------------------
My Site - Instruction | Doug's Free Tab | Steels and Accessories

[This message was edited by Doug Beaumier on 07 December 2002 at 10:22 PM.]

Walter Johnson was an early influence on "sacred steel" pioneer Willie Eason (b. 1921). Here's an excerpt from an interview with Willie:

"He was playing at a church. Don't forget I wasn't nothin' but a kid. I had to be like about 14 or 15 years old, about 14 years old. He'd come over the broadcast with the Reverend F. D. Edwards in Philadelphia, in South Philadelphia on Reed Street. He had an old saying, you'd hear him on the radio, 'We've got the devil on the run!' Yeah, that's it. 'We got the devil on the run.' That was F. D. Edwards', that was one of his main things that he'd use, that phrase. And the service be going so good and it's way up in the air, he'd come on and he'd say, 'We got the devil on the run here!' That's right. And Walter Johnson would play 'Nothing Between [My Soul and My Saviour]' and 'There's Not a Friend Like the Lonely Jesus.' No, not one. No, not one. I started playing that because I had a steel guitar once too [metal National reso], before I went into this electric Hawaiian stuff."

Interview copyright 2002 by W. C. Eason and R. L. Stone.

I was thrilled to see this flyer on eBay. Prior to its appearance I had only Willie's anectotal info on Johnson. Look for a repro of this flyer in my forthcoming book for University of Illinois Press (2004?).

By the way, I am also looking for documentation on Willie's older brother, electric lap steeler Troman Eason's group. He is said to have fronted a 3 or 4-piece group ca 1940. There are vague recollections of flyers, etc. He was sometimes billed as "Professor Troman Eason." No one recalls any name for the group. They alledgedly played both sacred and secular music.

Of course, more on Johnson would be nice too.

Thanks again for the lead Doug!! Keep 'em coming fellers and gals.

BTW, anyone intersted in Sacred Steel should pick up the current issue of Guitar One magazine (Jan. 03). There is a 5 page article on SS featuring historical info on Willie Eason, The Campbell Bros, and Robert Randolph, plus some cool photos.

------------------
My Site - Instruction | Doug's Free Tab | Steels and Accessories

According to Willie Eason, Walter Johnson played much like Blind Willie Johnson: rhythmic bass with the thumb and voice-like leads played mostly on the top one or two strings. Willie recalls that Walter Johnson did not sing, but played only instrumental music.

You are right about the bar grip, Keoki. The photo would indicate that Johnson played more in a primitive African-American style--much like "bottleneck"--as compared to a smoother, more technically accomplished Hawaiian manner. That jibes with Willie's recollections of Johnson's playing.

Then again, have you ever seen acoustic reso flatpicker Tut Taylor's bar grip? He does a pretty good job of keeping the rattles out with a similar grip on a Stevens bar. It's amazing what you can do when you don't know any better.

Thanks again everyone for your support and kind words. The journey continues...

Best regards,

quote:

---

Johnson played more in a primitive African-American style

---

Just curious... How does one define "primitive"?

also...

quote:

---

It's amazing what you can do when you don't know any better.

---

Pardon me for saying... but is that not falling into some sort of elitist trap?

[This message was edited by Jeff Au Hoy on 17 December 2002 at 11:10 AM.]

My use of the word "primitive" in this case was to denote someone who has developed his or her musical skills and repertoire more naturally and informally as opposed to someone who has trained hard with an emphasis on technique and maybe even theory. Referring to an artist as a "primitive" in no way diminishes their artistry. Blind Willie Johnson was an excellent artist, so was Sol Hoopii.

As a folklorist, I'd be the last person to take an elitist viewpoint of musicians and music. Some of the most passionate music I have ever heard (and played) has only a two-chord structure. In fact, I've heard some incredible music with no chord changes.

As for unorthodox technique, it looks like you missed my point which is: "correct" technique is not for everyone and many of the greatest artists have some "incorrect" techniques which work just fine for them. Tut Taylor is recognized as a master Dobro picker and holds the bar "wrong." How "correctly" could Django Reinhart play with two good fingers? Super picker Robert Randolph plays a 13-string pedal steel with a Stevens bar--"wrong" gain.

Best,

Too bad about the price, but I'm glad it went to someone who recognized its value.