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Buddy Emmons and Multichord
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Buddy Emmons and Multichord
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This topic was originally posted in this forum: Wanted To Buy |
| Author | Topic: Buddy Emmons and Multichord |
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Jack Shrader Sr Member Posts: 353 |
posted 04 June 2001 07:13 PM
A friend has a early album of buddy emmons and on the album cover there's a picture of a Harlan Brother's Mutichoard steel and to top it off the picture shows the steel backwards just wonder how many of you all have this album and was Buddy conected with Harlan Bros' and Multichoard at some point in his career Jack |
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Steven Knapper Member Posts: 425 |
posted 04 June 2001 08:30 PM
I got that CD and I noticed that the picture was backwards also. I showed the CD to Blackie Taylor and he told me that Buddy was ****ed about that picture but it was the only one the art people could find or something like that. On my CD, that Multi-Kord is on the back side, the front has Buddy playing something I don't reconize, wearing headphones and a knit watch cap (that looks purple). Same as yours??!!? ------------------ GFI Ultra S10 Keyless |
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Jim Smith Member Posts: 6399 |
posted 04 June 2001 08:40 PM
The album is Steel Guitar Jazz, the first recording that Buddy used his new Emmons on. That's one reason he was so PO'ed over the photo on the cover. The CD contains both Steel Guitar Jazz and Amazing Steel Guitar. I don't recall the album the CD's cover photo is from, but the back of the insert sheet is the photo from the cover of the Black Album. |
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C Dixon Member Posts: 5912 |
posted 04 June 2001 09:16 PM
Are you sure that Buddy recorded Steel Guitar Jazz using an Emmons. I was not aware that Emmons was in business when that recording was made. I could have sworn the album was cut either late 50's or early 60's but before the first Emmons' was built. And it is a multikord on the cover where the negative was reversed. And I have heard the story many times also that Buddy was not at all pleased with that photo. Bud the stuff in the ablum was and is incredible. One must keep in mind that what Buddy Emmons did on that album was just NOT done on a steel guitar back in those days. Only one problem, NObody ever told BE it could not be done, so he went ahead and did it. God bless Buddy and all of you, carl |
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Al Udeen Member Posts: 1164 |
posted 04 June 2001 09:28 PM
I remember this! but lets let Ernie Renn comment, as he knows all the facts! I believe that Buddy used a Sho-Bud on that album? > Al |
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Al Marcus Member Posts: 7471 |
posted 04 June 2001 10:05 PM
Yes , that was "Steel Guitar Jazz" and a great album. That was around 1963 and he did it on a Fender. I used to play some of those pop tunes in 1947 on my Gibson 6 pedal Electra-Harp, but when I heard that album, I said BE is the MASTER and no question about it. Way ahead of his time..........al |
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Bobby Bowman Member Posts: 1271 |
posted 04 June 2001 10:31 PM
I gotta' go with a Sho-Bud as the recorded guitar on that album. I'm pretty sure it was recorded in NYC. I remember a conversation with E about it early on and it seems like he said he had some kind of problem with the guitar. May have been pedal rods or changer rods. To my knowledge, Buddy had nothing to do, business wise or playing wise, with the MultiKord or the Harlan Brothers. BB ------------------ |
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Marco Schouten Member Posts: 920 |
posted 04 June 2001 11:36 PM
I have the double album Steel Guitar Record Club No.5, which contains Steel Guitar Jazz & Four Wheel Drive. There's a large interview with Buddy. quote: "also in 1963 and before I got my first Emmons Guitar, I recorded the 'Steel Guitar Jazz' album" So it was not an Emmons. The Multikord on the sleeve was a picture that waas on file at the record company. "the funny part about it was that my Emmons guitar was just coming out at that time and everybody assumed that this particular guitar was the one I was producing". It doesn't say what guitar he used on Steel Guitar Jazz, Sho-Bud or Fender ????? If anyone is interested I could scan the sleeves, it quit a historic document. ------------------ |
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Ricky Davis Moderator Posts: 6522 |
posted 05 June 2001 02:34 AM
Hey Carl there was some steel guitar being played by Curley Chalker that was from a 1952 unissued Radio Broadcast with Hank Thompson; that was so far beyond anything played on the steel guitar then and now. I still haven't heard anything that can compare to what Curley did on that show(that was finally released in '97) and done on a non-pedal steel of course. He played on tracks 6-18; and if you hear it; your jaw will drop to floor and realize that massive steel guitar was being played by Curley; Bobbe Koeffer; Tommy Morrell; and so on and so on. I respect them all and idolize them all equally and there is more than one guy playing all the good stuff> then and now. Ricky |
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Jack Stoner Sysop Posts: 8119 |
posted 05 June 2001 03:40 AM
I have the album. It is Razor Tie #RE2135-2. It says the Mercury "Steel Guitar Jazz" album, #SR 6084, was recorded 7/22/63 in NYC. Another interesting note on two songs on the album. The original Four Wheel Drive and Blue Wind were recorded 10/5/59, produced by Owen Bradley, with Jimmy Day on Bass. |
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P Gleespen Member Posts: 751 |
posted 05 June 2001 05:40 AM
Hi Ricky, do you know the exact title of that Hank Thompson record? The stuff that Chalker did with Hank back then is jaw-dropping, even today. |
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Steven Knapper Member Posts: 425 |
posted 05 June 2001 06:22 AM
The name on the CD I have is called AMAZING STEEL GUITAR: The Buddy Emmons collection. It includes the entire Steel Guitar Jazz Album (this is on the back of the jewel case with the reverse Multi Kord) plus some other stuff--- there are 16 tracks on this CD. I just looked at the liner notes and there are other songs here from other albums as far as I can tell, I believe Blackie made that comment also---I forget a lot cuz I'm on heavy medication!! Yeah Jack, mine says Razor and Tie also--- ------------------same numbers. Steven GFI Ultra S10 Keyless [This message was edited by Steven Knapper on 05 June 2001 at 06:24 AM.] [This message was edited by Steven Knapper on 05 June 2001 at 06:25 AM.] |
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Joey Ace Sysop Posts: 7232 |
posted 05 June 2001 06:53 AM
You can see the front of the CD at http://www.buddyemmons.com/ASG.htm -j0e- |
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Buddy Emmons Member Posts: 1403 |
posted 05 June 2001 06:55 AM
It was a Sho~Bud with the Duane Eddy album tone, which is a good example of good tone verses bad tone in another thread. It was ideal for Duane's album and pretty damned bad for a jazz sound. The original album was recorded on the Mercury label and the Multichord was a stock picture they had in their files. Another shot of the same guitar was used on Jimmy Day's album on the Phillips label, which was a subsidiary of Mercury. The Mercury company hired a photographer to take pictures of me blowing smoke through my nose in a dark back lit alley, along with other types of "cool jazz" poses, but I guess none of them were cool enough, so they settled for the Multichord. I was unhappy with the cover because word had spread through the grapevine that I had a new guitar coming out. I wouldn't read too much into Carl's statement. He knows as well as anybody that we were all playing around with jazz in that era. I apparently played in a way that Carl likes to hear a steel guitar and he apparently wasn't hearing that from other directions. The major difference in other players of that era was that I was able to take what I was doing to New York City and record it with legitimate jazz musicians. It was a milestone for the steel guitar, but had it turned out the way I would have liked, it still would have been accepted the same way and nothing more would have been accomplished. Jazz is the most exciting music I have ever listened to, but I don't kid myself when it comes to being a jazz player. As much as we've all progressed since I recorded the Steel Guitar Jazz album, not one of us could survive a set with Dizzy, Byrd, Roach, or Coltrane in the late forties. Get a legitimate jazz rhythm section together today, call the tunes, and Shazam, you become jazz steel guitar player. Try sitting in with that same group in their element and you'll find yourself whistling past the graveyard. |
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Jim Smith Member Posts: 6399 |
posted 05 June 2001 07:05 AM
Buddy, you much too humble in your discussion of jazz players. I bet you could keep up with the best of them a whole lot better than they could keep up with you on some Ray Price shuffles.  Are you saying you played a Sho-Bud on "Steel Guitar Jazz"? |
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Buddy Emmons Member Posts: 1403 |
posted 05 June 2001 07:09 AM
Jim, Yes it was a Sho~Bud. I think the cool face on your post would have made a much better album cover.  |
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Dave Van Allen Member Posts: 5369 |
posted 05 June 2001 09:13 AM
quote:emphasis and added quotation marks are mine-dva Buddy, thanks for delineating so concisely the difference between what the "steel guitar camp" thinks is Jazz, compared to what the "Jazz camp" thinks is Jazz... I still think you are too humble in your assesment of your abilities in that regard, but you've been there; I haven't, nor do I expect to.... Your qualifying yourself in a conversation we had a while back as a "general practitioner" as opposed to a "specialist" regarding Jazz is very apt. [This message was edited by Dave Van Allen on 05 June 2001 at 09:14 AM.] |
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Ricky Davis Moderator Posts: 6522 |
posted 05 June 2001 10:23 AM
It's called "Hank Thompson sounds of the Brazos Valley> unissued Radio Broadcasts c1952" Country Routes RFD CD 19 Made in England> Product of Interstated Music LTD I got it at a CD store. So check CD now or where they have a search function and I'm sure you can find it. Good luck and it's killer. Hey Buddy; you diffinately carved many milestones pal. Ricky ------------------ |
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Dan Tyack Member Posts: 3552 |
posted 05 June 2001 11:42 AM
That was a great post, Buddy. I guess we steel players will have to get used to you being merely one of the best musicians ever, rather than one of the best jazz musicians. I talked to Larry Carlton last year and he said something very similar, that he doesn't even consider himself a jazz musician. Now I have heard the guy at the Baked Potato in North Hollywood with a big Gibson jazz guitar in a trio with acoustic bass, and he did a very good impersonation of a jazz player. But he, as you, spent most of his career playing a wide variety of music. To really 'make it' as a jazz figure, you need to make the commitment to play jazz full time, and locate yourself in an area where you can play with the best (e.g. New York). I wonder what would have happened if you had parked yourself in Manhattan in '63 and went the jazz track. The world of jazz would have been richer, but then again the steel world would have missed all those killer country and pop recordings from the last 40 years. |
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Jeff A. Smith Member Posts: 807 |
posted 05 June 2001 04:56 PM
I got that Buddy Emmons collection that has the whole "Steel Guitar Jazz" album and some other stuff about a month and a half ago. Whether it is true jazz or not, it IS astonishing. The work of a joyous, playful genius. After hearing that album, it is in my mind nearly impossible to overate Mr. Emmons. Really one of the greatest musicians to ever walk the earth. May peace be with you, Sir. |
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Mike Cass Member Posts: 546 |
posted 06 June 2001 10:37 AM
Buddy....AMEN to your paragraph about trying to hang with the likes of Diz,Bird,Roach or Coltrane..... A jazzer I know recently made a statement to me that he felt that most steel players(except for E...) trying to play jazz, seemed to be somewhat primitive in their phrasing & ability to play over extended changes......sort of like the difference between Benny Goodman swing vs Miles Davis boppin'......I knew a great sax player back in Minneapolis by the name of Eddie Berger.I took a few , what you might call lessons from him,mainly consisting of him comping on a piano while I laboriously attempted to phrase over his changes.......me : Totally LOST !!! Though as time progressed, it seemed to help some, the best I was able to muster up was a few bop quotes in whatever western swing tunes my band played at our gigs.After suffering thru my poor attempts at soloing during my lessons,Eddie suggested that if I really wanted to bop, I might consider losing the E9 neck & changing radio stations Though I dearly love playing REAL Country music, 30 some years later , Im not so sure I chose the right path. Someones ability to play legit jazz inspires in me the same awe that i have for Tiger Woods.Perhaps its egotistical of me to aspire to a level such as that in my playing, but as someone who shall remain nameless has shown me,all it takes is time, practice, committment & the willingness to risk the Ego in the face of learning thru mistakes. This same person also told me that my so called "mistakes" would eventually lead me to my own style of musical expression. Im still waiting...... |
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Frank Estes Member Posts: 2451 |
posted 06 June 2001 10:56 AM
I know nothing of live jazz settings, but I find it hard to believe that "Jazz by Jernigan" would be an example of "primitive jazz phrasing." Doug can play those tunes live, BTW! [This message was edited by Frank Estes on 06 June 2001 at 11:00 AM.] |
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LowellG Member Posts: 86 |
posted 06 June 2001 02:59 PM
"Jazz by Jernigan" is all I listen to these days. I talked to him after the Steel Jam in Jessup, MD and he gave me the "I'm not a jazz player" speech. I don't get it. It reminds me of talking to folks from my high school class. No one ever thinks they were in the "in" crowd. I think if you play jazz, you are a jazz player. Buddy's jazz album is beautiful jazz, no question. |
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Jack Stoner Sysop Posts: 8119 |
posted 06 June 2001 03:17 PM
Buddy is too modest. His ability, with whatever music style, is superb - hell he even picks good.  However, my opinion has always been "if you want to be a country musician" or a "jazz musician" or whatever you have to specialize in that style and get totally immersed in the particular style of music. Licks and phrasing are particularly important in whatever style and some are night and day different. There have been many outstanding musicians that have or are venturing into other types music other than the one they are most recognized in but it still takes specialization. I played bass in a New Orleans style dixieland band for a little over a year. The last month was the only one I really felt comfortable with and the point the light finally came on with that style. Now, if they would have only played in something other than Bb and Eb |
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Cal Sharp Member Posts: 731 |
posted 06 June 2001 07:51 PM
Buddy & Mike are right on top of this topic. Learn the head and the changes to a few jazz tunes, pass out charts to whatever band you're playing with and go for it. You might start to think you're a jazz player. But try sitting in somewhere like the Blue Note in NYC on jam night and you'll find yourself in a whole new world. Like a young Charlie Parker did when he tried sitting in in a joint in Kansas City and the drummer (Jo Jones?) threw a cymbal across the stage. C# |
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Al Marcus Member Posts: 7471 |
posted 06 June 2001 09:50 PM
I see that I was wrong about the Fender. My reliable source was incorrect. I think Buddy and Reece are two great jazz steel players. And BE is absolutely right in saying get with the Jazz guys if you want to play real Jazz. For big bands I used to listen to Count Basie, Duke Ellington and Stan Kenton. I think a lot of good ideas for the 6th neck can be picked up from all these jazz guys. Thank you Mr. Emmons for your valuable input. The three top Pedal Steel players in my book, are Buddy Emmons, Curly Chalker, and Maurice Anderson. These guys can play anything, plus they all play Jazz......al |
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Mike Cass Member Posts: 546 |
posted 07 June 2001 06:07 AM
In the words of Richard Nixon.."Let me make one thing perfectly clear", the statement I posted earlier was my friends opinion, not necessarily mine .I too love Doug,Curly & Maurices playing, not to mention Jim Loessberg, Dave Easley & Susan Alcorn.The point my well versed friend was trying to make was exactly what Jack Stoner posted just above....theres more to anyting than just changes....& C# is right on about Bird's being gonged of the stage of the Reno Club,imho;Like another pal of mine is fond of saying..."if you cant run with the big dogs, you better stay on the porch".. .After posting yesterday, I had a conversation with another who has posted above...this topic came up & I expressed my opinion that based on what Ive heard him play; live,with tracks & on records,I felt the legit jazz vibe in is playing.His comment to me was "well, sometimes you dig around in a pigpen & come up with a nickel" His point I believe, was that those who have dug for years are more apt to have a consistent jingle in their pockets, or something to that effect .I know of no other type of music that arouses so much controversy as jazz does.The ability & feel are so elusive....more spiritual than anything else, seems like...again just imho .... time for me to shut up & practice . |
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Buddy Emmons Member Posts: 1403 |
posted 07 June 2001 06:15 AM
Mike, The expression was, "Every once in a while you find a nickle in a pig track."  |
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C Dixon Member Posts: 5912 |
posted 07 June 2001 07:00 AM
I know of ONLY one thing that tops Buddy's unmatched playing talent. And that is his modesty. Which is just one more reason why sooo many of his fans love him. carl |
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Frank Estes Member Posts: 2451 |
posted 07 June 2001 07:40 AM
Hey Mike Cass, My post was not directed toward you. I knew you were quoting a friend. Perhaps you should buy your friend a copy of "Jazz by Jernigan" and see what he says! It really does not matter whether or not Buddy, Doug, Hal, Paul, Reece, etc could keep up in a "pure" jazz setting. My belief is that they could at least be respectable. I love what they have done and are doing with steel guitar in that genre. It really makes no difference if the "jazz heads" turn their nose up at steel guitar jazz players. Steel guitar jazz playing is great stuff to my ears. At the same time, I appreciate the desire to show the proper respect for the genre. As for specializing, keep in mind that Doug considers jazz his hobby. As he says, the E9 is the "Kroger" neck and C6 will get you to St. Louis. I would expect that most, if not all of Doug's woodshedding is jazz. So, I think it has become his specialty. I remember Buddy posting that he may retire to playing in a jazz club. Wouldn't that be something--being able to go to Nashville every week and hear Buddy stretch out! |
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Mike Cass Member Posts: 546 |
posted 07 June 2001 09:15 PM
Buddy,,,,thanx for the clarification, you are one funny hombre Hey Frank....yep, I know where I would spend my nights |
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Kenny Dail Member Posts: 2583 |
posted 09 June 2001 11:14 AM
Me??? I'm still working on G, C, and sometimes D. My primary pedals are A, B, and sometimes C with Knee lever lowering Es to Eb. Closest thing to jazz is turning on BE and Doug.  LOL.------------------ |
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mickd Member Posts: 852 |
posted 09 June 2001 04:33 PM
I'm no jazz player, but it seems to me that there must be an order of magnitude difference between playing a horn or a sax or a clarinet and playing a steel. On the wind instruments, you get one note at at time - no matter how good you are. On a steel you can also do the one note stuff - but there are so many ways to get those single notes plus you can get chords of various sizes if you want - the level of potential complexity is just so much higher. Wouldn't a steel jazz player have to be in a different league to single note instrument players just to stay with them ? |
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