REECE'S sound/tone

Richard Gonzales · From: Davidson, NC USA

I have listened to the new CD's recorded by Mike Perlowin of Reece's past recordings 3 times now. I beleive I could distinguish Reece's sound/tone from 100 other pros. What is your opinion?

I hear a velvet touch due to his setup or picking technique, very little or no vibrato with perfect intonation,lots of glissando on slower songs filled with grace notes. Sometimes he even gets a sound of the xylophone and guitar.

In my opinion he takes the the pedal steel to another level in his jazz improvision as he surely plays with soul!

Mike had a great idea and did an outstanding
job in recording reece's past songs. I really do enjoy these recent releases which are available from the Forum!

[This message was edited by Richard Gonzales on 01 July 2005 at 12:30 PM.]

[This message was edited by Richard Gonzales on 01 July 2005 at 12:31 PM.]

[This message was edited by Richard Gonzales on 01 July 2005 at 12:32 PM.]

Bill Hatcher · From: Atlanta Ga. USA

He plays the steel guitar like a jazz musician instead of like a steel guitar player playing jazz.

Big tone also. Nice phrasing.

Bob Kagy · From: Lafayette, CO USA

Richard, I sure agree with you.

As I recall in an e-mail exchange with him years ago he said he plays different amps at different times (somebody correct me if that's off target). But that really impressed me because his tone and touch are fantastic. And his improv lines are so good.

BK

Bill Cunningham · From: Atlanta, Ga. USA

IMO, the use of three finger picks and the chord timbre they provide are a distinctive part of Reece's sound.

I don't believe it is possible to get the clean separation of the notes in four note chords (that are a distinct part of his style) with two finger picks and thumb.

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"Gimme a steel guitar, 2 or 3 fiddles and a Texas rhythm section that can swing"..R. Pennington

David L. Donald · From: Koh Samui Island, Thailand

Also his tuning allows him to have a much different harmonic structure than most other players.

Bobby Lee · From: Cloverdale, California, USA

There are a few unusual things in Reece's Bb6th Universal. In an effort to better understand it, I transposed it up a step to C, and then half a step to B. Here's the C chart first:

      LKL  LKV  LKR   P1  P2  P3  P4  P5  P6  P7  P8  RKL RKR


1  E                                      +F +F#


2  A       -Ab           +Bb


3  G                             +G# -F#


4  E                                     -Eb          +F  -D


5  C  -B              +D      -B              +D


6  A       -Ab           +Bb                  +B           +


7  G           -F#/F             -F# -F#


8  E                          -D         -Eb          +F


9  C                  +D      -B                 +C#


10 A       -Ab           +Bb  -G


11 F                                 +F#         -E


12 D                                     +Eb     -A

You can see some standard C6th changes on LKL and pedals 5 through 8.

Now here's the B chart:

      LKL  LKV  LKR   P1  P2  P3  P4  P5  P6  P7  P8  RKL RKR


1  D#                                     +E  +F


2  G#      -G             +A


3  F#                             +G  -F


4  D#                                     -D          +E  -C#


5  B  -A#             +C#     -A#             +C#


6  G#      -G             +A                  +A#          +


7  F#          -F/E               -F  -F


8  D#                         -C#         -D          +E


9  B                  +C#     -A#                 +C


10 G#      -G             +A  -F#


11 E                                  +F          -D#


12 C#                                     +D      -G#

RKL shifts the tuning into something similar to E9th. Pedals 1 and 2 are our familiar stomping ground, but there's no C pedal or F lever!

Much of the tuning is pure Reece, though. Pedals 3 and 4, for example, are unlike anything I've ever seen on anyone else's guitar.

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Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6)

[This message was edited by Bobby Lee on 02 July 2005 at 11:29 AM.]

David L. Donald · From: Koh Samui Island, Thailand

Bobby, thanks for all the great work here.

Could you put this on David Wrights copedent too?
I played David's steel and was amazed by the power and never gopt to comparing it to Reece's, for the differences. On extra vertical at least.

I was thinking the 3rd pedal might be a bit like Jimmy Crawford's 4th pedal on C6... but then again.

Al Marcus · From: Cedar Springs,MI USA (deceased)

On that 3rd pedal of Reece's. Yes it is rather rare. He used to just pull the sting 5 and 8 , with 4 picks, he got the chord effect he wanted.

I suggeted he also pull the 9 and 10th string to get the full strummable complete chord for my guitar. That's the way I wanted it on my MSA D12 that I ordered. Otherwise I had him put his complete tuning on it.

I like to strum like Alvino Rey used to do.

Reece with those 4 picks is a master at selecting all the proper strings and strong notes.
Later I saw he added those 2 extra pulls, which in B would give him a full
F#7-9 all the way.
I always felt that Reece was way ahead of his time. Just a fine musician and a real gentleman.....al

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My Website..... www.cmedic.net/~almarcus/

Ron Randall · From: Dallas, Texas, USA

That 3rd pedal and RKR give you a huge 5 chord at the 1 chord position.
I often use the 3rd pedal at the 4 chord position, which yields a big 1 chord. Let off the 3rd and you have an instant 4 chord, move up two frets and you have a 5 chord. I call that 3rd pedal the "Reece pedal".

Yea, RKL gives you a big E9 chord on strings 2-11. From there, sqeeze pedals 1 and 2 for a country-fried 4 chord.

I am very lucky to have him as my teacher.
Hello Al. We must have posted at the same time.

Ron

[This message was edited by Ron Randall on 02 July 2005 at 09:29 PM.]

Jimmy Douglas · From: Raceview, Queensland, Australia

I agree with Bill Hatcher.

Three of my favourites examples are the tone Reece got on Big D Spree which to my ears has a way cool hot "buzzy" sting!, Secret Love on Steel and Brass which IMHumbleO is dynamite arranging and playing! and his version of My Romance which was on steelradio.com.....very svelte.

I would love to know what amp and guitar combos he used on those cuts.

Surely Reece must be one of the most versatile steel guitarists and I have always secretly hoped he would record an album of extended blowing jazz improvisation!

PS: that green and black two tone guitar has got to be one of the coolest looking steels ever!

Mike Perlowin · From: Los Angeles CA

I thnk that Reece is such a distinctive stylist that anybody who is familiar with his work can instantly identify him.

But the naterial on the CDs was recorded over a 10 year period, and some of it was done on a Mica guitar that may have been made out of die board or some other laminate, and some was done on a maple/lacquer guitar. The 2 guitars sound different and I think I can tell which selections were done on which.

Of the two, I personally prefer the second volume. I think it is one of the best steel guitar CDs ever made, and I'm proud to have been involved in it's production.

Dale Granstrom · From: Wilsonville, Or USA

I've always thought that Reese must have listened alot to Johnny Smith, a jazz guitar player of the '50,s and '60,s. Their chords and single note runs are much alike.

D.G.

Bill Cunningham · From: Atlanta, Ga. USA

I think I remember David Wright showing me how pedal three is used in some of Reece's "Ode To Billie Joe" progression.
Or I could be totally out to lunch (as usual)

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"Gimme a steel guitar, 2 or 3 fiddles and a Texas rhythm section that can swing"..R. Pennington

Mike Perlowin · From: Los Angeles CA

David Wright · From: Pilot Point ,Tx USA.

Hi Bill!!!!... by the way how was lunch!!?? when Maurice recorded ..Billy Joe.. that pedal was not created yet...

Don't be fooled by some of the same changes that Maurices uses that are on C 6th... Maurices "sound" is in his grips he uses in playing cords...and let me tell you ... they are some pretty wide and hard grips to learn... but ... it is those grips that give him the voice~ings that makes up the Maurice Anderson Sound....I have spent 35 years studying with Maurice..and every time I study with him.. I learn two things..
1. something new and exciting
2. How much I don't know about playing steel guitar!!!!!!..
Maurice is one of the "true" masters of steel... guitar.........

Al Marcus · From: Cedar Springs,MI USA (deceased)

David-You got it right.....al

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My Website..... www.cmedic.net/~almarcus/

Bob Kagy · From: Lafayette, CO USA

b0b,

Much thanks for posting the tuning in those 2 transpositions.

I'm wondering (without malice) . . . what the approach would be to tuning a copedent with so many possibilities.

If I had a guitar with that setup, I'd probably play it safe to begin with and go ET. But playing it and sorting that out could take a lifetime. Looks fascinating.

BK

Bobby Lee · From: Cloverdale, California, USA

I obviously can't speak for Reece, but the fact that he has a compensator pull on his RKR leads me to believe that he probably tunes beatless or close to it.

bob drawbaugh · From: scottsboro, al. usa

Bob, I think you are correct. One of the first things Reece told me at are first lesson was to tune the beats out. So, I do.....

Reece Anderson · From: Keller Texas USA, R.I.P.

Richard G....Thank you for the thread and the kind and flattering comments.

Bill H....Interesting analogy and one I had never thought about. Thank you.

Bob K....Yes, I do use different amps from time to time. I currently have a Stereo Steel amp, two different model Evans and two different model Peavey amps. Each provides me a freshness from time to time which I truly enjoy.

Bill C....It's not possible to play a seperated 4 note chord simultaneously with only three picks. My not having the advantantage of the 4 note spreads would seriously inhibit my entire approach to playing.

David D....I believe the structure to which you are eluding comes partly from the 4 pick spread.

You will find that David Wright and I use the same tuning with the exception that he has 2 vertical knee levers and I prefer one. I'm not comfortable with the added space between regular knee levers on the same leg when having two vertical knee levers, but those who have heard him play know the added distance sure doesn't restrict him in any way.

Bobby L....Thank you for going to the time and trouble of transposing and providing my tuning.

Al M....My friend, you know my tuning and history of setup better than I do. Thank you for the kind words.

Ron R....And I'm fortunate to have great students like yourself.

Jimmy D....Thank you for your comments. I agree with you in that the arrangement on my Steel with Brass CD of "Secret Love" is absolutely stunning. I had absolutely nothing to do with it, it was done by Frank Mantooth who has since passed away.

You might be interested in knowing there is now a project being seriously considered that I will be featured on which will have jazz improvisations the likes of which I have never before done.

I still have the two tone green guitar, but I retired it a couple years ago when I got my new Millennium.

Mike P....Thank you for your words and your patience and persistence comncerning my releasing the two CD's.

Dale G....You are right. Johnny Smith was one of my biggest influences along with Barney Kessel, Joe Pass, Tal Farlow, Howard Roberts, George Van Eps, and George Bensen.

Bill C....David is "wright", I had not yet installed those pulls when I recorded "Ode To Billy Joe".

David W....and we never sit down together than I don't learn something from you as well.

Bob K....Interesting analogy, but to my way of thinking my setup is no more bewildering that looking at a keyboard.

Bobby D....Sure looking forward to the pleasure of having you and Brenda here again.

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Very interesting. Thanks b0b. I actually have Reece's pedal 3 on my guitar (pedal Cool

, but without the top C to B change. I'm sure I don't use it the same way as Reece though.

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Carter D10 9p/10k, NV400

Jody Carver · From: KNIGHT OF FENDER TWEED

I dont know what "grips" Reece uses, but I sure would like to see that master get a grip on a Steel Guitar HOF Plaque.

Bill Simmons · From: Keller, Texas/Birmingham, AL, R.I.P.

He is an incredible musician who totally 'understands' what and why he plays those incredible notes!! Reese is also one of the all-time greatest musicians (regardless of the instrument)who is high on most favorite players. I trust he is voted into the 'Steel Guitar Hall of Fame'very soon. Thanks for all the inspiration and great music!

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