When we speak of the great Hawaiian players, BH must surely be included in that circle.

I am currently listening to "South Sea Island Magic" on the Volume II - Live at the Castaways CD. It is difficult to type...music of this sort cannot be listened to passively.

In a way, it is a travesty to describe artists in terms of other artists... so I will apologize for doing so here... but I am having difficulty describing just how great this stuff is without establishing a frame of reference. Basil is
...the throbbing chords of Billy Hew Len...
...the crying melodies of David Keli'i (listen to the single-note solo on South Sea Island Magic! WOW!!!)...
...the gorgeous tone and harmonic complexity of Jules Ah See...
And I'm serious about that South Sea Island Magic number...they talk about the stuff that makes old Hawaiians cry...

I should also add that Basil Henriques is a notch above with respect to the fact that he has the awesome versatility that many Hawaiian players never had. When he plays country-western, he plays country-western...he doesn't sound like a Hawaiian player trying to play country-western. Likewise, when he plays Hawaiian, he plays Hawaiian...he doesn't sound like a country western player trying to play Hawaiian. And his jazzy renditions of songs from the "Great American Songbook" are simply wonderful. Some guys can get great tone out of their steel, but tasteful notes and phrasing are hard to come by. A lot of Hawaiian players let the structure of the tuning dictate what they played...Basil easily breaks away from this. These Castaways albums hit the spot.

This is just plain GREAT MUSIC.

Well, I suppose a kid should not be engaging in so much critique of a veteran steeler...so I'll end it here and just say that these albums of the Waikiki Islanders have gotten me considerably excited.

Please don't dismiss this music because it involves some pedals and hip rhythms. Here's the website: www.waikiki-islanders.com

The one thing I am left wishing for is that Basil had come to Hawai'i years ago...steel guitar in the islands would be so much better off!

[This message was edited by Jeff Au Hoy on 16 December 2002 at 06:39 AM.]

Then along came the "Forum" and my interest in Hawaiian music was re-kindled.The waikiki Islanders "Live" albums would never have seen the light of day if it wasn't for my re-birth to the music.
The recordings have been circulating for the past 35 years within a small group of Hawaiian music enthusiasts ... mainly the BMG Tape club.
I spent about a month transfering the material from the original tapes and processing them........ it was a "Labour of Love" and Pat and I are very proud of the finished project.
At this time we are colecting and processing the BBC recordings made by us between 1960 & 1969.

Personally I am overwhelmed by the comments, BUT , the recognition of my efforts has made me feel more that a little guilty that I did not play any Hawaiian style from 1970 to 2000. A lifetimes worth of loving the music but only a quarter of that spent playing it .....unforgivable, this I am now trying to rectify.

Pat and I and the Waikiki Islanders now play around the U.K. at conventions and gatherings wherever the Hawaiian Guitar can be found ...... We have even started a magazine over here (Aloha Dream) for lovers of "Hawaiiana" , after all , there are MANY people in the U.K. who visit Hawaii every year and love the music of the Islands.

It was our intention to visit Hawaii for the HSGA convention next April , but it's becoming less and less likely as time marches on , Although Hawaii (our Dream) looks unlikely , the Aloha International Convention in Winchester has become a distinct possibility.
Pat made many friends when she went there in 1994. She told me how "SO FRIENDLY" they were , and weighing up this and the cost of the trip to Hawaii from the U.K., I think that our preference will be for Winchester next year.

You may read the page "Basil Bio" http://www.waikiki-islanders.com/html/basil_bio.html

It tells some of the story that I've missed.

Again I would Like to personally thank Jeff Au Hoy, the forum and it's members for the renewed incentive I've been graciously given.

The above posts have been a most MEMORABLE Christmas present.
Mahalo Nui
Basil Henriques

On another note . It was my re-kindled interest in the Hawaiian Guitar that led to Pat and I getting together again after 30 years.
Just imagine ..... a 40 year old marriage with a gap of thirty years in the middle !!

[This message was edited by basilh on 15 December 2002 at 06:56 PM.]

Don't diss the HSGA claiming that the entire organization has musical blinders on.

Anyone who has ever attended a Joliet convention will attest to the fact that all types of steel guitar music are represented and respected. Yes, the majority of the music is Hawaiian, but there is also a healthy showing of Country, Western Swing and Jazz Standards.

Just ask your friend Bobby Ingano about the late night jam sessions and the variety of music played.

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Gerald Ross
'Northwest Ann Arbor, Michigan's King Of The Hawaiian Steel Guitar'

Gerald's Fingerstyle Guitar Website

I edited the post.

Admittedly, I have been a wretched little sourpuss about it. I guess I've just read too much frightening literature.

[This message was edited by Jeff Au Hoy on 16 December 2002 at 06:37 AM.]

This discussion WAS about me. not the HSGA
BUT if you want to go down that route then so be it.
MANY of the UK visitors to the HSGA conventions in Hawaii have been either insulted or ignored by your beloved DIRECTOR EMERITUS Jerry Byrd, and I'm not inclined to put myself in the same position.

A close personal friend had just paid over $30 for a lei only to have it squashed by Mr. Byrd and to be told she was wearing it wrong.... she had it that way before her dance just for convenience.

Another aspiring Steel guitarist was asked By the same man "How do you tune that , I mean DO you tune that?"
I could go on but firstly I have no need to , (those who know, know and those who don't , don't.)
and secondly it seems to me that your references to

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Anyone who has ever attended a Joliet convention will attest to the fact that all types of steel guitar music are represented and respected

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quote:

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"The number of musicians who played the Hawaiian steel guitar dwindled over the years until 30 years ago, when a gentleman named Jerry Byrd took it upon himself to share his knowledge of the instrument with aspiring musicians in Hawaii."

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As for as Jeff "Dissing" the HSGA I personally think he trod rather lightly , probably because of the preponderance of JB disciples on the "Forum"
Regardless, Mele Kalikimaka Aikane,
Pakile (Basil) Henriques
(a paid up member of the HGSA)

[This message was edited by basilh on 16 December 2002 at 06:55 AM.]

I always regret doing this but here I go again (sigh). Re JB, I hear what you're saying, Bas. I have tremendous respect for JB and all he's done for the instrument however I resent the JB cultists who will not entertain the least bit of inteligent or fair crticism of either his music or his personal behavior. Superior musicianship is indeed his legacy, however I've heard too much from too many sources not to know that tact isn't.

Lastly, I was active in the HSGA about 10 years ago but have followed their progress off and on since. Like any other community, HSGA has its bigots as well as its fair share of open-minded folks. It's patently unfair to condem the whole group for the opinions of a few.

[This message was edited by Andy Volk on 16 December 2002 at 04:26 PM.]

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I for one dispute the fact that [Jerry Byrd] and [Jerry Byrd] alone kept the Hawaiian steel guitar alive and re-introduced it to the "Natives"
No way, that would be insulting the memory of far too many great players Like Billy Hew Len, Jules Ah See, Barney Isaacs Jr, Ernest Tavares(Duke Kamoku I think)and so many more,there is no doubt that JB's and the HSGA claim is ludicrous.

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I'll have to go with him on that one. And I want to thank him for saying it, because as an islander myself, I doubt my saying it would carry even a fraction of the same weight. You know... that whole philosopher thing about testifying on behalf of oneself...or something. As a newbie, my saying such things would only be construed as jealousy or arrogance.
(I think I did hint at it in an earlier topic...and boy was I cudgeled for that one!)

And Andy, did you have to "diss" Perry Como? Why don't you bash something like Rock N Roll or Reggae? They deserve it, obviously. I mean, they killed Hawaiian music for crying out loud.

I can see it now...Charlton Heston, the last non-pedal Hawaiian steel player on earth... shakin' his fist at all those "rock 'n roll types"...D-mn yooou to hell!!!

'Getting carried away, sorry.

[This message was edited by Jeff Au Hoy on 17 December 2002 at 12:14 PM.]

That being said, I've got to follow up on one of Andy's comments -- I've only been participating in the SGF for six months, but I'm continually amazed by the vehemence of discussions about Jerry Byrd.

So based on what I've read on the Forum, I've assembled a profile of Mr. Byrd: arrogant but humble; generous but selfish; rude but polite; kind but heartless; a great teacher but a terrible teacher.

It would seem that Jerry Byrd is many things to many people. One's impressions of him are driven by one's interactions with him. He has good traits and bad traits, and very few people either see, perceive and/or acknowledge both.

I think there is an expression that describes people like Jerry Byrd. It's "only human."

Bas, I know on St. Patrick's Day everybody (I'll bet even Jeff) claims they're part Irish, but you're not only the real thing, but a man of the world. Hats off to you, my friend.

Al the Redneck (who is part Irish, Welsh, Dutch, French, one-eighth Cherokee Indian, I've heard some black, and my great uncle, who is not blood-related, is a full-blooded Mexican who's lived with my hillbilly relatives in Kentucky since the 40's -- does that count for anything? Is this even a concern for this particular post?)

[This message was edited by Al Terhune on 18 December 2002 at 08:24 PM.]

I Play for the love of it, not the praise, but the recent comments surely do make it all worthwile.
Thanks a million for liking my work, that's all I do it for.
Baz

Firstly lets be plainly clear about my opinion of his playing, I think that he is probably the best living technician on the non pedal steel guitar and I would NEVER attempt to say that he is a bad player or teacher.
I would willingly applaud anyone who defends THOSE facts, but, I do not appreciate personal e-mails accusing me of bias.It's just my own personal view.

The plain truth is that I prefer Don Helms when it comes to that western style that verges on Hawaiian (which is where I also hear J.B.'s sitting most comfortably)

I have NEVER been afraid to state my opinion about anything.. and never will.
I won't be intimidated by e-mails that are much more defamatory in their content than what I am accused of.

If I continue to get these type of closet communications I will reply to them on the "Forum" posting ALL in full.

I really don't need to explain who I like or dislike as either players or people, but If asked, I won't shy away from the question. That's just me.

I have not met Jerry Byrd but from my friends who have,I am sad to say that he appears to be a very petty and bitter person. He seems threatened by any good musician, and feels the need to cut down other players and forms of music...even in his old age. It is tragic.
I worry that this kind of thinking has filtered through the HSGA as many members are great fans of his.

Too many players just hear what the steel guitar is playing and don't "Read between the lines" of what's going on all around it.
I find with Jerry's style that he leaves no space for the track to "Breath" nothing is intimated it's all "in your face"

One more thing regard J.B's style .... I don't hear any "Fire" in his style, it's all smooth all the way, volume pedal all the way with NO expression in the way of dynamics.
I don't think ANY of the Hawaiians lacked the elements of expression ,dynamics, and flair, especially with regard to improvisation.
This is where J.B. gains some of his deciples, he expounds the theory of "Non Burlesque" in my world that means, dodge the hard bits.

Improvisation requires that the player be a "composer" as well as just playing the melody. Something I have never heard J.B. do with any conviction.

Not for one moment do I doubt that J.B. is unique, but I prefer the uniqueness of Ken Ufton, Norman Fletcher, Eddie Kirkman, Bud Tutmarc, Kay Koster, Rudy Wairata, Leneord T. Zinn, Sol Hoopii, Andy Iona, Jules Ah See, Billy Hew Len, Barney Isaacs Jr. and MANY more, I could even tolerate Duke Ching if it wasn't for his gross dislike of the pedal steel.(but that's fuel for another fire)
Baz
www.waikiki-islanders.com/html/basil_bio.html

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Steel players do it without fretting

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http://www.waikiki-islanders.pwp.blueyonder.co.uk

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