The Steel Guitar Forum

Thanks Reggie for the heads up on my favorite steeler, Gary.

good stuff..

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Sierra Guitars

Sierra S-12 9&7
Peavey-2000-PX-300

Truly and unmistakenly, THE KING OF CHORDS. Absolutely incredible his smooth as silk "passing chord" actions; as his foot danced across 10 or more pedals as his knees would engage whatever knee lever change he needed. On the spot and instantly!

A chord tone to die for. Volume swells that were unprecedented throughout the world of the steel guitar.

These, and an almost unlimited list of musical euphemisms, can only begin to touch the talents of this awesome player.

May God rest his soul,

carl

Carl: May I add some megga-dittos to your comments as well ??

Regards, Paul

I had the HONOR of getting my picture taken shaking Chalker's hand in 1977 at Scotty's Music Store on Midland Ave. in St. Louis. Curly played the Convention that year and was at Scotty's the day before it started. Bobby Caldwell stopped by the store & they proceeded to have a Jam Session right there on the spot! An afternoon I'll never forget!
There was only a handful of people there to enjoy it! And I was lucky enough to be one of them.
Neil

Neil...
I am so jealous!!! Not only for the handshake picture, but to hear Curly and Bobby! What an event. And the shame is, it will NEVER happen again (at least not on this earth).

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Billy Easton
Casa Grande, AZ
Southwestern Steel Guitar Association

I had the great pleasure of taking Curley to his motel room and sat and lission to him play his (then) new M.S.A., I was working at the M.S.A time Curley went from Sho-Bud to M.S.A.. he was in town for a few days to pick up the M.S.A. he came to the club I was playing that night, the next night he went with Maurice and played with Maurice on his job, twin steels!!!wished I could have made it, but was working..I was raised on Curley, he was my Dad's favorite steel player ever, and one of mine.......

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[url=http://david_wright1.tripod.com/]My Web Page[/url]
Sierra Guitars

Sierra S-12 9&7
Peavey-2000-PX-300


<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David Wright on 24 January 2003 at 01:52 PM.]</p></FONT>

Curly's HOF plaque lists him as the inventor of "volume gutting". what exactly is that technique?

Once upon a time, I think it was in 1968 but I am not positive on that, Jimmy Bryant and I were walking down a street in Nashville and bumped into Curly coming up the street. He was carrying a big bottle of liquor in a brown bag. As we were standing talking the bottle went through the bag and I thought it was going to break but Curley just squatted down and grabbed that sucker and never lost a word of conversation. Very smooth move! Then we proceeded into the Black Poodle, (again I think),for some excellant picking! Curley and his Trio and Jimmy B. WOW!!!
When I said we were walking down the street I was exaggerating.I suspect we were "driftin along with the weed." Oh such memories. Nashville was so much fun back then! regards, fred

*<font size="1" color="#8e236b"><p align="center">[This message was edited by Gene Jones on 03 April 2006 at 06:18 AM.]</p></FONT>

I first heard a modern style steel on a Hank Thompson record, playing chords that I liked to hear.

I couldn't believe it! On a "country and Western" record. It of course was Curly Chalker.

I had to see this guy, so When Hank Thompson came in town, Santa Rosa, CA Where I was teaching guitar.I went to see him.

Surprise! He had just left and Bert Rivera took his place. I was so dis-appointed.

Bert played nice, but I left early.

Later I met Curly at MSA in Dallas when he was picking up his 2 D10 MSA's. Reece was there too. I can't remember the year , bout 1968-70 I think.

I'd say that Curly and Reece were my two favorite players....al <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Al Marcus on 24 January 2003 at 05:31 PM.]</p></FONT>

What do people think are Curley's best things available today on CD?

Dave....
I loved everything Curly ever recorded, but his first album "Big Hits on Big Steel" is probably my favorite album. I have heard that his recording of "Stirrin' Up the Ashes" with Hank Thompson is classic, but I can't recall ever hearing it. Curly was one of a kind, the world is much better for his talent, and we miss him lots.

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Billy Easton
Casa Grande, AZ
Southwestern Steel Guitar Association

Billy, I must chime in and say amen to the Big Hits album being my favoritw also. I also have Stirring Up The Ashes and other unequaled recordings of Curly. Al, I think Curly started Playing MSA around '73. I was at the Sho-Bud store in May and Curly's Baldwin Crossover had just been turned in when he switched. I'm sure Reece would have the date. Curly was playing on the Wilburn Brothers TV show after Hal Rugg left and Curly's transition from Sho-Bud to MSA took place during that run.

Curly Chalker was to my ears a real jazz player, not a steel player playing jazz. He is one of an extremely few players whose playing didn't sound constrained by the tuning and therefore he didn't play things that most other players would normally play. He understood jazz harmony, and applied it in a way that other jazz musicians (not just steel players) would appreciate. He is a player that is irreplaceable and hence the musical loss for all steel players is huge.

Well put Jeff.

I think "Counterpoint" is a better album than Big Hits. I think his unaccompanied version of "If" is perhaps the finest steel guitar recording ever made.

I had the privilege of attending the concert that comprises the first section of the "in concert" video. There was no opening act. Just Curly and the band, playing two hour long sets. It was the best steel guitar show I ever saw.

*<font size="1" color="#8e236b"><p align="center">[This message was edited by Gene Jones on 03 April 2006 at 06:19 AM.]</p></FONT>

I only discovered CC recently, when I heard 'Bridge Over Troubled Water' playing on Steelradio.com. I posted on the Forum asking who it might have been, and then I bought all 5 of his albums that Tom Bradshaw sells. Its all great stuff, but I agree that "If" is really special.

Jeff said,

"Curly Chalker was to my ears a real jazz player, not a steel player playing jazz"

I agree. What most call jazz on the steel guitar is jamming. Both CC and BE hear AND play jazz.

The way a listener can tell the difference is, Jazz even though mostly ad-lib, says something musically. Jamming is many notes that simply remains in the chord structure, but more often than not, has no musical theme.

I do not mean this to be disrespectful at all, but I have listened to hundreds of hours of jamming at steel guitar shows, and much of it left me empty. Yet, when CC or BE played it, it said something to me musically.

AND, it was NOT their playing tone or dexterity. It was the "choice" of notes that MADE the difference. In a word, my ear was IN tune with that choice all the way. Joaquin Murphy is another classic and true jazz steel player.

My thoughts of course,

May God rest CC's and JM's soul, and may he bring joy to BE and all of you,

carl

Curly's HOF plaque lists him as the inventor of "volume gutting". what exactly is that technique?

Andy,
I'm not an expert on this, however, the volume gutting that they speak of is simply your inner feelings as you play. I discovered a new terminoligy for the volume pedal. While studing with Maurice he referred to it as the expression pedal. This makes a lot of sense if you stop and think about it. It is a part of the expression process in everyone's playing....it's how you make the steel guitar "talk". Curly was a master at expressing himself with the volume pedal/now expression pedal.

I hope this helps explain what volume gutting means. At least that's what it means to me. I have three main influences in my approach to playing. One of them has always been Curley Chalker. His playing was always exciting to me. You could always tell when it was Curley playing. It was like he was reaching out and grabbing me and saying "hey listen to this!". And so I did...a lot of us did!


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[url=http://david_wright1.tripod.com/]My Web Page[/url]
Sierra Guitars

Sierra S-12 9&7
Peavey-2000-PX-300


<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by David Wright on 25 January 2003 at 12:19 PM.]</p></FONT>

Am I wrong here, but isn't "volume gutting" the technique of picking a fat chord, and at the same instant, pulling back hard on the volume pedal to where there is around 1/2 to 1/3 the volume? When it's done fast and explosively, it has big, punchy dynamics. Isn't this what we are talking about?<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 25 January 2003 at 02:11 PM.]</p></FONT>

*<font size="1" color="#8e236b"><p align="center">[This message was edited by Gene Jones on 03 April 2006 at 06:20 AM.]</p></FONT>

David, you got that just perfect. Two of those guys had major influence on my efforts.
Glad to see these great comments about Curly. He is sure missed. If players were graded GOOD, BETTER & BEST, there would be none better than Curly in his style, technique and artistic ability to make you want to listen to all of his playing all the time.
Carl, you said it proper also.

Bill Stafford