Where Did Jerry Byrd's Country Sound Come From?

Jeff Au Hoy · From: Honolulu, Hawai'i

Okay, first off, I'm NOT trying to ruffle any feathers here.

Just my observation... JB plays different on country records than he does on Hawaiian.

I think most of us will agree that he was initially inspired by Hawaiian players yet developed his own style, his signature sound.

He could have applied a single JB sound to both genres, but there is a notable difference, even in earlier (pre-1960) recordings.

I'm speaking of course before the advent of pedals, which further influenced JB's sound.

For the Hawaiian stuff it's evident that he leaned more towards the sound of the old Hawaiian players.

But what about country? Where did the non pedal country sound come from? Was that his progressive side? Was Jerry's country sound a Hawaiian sound modified/influenced by country singing styles? Did Jerry develop the country steel sound from the ground up?

Jesse Pearson · From: San Diego , CA

Jeff, I love JB's country sound. I think he might have started out by mapping out the E major blues scale and went from there. I see a lot of his voicings in that scale. Since there was a lot of horn bands that were swinging in his early years, I would think he would be influenced by that. Popular Western Swing, Jump Blues, any country artist that moved him. He was record copying from the get go it's sounds like when you consider how he wore out the Dick McIntire records.

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

I have some pop stuffby Jerry and he sounds a little different there also. He changes for what the music dictates but never loses his identity. CC

George Manno · From: chicago

The sound that I always liked was when Jerry did those "two Guitars" radio shows with Chet Atkins. He never was over-powering, but he could cut through all of Chets chops if he had to. I believe he tuned to an open E for those sessions.
George

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

When I got into the steel in the mid 40s,and listened to country music, it sounded like every steel player in Nashville tried to play like JB

Ray Montee · From: Portland, Oregon (deceased)

For years, Jerry Byrd was criticized by many in the country music scene, for "being tooooo Hawaiian".

Anyone that's been listening to the records posted on the Jerry Byrd Fan Club Site, can fairly easily see how JB's "sound" developed from his early use of C#min back in the late 1930's and thence into C6th tuning as he moved ahead into the realm of Ernest Tubb's early recordings. His "back-up" became more fully developed into an art-form, as did his intro's.

IMHO much of what we hear from those olden day recordings has as much to do with the "sound" the guitar and amp combination was delivering to Jerry......as his style which was still under tremendous development.

As he reminds, play from your heart; make it fit with what you hear. Made sense to me. One can see a tremendous improvement by listening to the WJR Radio stuff out of Detroit.......... What "growth"......

I'm not pretending to be any kind of authority on the subject and want not to create any kind of hostile feelings among you posters.

Bill Leff · From: Santa Cruz, CA, USA

Watch it Ray...

Jim Bates · From: Alvin, Texas, USA

I was always told that I had to think Hawaiian and concentrate on the sound, otherwise I would just sound like a 'hillbilly' trying to play a country tune with a Hawaiian name.

I was with a variety group in the Houston area for 13 years, and we did a lot of Luaus with the floor show, etc. Somehow when you got all dressed up in your Hawaiian costumes, it just sorta came naturally.

Jerry's 'country' sound was not much different than a lot of steel players then, except maybe some of his 3-string slants.

Today, 50 years later his style is more remembered.

Thanx,
Jim

Mike Neer · From: NJ

I just think that's what good session musicians do (and did)--they play what's appropriate for the song or style, and understand the subtle nuances that differentiates styles.

There are definitely exceptions--those whose inimitable styles add to a recording, such as Joaquin Murphey and Mark Knopfler.

I think the radio was the vehicle for Jerry learning all the styles. It's unfortunate that the radio is so devoid of variety on any one station these days.

[This message was edited by Mike Neer on 02 March 2006 at 06:01 PM.]

Jeff Au Hoy · From: Honolulu, Hawai'i

I just think it's interesting that Jerry played what he did. What was "appropriate" for the music back in those days? It could've gone in any direction. No electric steel players really came before him in country music(?).

I'm working with other musicians my age who are interested in incorporating steel into (*gulp*) reggae music. Although my heart's in swing, I'm excited about the project. It's really made me think about what style of steel I should apply to the music. Unlike hula music, there aren't any David Keli'is or Billy Hew Lens to guide my way.

Andy Volk · From: Boston, MA

Jeff, are you familiar with Ernest Ranglin? Check out his guitar work over reggae grooves.

Todd Weger · From: Safety Harbor, FLAUSA

Jesse Pearson · From: San Diego , CA

JB's country sound came from listening to country and hawaiian music and learning to play his instrument. JB wrote stuff out in tab and experimented, researched and analyzed everything. He invented a new tuning and new chord grips/voicing’s that helped him innovate. He developed his sound through intense passion, heart and dedication. He record copied so much he wore records out and he asked "what if"?

I think this post is more about how to develop a personal sound of your own. Sometimes it has already happened and you’re the last one to know it. Take reggae style for instance, how would you approach it on steel? I would study bubble style keyboards and progressions for starters. I would also look into Reggae bands that use horns and copy that onto steel. I would learn how to play authentic reggae bass. In the end, it's that boom chuck, syncopation around the heartbeat thang. It would be kind of interesting to hear someone incorporate those long continuance gliss lines of hawaiian onto the choppy/syncopated style of reggae. I can’t recall ever hearing that done before or can I hear it in my head at the moment.

Dave Clark · From: Tennessee, USA

Jeff - I think that Jerry developed his style "from the ground up", using his experience from the hundreds of sessions he played.
We have to remember that the country singers recording in the 40's, 50's, and 60's all had their own style. As soon as you heard the first two notes, you knew the name of the artist. Many people credit Jerry's playing with Hank Williams - at the beginning of Hank's career - helped launch the "Hank Sound". Some of this early recording was done in Cincinnati. No doubt he helped many others develop their own style, and a mixture of many different styles came through as the Jerry Byrd style - country and Hawaiian.
Jerry Byrd was the true master of steel guitar with 70 plus years of study, playing, and teaching.

Dave

Ray Montee · From: Portland, Oregon (deceased)

A couple of months ago, the Jerry Byrd Fan Club featured one of Jerry's very first radio broadcast-instrumentals......about 1939. It was bare bones steel guitar; no Jerry Byrd "style"......and in C#min. tuning.
A couple of weeks later, we featured still another early day recording with Pete Cassel, from about 1939-1940. Again, the steel guitar sounds were indeed Jerry Byrd but in now way was the "sound" THE Jerry Byrd we have all come to know and love.
As outlined on the pages of the Jerry Byrd Fan Club web site, Jerry's "style" really developed between these two early presentations and when he joined the Ernest Tubb contingent. Jerry's instrumental work from the days of WJR in Detroit seem to be the turning point in Jerry's DEVELOPMENT. One suce tune is now being featured on the JBFC site. Reproduction sound is not the best but it was captured off the air before they had tape recorders in every house-hold.
After that, Jerry Byrd rose to the heights of "style" as his back-up work and solo's became ever so much more remarkable. His Danny Kuuana album is thought by many to be some of his best "music" ever.
In just ten years, 1939-1949, Jerry became a recognizeable steel guitar giant!

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