How has your playing changed over the years?

Jim Phelps · From: Mexico City, Mexico

This question was inspired by Bob Carlucci's thread on quitting steel.

In my as-usual-too-long post (I can't help it, I like details!) I came to the idea that when I was younger, my playing had less taste but more "fire", than now I'm older I have better taste and expression but seem to have lost some of the fire. I can listen to some of the hot players and say, "well heck I can do that" but it seems I don't have the energy or ambition...the music used to inspire it... and there are lots more things from the hot players I just couldn't do anyway, ha.

How about the rest of you? How has your playing evolved over the years?

[This message was edited by Jim Phelps on 16 November 2005 at 07:56 PM.]

Bob Hickish · From: Port Ludlow, Washington, USA, R.I.P.

Jim
We all slow down at older ages , but ! I
think you would feel the fire if you had
a place / audience for your music . I've
heard you playing and if I had your talent
right now , I would be on top of the world .
I got the fire ! I have the out let , but not the
all talent that I want .

keep smiling it will come to your door step .

Bob

Ken Williams · From: Arkansas

Well, I don't think I ever had much "fire" in my playing.

Here are few ways that I've changed.

I'm more interested in C6th than I used to be. The first time I went to St. Louis in 1993, it flung a cravin' on me to learn some C6th stuff.

I don't worry about tuning near as much as I did years ago. I would tune, tune, tune all night long. Odd thing is, when I stopped worrying so much about it, everything started to sound more in tune.

I suppose the same thing could be said about tone. I would twist knobs all night long searching for that elusive tone. Now I just, for the most part, turn the amp on and start playing. I don't mean to sound like I just "settle" for things. It's just that I'm bit more focused on the actually playing as I used to be, when compared to other issues. I mean I used to be so distracted by listening to tuning and tone, that I couldn't fully concentrate on what I was playing.

There are other ways, but I'll save those for another time.

Ken
http://home.ipa.net/~kenwill

Ray Montee · From: Portland, Oregon (deceased)

I seem to have more knowledge now than ever before and yet my playing seems to be getting only worse. I've attempted to perform as a solo artist at several really fine events and have managed to mess them up so badly I'm at that point of hangin' it up.

Ted Solesky · From: Mineral Wells, Texas, USA

In my earlier stages of pickin, I was able to play instrumentals (a lot on the C6th) on the show. And I always tried to listen to what was happening on the recordings that I was listening to at that time. Today, I don't play any instrumentals unless I sub out and play with guys that do the real country. Then I play 'Mansion on the Hill' because I know they can follow it pretty good. My tone is more richer in the last 15 yrs. I believe the newer tech in amps helps contribute to this. And I do strive more to find my own licks (as well as doing the new stuff).

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

The willingness to musically step off the edge in front of an audience,
works in directly inverse to our employment seriousness, which increases with age.

In other words, we all play with more fire when we are younger,
because we are less scared of taking risks.
The food in our kids mouths is not dependant on our minimising clams on stage...

On the other hand the greats of jazz often were those
with such a thorough grounding in theory and physical repetition,
they STILL could walk to the edge
and throw a toe over into the ether,
most any night, even at very advanced ages.

Miles and Diz come to mind. But also Buddy from the shows I've seen.

But that ain't country music is it.

So yes, most of us tend to play what we know,
and rake in what sheckles we can,
and be happy with clean technique,
and a sense of getting it right most every night.

Not so bad a place.
But yeah fire is good if under control.

Me, down under here, still trying to burn down the house, most nights. If I can!

[This message was edited by David L. Donald on 16 November 2005 at 08:02 PM.]

Bob Carlucci · From: Candor, New York, USA

hmm.. Good question Jim... how can I state this???... .. I got it. ... When I was 25 I was pretty good... now at 51 I stink.. The main reason being is I have noticed little to NO improvement during that ENTIRE length of time..bob

John De Maille · From: On a Mountain in Upstate Halcottsville, N.Y.

Jim,
Funny, you should bring this up, because, I'm always reminded of my past playing abilities everytime I start to play. Back in the late 70's and 80's, I played in quite a few country kick'n bands. We played a lot of fast tunes and speed was of the essence. I tried to emulate Doug Jernigan's great speed and of course, Wally "Flying Fingers" Murphy. Never really got there, but, tried like hell. There was no real cause to learn to play slower tunes and make all the "pretty sounding chords" connect together. But, in the last 10 years or so, my speed has dropped dramatically and I have found how to "connect the dots" with the slower tunes. And, I love it !! I wish I'd had learned to put it together earlier. I get so much more feeling now, when I play. I don't know if anyone will understand this or not, but, I feel like the music actually courses through my body when I play a slow tune. This might sound stupid and strange, but, I feel like I'm "one with my steel". I've never had that feeling before, so, I guess things have changed for the best. I still have a lot to learn yet, but, I'm enjoying playing more.

Roger Francis · From: kokomo,Indiana, USA

I think my biggest problem in playing has allways been "being in competion with myself," "that fire" trying to do more hot licks this week than i did last week, and not enough honing of what i know first then moving up a step. Lately i've been trying to disciplin myself to honing what little skills i have and it seems to make me more relaxed while playing, and i think i like myself a little better also. At the age of 54 i know i'll never be what i thout i would be at this age but i thank god i can still get on stage and at least be heard.
Roger

Ray Minich · From: Bradford, Pa. Frozen Tundra

Just to different degrees and stages of "lousy", "poor", "amateurish", and incompetent...but don't tell the fellas I pick with, they think I'm good.

Nic du Toit · From: Milnerton, Cape, South Africa

Al the things said so far sort of sums it up for me. During my earlier years all the fast and furious licks were the flavor of the day. Now, at 58, I've slowed right down and try to make it sound smooth and pretty.
(Maybe that's just an excuse to quit trying the flying fingers stuff.....you got me thinking now!)

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Nic du Toit
1970 Rosewood P/P Emmons D10 Fatback 8x4
Peavey Session 500 unmodfied
CD "Nightmare on Emmons Steel"
CD "Steel Smokin'"
Veruschka's CD "Don't Dream it's Over"
Click here to E-mail us.

Greg Vincent · From: Folsom, CA USA

Ken Williams says:

Pat Burns · From: Branchville, N.J. USA

..like everything else in life...the longer I'm around, the less I know...

Terry Wood · From: Lebanon, MO

I am in agreement with many of you. I too used to fly on the hot fast licks but don't have the speed these days.

However,I believe that I'm a much better player/smarter player, than when I played professionaly a few years back. In fact, I am embarrassed at my early recording efforts with others and now realize I am probably ten times better than those days, when music was my livelihood.

Now that I am a teacher and my livelihood is in another arena, I do still enjoy playing and recording but sure miss playing with the really great sounding players.

Most of all, I miss several of the great steel players of the past: Zane Beck, Julian Tharpe, Curly Chalker, Speedy West, Jimmy Day, Jimmy Crawford, Jerry Byrd, Bob White to mention only a few. That's my two centavos!

GOD bless!

Terry J. "Woody" Wood

George Redmon · From: Muskegon & Detroit Michigan.

Bob Carlucci....i wish my playing sounded as good as yours..i have heard you play...KNOCK IT OFF...now Jim your question....i notice..that i want to play more difficult, complex songs. i enjoy jamming much more then i did years ago. I still love instrumentals. And since i am a guitar player as well. Showing new instrumentals to the band is not a problem. I am not as worried as i was years ago, about making sure every song sounded like the record. And most of all......i have matured, to respect other players more. If they are not as talented as i would like. I use to get frustrated, and just walk off and have a drink. Now i ask if i can help them get the arrangement down. And.....i have more fun at playing, then years ago. It's NOT a job..it's a love! i hope, these things has helped me become a better player, and a nicer person! oh...and i am a big big Jim Phelps Fan......keep picking my good buddy!

Nic du Toit · From: Milnerton, Cape, South Africa

George R,
Amen

Nic

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Nic du Toit
1970 Rosewood P/P Emmons D10 Fatback 8x4
Peavey Session 500 unmodfied
CD "Nightmare on Emmons Steel"
CD "Steel Smokin'"
Veruschka's CD "Don't Dream it's Over"
Click here to E-mail us.

Mike Perlowin · From: Los Angeles CA

I've gotten into playing single string melodic lines the way a lead guitar or a horn would.

Webb Kline · From: Orangeville, PA

I've never been a hot steel player, but I could and still can burn up the piano, B3 and guitar if I want to. But, I have much less desire to prove myself at this juncture of my life. I have become much more aware of how to fit into the production of a song. Tone, I have found takes precedence over speed or technical delivery. On the Hammond, I find myself using the drawbars and speed control on my Leslie to paint my picture with at least as much as the keys themselves. I suppose some of that has to do with my decreasing hearing and my obsession with reuniting myself with frequencies long lost.

My dynamics have improved much from backing off as well. And use of good dynamics has an amazingly residual effect on the other players, too. It inspires--perhaps forces them--to play more dynamically and the end result is that it does wonders for governing the overall stage volume, as well as making the whole production more tasteful.

I have studied the blues greats and have learned a lot from them about the less-is-more style of playing. True, some of those guys don't get it either, but those who do, have the ability to hold their audience spellbound and there is something in their playing that is like a healing balm for my soul.

I have found so much more emotion in my playing by wearing my heart on my sleeve--or finger picks--rather than trying to impress people with a flurry of 32nd notes.

I've lived a big life, have run the gamut of pain and joy, suffering and prosperity, and it all has naturally had a profound effect on my music. Life is a struggle, a challenge, a wrestling match against all that seeks to rob me of hope, and my dogged determination to overcome it all. Why shouldn't that affect my music? All that we are should affect all of our playing because that is the place where true art and and mere semantics divide and go down very different highways.

For me the bigger question to ponder is how have I changed with regards to life itself, and how has my response to all that it presents me with changed--including the effect it has had on my playing? Great topic though.

[This message was edited by Webb Kline on 19 November 2005 at 11:04 AM.]

Drew Howard · From: 48854

I forgot some licks and tunes, but learned new licks and tunes. So it goes...

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Drew Howard - website - Fessenden guitars, 70's Fender Twin, etc.

Barry Blackwood · Posted 19 Nov 2005 5:41 am

Long story short, it's gotten worse ....

Chris Brooks · From: Providence, Rhode Island

What Webb said, in paragraph 5 . . .

Chris

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Carter SD-12 Extended E-9 with 5 & 6; Peavey N 112; Small Stone, Hughes & Kettner Rotosphere.

Webb Kline · From: Orangeville, PA

I wrote my last post too early in the morning to have been that deep. Now I'm wondering if I need psychiatric treatment.

Billy Carr · From: Seminary, Mississippi, USA (deceased)

Well, for me, I like the fast stuff and continuely try to increase my speed picking. That's fine, especially when your playing steel shows with other players that like to do the same thing. But I've found that the majority of people I play for, usually on weekends, don't want to hear all of the fancy fast stuff. They rather listen or dance to a good shuffle or slow instrumental. Bottom line here is, if I'm playing with other pickers then I'll play what they play. If I'm playing to a person that just paid to get in where I'm playing, then I'll try to play something they can understand and relate to.

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

For 50+ yrs. I played what I had to, but; for the past (6)-yrs. I’ve been having to play only what I want to play! I don’t know which is most desireable!

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“Big John” Bechtel
Soon to be: New Burgundy D–10 Derby (w/6 & Cool

’65 Re-Issue Fender Twin–Reverb Custom™ 15” Eminence
web site

Gary Walker · From: Morro Bay, CA

We'd all like to be able to light up the strings like Paul, Tommy and Buddy but most of us will never make the jump to light speed. One thing I've learned over the years, is not what you play but how you play it. One of my favorite heros is the late Curly Chalker who played with more fire than most of will ever be able to play, but he could play some very simple things, but the way he played it, set him apart from the rest of the field.
I may not make Mach l but maybe a dash of soul with help make up for the lack of speed. Now, it's time for filet of soul.

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