Jerry Byrd The Savior of Steel In Hawaii?

Jack Byrd · From: Kalamazoo, Michigan

I passed on the many comments to Jerry over a recent thread on the Jerry Byrd Fan Club. Here are some of his comments on what really took place.

I never ever thought of myself as the saviour of the Steel Guitar in the islands. I never claimed that in my words either and would like to clear the air a little on this topic.

When I first noticed the kids were not into steel guitar we had a meeting at the Hawaiian Music Foundation and decided that we would (all the steel players, there were 8 or 9 at the meeting) that we would get together and layout some kind of a format for an instruction course and I would do the same and I would take the good suggestions out of each guys contribution and write it all up in one good course that we could all teach. There was some enthusiasm at the meeting, so I told them I would lay out a format and at the next months meeting we would get together and hash it all out. So I went to the next months meeting and guess who showed up- nobody, just me. So I knew then if anything was going to be done I’d have to do it myself. Hawaiians are great players but they are not teachers. So that is how that happened. And I went on from there but I didn’t have any idea that steel guitar was dead. We talked about that in the first meeting, and we all agreed that after our generation is gone there is no one to take our place, that’s the end of it and everybody at the meeting voiced that, but so be it with a lot of them, they just don’t teach. Pua Almeida and all of them were great players- - not teachers- Barney all of them. So that is how that came about. I had no idea I was saving steel guitar – I knew that if somebody didn’t do something that the kids were all going to start playing Reggae and all this other stuff. A lot went to slack key, it is easier to play, but there is some still playing on my account (teaching) today. But that’s not saving steel guitar per say. I knew there were some other players coming on, Bobby Ingano, Ed Punua and others- he was not going to be a professional steel player, played Barney Isaacs style, so anyway it just went on from there. I had no idea of being the saviour of steel guitar. I just knew if somebody didn’t start teaching and do something it was going to disappear. It is a hard instrument to learn without any help and I had never done any teaching at all – never had any idea I would be teaching when I came over here. I was very busy any how. I didn’t know when I would have time to do it, but it all worked out. Now I’ve got two or three ledger books with names of people who took lessons. So that is all I can say about that.

I would like to add some things I know about this. When he first started teaching privately he charged only $25 a lesson and usually the clock didn’t matter, the lesson was over when the material was covered or the student needed to leave, but generally they were planned for an hour. He has never raised the price, it is still the same today. He also was very instrumental in helping some of his students receive grants to continue their lessons form the Hawaiian Steel Guitar Association and other sources. Jerry did not enter into this endeavor with any idea of getting rich. He did it for the love of the instrument and the desire to pass it on to the kids of the islands, the place which had so much influence on his desire to learn the instrument. Jerry has said in several interviews that the course he uses gets the student doing in 22 weeks what it took him 22 years to learn. He was basically self taught, had a very few lessons and that was it. The instructor told him he knew more about the instrument than he did and couldn’t help him anymore. So basically he was self taught. He knows what it takes to be a steel player, and wants to pass it on, not keep it to himself. As he stated above it was him as the other players in that first meeting opted out of the endeavor. It was also many of them who gave Jerry the credit for the resurgence of the steel. Jerry didn’t take any credit at all. He just wanted to fill a real void that he saw and the other professional players saw at the time. So maybe we can put this to bed and leave the facts and the history of the situation take care of the rest.

[This message was edited by Jack Byrd on 11 February 2004 at 05:46 PM.]

Earnest Bovine · From: Los Angeles CA USA

Did Jerry say anything about Robert Randolph?

Jack Byrd · From: Kalamazoo, Michigan

Did not mention him at all.

George Keoki Lake · From: Edmonton, AB., Canada

I have to agree in regards to Jerry's statement about "saving" the Hawaiian Steel Guitar in Hawai'i. Jerry has NEVER claimed to be the "saviour", rather it has been the steel guitar community in general which has bestowed this honor upon him. (....and deservedly so!)

No matter what he says, (or denies), in regards to this subject, the fact still remains it was solely through his concentrated efforts we now see so many fine young steel guitarists in the Islands.

Our hats are off to Jerry !

c c johnson · From: killeen,tx usa * R.I.P.

Amen to all the above. Jerry did afantastic job in saving the steel guitar in Hawaii. In my conversations with Mel Abe, Harold Hakeole, Barney,and many other steel players, all credit Jerry with saving the instrument. CC

Ray Montee · From: Portland, Oregon (deceased)

Several times this past year, one or more forumites have posted words to the affect that JERRY BYRD "saved the Hawaiian Steel Guitar" and thro' his efforts, "there has been a rebirth of the steel guitar in Hawaii." I seem to recall someone alleging that Jerry Byrd himself had made such a boastful claim which I find very hard to believe.
I have a video that just recently came into my possession, and those very words, as best I can now recall, were spoken therein, NOT by JERRY BYRD, but by a full-blown Hawaiian born steel guitar player. So now, whom do we believe, some antagonist; or, a native born that appears to know what he is talking about and willing to say so, for the record, on public television?

Jeff Au Hoy · From: Honolulu, Hawai'i

C Dixon · From: Duluth, GA USA

If Jerry had not gone to Hawaii when he did, I believe the steel guitar would be virtually non existant over there today. A really sad thing, but oh soo true. Whether Jerry single handidly saved it, may always be debated, but I can assure you, they (Hawaiians) were not doing anything to keep it alive.

When hoardes of tourists in the 70's and 80's were serenaded with pure Elvis type rock and roll on advertised "Authentic Hawaiian Sunset" cruises, there can be little doubt about it. Only an ostrich with its head buried in that infamous sand, would hold otherwise.

carl

Jeff Au Hoy · From: Honolulu, Hawai'i

Ray Montee · From: Portland, Oregon (deceased)

Hey there JEFF! In another post here on the Forum, you inferred you'd listen to some music by "ME".....Jerry Byrd's number #1 world-wide fan........
I've emailed you to get your mailing address so I can send you an authentic Hawaiian CD with none other than me playing "Hawaiian style" steel in the background.....and for whatever reason, you've declined to respond. Are you ignoring me? Were insincere and just joking once again?
Does this mean you've changed your mind?

Jesse Pearson · From: San Diego , CA

Jeff, the point that was being made was that JB was and is a great teacher and inovator, those guys you mentioned weren't teaching? What I don't get is why someone with your musical education would have such a big problem with this. This sounds like your personal Hawaiian pride blinding you IMHO. You have never posted any big revalations about Hawaiian steel other than some cool novelty songs? I mean let's face it, we're both relatively new to steel and the strangest part of this whole thing is that you are discounting the older pro steel players who personaly witnessed what was going on in Hawaii in the 70'?

[This message was edited by Jesse Pearson on 14 February 2004 at 05:20 PM.]

Jeff Strouse · From: Jacksonville, Florida, USA

Quote:

"Let's not just cast a blind eye to the efforts of people like Henry Allen, Barney Isaacs, Gabby Pahinui, the Rogers family, and other Hawaiian steel players who kept the instrument alive simply by playing and recording with it."

Keeping something alive (barely) and sparking a resurgence are two different things. The very few players who kept the steel guitar alive simply by recording with it, would have in no way shape or form, been responsible for any where near the same level of "resurgence" in steel guitar, had Jerry not been on the scene.

I also feel pretty confident in going as far to say that you may not even be playing steel guitar today, had it not been for Jerry's direct influence...on the instrument itself, and on the current players who learned from him. Think about it.

Jeff, you KNOW that Barney was one of the very players who believed that "He (Jerry) is responsbile for the resurgence of steel guitar." Other Hawaiian musicians (who lived through that era), also have told me the same thing...but not because we just happen to be discussing JB and his contributions to steel guitar...they brought it up out of the blue...out of sheer respect and admiration for the man when his name came up in conversation.

That's what I think the key is here...you lack the respect and admiration for him, which baffles most of us due to your talents and knowledge of the very music we're discussing here. Is it just because he doesn't sound Hawaiian enough for 'ya, or is more complex than that?

You mentioned in a former post that you feel like you're trying to convince people that Columbus didn't discover America. ...as if the rest of us are blind to the fact of what really happened with the steel guitar "resurgence." How did you get so far out of touch with the reality of what IS? Is it that you (and maybe a few others who have twisted your ears with similar ideas) don't want to admit that steel in Hawaiian music could virtually be dead today without Jerry's influence? Someone may have come along down the road who would have sparked a resurgence, but that didn't happen....that fact is, JERRY did it...HE lit the torch and led the way for the resurgence.

Jeff, I think you know this, too; but it's evident that Jerry is on your doo-doo list for some reason or another, which causes you to continually try and discredit him for what he had done for the steel guitar. What's up with that, my friend?

George Keoki Lake · From: Edmonton, AB., Canada

QUOTE: "Let's not just cast a blind eye to the efforts of people like Henry Allen, Barney Isaacs, Gabby Pahinui, the Rogers family, and other Hawaiian steel players who kept the instrument alive simply by playing and recording with it."
__________________________________________
I have no problem with this statement. However, not one of the above mentioned did anything on the scope of what Jerry did to ensure the steel guitar would survive the turbulant seventies. None of them did any large scale teaching to my knowledge, and certainly not as determined as what Jerry accomplished. I was there, I saw how bad things were in 1970 and believe me, the situation of the steel guitar was approaching mortality in Hawai'i Nei around about the time Jerry arrived in 1972. If he is NOT the "saviour", (which he claims NOT to be), then who is ?

[This message was edited by George Keoki Lake on 14 February 2004 at 12:25 PM.]

C Dixon · From: Duluth, GA USA

Jerry Byrd has written and said many times, HE invented the infamous C6 tuning. Yet, you Jeff generated a thread on this forum recently, "So You Invented the C6 Tuning?" Jerry says HE did it. Yet you NEVER stated that in your thread. Why? You even hinted and subtley suggested he didn't. How come?

I was there. NO one played C6. NO one. They played different versions of A and E and C# minor and a few played B11th, plus a few off the wall tunings. Again, NO one played C6. And there is NO record that I am aware of; that any Hawaiian ever used C6 before Jerry's first recording using C6. So why do you feel it necessary to generate a thread with a title like that, hinting that he didn't?

Why Jeff? Do you have documentation; or other facts to suggest or prove that a Hawaiian or anyone else used the C6 tuning before Jerry did? If so would you present it on this forum?

Why is it that every time we turn around you are implying or hinting that Jerry does NOT deserve the honors and accolades the overwhelming majority of us give him; which includes more Hawaiians than I can name? Why?

Let me tell you something. I was at a Hawwaiian show in Hawaii where I saw elderly and younger Hawaiian men AND women cry when Jerry Byrd played. And how they lauded him for what he was doing for their youth over there. How come this happened Jeff? How come?

I did not see one of them do this when Barney Isaacs played. And Barney is an incredible player in his own rights. The same with other authentic native Hawaiians.

The love I saw exhibited towards Jerry, from true Hawaiians that night shall live with me 'til my dying day.

How come one of the most popular and true Hawaiian players today, Alan Akaka, thinks soooooooo highly of Jerry and his playing?

How come you continue to use this forum to vent your spleen against the ONLY player in this world that gave it all up here and went there and then gave soooo much. Where were you then?

Again, why do you continually try to malign this incredible player? He is truly THE greatest lap steel player there has EVER been. And no better proof of that is; than the greatest pedal steel player who has ever lived feels the same way. Buddy Emmons told me personally, he got his from Jerry Byrd. It does not get any better than that from one great talking about another great.

Plus, IMO, NO Hawaiian player has ever played sweeter or prettier Hawaiian music than Jerry. And many Hawaiians have lamented that. There may be a few who don't feel that way. I respect that. But most of them I believe do feel this way. At least from my experience that has been the case.

So how come you can't admit you were wrong in the beginning? And state you have been wrong ever since? How come you don't openly apologize for using this forum to malign Jerry?

Every time you post on the forum where Jerry's name is involved, you alienate many players who were THERE when it happened. LONG before you were born bubba.

carl

Ron Whitfield · From: Kaaawa, Hawaii, USA

The scorecard for Hawaiian/local teachers and students taught in Hawaii in the last 40 years;

Henry Allen- very few
Barney Issacs(deceased)- very few
Gabby-(deceased)- very few
Rogers family-(deceased) very few
other Hawaiians-(mostly deceased)- very few
you name 'em- very few

Jerry Byrd- 4000+ AND STILL COUNTING

Not only have a great many Hawaiian/local steelers/musicians fully credited Jerry with saving the Hawaiian steel from extinction, but many have said "Jerry Byrd plays Hawaiian steel the way it's SUPPOSED to be played".

John Bushouse · Posted 14 Feb 2004 6:26 pm

Wow, is this "heap on Jeff Au Hoy day?"

Statements like "He is truly THE greatest lap steel player there has EVER been" and "NO Hawaiian player has ever played sweeter or prettier Hawaiian music than Jerry" are pretty strong statements, and ones I would bet Jerry Bryd himself would disagree with. No offense to your opinion, but in general I would rather put on a recording of either of the Rogers brothers, Gabby Pahinui, Sol K. Bright, Lani McIntire, or Sol Hoopii before I'd reach for a recording of Jerry's. That's not an insult to Jerry's playing; it's just that I prefer the other players' styles of playing, for fast playing or sweet and pretty.

Jeff may be young and opinionated, but that doesn't mean his opinions are worth less than those who are old and opinionated.

In the blues world, there are several players lauded as "the greatest" such as Charley Patton and Robert Johnson. Many thousands of players have taught themselves how to play by listening to their music. Stefan Grossman and Woody Mann have very successful careers teaching others through live lessons, videotapes and DVDs, and books. So are they the saviors of acoustic blues?

Jesse Pearson · From: San Diego , CA

sigh

[This message was edited by Jesse Pearson on 15 February 2004 at 02:04 AM.]

Jeff Au Hoy · From: Honolulu, Hawai'i

Russ Young · From: Seattle, Washington, USA

Jesse, what the heck did your post say before you edited it? Did you add venom, or water it down?

Jeff, maybe you should post your thoughts about Robert Randolph. I'm willing to bet that the combination of you and RR would generate a record-length thread ...

John Bushouse · Posted 14 Feb 2004 10:53 pm

Jesse, I should have been clearer above - I meant, are Stefan Grossman and Woody Mann the savior of blues guitar? After all, by the 1960s that style of music had pretty much died out, until Stefan, Woody, John Fahey, and others revived it. I think acoustic blues guitar in the 50's & 60's is a pretty close parallel to Hawaiian steel guitar in the 60's & 70's.

Jesse Pearson · From: San Diego , CA

John, I have a couple of their books, good point. I gotta think through this one a little.

[This message was edited by Jesse Pearson on 15 February 2004 at 02:02 AM.]

Jesse Pearson · From: San Diego , CA

I think JB has the coolest feel of all the steel players. He's the originator of that feel and he shared it with everyone thru instruction courses that reach back to decades of students. As he himself said "I have no secrets, nothing is held back". If you already understand music theory, JB is the perfect foundation to grow from on steel. All I'm sure of is that if any place should have Hawaiian steel players, it should be Hawaii. JB did a great thing, he's the man.

George Keoki Lake · From: Edmonton, AB., Canada

QUOTE: Statements like "He is truly THE greatest lap steel player there has EVER been" and "NO Hawaiian player has ever played sweeter or prettier Hawaiian music than Jerry" are pretty strong statements, and ones I would bet Jerry Bryd himself would disagree with.
____________________________________________The above, as mentioned, are mighty strong statements and I am sure they must make Jerry wince. I love Jerry's style and touch but I cannot go out on the limb to say he is the absolute greatest. I listen to much of David Keli'i's work, Barney, "Feets" Rogers, Sol K (in his early days), et al...each are fantastic in their own way as is Jerry. To be the "greatest" is really a matter of personal opinion. I'm sure there are many who actually don't care for Jerry's style, (but don't include me amongst them!). This thread is not so much about "liking or disliking" his or anyone's style, but to give credit where credit is due to a man who literally saved the steel guitar from a certain extinction in Hawai'i back in the seventies...that's what it's all about. Gads guys and gals, Jerry is an icon amongst us....everyone knows that. He's in his early eighties, has probably slowed down on playing gigs, and is still teaching. He's an amazing individual and let's never forget that fact. I vote we close this thread.

[This message was edited by George Keoki Lake on 15 February 2004 at 12:21 PM.]

Jesse Pearson · From: San Diego , CA

I want to address the point that John brought up about the blues thing. No, I don't think Woody and those guys saved acoustic blues. Those guys were record copying old blues records note for note for profit. Blues is a very simple form that can be expanded on pretty easy with study. If you want to turn pro, you study easy acoustic blues on guitar as a foundation. Those books by Artie and those guys taught me how to play positions the way the guys on the records did. I love those books for teaching me that. Did they save acoustic blues, no. Would I still be able to run thru Delta Blues correctly as far as the right positions, probably not.

So did JB record copy other guys and try to make a buck off of it thru tab, no. The young musicians in Hawaii were playing guitar and forgetting about steel. Why, cause steel is way more complicated without a good teacher or books and guitar was in. Didn't alot of steel players in Hawaii treat their playing as secrets that were hidden from others to keep the competition at bay. When the steel gigs dried up, those secrets faded right along with em I guess. JB shared his great innovations and passion about steel with everyone in Hawaii at a time that was crucial. You can learn Mr Byrds C6/A7 and easily play in most any other Hawaiians steel style if you want, it's a great foundation.

Since there has been tab books out on non pedal steel since the 50', those books apparently didn't move the young Hawaiian musicians to continue to embrace the steel as one of their main instruments? The evidence speaks for itself, no visible innovations of steel players or common sightings of young steel players in Hawaii in the early 70'. JB comes to Hawaii and starts teaching and working it, now there is plenty of great steel players on the islands again who are pro working steel players in the Hawaiian styles. They used JB as a spring board to get there. Would these guys have become the visible steel players they are today without JB teaching them, I doubt it. I bet they would have played something different like bass or guitar. I only became aware of JB because of the SGF forum, I have studied his course and verified for myself what's up. I could have taken lessons from JB when I lived there but I never saw a lap steel played by anyone, I had no idea. Now that I am getting somewhere on steel, I can't help but wonder how sad it would have been if this whole art form had not been kept alive on the islands by young gigging musicians.

I also want to publicly apologize for speaking my mind with Jeff, it was rude of me to not restrain myself.

Jeff Strouse · From: Jacksonville, Florida, USA

Quote:
__________________________
He's an amazing individual and let's never forget that fact. I vote we close this thread

_____________________

Keoki, I'll drink to that! Every word of it!

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