Cluttered steel playing opposed to non-cluttered

Les Anderson · From: The Great White North

I have long been a fan of the steel guitar and I am finally learning to play one myself. For a long time as well, I have mulled over why I like one steel player over another; even though their talents are/were more or less equal.

This past week end I spent a lot of time listening to Steelradio.com and to several steeler’s CDs that I have. I soon came to realize just what it was that draws me more to some players than to others. “It’s their non-cluttered style of playing”. That is to say, sticking to the piece being played and not adding in several, in some cases, far too many, rifts and runs that do not really fit into the tune or melody being played.

Buddy Emmons, Leonard Zinn and Jerry Byrd play very clean steel but one of my favourites by far is Billy Cooper. I feel that he brings out what the steel guitar actually sounds like and gives it a very clean and crystal clear voice with all the emotions that a steel guitar can produce.

Is there a specific reason why some players tend to throw in far too many fancy bar slides and finger pickings that, many times, takes away from the piece being played? Is this the way the steel guitar playing is moving or, is it becoming an insider’s competition of who can play the most difficult licks and styles?

As I said, I am well into the process of learning to play the steel but would like to know what style of playing is more acceptable to fellow steelers and what sort of responses they get from their audiences.

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(I am not right all of the time but I sure like to think I am!)

Chris Forbes · From: Beltsville, MD, USA

Billy Cooper's playing just oooooooooooozes taste and tone. I absolutely love it when I stop by his shop and he picks a little for me. His gospel album is a fantastic example of the "uncluttered" style you're talking about. This in no way means that he can't burn up the neck either, I've seen him do it and it's a wonder to behold.

Roy Ayres · From: Riverview, Florida, USA, R.I.P.

Les,

It is my opinion that as a player of any instrument advances in his or her knowledge and mastery of the instrument, playing simple melodies seems to the player to fall short of the full potential of the instrument and the player. I think that playing simple melody lines without embellishments of some kind can actually become boring to a highly accomplished musician. It's like, "Gee, there's a whole note so I have time to throw in that little sixteenth-note riff I just worked up." To me, it doesn't matter whether the steel piece I am listening to is simple or complex; I like it both ways. However, when I hear someone playing the melody only without throwing in a little something to make it interesting, then I expect the song to be played smoothly and with a tasteful rtone and style.

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Rick Schmidt · From: Prescott AZ, USA

I agree...Less is More Les! (only slight pun intended

)

Having said that, it's also true that one person's Lawrence Welk is another person's Frank Zappa. All of us have different tastes and listening needs. One thing that the greats seem to know for certain is that it's vital to make every note count. Every note should serve the song not the player.

Ray Minich · From: Bradford, Pa. Frozen Tundra

It's the subtle little minors and augmenteds that catch my ear. Big E's and Jimmy Day's work with Ray Price come to mind. The passing chords aren't overwhelming, they just kinda sneak up on you.

Jeff Lampert · From: queens, new york city

Tony Prior · From: Charlotte NC

I guess this topic is like the ages..

years back..probably mid 70's I attended my first Jeff Newman seminar..

here's what he said at the end...

"Now that you have learned how to play..now learn when NOT to play"...

God Bless Jeff Newman..

t

Les Anderson · From: The Great White North

Don’t get me wrong with this thread. I am a long time musician, though not via a steel guitar. I know about “flare”, “signatures” “colour” and all the other jargon. I also know when and how a musician can break the back of the material he/she is playing.

Let’s put it another way. When someone is reading a beautiful love story from a novel or a magazine your emotions tend to slide into a well written story and become almost part of that story. You can see and almost feel, in your mind of course, the characters and get emotionally wrapped up with the characters and the body of the story. However, that can be broken if all of a sudden, the narrator hits on a paragraph full of words that just do not fit in with the rest of the story. The emotional mood of the story has been broken. The smooth blending of the story that hooked you to begin with has been broken by a bunch of words that moved outside blending and mood of the story. Music is no different.

The steel guitar has a very unique sound that can hook into a person’s emotions like few other instruments. The steel guitar is a mood instrument that can pull emotions out of a person like few other instruments. This is the scenario that I am getting at when I use the term. [u]”Cluttered”[/u].

I agree whole heartedly that a person who plays within a safety zone, soon dies of boredom even with his own music. There are ways however to move well outside of that safety zone and give your playing colour or flare without moving outside the of piece and breaking the mood of the piece you are playing.

I may not be hitting on whatever it is I am trying to convey but I am trying.

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(I am not right all of the time but I sure like to think I am!)

[This message was edited by Les Anderson on 21 January 2005 at 02:22 PM.]

Chuck Cusimano · From: Weatherford, Texas, USA

I have worked with a LOT of steel players, and I have noticed that the BEST ones knew when to lay their bars down.

I've worked with some that while I'm filling on Guitar, they are "Tingling" the strings. This (To me) adds NOISE to the song. It would be better musicaly, if he would play some actual rythem, or a swell, some backup chords, but not arpegio style.

However, the same is true in the case of EVERY lead instrument on stage. I used to do it (on guitar) without knowing when I first started working in bands. Finally, Billy Poteet, A STEEL PLAYER, told me how distracting it was to him. I appreciated the information, and will always credit him for any success I've achieved as a guitar player.

I wholeheartedly agree, LESS IS MORE.

As far as a Steel player (or any musician)being bored, I look at it this way. Play the gig right, keep your job, and pay your bills..There is uaually a jam session going on somewhere, and if not, ORGINIZE ONE!
The reward for being a team player is in the form of a paycheck.

I will also add: The band leader should ALWAYS have at least one song per show, where the musicians are allowed to STRUTT THEIR STUFF. In other words, play the songs that keep you working, whether it be dance tunes, or a concert situation, but pull out something and feature the band, because without them buster, you'd be doing a single!

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Like Rick, I think it depends on the song...and also on the audience! Some songs sound better with a lot of fill, and others don't. You have to feel what's going on in the song, and with the crowd, and know when to lay out, or when to let it all hang out.

If I had to make a choice between serving the song, and pleasing the crowd, I'd probably go with pleasing the crowd. Believe it or not, sometimes the player (and not the song) is where the largest part of the entertainment value lies. An extemporaneous diversion from the standard words and melody of a banal song can sometimes be a Godsend.

I know!

(I've played "Achy Breaky Heart" 4 times in the same night.)

Jerry Tillman · From: Florida

Donny,if thats true what you said about playing ache breake heart 4 times in the same night,I don,t think you should be allowed to post here any more. LS

Tracy Sheehan · From: Fort Worth, Texas, USA

It is almost imposible to play smooth steel in a club now days.I know many steel players my self included who over played most of the time.I will only go up to a certian volume and thats it.I think we play too many licks trying to be heard over the drummer,guitar player and 14 monitors on the band stand.I played with some nice guys a while back and have to admit i felt like a beginer.I should have turned down the gig because i do not listen to what passes for music now days but suppose you have to keep up on it to work.I had no idea what was being played most of the time either as i had a monitor stuck almost right in my face and a guitar player with a very loud fuzz tome and i was sitting almost right in front of the bass amp.Hate to sound so crabby,but welcome to the new world of music. :0

Tony Prior · From: Charlotte NC

It's not only the Steel players fault..if the band is not Steel Guitar "Aware" then the avoidence of clutter will never happen.

My bandmates told me last night that when I first joined the band ( early 2004) the original drummer didn't want no Steel Guitar as it made the Band too Country ( theres that song again dang it ) he wanted me out..very emphatic..Considering this band covers AJ, George Strait, Ricky Skaggs, Merle, Waylon, Jedd Hughes, Vince , Brad etc..he was pretty much not well connected..

Well here it is Jan 2005..he has not been around for about 6 months..not by his choice...I'm guessing they wanted the Steel...

Cluttered playing can happen on a moments notice ..to avoid it requires more than 1 player..and several LESS ego's...

We have at our disposal several great artists that feature Steel, either prominant or not..
A ton can be learned and applied just by playing what they play, and where they play..

Listening to the tunes that feature Loyd, Paul , Mike Johnson etc..can be an entire learning excersise all by itself and you don't even need to be sitting behind the Steel..but you do need to be patient and disciplined...and if you play in a band that plays these tunes..they need to know all this stuff too...

happy Saturday

t

[This message was edited by Tony Prior on 22 January 2005 at 06:54 AM.]

Darvin Willhoite · From: Roxton, Tx. USA

Yep, Jimmy Day was a master of "uncluttered steel". Years ago at ISGC there was someone playing on stage that was tearing it up, playing every lick he knew at warp speed. Jimmy was out in the audience, and told someone next to him, "I wish I could play like that, but then I wouldn't".

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Darvin Willhoite
Riva Ridge Recording

T. C. Furlong · From: Lake County, Illinois, USA

While I really enjoy listening to Joaquin Murphy and other complex players I think I get more out of a great player with huge rich tone, playing a simple melody with an "inside out" twist thrown in every now and then. It's kind of the best of both worlds.

Speaking of keeping it simple, my wife plays bass and sings. She gets called to play bass with some pretty heavyweight jazz players when they get a country type gig. She plays a very simple bass style and never strays from one, five and simple walking bass lines. They always say how much they enjoy her playing because they rarely get to play with such a wonderfully simple, solid bass player. I find it interesting that even the most accomplished jazz players truly enjoy the opportunity to play uncluttered music with an uncluttered rhythm section.

Jack Byrd · From: Kalamazoo, Michigan

I have in the past asked Jerry this same question. He answered it in several ways. As advice to other players he is known to have said "figure out what your are going to play and then cut it in half". He also told me too many players try to see how many notes they can play in a bar and I try to play the least number. He has said many times "keep it simple".

Susan Alcorn · From: Baltimore, MD, USA

I think that, especially when playing in a group, it is important to respect the song itself, and within that the lyrics, the form, the history, the other musicians' sensibilities, and, most importantly, the space. If you want your steel guitar to sing, then glide along, tickle, and play the "space". Oh yes, and forget about what other people might think of you or your playing.

[This message was edited by Susan Alcorn on 22 January 2005 at 09:42 AM.]

David Mason · From: Cambridge, MD, USA

I draw a mental line between licks and melodies. The honed-up ability to execute a certain kind of lick should be used in service of a melodic idea, and not vice-versa. Easier said than done.

Kevin Hatton · From: Buffalo, N.Y.

Rule #1 in steel playing. Unless its an instrumental, if your playing more than 50% of the time you are overplaying. The steel is a complimentary lead instrument, not a rythm instrument.

[This message was edited by Kevin Hatton on 22 January 2005 at 09:55 PM.]

Ron Elliott · From: Madison, Tennessee, USA

If a player plays everything he knows in one song, chances are you're gonna hear the same thing again and again,..IMHO. Ron

[This message was edited by Ron Elliott on 22 January 2005 at 12:30 PM.]

Les Anderson · From: The Great White North

I guess the next logical question that begs to be asked after reading the posts above, "is there an insider's competition going on here to see who can get the most out of their steel or who can out do whom"?

Many years ago I had the tremendous honour of playing with the late Pearl Bailey's band at two of her concerts, one in Toronto and the other in Detroit. Playing with some of the legends she had in her band was a daunting challenge to say the least.

During the first band run through the day before her concert in Detroit I had this terrible need to prove to these guys that I could bring out all my chromatics had and pushed them and myself to the limits of what I could do and, that I was not that far below them; if not equal in talent. The guys in the band, being typical musicians, jumped in and let loose themselves with some wild and on the fringe rifts, runs, and all else. “However,” and this is the operative word, once we got down to business of practicing the show tunes, Don, Grats, the band’s leader, quickly brought me back to earth when he abruptly informed me that this was not a competition and that “what” we were playing was the star, not what "I" could do with the piece.

In short, are steel players involved in a personal competition to outdo or to keep up with one another?

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(I am not right all of the time but I sure like to think I am!)

[This message was edited by Les Anderson on 22 January 2005 at 01:48 PM.]

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Terry Edwards · From: Florida... livin' on spongecake...

One word.

Balance.

Terry

Jerry Tillman · From: Florida

Donnie,I like the stinky feet version of ache breakee heart.I feel I should admit that I was in a dinner club band once and had to play after the lovin at least five or more times a night,6 nights a week.I think I should ban myself from posting. ls

Webb Kline · From: Orangeville, PA

I find that if I consciously think-hold back on the throttle-while playing, that I can really capture the tastefullness of taking the less-is-more approach. It gives me a sense of command of the instrument and help to keep me relaxed. And when the opportunity to cut loose comes, it is much easier for me to execute those burning passages with a greater degree of finesse than when I simply take a no-holds-barred approach.

This, of course, probably makes no sense to anyone but me.

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