The Steel Guitar Forum

I believe everyone who loves the sound of steel guitar, and everyone who ever played steel guitar has contributed in varying degrees to the instruments evolution, and in doing so each has played a part in preserving the history, maintaining the tradition and insuring its future.

Fortunately there are some who have excelled who’s names are familiar to most, unfortunately there are others who have made significant contributions to the art of playing steel guitar yet because of geographic locations or various other reasons, many of us have not heard of them, or had the privilege of listening to their music.

During a recent email exchange with Jimmy Douglas in Australia he told me of such a man named Jack Richards, who also lives in Australia.

I mentioned to Jimmy that I would like to hear Jack play, and he responded with a recording made about 25 years ago. I was amazed by Jack’s very unique style, his command of the instrument, and in particular his perception of chords on his pedal steel.

His playing spans the spectrum of music with little emulation of the sounds most commonly heard while the beautiful and soulful characteristics of the sound of steel guitar are ever present. Simply put, he just plays great music which I believe most anyone would appreciate and enjoy.

I hope the posting of this thread will entice Jimmy to provide a sound file so others may enjoy and appreciate the music of a truly great artist who deserves recognition for his contribution to the art of playing steel guitar.

Further, I most sincerely hope the steel guitar community the world over will consider using this forum in a united effort to identify and submit information and sound files of those like Jack Richards who have given so much, yet have never received the recognition and appreciation of steel guitar enthusiasts all over the world.

While recognizing the accomplishments and congratulating those deserving individuals we will each be contributing to the history of steel guitar and helping insure its future.

Reece, There are SO many GREAT talents..,in music,theatre, art,..yet only the tiniest fraction ever achieve notoriety..
SO many incredibly talented people languish in obscurity,while another with FAR less talent but with a prettier/more handsome face or more sexy body is exalted to the high heavens and buried in riches... Seems there is NO justice.. anyway,, thanks for sharing a little bit about this one very talented individual... bob

Reece-Very good post and needed for all of us to reflect on.....al


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My Website..... www.cmedic.net/~almarcus/

Bob....I agree with you in that there are many individuals who are exceptionally talented who do not receive that which they deserve, and at times it may appear to some "there is no justice".

I further believe recognizing the reality of such things does not and should not disuade most from seeking, recognizing and appreciating those relative few who have achieved a high level of expertise that deserve recognition for their commitment, dedication, and contribution to the art of playing steel guitar.

I greatly appreciate your comments, respect your opinion, and thank you for participating in this discussion.

Al....my dear friend, its always great to see you "out and about" on the forum. Thank you for your comment as well.

Reece,
I agree with you that there are a lot of really good steel players who are relatively unknown. Many are unknown by choice. Not that they want to remain in obscurity, but they have chosen a different profession. I, for example, am an engineer. I have played the pedal steel since 1969 as a hobby. I would never have considered making steel guitar my profession. I applaud those who have and have succeded. BE and LG have worked hard to achieve their noteriety. Maybe we should ask B0B about another category for sound clips??
Bill

They're everywhere! Reece, I know just what you're talking about. There are singers and musicians out there who are easily the equal of many more famous personalities. Most of the really good singers and musicians I know aren't working, or at least, they work very rarely. They've never been recorded, and don't move around a lot, hence, they're almost unknown. But...many of them are tremendously talented.

I feel very fortunate to have known, worked with, and enjoyed, the talents of these players and singers over the last 40-odd years. Contrary to what some people might think (that anyone <u>really</u> good is out there doing it, and getting plenty of work), there's unknowns all over who'll "knock your hat in the creek" when you hear them.

What you hear on the radio, watch on TV, and buy on CD's, is only the smallest fraction of the talent that's really out there.

First of all, in the past year I have played with a number of different musicians.

In that time, I played with three extraordinary players. A blistering rock/blues guitarist, a soaring harp (harmonica) player, and a 20+ year old sax player that sounds like Charlie Parker on steroids. All these guys can probably play rings around 98% of the players that are on CD's, the radio, etc.

Then the next question you must ask is - SO what?! The commerical music field, from which musicians generally gain most of their fame as session players or touring sidemen, does not demand anywhere near that degree of virtuosity. More often that not, the major or up-and-coming artist does not want the sidemen to get attention. These artists are not to be blamed for this. It is perfectly understandable.

But the fact is that the greatest players in the world usually are a pain because they can't help it. They want to play aggressively, they want to be noticed, and they want to be (musically) the best at any cost. They tend not to want to spend time doing self-promotion and would rather let their playing speak for itself. The exact mindset that makes them as good as they are prevents many of them from making the adjustment to being a session player/sideman doing relatively non-descript (but tasteful) playing, which is the most common path to being noticed. It's not in their blood and they pay the price by being denied the fame and finanical success many of the lesser-talented but more accomodating players attain.

Please keep in mind that non-descript playing is often excellent playing. It can be creative and tasteful, but it is NOT virtuosity, it does NOT push the envelope, it does NOT elevate the player to iconic status. But it will get them fame and some degree of financial success. However, there are those creative geniuses out there that no one knows about because they can't or won't play that game.

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Jeff's Jazz
<font size="1" color="#8e236b"><p align="center">[This message was edited by Jeff Lampert on 25 August 2005 at 01:50 PM.]</p></FONT>

Interesting thread, especially astute observations by Jeff.

Reece....I'd sure love to hear Jack Richards after such a glowing endorsement from you!
Those mysterious underground legend types have always fueled my imagination. (think Buddy Bolden) Unfortunately the cynic in me has always believed that ART stands for Audience Reduction Techniques.

Gentlemen...Gentlemen... Please... I'm trying to keep a low profile.

Jody Cameron is one of those players. He is finally getting some recognition after over 20 years of playing steel guitar. Jody.

Jeff - it seems like you're talking about the age-old issue of "art vs. commerce". You make some wonderful points. Many phenomenal players either despise or just don't understand the popular music machine... I don't wholly blame them.

BUT: as a shy kid in high school jazz band, I got some great advice from my band director who was always beggin me to turn up... He said: "You wouldn't paint a picture and hang it in the closet, would you?" That question, to me, illustrates the balance you need to have as a musician in the marketplace. It's not all about your chops....It's not all about the singer's hairdo....but somewhere in between. I hope young players in our hyper-commercial culture can strike this balance somehow.

Well, case and point right here on this thread.

Jeff Lampert is one of these musicians. Some of the finest jazz pedal steel anywhere. I was fortunate to catch one of his rare jazz gigs in a trio format. I wish that he played more of them and that he would have the recognition for his immense talent.

Yes, he can "knock my hat in the creek".....I've got plenty of them.....

This thread raises an interesting question. Why do so many players confine themselves to the role of sideman? Why are there so few steel players who are artists in their own right?

Every other instrument has it's stars. We have certain people who are stars to us, but hardly anybody outside our community has heard of them.

We need steel guitarists who do not accompany singers, but who play in an all instrumental setting in front of the general public. Guitar players do it. Brass and woodwind players do it. Pianists do it. We seem to be the only ones who don't.

I'd like to see a lot of steel players do what Jeff and Washington State jazz steel guitarist Hal Merril do: Front their own groups and play in jazz clubs. I'm attempting (without much success) to crack the classical music market.

We need more players to get out from under their role as accompanists, and start being performers themselves.

Some players cause thier own problems, they play great but in playing they try to impress and extend themselves beyound the lead line so far they lose it themselves, and no one knows even them when they play it back where they went wrong. After learning this they continue to play beyound
what the people can undewrstand.
They become sounding cimbels and tinkling brass.
If you put so much in your music no one knows what you did, who enjoys it.
I say some could be greater if they played less and closer to the lead line.

A man once said to me when you play what you like you have a 1 person crowd, when you play what the people like you have a much larger crowd.

ernie

Jeff Newman made this comment to me back in the 70's " the better you get, the less you play" I think that may have had 'dual' meanings. The more I improved in my playing style, the less I got called to play, now I get very few calls, never could figure that out. When I 'stunk' everyone wanted me to play, but I can actually play pretty good now, & the steel guitar is shunned [or however you spell that] in this area. I am working on my 2nd paying gig this summer on Saturday? Crazy huh?

Ernie

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To get back on topic I'd like to add 3 names that had a big influence on me.
1. Rocky Caple
2. Jack Ryder
3. Gene Pooler

Maurice, I'm sure you're familiar with 2, if not all 3 of these players from the Tulsa area. I wish I had recordings of them that could do justice to what's "burned" into my mind.<font size="1" color="#8e236b"><p align="center">[This message was edited by Randy Beavers on 26 August 2005 at 07:30 PM.]</p></FONT>

Jeff, what you said certainly has some validity, but I contend that a really "great" player must excel at both playing the simple and tasteful stuff, and at "pushing the envelope" when the need arises.

If you can do only one or the other, you may be very good, but you're not "great". The "greats" can do it all. Whether or not you ever hear them actually doing it is another matter.

Randy,
I remember Gene Pooler very well... He and my Dad were very close..my Dad used him on his adds in the 60's..

Although this is not directly related to steel guitar playing, three influences from my home town that come to mind are guitar players
1. Danny Gatton (deceased)
2. Roy Buchanan (deceased)
3. Chick Hall Jr(alive & well in Bladensburg, Maryland at the Surf Club

Bronco Billy
Zumsteel U-12

*<font size="1" color="#8e236b"><p align="center">[This message was edited by Gene Jones on 26 August 2005 at 02:37 PM.]</p></FONT>

Reece,
Thank you for starting this very interesting thread. Suffice to say I am enticed and am working on posting a short bio about Jack with a link to a track of Jack's playing which should be up in the next day or so. If I can ask everyone to indulge me while I overcome the technical side of getting the track together.

Randy, "burned into my mind" is certainly something I can relate to and is how I feel about Jack's playing.

In the interest of steel guitar and steel players the world over I respectfully hope this thread will continue to focus on steel players that achieved a high level of proficiency who had a positive influence on our lives.

It would be a wonderful gesture were others to share the names of those special individuals who impacted their lives and possibly provide sound samples for the entire steel guitar community to appreciate and enjoy.

Being united as steel players the world over and remaining true to our mission of advancing the popularity of steel guitar, is a "just" cause held together by the common denominator of our love for the steel guitar.

Rick S....I've never heard of Buddy Bolden but I'm sure many of us would like to hear him. Can you help us out?

Nathan D....I'm not referring too "art vs.commerce", only steel players who have attained a high level of proficiency who have had a positive impact on the lives of others.

Mike P....I personally never considered the role of "sideman" as being confined. I believe sidemen can be artists by being true to that which they love, while recognizing in advance their musical role relative to their instrument of choice.

To me theres more than one spotlight. As an example, the quarterback of a football team is the most visible player, but 11 quarterbacks on a football team would never win a game.

The role of the linemen plays a significant part on a team, yet they acknowledge their role and they too enjoy succeeding and knowing they done their best.

I most certainly agree with you in that it would be great to have steel guitar players more in the role of that of a quarterback in the spotlight.

I personally have always considered my role as a "musical" lineman just as rewarding as that of a quarterback. I believe most sidemen accept their role and consider themselves as part of the team, because thats the position they chose to play.

Ernest C....I have seen the analogy you cited in your last paragraph, which poses the question, "where would steel guitar be today had that perspective been adhered too over the past half century"?

Randy B....You are absolutely right, those who never heard Jack Ryder and Gene Pooler play have really missed something great. They had an influence on my playing career as well....as has yourself I might add. Possibly somewhere someone has a recording of them which they will share with us.

I never heard of Rocky Caple and when we are in St.Louis next week I want to hear all about him.

Jimmy D....It's very kind of you to take the time to attempt to provide a sound link. That will certainly give me something to look forward too.

I appreciate the participation, input and kind demeanor of all comments.

NOW....has anyone ever heard of Ray Noren. I have heard that name for many years. If memory serves correct Curly Chalker first told me about him a long time ago, and those who knew Curly like I knew Curley... (there's a song in there somewhere)that means Ray Noren was an awesome player.

Ray Noren...Zane Beck played me a recording he made of Ray from when they shared an apartment in Kansas City. There was a girl singer that came to their apartment to rehearse for an upcoming show that Ray was to play with her. Zane turned on a "wire" recorder and captured the rehearsal, then later he transfered it to tape. It didn't sound like a steel guitar. It sounded like Johnny Smith on guitar, I swear. All of the songs were jazz standards. Zane told me Ray would get the flat wound strings after the guitar players took them off. Also, he would disguise his guitar to try to make it look like an electric piano or small organ, then he could set in with the jazz bands around town. I can't remember his tuning but it was 8 strings and there wasn't a major triad to be found on it anywhere. No floor pedals but 4 knee levers that Zane put on it. Ray's eyes were failing, and he just got tired of not being accepted in the jazz circle with steel guitar, so he quit playing steel and turned to bass. Zane said the last he heard from Ray he was playing bass in a rock and roll band in Chicago. And yes, Curley Chalker had great respect and praise for Ray's playing. <font size="1" color="#8e236b"><p align="center">[This message was edited by Randy Beavers on 26 August 2005 at 07:38 PM.]</p></FONT>

If Curly talked about him, you know he had to be great.