| T O P I C R E V I E W |
| Konabob |
Posted - 03/08/2010 : 6:01:38 PM
Shirley and I were in Honolulu a few months ago, and went to Hale Kalani with the hope of hearing some steel guitar music at sunset. No steel guitar...
Until last month, the Kona Airport hired a trio that included a steel guitar. I just found out that the airport has canceled that gig too.
At least 5 times in the last few months, I have finished playing a gig and have had couples (mostly in their 70's or 80's) come up to me to talk. Invariably, they say to me; "You are the only person playing the steel guitar that we have heard on our whole trip to Hawaii." This is often followed by one of the following:
1) When we were married, years ago, we heard steel guitars everywhere on our honeymoon.
2) We expected to hear steel guitars every night.
3) What happened? Where have all the steel guitar players gone?
I get this mixed feeling. Of course I am glad to be playing the steel guitar, and happy that they enjoy what I am playing. But it's kind of weird to be part of a dying species.
What is it about the steel guitar that prevents more people from taking it up?
-Inquiring minds want to know.
-KB
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| 15 L A T E S T R E P L I E S (Newest First) |
| Kona |
Posted - 03/22/2010 : 9:45:38 PM
Since you are on a subject of interest to me, you might be interested in correspondence that I had with two of the Waikiki Hotels and their responses in June, 2009. I wrote to other hotels but the message was the same.
I addressed what for many of us is a growing concern with respect to Hawaiian Steel Guitar in Hawaiian Hotels – I appealed to two well known hotels - the Halekulani and the Moana Surfrider - about the situation.
The following is my e-mail appeal with the responses from the hotels. Read and comment. Mahalo nui.
The was posted originally at the Steel Guitar Forum, June 2009.
MY E-MAIL TO THE HALEKULANI
My wife and I started coming regularly to Hawaii in 1985 and have come every other year since 1985. Every visit to Hawaii always included coming to the Halekulani because of its tradition of classic Hawaiian music featuring the Hawaiian Steel guitar. Most evenings on our vacations, we came to the Halekulani primarily because we heard traditional Hawaiian music with the steel guitar, which reminded us of the days when we heard the Hawaii Calls radio program. For tourists, Hawaiian music has always been associated with the sound of the Hawaiian steel guitar and classic hula dancing.
On our last visit to Hawaii in April and May, 2009, we embarked on our normal pattern of coming to the Halekulani. However, we discovered that the Halekulani had made a decision which affected us.
The first evening we strolled to the House Without A Key to listen to the Hawaiian steel guitar with hula dancing only to find a group playing without the Hawaiian steel guitar. We began to inquire only to hear further bad news that the Halekulani was giving up on keeping the tradition of Hawaiian music going with the Hawaiian steel guitar. We heard a couple of reasons for that decision - the economy and an entertainment agency was now making the decisions about providing entertainment leaving out the steel guitar. This seemed implausible to us.
We would like you to reconsider what you are doing with regard to the tradition of the Hawaiian music which featured the Hawaiian steel guitar and classic hula dancing that helped establish the Halekulani as a place of tradition. It seems that the history of Hawaiian music with steel guitar is either not understood or is completely being disregarded. Where this seems to be heading, if not changed, is not good for you or good for us as tourists.
Aloha,
Don and Joan XXXXX
An Email Response from Gerald Glennon
General Manager-Halekulani
2199 Kalia Road
Honolulu, Hawaii 96815
Phone: (808) 923-2311
Direct: (808) 931-5001
Website: http://www.Halekulani.com
Dear Mr. XXXXXX:
Thank you for taking the time to write regarding your impressions of the entertainment specifically at House Without A Key at Halekulani. I appreciate knowing how you feel about our musical offering. As you are well aware; music, hula, Hawaiian entertainment and culture have been celebrated at this location for going on 100 years. When guests and patrons alike consider where to spend an evening of song and music on the beach in Waikiki, they think of House With A Key.
Over the many years we have provided this entertainment, steel guitar has often been a part of the repertoire. Of late, for whatever reason, proper steel performers have been difficult to schedule. This has nothing to do with the economy or the fact that we have chosen to work with one of the foremost talent representatives on Oahu. It is also not a deliberate effort on our part to eliminate the steel guitar.
That said, I have shared your comments with our Director of Food & Beverage who approves the entertainment at Halekulani as well as our talent representative. We are looking into opportunities relative to this. At such time as we can work this aspect of Hawaiian music into our performances, we are happy to do so.
Again, I appreciate your e-mail. I will certainly review opportunities in this regard.
MY EMAIL TO ERIK BERGER OF THE MOANA SURFRIDER
My wife and I first came to Hawaii in 1975 and stayed in the Moana Surfrider Hotel. We fell in love with the Hawaiian music which featured the Hawaiian steel guitar as it was played at the Moana Banyan Tree Courtyard. In 1985 after an interval of ten years, we started coming to Hawaii every other year primarily for the relaxation and to hear live Hawaiian music with steel guitar. Every visit to the Islands always included coming to the Moana because of its tradition of classic Hawaiian music featuring the Hawaiian Steel guitar. During the last few years we have noticed a trend at the Moana of not featuring Hawaiian music with the Hawaiian steel guitar.
On our last visit to Hawaii in April and May, 2009, we embarked on our normal pattern of coming to the Moana to hear traditional Hawaiian music. We discovered that the management of the Moana had made a decision which would greatly affect us. The bad news was that the Moana had now engaged an Entertainment Agency as a booking agent which would discontinue the long tradition of Hawaiian music featuring the Hawaiian steel guitar. .
We would like you to reconsider what you are doing with regard to the tradition of the Hawaiian music which featured the Hawaiian steel guitar and classic hula dancing that helped establish the Moana as a place for traditional Hawaiian music. It seems that the history of Hawaiian music with steel guitar is either not understood or is completely being disregarded. Where this seems to be heading, if not changed, is not good for you or good for us as tourists.
Aloha,
Don and Joan XXXXXX
Response from Brian Hunnings, Director of Outlets Moana Surfrider, A Westin Resort & Spa, Waikiki Beach
2365 Kalakaua Avenue
Honolulu, Hawaii 96815
Tel 808.923.2817 fax 808.237.2508 mobile 808.284.8433
Aloha Mr. XXXXX and mahalo for the e-mail. It is encouraging to me to see such passion and devotion for the Hawaiian steel guitar. I could not agree with you more that in today’s world it is harder and harder to find good Hawaiian steel entertainers. Sadly there are not many that can compare to the greats of yesteryear like Sol Hoopii, Jerry Byrd or the Kila Brothers. Your email is unfortunately true, the Moana Surfrider, for over a decade actually, has not had a regularly featured Hawaiian steel guitarist, but that was not for lack of trying. The existing pool of talented steel guitarists available here on Oahu who are not under contract to other hotels or traveling on cruise ships is slim to almost none. The good ones (Pa’ahana, Po’okela and the Island Serenades) all have multi-year contracts with hotels and if we could steal them away we would in a heart beat. In the interim we are forced to feature the occasional guest artist from the mainland or neighbor islands to bring that true Hawaii feel to the Moana. I apologize that during your recent visit we did not have a Hawaiian steel guitarist performing with our ukulele, bass and guitar player. The Moana Surfrider is one of the few hotels here in Oahu that still features traditional Hawaiian music and hula nightly, seven days a week from 6 p.m. to 8 p.m. with “drop in” artists from neighbor isles. It is a testament to the Moana’s commitment to our host culture that these entertainers still “drop in” and perform for our guests. We are ever grateful that they love and cherish and wish to perpetuate the tradition of the Moana as being a home to Hawaiian music. Perpetuating and nurturing the culture and history of these cherished islands we are lucky to call home is of utmost importance to all of us who work at the Moana Surfrider. We view ourselves as stewards to preserving what makes these islands unique and ensuring it is here for generations of children to come.
On a side note, I have to say that I enjoy reading your posts on the Hawaiian Steel Guitar Associations Website (www.hsga.org) and perhaps on your next visit to Honolulu for the 2011 Biennial Convention here on our Island of Oahu, I will get a chance to meet you in person and hopefully by then we will have secured a full time steel guitarist. I will keep you posted of our search efforts. I wish you the warmest aloha and please do not hesitate to contact me.
Malama pono, a hui hou!
My Appeal to You: I believe some assistance from those of you reading this would bear some weight on this situation. Would you mind helping by contacting or corresponding with the following hotels. I plan to contact all of the hotels. The contact person should be the general manager for the hotel. The following information is from a post by Ron Whitfield.
Here's the address/info for -
The Halekulani - 2199 Kalia Rd., Honolulu, HI 96815 Ph. # 808-923-2311 gerald.glennon @ halekulani.com
Moana-Surfrider - 2365 Kalakaua Ave., Honolulu, HI 96815 Ph. # - 808-922-3111 erik.berger @ westin.com
Royal Hawaiian - 2259 Kalakaua Ave., Honolulu, HI 96815 Ph. # 808-923-7311
Hilton Hawaiian Village - 2003 Kalia Rd., Honolulu, HI 96815 Ph. # 888-875-4535
Ron says, “Anyone involved with steel guitar should be jumping on this bandwagon every way possible to get the word in their faces that this worsening situation is completely unacceptable.”
Do you have any advice? What are your thoughts?
Aloha,
Kona
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| slipry1 |
Posted - 03/16/2010 : 08:53:02 AM
quote:
Originally posted by Julie H
I believe it is easier to sing and play when your instrument if fretted. After all, you get tactical feedback from a guitar or ukulele because you are holding it and you know where your fingers are in relationship to the frets and the length of the neck, etc.
When you have an unfretted instrument on your lap, at least as a novice, you must look down to see where you are with that bar. Maybe with time and playing the same instrument for years, you will develop a tactical relationship. But for now, that is outside of my grasp.
Julie
True enough. I find that, after 35 years steeling, that I can look up a lot more than earlier, and I' left handed, so I have more dexterity (hmm... dexter means right in Latin???!!!) in my bar hand than most, but I need to look when I'm moving to a new "pocket" on the steel. I also have several steels, not of the same scale length, so moving without looking is not as simple as if I played one steel consistantly, but no boddah me. I'm having fun doing what I do. Now what do I mean by "pocket". That's a Buddy Emmons term about the fret and adjoinging frets wher you can play and harmonize a melody. On a non-pedal steel, the most prominant pockets are where the I and V chords are. For instance, in a C tuning, playing in G they are the second (D) and fifth (G) frets, and so on up the neck. |
| Julie H |
Posted - 03/15/2010 : 6:39:43 PM
I believe it is easier to sing and play when your instrument if fretted. After all, you get tactical feedback from a guitar or ukulele because you are holding it and you know where your fingers are in relationship to the frets and the length of the neck, etc.
When you have an unfretted instrument on your lap, at least as a novice, you must look down to see where you are with that bar. Maybe with time and playing the same instrument for years, you will develop a tactical relationship. But for now, that is outside of my grasp.
Julie |
| Volcano |
Posted - 03/15/2010 : 5:53:07 PM
Hi Bill, I don't know if we ever met or not. I played for Robert Hazard for the last 5 years he was alive. We did AC a bit and were always treated extremely well all the way down to guys to haul our gear. I also played at the Borgata with Alligator Zydeco some years ago and that was in one of the lounges and we still got treated well. Maybe it's a sideman sensibility, but I always considered myself one of the help and never minded being treated as such. Just make sure you pay me.
I spend a lot of my time on the Big Island now but I'll be in Philly from April 1 until June 14. Let me know where you're playing and I'll try to get out to see you. |
| thumbstruck |
Posted - 03/15/2010 : 2:00:18 PM
There are 2 types of gigs: 1) They treat you like friends /family and 2) they treat you like furniture. Some clubs we've played at bring out the staff for a round of applause before the gig. Some look at the help like dirt. I've learned to bring a bottle of water and a few energy bars and cookies to get over the rough spots. Fortunately Hans has weeded out some of the grosser offenders during Oktfest time. When playing for people, you play for people--some are thoughtful, some thoughtless (and THEY don't know what they don't know!). I try to get a laugh at their expense. At least it's easier to count their nose hairs, what with the in the air thing. |
| Konabob |
Posted - 03/15/2010 : 07:28:00 AM
Man, I am really enjoying this thread... you guys have such great stories. I too have had gigs at hotels where we couldn't leave until the coast was clear... about an hour wait. Even with a reasonable pay rate, you feel like used kleenex. Especially if the band is just providing background music, and is stuck in a dark corner. And yes, I also find that some of the most enjoyable gigs are the freebies, or feed-me's. My trio played for the Lyon's Club's Pancake Breakfast yesterday, and several spontaneous hulas broke out. One was so chicken-skin, I nearly dropped my bar! That and "all the pancakes you can eat" will keep me happy for a while. Most of us don't do this for the money, we play because we love it, and it's something that we can do that makes other people happy too.
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| slipry1 |
Posted - 03/15/2010 : 07:19:22 AM
quote:
Originally posted by hwnmusiclives
quote:
Originally posted by Julie H
Geri Valdriz, during one of our kani kapilas on Maui, pointed out to me that the steel is often used for "accents". He demonstrated that by playing beautiful notes woven throughout the melody while the others were playing and singing. But when Geri sang, he usually put the bar down and stopped playing.
It is nearly impossible to play the lap steel, sing and look at the audience at the same time. I've only seen two people, Bob Brozman and Patti Maxine, who can do that.
I think I have grossly underestimated this as a unique skill set. I have always played steel continuously - not just fills - and sang at the same time, as did my father before me from whom I got the impression that it was a very natural thing to be able to do. After all, other singer/guitarists aren't really looking at their guitars while they play. It's a matter of time and practice. It shouldn't matter if the guitar in question has frets that one can feel or not.
The only comment I ever got about this was from Gary Aiko. He was in the audience at the Halekulani one night when I was playing and on a break he said, "Well, there's one thing you can do that Alan can't." I guess it really is hard?
You bet it's hard to look at the audeince & play at the same time. After my first gig backin a hulau, a pedal steel buddy of mine ssid "
It must be cool looking at that sexy dance". I said "I don't have time to look!" Actually, an advantage of "playin in da pukas" is that you get to look around a little. That's when Alan talks to the audience, too. |
| hwnmusiclives |
Posted - 03/15/2010 : 06:51:54 AM
quote:
Originally posted by Julie H
Geri Valdriz, during one of our kani kapilas on Maui, pointed out to me that the steel is often used for "accents". He demonstrated that by playing beautiful notes woven throughout the melody while the others were playing and singing. But when Geri sang, he usually put the bar down and stopped playing.
It is nearly impossible to play the lap steel, sing and look at the audience at the same time. I've only seen two people, Bob Brozman and Patti Maxine, who can do that.
I think I have grossly underestimated this as a unique skill set. I have always played steel continuously - not just fills - and sang at the same time, as did my father before me from whom I got the impression that it was a very natural thing to be able to do. After all, other singer/guitarists aren't really looking at their guitars while they play. It's a matter of time and practice. It shouldn't matter if the guitar in question has frets that one can feel or not.
The only comment I ever got about this was from Gary Aiko. He was in the audience at the Halekulani one night when I was playing and on a break he said, "Well, there's one thing you can do that Alan can't." I guess it really is hard?
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| hwnmusiclives |
Posted - 03/15/2010 : 06:37:51 AM
quote:
Originally posted by Volcano
Bill - I played AC numerous times with Robert Hazard. I never have minded using a service entrance. The casinos always treated us great. Nice rooms and access to the employee cafeteria. Great food and all you can eat any time of day or night.
Larry, have we met? How can you possibly live so close by and yet I am just getting to know you for the first time? I used to live in Center City Philadelphia and used to frequent the Main Line - especially for a great record store (maybe no longer there) in Wayne called Plastic Fantastic.
Here is my experience - and it has been almost universal, without exception, over the last 40 or 50 gigs - in Atlantic City.
The gig is at 8:30pm. However the band must arrive by 2pm to set-up and sound check. This is because the casino/hotels operate very much like Disney - on a premise of illusion. Never should the guests see the band setting up or breaking down. As far as the guests are concerned, your instruments might as well live in that showroom, and you always wear an aloha shirt. (Fortunately, the latter is almost always true in my case.)
After the sound check, the band members must literally hide themselves from 3:30pm until 8:30pm. The casino/hotel does not want hired help simply roaming around with nothing to do while on the clock. On two occasions, they did not give us an artists lounge or even a hotel room. They stuck an entire band in a closet. I know because I had to push a mop aside to make a place for myself. But in all fairness, the casino had larger closets than I have at home.
You play from 8:30pm until 11:30pm, and you think, "Whew, let's get the hell out of here." But you can't. Because just like the setting up, the casino/hotel won't let the band break down until the last guest leaves the showroom. Keeping up the illusion, you know. And this is when you watch pigs and other delicacies parade by on their short trip straight to the dumpster.
So with the two hour drive to and from Atlantic City, one of these gigs usually takes 15 hours round trip.
If you are getting better gigs than this, call me. 
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| rendesvous1840 |
Posted - 03/14/2010 : 3:26:09 PM
When our Dulcimer Club was asked what fee we required to play for a group, we replied "More importantly, do we get fed?" We played for pastry at a Greek Church. That was a favorite gig we were glad to return to periodicly. Baklava rules! On the other hand, we were probably overpaid at that gig!
Unko Paul |
| slipry1 |
Posted - 03/14/2010 : 12:35:49 PM
quote:
Originally posted by Julie H
Geri Valdriz, during one of our kani kapilas on Maui, pointed out to me that the steel is often used for "accents". He demonstrated that by playing beautiful notes woven throughout the melody while the others were playing and singing. But when Geri sang, he usually put the bar down and stopped playing.
It is nearly impossible to play the lap steel, sing and look at the audience at the same time. I've only seen two people, Bob Brozman and Patti Maxine, who can do that.
I just think the steel is difficult to play because it takes such intense concentration, that a noisy bar is not the best place to play, what with the blenders going and the drunks yelling.
KonaBob, what I wouldn't give to hop a plane and spend some more time with you, maybe get some of that technique from you through osmosis. 
Julie
It took me a while to learn about and use the Hawiian steel method. Fills (playing between phrases in a song) are dificult to learn in any music form and to do if you can't listen to everyone who's playing and what's going on around you. This is especially true of Hawaiian music. My mantra is "play in da pukas". Don't play anything while the singer is singing and do your fill after the last word of the line and the first word of the next line. This is impossible if you don't, or can't, listen. I have played with some real hotshots who didn't listen to anyone else in the band, and, man, is THAT a drag! btw, Before I got it under control, I got yelled at by several Hawaiians here in Seattle who are good singers. |
| thumbstruck |
Posted - 03/14/2010 : 09:14:42 AM
What really killed live music in bars and restaurants was the introduction of TVs and modern society's addiction to "the game". Humans tend to follow the lowest common denominator, "the game" being more "universal" than other cultural persuits. Sport demonstrates skill and discipline, but it ain't music. The jams that I've been to on Oahu have been mostly backyard type, plenny time fo' wala'au, laugh, ask questions etc. As long as we can do that, the music and the culture won't die. The same lament covers other traditions. Most North American culture has become a situation of consuming and spectating, not participating. As humans, we need participation. For any worthwhile cultural endeavor, effort must be expended in the continuation. Keep turning the rocks over, it ain't gonna be at the mall or the chain restaurants. The suits are only interested in the cash register. Shallow is as shallow does. |
| Konabob |
Posted - 03/13/2010 : 11:26:52 AM
You are sweet, Julie... I hope we will be seeing you and Larry in June! Bring your frypan!!! I get plenty osmosis for you!
Aloha,
-Konabob |
| Julie H |
Posted - 03/12/2010 : 7:45:53 PM
Geri Valdriz, during one of our kani kapilas on Maui, pointed out to me that the steel is often used for "accents". He demonstrated that by playing beautiful notes woven throughout the melody while the others were playing and singing. But when Geri sang, he usually put the bar down and stopped playing.
It is nearly impossible to play the lap steel, sing and look at the audience at the same time. I've only seen two people, Bob Brozman and Patti Maxine, who can do that.
I just think the steel is difficult to play because it takes such intense concentration, that a noisy bar is not the best place to play, what with the blenders going and the drunks yelling.
KonaBob, what I wouldn't give to hop a plane and spend some more time with you, maybe get some of that technique from you through osmosis.
Julie
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| FROPPE |
Posted - 03/12/2010 : 4:29:08 PM
Years ago, I played some gigs at the Houston Yacht Club. We had to haul our equipment up in a glorified dumb waiter, which could barely hold one person and one amp at a time. When I complained to the service manager about going up and down in a dumb waiter, he replied "Sir, we refer to that device as a 'smart musician'." |
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