is there great music but the attendees somehow achieve an atmosphere that welcomes all with a feeling of love, encouragement and respect. If
you are there you are part of the family.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Gerald Ross on 09 October 2000 at 11:03 AM.]</p></FONT>

It was my pleasure and good fortune to be able to attend the HSGA convention and everything you've read here is true and more. As Gerald had told me earlier, you won't meet a nicer bunch of people, and he was right. Every person I had the opportunity to speak with was warm and supportive. Gerald, J.D., Maurie, Carl, Isaac Akuna, and everyone else, thank you for your music and your presence.

If you love Hawaiian music and the Hawaiian steel guitar, this was the place to be on the planet October 4, 5 and 6. It was a "total immersion" experience. And a tiring one too! The Friday night jam lasted until 4:30am, and Saturday night's jam ended around 4:45, after which I hitched a ride with Isaac and his father Barney to O'Hare airport for the flight back to California. I can't tell you how many years it's been since I've stayed up all night. It was well worth it!

-Bill

Ah, the music of Hawaii, my first exposure to the steel guitar (via Hawaii Calls)and a continuing pleasure. Does HSGA have a show every year in Joliet or every-other year with Honolulu? What are the dates for the Honolulu show next May? May just splurge.

The Joliet Convention is an annual event; next year's dates are October 4-6, 2001.
Every other year there's a convention in Hawaii. It's held at the Queen Kapiolani Hotel in Waikiki. The Ho'olaulea, a steel guitar showcase, will be at the Ala Wai Golf Course(walking distance from the hotel!) Sunday, April 29. It is a free show that features some of the very best Hawaiian players. The Convention will be the following week-probably May 2-4. May 1 is Lei day and is an important Holiday in Hawaii. It's a great time to be there. I will post the dates here when they are confirmed.

Hey, where have I been all this time? I just heard of this website at the H.S.G.A. convention in Joliet IL. What fun! Yes, I agree this year's convention was the greatest ever. Maybe the name "Jerry Byrd" had something to do with it. I hope I'm not repeating something that's already been said, but I'll go ahead with it anyway.

First of all, thank you for your enthusiastic words about HSGA. Second: a brief history of the association. My husband and I with a few friends got it started in 1985. Our first convention was in St. Louis under Scotty's umbrella. You all know I refer to DeWitt Scott of St.Louis, right? The following year we moved to Joliet IL. Our first Hawaiian convention was in 1987 and we moved the headquarters of the club to Hawai'i in 1993.

To celebrate the centennial of the invention of the steel guitar, our centennial project was to write the history of the steel guitar and its Hawaiian players. The book was published by Centerstream in New Anaheim CA and came out in 1996. It's listed in all the major bookstores on the internet. The author is L. Ruymar.
Our second project was to put together an instruction course, absolute beginner level. There are many excellent instruction courses already on the market, but this one is different in that it consists of 240 pages of written instruction and 9 hours of video. It's like having the teacher sit right next to the student, with the camera on the teacher's hands. The tuning is A Major low bass, the very first tuning ever used on this instrument, and the simplest, easiest tuning for learning chord construction and all the theory a steel player needs to know. The course takes a year to complete and should inspire the student to change to a professional level tuning and buy an electric steel. It was prepared for the high schools of Hawai'i, so the instruction is given on a wooden acoustic guitar. Wouldn't it be a racket for 10 beginners to try playing electric steel guitars in a group? That's why.

Interested in hearing more HSGA history? Ask me. ruymar@home.com

I'm back! I added a week in NJ after the HSGA meeting in Joliet and now just got home with a cold the size of Texas .

Anyway, to give you a better idea of the sound volume at the show: There was a sign hung on the ceiling in the middle of the room that said: PLEASE BE QUIET! And Carl and I had to experience the hard way, that they really meant it <small>(we always HAD to discuss those Ricks, you know...)</small> Psssst!

Anyway, I am very honored to see my name mentioned here in this thread together with the names of greats like Alan Akaka, Isaak Akuna an others, when I only was Carl Dixon's driver's husband (for some reason Carl prefers to be driven by my wife than by me ). I didn't even play! I only talked (well it seems at least, that I'm good at that ).

Anyway, we all had a great time. There where some marvelous players.

I had come to Joliet on my return trip from Dallas where I spent a full week with Maurice Anderson on the 10-string non-pedal steel. Maurice once again managed to turn my view of the neck around 360 degrees and than an other 180 degrees (I'm steel dizzy). We looked into single note playing only and I think we accomplished something.
And I also got to meet the great Wayne Tanner in San-Antone for 3 days. Meeting Wayne is almost like meeting Jerry Byrd. He plays a couple of beautiful bakelite Rickenbachers and he does it all the way the Jerry Byrd way and I could look over his shoulders for 3 days! Yep, I'm a lucky guy <small>Eat your hearts out!</small>

Some very personal thoughts about the HSGA meeting:
While I loved all I saw there I missed a couple of things:<ul>

[*]First, I think that the HSGA should be a little more present on this very Forum and announce it's activities in a more advanced and open manner to the non-members too. The only announcement I can remember we had here, was when John Tipka told us that Jerry Byrd wouldn't attend.

[*]Besides a few booths with tapes and records and members trying to sell a few used instruments, there where no vendors present. You could not even buy a string, a bar or a single finger pick. I don't know if any where invited (Scotty's?), but to me it seems that there are several manufacturers of non-pedal steel around and there is a Steel Guitar oriented store in Downtown Chicago (which claims not to have been contacted).

[*]While I have the greatest respect for our Senior players to whom I only look up to, I must say that I was a bit concerned by the average age of the attendance.
While Hawaiian music may certainly not be considered the coolest thing going on today, it is not to be given up as a thing of a gone by era, as it is a type of a county's folk music.
All countries have their own little music and while they've all been cornered out of the main spot light by modern pop and rock music, they still seem to exist and to carry over into new generations. Well yes, they change a little over the years, but then remember that 100 years ago Hawaiian music did not know of Rickenbachers nor did American Country Music know of electric instruments not to long ago.
I guess that while I love Jerry Byrd and all the classical Hawaiian music as much as all of you, we all need to open the doors to evolution to get younger people interested in our beloved instrument with a little fresher approach.[/list]

Finally, sure I missed the presence of Jery Byrd, prehaps more than most, because I have never had the opportunity to see him and for I moment I thought that this would be my chance. Well, maybe I just waited too long to discover him... <small>on the other hand, it's NEVER too late</small>...

Aloha and thanks again to all that made this wonderful meeting reality...
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The future belongs to culture. jaydee@bellsouth.net<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by J D Sauser on 17 October 2000 at 12:25 PM.]</p></FONT>

<SMALL>Anyway, to give you a better idea of the sound volume at the show: There was a sign hung on the ceiling in the middle of the room that said: PLEASE BE QUIET! And Carl and I had to experience the hard way, that they really meant it (we always HAD to discuss those Ricks, you know...) Psssst! </SMALL>

How ironic, that Carl would be the one making too much noise at a steel show!

In response to JD's comments, let me say that HSGA has had commercial vendors at their conventions in the past - DeWitt and Mary Scott of Scotty's Music (by the way, Scotty promised Jerry Byrd at Jerry's birthday party in Hawai`i this past March that they would be at the convention if Jerry came, well, you see what happened) Freeman Cowgar of Cougar Guitars and his line of non-pedal guitars (I bought one three years ago, so did Maury Junod, Claude Brownell had Freeman built him a 30" scale length 10 string he uses for his E-Harp tuning), Rich Mermer, Mermer Instruments, with superbly crafted acoustic instruments in the Weissonborn style, and of course, the CDs and cassettes of Barney Isaacs, Bobby Ingano, Greg Sardinha, Ed Punua, Alan Akaka, Duke Ching, etc etc

Your observation of the apparent average age of the HSGA convention attendees is also one of the concerns of HSGA - the majority of the membership in attendance are in their retirement years, including me. We all became a part of the Hawaiian music genre when it was still in its heyday in the 1930s, 40s and 50s. Sure, some members are younger than 55 to 90 years in age, but they are out there trying to make a living and trying to make ends meet and don't have an opportunity or can't afford to attend three days of an out-of-town convention.

HSGA knows that it needs to bring new young blood into the organization - our scholarship program is designed to do that - it just needs wider dissemination and possibly some new unique way of finding those promising young folks who have the DESIRE to learn to play the Hawaiian steel guitar in the Hawaiian style. The key word here is DESIRE.

We started a teaching program on the island of Moloka`i three years ago (I built and sent thirteen guitars to support the program) but as time went on, almost all of the original participants started going their own way and they lost the DESIRE to learn. It was no longer cost effective for HSGA to send a stellar teaching staff of either Alan Akaka and Isaac Akuna, or John Auna, Henry Allen, or Greg Sardinha on a regular basis via commercial air to teach one or two students rather than ten students at a time.

I hope that you noticed that all the amplifiers for steel and rhythm guitars were of the vacuum tube variety. The `ukulele and "stand-up" acoustic double bass are the preferred instruments for rhythm. When the electric bass is used it is tasteful and not (perish the thought) of the "walking" variety. These nuances in choice of instruments and media for Hawaiian music may be a factor of why we can't attract the youths who like to make a cacophony of loud noise with their instruments. Besides, you can't get by in Hawaiian music by knowing only three chords!!! So the "QUIET, PLEASE" is up there so that we can eat, sleep, play and enjoy the luscious harmonies so prevalent in Hawaiian music during the three days of the convention. This policy also helps those members who are recording or videotaping at this and the other Hawaiian music conventions.

(Additionally, many of the members of the HSGA are also members of the Aloha International Steel Guitar Club which has a convention each July in Winchester Indiana and you'll meet them at least three times a year in Hawai`i, Winchester and Joliet.)

In closing, let me say that I am especially pleased that you enjoyed the Convention and that I, at least, was able to prove to Carl Dixon that what I and several of my HSGA Forumites had to say about our conventions proved to be true and that it was a pleasant experience for both of you.

Regards,

Aloha,

John<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by John Tipka on 17 October 2000 at 02:18 PM.]</p></FONT>

Why aren't young people embracing traditional Hawaiian steel guitar music when other traditional musics are enjoying a renaissance?

Here are a few of my thoughts. Feel free to comment on, add to, or attack me on these ramblings and random ideas. I don't offer any solutions; I'm just starting a discussion.

I will now don my amateur sociologists cap.

1. The non-pedal steel guitar is a very difficult instrument to get started on. It takes a long time (if ever) before a decent tone is achieved. The standard guitar yields much quicker results. In one lesson the student can learn a chord or two and play a simple song.

Attention spans are much shorter these days due to television's establish the plot, create and resolve conflict 30-minute format. This can result in music students who want immediate results and get frustrated easily.

2. Compared to standard guitar, the steel guitar lacks sex appeal as a performing instrument. You must stand or sit in one place. The audience cannot see what you are doing. From a distance it looks like you are playing a keyboard. The standard guitar on the other hand can be slung low,
played behind the back and played with your teeth. In other words, used as a prop to enhance one's sexuality.

Gee? what would appeal to a 15-year-old boy?

3. Hawaiian and other pre 1960's popular music require much greater musicianship. The standard major and minor chords are embellished with extensions as well as the frequent use of augmented and diminished chords. The musician must know these chords and their proper usage. Today's music is major, minor with an occasional seventh.

When was the last time you heard a diminished
chord on top 40 radio? Or a song in 3/4 time?

4. Instrumental music has been on the decline
since the 1960's. The lyric has become the focus of pop music. This recently has been taken to the extreme by RAP. I blame the emphasis on lyric to the 'folk revival' of the sixties and the advent of the singer-songwriter.

When was the last time an instrumental song was in the top 40?

5. The language issue. Many traditional Hawaiian songs are in Hawaiian a non Anglo-Saxon or Romance language. A non-Hawaiian musician must be very dedicated and love the music if they want to learn these songs. It's not as easy as a Rock musician performing a Willie Nelson tune, or Luciano Pavoratti performing 'New York New York' (yes I actually saw this, it was hilarious).

6. Life is faster paced today. Leisure time and vacations are frequently very physical. 400-mile bike trips, white water rafting,
trekking in the Himalayas, 6 theme parks in 4 days, sky diving and rock climbing for example.

These activities are constantly presented to youths on MTV with a heavy rock backdrop.

There's nothing wrong with these vacation variations. But it's a different headset then strolling along the beach at twilight
or resting by a blue lagoon (with the gentle music associated with it).

Could be a generation thing. The 'older' folks lived through tough times with the great depression and WWII. Following these two major events they established their families in the 1950's when there was an emphasis on relaxation and enjoying the good life, which they earned. The non-rock & roll music of that time was very lush and soothing.


You know, now that I think of it. What music did 1920's surfers listen to when they were thinking about catching a wave?

It wasn't the Beach Boys, Jan & Dean or Dick Dale.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Gerald Ross on 20 October 2000 at 05:49 AM.]</p></FONT>

John Tipka and other HSGA members: please feel free to use this Forum to promote the HSGA as much as you want. The Forum and the HSGA have similar charters - to promote the steel guitar. Many of our members are very interested in your organization, myself included. Don't be afraid to be a little aggressive in promoting it.

Gerald Ross, I agree with almost everything you said. Except this: <BLOCKQUOTE><font size="1" face="Verdana, Arial, Helvetica">quote:</font><HR><SMALL>3. Hawaiian and other pre 1960's popular music require much greater musicianship. The standard major and minor chords are embellished with extensions as well as the frequent use of augmented and diminished chords. The musician must know these chords and their proper usage. Today's music is major, minor with an occasional seventh.

When was the last time you heard a diminished
chord on top 40 radio? Or a song in 3/4 time? </SMALL><HR></BLOCKQUOTE>Actually, today's music extends chords in a different way - with wider intervals and alternate bass notes. The "open" sound of the new chords based on fourths and fifths is every bit as advanced as the augs and dims of yesteryear.

This trend has affected Hawaiian music as well. It's hard to find a Koala Beamer tune that doesn't have a suspended 9th or 11th in it. Those chords abound in popular slack key music. Their proper use and placement requires every bit as much musicianship as a diminished or augmented chord.

As for time signatures, it's true that the waltz has gone out of style (except in country music), but even the MTV generation enjoys some degree of rhythmic diversity. There's always a song or two in 12/8 on the pop charts.

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<small><img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session S-12 (E9), Speedy West D-10 (E9, D6),
Sierra 8 Laptop (D13), Fender Stringmaster D-8 (D13, A6)

Bobby,
Thank you for the offer and invitation to promote the Hawaiian Steel Guitar Association on this forum. HSGA has its own web page at http://www.hsga.org but it is semi-static and doesn't have the dynamics of daily postings of comments as are received by this forum.

Lorene Ruymar, who with her husband started HSGA 15 years ago, is now one of this forum's new members, and can add great depth to this forum with respect to Hawaiian music, the Hawaiian steel guitar, and its great musicians. Her seven years of research, and especially true perserverance in her investigation and worldwide search into the origins and history of the Hawaiian steel guitar has given us the first true reference publication about this marvelous instrument, "The Hawaiian Steel Guitar and Its Great Hawaiian Musicians", published by Centerstream..

Some of the names on the HSGA membership list are: Jerry Byrd, Bob Brozman, Joe Goldmark, Johnny Farina, Bud Tutmarc, DeWitt Scott, Russ Rask, Bob Maickel, etc. And, we would like to add some more names that are known to most steel guitar players and, of course, any other persons who love to either play or listen to Hawaiian music, especially played on the Hawaiian steel guitar.

I am sure that the Forumites who are members of HSGA will take advantage of the opportunity you have given us for promotion of the organization.

I am sure that Doug Smith, a fellow Forumite and Vice President of the HSGA, will read this and inform the HSGA leadership of yet another conduit to get out the word.

Thanks, Bob,

Regards,

John

It's great to see Lorene Ruymar post here.I think any steel guitar player,whether they play Hawaiian music or not,would really enjoy her book.
Besides the well written history of the instrument,which is fascinating,there are a ton of photos of the players and the instruments,a few pages of instruction by Jerry Byrd,lists of tunings,etc,etc.It's a great resource.
As I say,even if your main interest is Western Swing or country,blues,jazz,or rock,if you like steel guitar you'll like this book.
It gave me a new appreciation of Hawaiian steel music,too.I just got my first Jerry Byrd CD recently.Beautiful.

Wow, what can you say after all of that, except it was a great personal experience for me. Many thanks to all who made the meeting possible. Top awards go to Doug Smith, Barbara Kuhn, and Floyd Alexander . They trucked in all of the sound equipment from Ohio, set it all up and ran the board the whole week. They made a hack like me sound half-way decent. Big mahalo Brother Doug, et.al. . Also Brother Don Weber and his gang for hosting the venue and seeing to all the logistical stuff. The fellowship at these meetings is outstanding.The music becomes the prime focus at HSGA meetings. Also, so happy to take delivery of a John Tipka handmade steel guitar. Double neck eight string. Calling it the "Black Beauty". Thanks John, looking forward to many years of gigging with this axe. Mahalo to Big Bill Leff and gang for staying up all night to jam. Felt like a teenager again ! Let's do it again next year,if the body holds up! Aloha, Doc.