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Post new topic Alvino Rey, St Louis Blues
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Author Topic:  Alvino Rey, St Louis Blues
chas smith R.I.P.


From:
Encino, CA, USA
Post  Posted 19 Nov 2008 3:41 pm    
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Want to see some technique? Alvino plays, around 1:20 in:

http://uk.youtube.com/watch?v=ywOuZnvbGqM&feature=related
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Steve Cunningham


From:
Atlanta, GA
Post  Posted 19 Nov 2008 4:13 pm    
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Holy smoke!!!
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Bill Hatcher

 

From:
Atlanta Ga. USA
Post  Posted 19 Nov 2008 7:20 pm    
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Steve Cunningham wrote:
Holy smoke!!!


You left off "Batman".
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Todd Clinesmith


From:
Lone Rock Free State Oregon
Post  Posted 19 Nov 2008 8:33 pm    
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That's it right there.....
I need to learn more about Alvino, what a master of the instrument.
There's Nothing quite like steel and a small amp cranked up......
Note the Charlie Christian pups !
Thanks Chas
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Doug Beaumier


From:
Northampton, MA
Post  Posted 19 Nov 2008 9:15 pm    
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Fantastic. What an innovator! It's a shame that so many of Alvino's techniques (bar slams, boo-wah tone control, harmonics, hammer-ons, pull-offs) have almost become "lost art" in today's steel guitar world.
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George Keoki Lake


From:
Edmonton, AB., Canada
Post  Posted 19 Nov 2008 10:47 pm    
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I agree with Doug...it is indeed, a LOST ART. Just dig those harmonics which he produced so easily. A lot of steel players didn't like his tone, but I loved it. You need only hear a few notes to realize it was Alvino Rey ! I suspect the guitar he is playing was a pedal job as he pioneered pedals with Gibson back around 1940. In the event he wasn't using pedals, does anyone have a clue regarding the tuning he used ?
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Doug Beaumier


From:
Northampton, MA
Post  Posted 20 Nov 2008 9:37 am    
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Alvino's pedal steel tuning was E6 ---> Click

As far as non-pedal steel... I think he played mostly E7 tuning. His 1930's lap steel instruction book was written for E7, I believe. Alvino was an early innovator with pedal steel and Gibson Co. He is often referred to as "the father of pedal steel guitar"... and rightly so! Winking
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chas smith R.I.P.


From:
Encino, CA, USA
Post  Posted 20 Nov 2008 10:23 am    
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I don't think he got as much credit, for being an innovator, as he deserved. I'm also struck by how effortless he makes it appear.

I got his autograph on a couple guitars:


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Mike Neer


From:
NJ
Post  Posted 20 Nov 2008 10:56 am    
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Wow! A veritable "who's who" of steel guitar names on that Alkire: Ralph Mooney, Joaquin, Jerry Byrd, Tom Morrell, Alvino Rey, Herb Remington, Pee Wee Whitewing, Bob White, Buddy Charleton, Speedy West, Little Roy, Jimmy Day, John Ely, Margie Mays, Maurice Anderson....wow.
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chas smith R.I.P.


From:
Encino, CA, USA
Post  Posted 20 Nov 2008 11:09 am    
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The Pantheon



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Doug Beaumier


From:
Northampton, MA
Post  Posted 20 Nov 2008 4:54 pm    
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What an incredible collection of autographs!
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chas smith R.I.P.


From:
Encino, CA, USA
Post  Posted 20 Nov 2008 6:26 pm    
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Doug and Mike, thank you. One of the joys and advantages of this instrument has been its relative youth, the innovators were accessible and I got to meet my heroes. Not very many people get to do that? There was a moment, at one of the Conventions, where I was standing with Bud Issacs, Ralph Mooney, Speedy West and Leonard Zinn and listening to them reminisce about living in LA, back in the '40s and '50s. It was very impressive.
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Gerard Ventura

 

From:
Texas, USA
Post  Posted 20 Nov 2008 10:52 pm    
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Did he use a volume pedal? I'm under the impression a lot of the early stuff, including western swing, was done without it...?
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