Tone Bar Glove

Mitch Druckman · From: Arizona, USA

I watched a DVD recently called Hawaiian Rainbow. In one of the segments there was a Hawaiian steel player playing a gold frypan shaped guitar. On his left hand he wore a black glove with a large diameter tone bar attached to it. I didn't catch his name, but he was a very good player and very fast. His slant technique was all at the wrist, but it moved very naturally, I think because his hand was flat. Has anyone ever seen this kind of glove? Who else uses them? I've never seen this before. Does anyone sell them?

Larry W. Jones · From: Longmont, Colorado

I have that DVD also and love it. The steel player was Billy Hew Lin. I wondered about the steel player too. I could not find a Google picture of him. Here is a post from 2001 by Mitch Drumm:

quote:
yes, film of billy exists. about 15 years ago there was a great documentary on hawaiian music called "hawaiian rainbow" that played on public broadcasting net, and i believe was also released commercially. a soundtrack from it was relased on lp format on rounder 6018. billy does a knockout version of "how'd ya do" which shows his bar slant technique with the cuff over his left wrist. elbow flying way out yet he has that precise control and wonderful tone. you can also hear him on this cd: "steel guitar magic hawaiian style" on mountain apple 31000--steel by both billy and barney isaacs. i haven't got it yet myself, but i think it can be had at mele.com. not sure of what all else he recorded. i think he passed away a few years ago.

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Return to paradise with Island Song Lyrics

It ain't got that FEELIN' if it ain't got that STEELIN'

Bill Creller · From: Saginaw, Michigan, USA (deceased)

Billy Hew Len lost his left hand in a machine shop accident when he was only around seventeen years old, as the story goes. A glove was fashioned by his Doc and a teacher, is what I read in Lorene Ruymar's book on Hawaiian steel guitars & players. He was considered a great chance-taker in his sometimes wild bar sweeps. He was in great demand in his day.

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

Billy Hew Len (note: NOT "Lin") was a fabulous steel guitarist with whom I had the great pleasure of knowing and jamming together. He was a very modest guy who always had a nice word to say about anyone's playing and was never on an ego trip, always willing to share his technic and ideas with anyone. His style of playing I would term as being "jazz-Hawaiian" although he could play some mighty sweet stuff. With his left hand missing, his vibrato took on a very distinctive style as he used his entire arm for vibrato. Billy died of cancer in November of 1987. He had a brother by the name of Buddy Hew Len who also played excellent steel. Buddy, like Billy was such a likeable guy and we spent many hours together jamming whenever I was in Hawai'i. Sadly, while up a ladder reaching for flowers to make leis, Billy fell, hit his head on a stone wall (fence), lapsed into a coma for over a year and passed away. The Hew Len Family is still visable in the Hawaiian music community.

Mitch Druckman · From: Arizona, USA

I had no idea that Billy was missing his hand. I feel a little foolish thinking that a glove like his might be something that could enhance my own playing. His technique was so unusual. I've never seen anything like it.

basilh · From: United Kingdom

George..Did you see Billy's Fender 400 ? when you jammed with him, or was it the "Frypan" ? BECAUSE JM and I think we've found one of his guitars..

[This message was edited by basilh on 26 August 2005 at 08:53 AM.]

Scott Thomas · Posted 26 Aug 2005 7:56 am

Not at all, Mitch. Asking questions and learning is what it's all about here. I once heard something to the effect that the only "foolish" question is the one you didn't ask.

I'm glad you brought up "Hawaiian Rainbow". I just got my copy a little while back after hearing it mentioned several times on the forum. (Because of the scenes of Billy Hew Len playing.) It certainly doesn't disappoint does it? Fantastic electrifying "electro-frying"? playing and great close up camera work.

Actually, I just watched it again the other night with my brother and his girlfriend who came up to visit for a few days. Knowing that I like Hawaiian music, she brought an "IZ" documentary for us to watch, and so I got to show her "Hawaiian Rainbow" and turn her on not only to Billy, but many of the other wonderful musicians on the program.

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

Billy was playing his JB Frypan on all the sessions. I mentioned the pedal guitar to him one time and he indicated the pedal mechanism had rusted out due to the sea air. He seemed to prefer the frypan due to its portability and light weight. I never saw him playing the Fender in person at any time. After he passed away, Buddy acquired his frypan. What happened to it after Buddy died, I have no idea...perhaps one of the Hew Len cousins may have it now.
I recall a jam session was about to begin however my guitar was still in our condo. Billy said to my wife, "Let's go and get it !"... So while I was playing r/guitar, Mary and Billy went in his car to fetch my steel ! That's the kind of guy he was.....just super.

As I recall, Billy was Mormon and it was a Mormon friend who made the 'glove' for him. At first, (according to the story I heard), he wouldn't have anything to do with it...more-or-less threw it in the corner in discouragement. However persistant people got him to work with it and the rest became history. Whenever he was amongst people in a social gathering, his left 'hand' was always in his pocket.

Andy Volk · From: Boston, MA

Billy could play sweet Hawaiian or as hot as you'd like complete with octaves, chromatic jazz runs and sophisticated chord subs. His main tuning was A6th but knew and used several more.

Mark van Allen · From: Watkinsville, Ga. USA

In the stories of Billy's career that I heard, it was said he was deeply depressed, as any of us might be, at the loss of his hand. His Doctor and friend apparently really pushed him to work on steel playing and helped with the bar attachment, and eventually he had a nice career, and ability to share so much beauty and creativity. Very inspriring all around. Can't beat a good friend.

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Stop by the Steel Store at: www.markvanallen.com

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

Andy, I recall you transcribed to print a cassette tape which I sent to you of Billy Hew Len instructing an unknown individual in a hotel room in regards to tunings and licks.
Perhaps for those who were not on the Forum a few years ago, this might be an opportune time to post it again ? If not, or if inconvenient, no problem.

Andy Volk · From: Boston, MA

George, that transcription wound up as the main content of the section on Billy in my book, Lap Steel Guitar. I don't know what happened to the cassette tape as it's been about 10 yesrs, but I recall his musical teaching examples were really cool.

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

Hi Andy...

Yah, I recall you were doing a book. I guess I missed out purchasing a copy. Is it still available ? Cost ?

Regards...BTW...I tried your e-mail address on the Forum...(rejected).

[This message was edited by George Keoki Lake on 27 August 2005 at 01:17 PM.]

[This message was edited by George Keoki Lake on 27 August 2005 at 01:18 PM.]

Mitch Drumm · From: Frostbite Falls, hard by Veronica Lake

Here is the transcription of billy speaking as posted on this forum about 5 years ago. I think this is what Keoki is referring to:

The reason why I use A6th … you can play sweet Hawaiian way … or jazz sounds (plays fast octave riff). Because of the tuning Feets Rogers uses (David Feet’s Rogers played a Dmajor tuning) everything’s harder ... not as pretty. Feet Rogers learned from his uncle, Benny Rogers – they play the way they do because of the tuning they use.

I don’t use an E7th tuning; it has a pretty sound but you can also play pretty sounds if you know what you’re doing on certain (other) tunings because at times, where we play, you don’t have time to start tuning all over the place, when you’re on a job. So, you have to be there right away .. I just detune (lower ½ step) only one string.

You want fast action by having melody notes close together (demos very fast diatonic scale riff then plays it very slowly & rhythmically). Ad libs are from low to high ... real fast.

There’s another reason I use A6th … I used to play a C6th a long time ago, but I couldn’t play in the low register in the key of F. The advantages of this for ad libbing is you’re in a lower register in A6th than C6th in F. In C, you don’t have the lower register. As you go higher up the neck, it doesn’t tend to sustain as well in the higher register.

Some guys play way up high … a constant high sound. You want a difference.. Variety of sound - not just one high sound … hi, low & medium.

That’s the trick with Jerry Byrd’s playing – the sustain. In fact he over-sustains where he sounds country. Like a guy that’s singing without wind … singing the words without breathing; Hawaiians never play that way. We play like we sing. Jerry doesn’t play that way he has that volume control – which is pretty, real pretty …”. I play the Hawaiian way.

(Billy explained his use of inversions of Am/C6th as a substitute for F in “Sand”).
That becomes yourself … trying to make it more colorful... ad libbing …instead of playing the straight changes.

Demos playing “Maui Chimes” in A6th by skipping the 4th (F#) string.

For Jazz style on A6th, use all octaves and substitute chords. (He plays an 11th chord arpeggio substitute for the V chord going to the I chord). I discovered this sound a long time ago. Wes Montgomery, he’s the guy that originated this sound. (plays an octave riff) but I played like him 30 years ago. That’s how much my mind was ahead in sound. Plays a swinging version of “My Little Grass Shack” with octaves & chord substitutions.

On other Tunings:

This one here, very few people know about this tuning …

E, C#, A, F#, E, C# , Bb, G

(Plays lots of jazzy riffs) It’s got fantastic 7th chords. (Plays cascades of lush, dominant chords) Isn’t that pretty? It takes time to learn to play … all these kinds of tunings.

Demos chord subs. Flat 5, Flat 9th chords. Slowly plays each note with lots of sustain .You have to pluck your strings and really listen to the harmony that you hear.

You can play diminished chords with this tuning. It’s hard to play diminished chords without pedals. You usually have to play two part harmony. With this you can get diminished chords in part harmony.

Fmai7th tuning: E, C, A, F, E, C

Plays “Sand” as a demo and then plays a very Ukulele-style strum turn-around.

You know the sound that Gabby makes? It’s similar to this.

E6th: E, C#, B, G#, E, D, E, G#?

I heard Alvino Rey play one time. He hit this one chord … I grabbed my guitar and tuned it the same way. I never had an 8-string guitar or a pedal guitar back then. It’s a good tuning for background sounds. If you have two guitars, this is the one you use for playing background … real Hawaiian sound. To play this tuning solo, you would have to really concentrate because the harmonies are not close, they’re wide apart. On one neck you play the solo and when the guys sings, you play big fat beautiful chords on the other. I love this sound. I used to stay up all night, hours and hours, and hours playing. My brothers would want to kill me. Did you know I have nine brothers? Whew! (laughs)

Demos D9th (variation on C6th) E, C, A, F#, E, C#

Changing tunings is a matter of plucking certain strings and knowing the tuning you’re using. D9th … this kid by the name of Merle Kekuku plays this tuning.
I always keep “E” on the top ‘cause I read music … have to have an “E”. to read music. To read music on a different kind of a tuning you’ve gotta know your guitar real well.

People talk about style. I don’t have a style. I don’t know what the hell a style is. I just play Hawaiian style like I want to play it. Maybe sometimes those little tricky things that you do consist of your style. Jerry Byrd has this noticeable thing. (Plays a dead-on Byrd imitation). I play a lot of the single string style. I play Kohala March in the key of D. It should be in the key of E, ‘cause open strings are easier. Maybe that’s my style.

Denny Turner · From: Oahu, Hawaii USA

Mitch,

Don't feel bad at all; Up until now I had thought Billy lost both hands! ...and I should know better if'n I'm gonna mention it (in another discussion thread)!

Aloha,
DT~

John Bechtel · From: Nashville, Tennessee, R.I.P.

I also knew Billy Hew Len while living in Honolulu in ‘79/’80. In fact, the very first night when I arrived, Billy let me sit (stand) in at the LUAU he was playing on the beach at the Outrigger. I played his 8-str. long~scale JB Frypan after retuning to C6! I visited with him many times during the (6)-mo. that I lived there. There is a picture of both him and me playing with the all~girl band from that 1st. night in Honolulu on stage at the LUAU on this Personal Website. Billy was a very friendly person and missed!
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“Big John” Bechtel
’04 SD–10 Black Derby w/3 & 5 & Pad
’65 Re-Issue Fender Twin–Reverb Custom™ 15” Eminence
web site

[This message was edited by John Bechtel on 30 August 2005 at 12:30 AM.]

[This message was edited by John Bechtel on 30 August 2005 at 12:53 AM.]

[This message was edited by John Bechtel on 30 August 2005 at 12:57 AM.]

Andy Volk · From: Boston, MA

My email seems to work just fine, Keoki ... aevolk@comcast.net or avolk@volkmedia.com ...

Here's the info on the book:
http://www.volkmedia.com/book1.htm

We've also reprinted the Joaquin Murphey book. John McGann has those: www.johnmcgann.com. The Forum carries them as well.

PS Yes, that's the original unedited transcript above. I rememeber the mini-firestorm of JB defense posts Billy's comment caused. Let's NOT revisit that one!

[This message was edited by Andy Volk on 30 August 2005 at 05:08 AM.]

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