Joseph Kekuku
Joseph Kekuku upenakanaʻiaupuniokamehameha Apuakehau Jr. (Joseph Kekuku) 1874-1932
Credited with the invention of the Hawaiian (Steel) Guitar. There are a number of conflicting stories that relate to the origins of his newly found method of playing the guitar, but we believe that sometime around 1885 Joseph Kekuku began to develop the ability to carve out melodies on a guitar, on his lap, by using some kind of hard object pressed against the strings. It may have been a knife, or a comb, perhaps a metal bolt. Some have even suggested a railroad spike.
Moreover, we believe that it was of exceptional historical and cultural significance that Joseph Kekuku attended the Kamehameha Schools. It is here he continued to refine his technique with new fingerpick and bar designs in their industrial shop. He eventually raised the strings off of the guitar frets to allow the bar to slide noiselessly across the now steel strings.
There are written eyewitness accounts from very credible sources, fellow classmates, who describe a young Joseph performing with his new invention before astounded schoolmates. Without a doubt, he must have created a sensation, and shared his abilities with other young Hawaiian males, who would then proceed to return to their home environments to share this revolutionary new sound with their friends and families.
This totally new way of playing the guitar, with a uniquely different sound, became known as the “Hawaiian Guitar”. In those early years, it was not referred to as the “steel guitar”. That terminology would come about a number of years later.
After his years at Kamehameha, Joseph continued to develop his techniques and repertoire as well as his reputation as a musician, so that by 1904 he was able to leave for greater musical and financial opportunities on the mainland. In fact, he would never return to Hawaiʻi.
He toured extensively, forming his own quintet as well as performing with many others. He turned up at the Pan Pacific Exposition in San Francisco in 1915, performing at the Hawaiʻi Pavilion. That year was considered a watershed year in the history of modern Hawaiian music as great numbers of people for the first time were exposed to the sound of Hawaiian music and the Hawaiian guitar on a grand scale.
Joseph traveled to Europe in 1919 for an eight year tour of the continent and was featured prominently in the largest productions of the day, performing for many heads of state. Then, around 1927, he returned to the USA and settled in the Chicago area, where he taught steel guitar.
For his contributions to the art of the Hawaiian Guitar, Joseph Kekuku was inducted into the Steel Guitar Hall of Fame in 1993.
Credited with the invention of the Hawaiian (Steel) Guitar. There are a number of conflicting stories that relate to the origins of his newly found method of playing the guitar, but we believe that sometime around 1885 Joseph Kekuku began to develop the ability to carve out melodies on a guitar, on his lap, by using some kind of hard object pressed against the strings. It may have been a knife, or a comb, perhaps a metal bolt. Some have even suggested a railroad spike.
Moreover, we believe that it was of exceptional historical and cultural significance that Joseph Kekuku attended the Kamehameha Schools. It is here he continued to refine his technique with new fingerpick and bar designs in their industrial shop. He eventually raised the strings off of the guitar frets to allow the bar to slide noiselessly across the now steel strings.
There are written eyewitness accounts from very credible sources, fellow classmates, who describe a young Joseph performing with his new invention before astounded schoolmates. Without a doubt, he must have created a sensation, and shared his abilities with other young Hawaiian males, who would then proceed to return to their home environments to share this revolutionary new sound with their friends and families.
This totally new way of playing the guitar, with a uniquely different sound, became known as the “Hawaiian Guitar”. In those early years, it was not referred to as the “steel guitar”. That terminology would come about a number of years later.
After his years at Kamehameha, Joseph continued to develop his techniques and repertoire as well as his reputation as a musician, so that by 1904 he was able to leave for greater musical and financial opportunities on the mainland. In fact, he would never return to Hawaiʻi.
He toured extensively, forming his own quintet as well as performing with many others. He turned up at the Pan Pacific Exposition in San Francisco in 1915, performing at the Hawaiʻi Pavilion. That year was considered a watershed year in the history of modern Hawaiian music as great numbers of people for the first time were exposed to the sound of Hawaiian music and the Hawaiian guitar on a grand scale.
Joseph traveled to Europe in 1919 for an eight year tour of the continent and was featured prominently in the largest productions of the day, performing for many heads of state. Then, around 1927, he returned to the USA and settled in the Chicago area, where he taught steel guitar.
For his contributions to the art of the Hawaiian Guitar, Joseph Kekuku was inducted into the Steel Guitar Hall of Fame in 1993.
Sol Hoʻopiʻi
Solomon Hoʻopiʻi Kaʻaiʻai (Sol Hoʻopiʻi) 1902-1953
It would be difficult to find a Hawaiian musician who has exerted more influence on the American popular music scene than Solomon Hoʻopiʻi Kaʻaiʻai. Declared a musical prodigy, Sol strummed the ukulele by the age of three, and by age six, he had mastered singing and playing the guitar. Although he performed professionally with Johnny Noble in Honolulu, teenaged Sol longed to emulate his Hawaiian steel guitar idols, Joseph Kekuku, Pale K. Lua, and David Ka’ili, by playing on the U.S. mainland.
In 1919, Sol Hoʻopiʻi and two teenage friends stowed away on the “Matsonia” headed for San Francisco. When they were discovered, passengers became so enamored with their musical talents that a collection was taken to pay for the boys’ passage. After spending a short time in San Francisco and desperate for work, the three relocated to Los Angeles to make their triumphant musical debut in a Chinese restaurant.
When Sol returned to Hawaiʻi, he quickly reformed Sol Hoʻopiʻi’s Novelty Trio with Hawaiian musicians Glenwood Leslie and Lani McIntire. As a recording unit this trio drew great attention and they were in tremendous demand, performing in clubs, theaters, and on the radio. His styles ran the gamut from Hawaiian to jazz to ragtime to swing, with blazingly fast and accurate single string work.
Sol Ho'opi'i composed several songs, including “Ai Kakou Me Kealoha”, “Pua Nani o Hawaii”, and “Ka Mele O Ku’u Puʻuwai”. His singing promoted the Hawaiian falsetto art form.
In early 1927 Sol was engaged by a newly formed company to introduce a line of guitars that featured a revolutionary patented design - the Tricone. Sol became the celebrity face of The National Corporation. These instruments became the state of technology for the Hawaiian guitar before the advent of electrically amplified instruments.
In addition, Sol made appearances in many films of the early 1930’s, performing steel for such films as 1932’s “Bird of Paradise”, several Charlie Chan movies, “Waikiki Wedding” with Bing Crosby,“Topper”, and “Betty’s Bamboo Isle”, an animated Betty Boop film. It was said that the famed Hollywood silent film actress, Mary Pickford, could summon waves of tears during her crying scenes with Sol Ho’opi’i playing “Roses of Picardy” just off camera.
He became known as the “Hollywood Hawaiian” as he ran a talent-booking agency in Hollywood that provided the film industry with dark-skinned Hawaiians as extras in the popular Polynesian films of the era, and as Indians in westerns.
His proficiency and complex style on the steel guitar was without peer, and it seemed he inspired an entire generation to study the steel guitar. He also had an influence on country music as he was recruited by Hoot Gibson back in the 1920’s to play in his country band. Sol Ho’opi’i made an effortless transition from the acoustic steel era to the electric guitars that came into vogue about 1934.
Then in 1938 he turned his life and talents over to evangelical music, recording and performing only religious songs with an occasional military style march thrown in. He continued to perform through the 1950s, although he suffered from blindness due to diabetes.
Sol Hoʻopiʻi is remembered as an icon that introduced the Hawaiian steel guitar to the world. His adventurous jazz and blues influenced solos redefined the instrument. His innovative tunings and technical brilliance broadened its dynamic range. The Hawaiian steel guitar continues to thrive globally as a testament to the enduring vision and groundbreaking achievements of virtuoso Sol Ho’opi’i, the King of the Hawaiian Steel Guitar.
For his contributions to the popularity and dissemination of the Hawaiian Guitar, Sol Hoʻopiʻi was inducted into the Steel Guitar Hall of Fame in 1979.
It would be difficult to find a Hawaiian musician who has exerted more influence on the American popular music scene than Solomon Hoʻopiʻi Kaʻaiʻai. Declared a musical prodigy, Sol strummed the ukulele by the age of three, and by age six, he had mastered singing and playing the guitar. Although he performed professionally with Johnny Noble in Honolulu, teenaged Sol longed to emulate his Hawaiian steel guitar idols, Joseph Kekuku, Pale K. Lua, and David Ka’ili, by playing on the U.S. mainland.
In 1919, Sol Hoʻopiʻi and two teenage friends stowed away on the “Matsonia” headed for San Francisco. When they were discovered, passengers became so enamored with their musical talents that a collection was taken to pay for the boys’ passage. After spending a short time in San Francisco and desperate for work, the three relocated to Los Angeles to make their triumphant musical debut in a Chinese restaurant.
When Sol returned to Hawaiʻi, he quickly reformed Sol Hoʻopiʻi’s Novelty Trio with Hawaiian musicians Glenwood Leslie and Lani McIntire. As a recording unit this trio drew great attention and they were in tremendous demand, performing in clubs, theaters, and on the radio. His styles ran the gamut from Hawaiian to jazz to ragtime to swing, with blazingly fast and accurate single string work.
Sol Ho'opi'i composed several songs, including “Ai Kakou Me Kealoha”, “Pua Nani o Hawaii”, and “Ka Mele O Ku’u Puʻuwai”. His singing promoted the Hawaiian falsetto art form.
In early 1927 Sol was engaged by a newly formed company to introduce a line of guitars that featured a revolutionary patented design - the Tricone. Sol became the celebrity face of The National Corporation. These instruments became the state of technology for the Hawaiian guitar before the advent of electrically amplified instruments.
In addition, Sol made appearances in many films of the early 1930’s, performing steel for such films as 1932’s “Bird of Paradise”, several Charlie Chan movies, “Waikiki Wedding” with Bing Crosby,“Topper”, and “Betty’s Bamboo Isle”, an animated Betty Boop film. It was said that the famed Hollywood silent film actress, Mary Pickford, could summon waves of tears during her crying scenes with Sol Ho’opi’i playing “Roses of Picardy” just off camera.
He became known as the “Hollywood Hawaiian” as he ran a talent-booking agency in Hollywood that provided the film industry with dark-skinned Hawaiians as extras in the popular Polynesian films of the era, and as Indians in westerns.
His proficiency and complex style on the steel guitar was without peer, and it seemed he inspired an entire generation to study the steel guitar. He also had an influence on country music as he was recruited by Hoot Gibson back in the 1920’s to play in his country band. Sol Ho’opi’i made an effortless transition from the acoustic steel era to the electric guitars that came into vogue about 1934.
Then in 1938 he turned his life and talents over to evangelical music, recording and performing only religious songs with an occasional military style march thrown in. He continued to perform through the 1950s, although he suffered from blindness due to diabetes.
Sol Hoʻopiʻi is remembered as an icon that introduced the Hawaiian steel guitar to the world. His adventurous jazz and blues influenced solos redefined the instrument. His innovative tunings and technical brilliance broadened its dynamic range. The Hawaiian steel guitar continues to thrive globally as a testament to the enduring vision and groundbreaking achievements of virtuoso Sol Ho’opi’i, the King of the Hawaiian Steel Guitar.
For his contributions to the popularity and dissemination of the Hawaiian Guitar, Sol Hoʻopiʻi was inducted into the Steel Guitar Hall of Fame in 1979.
Dick McIntire
Dixon Ka’aihue McIntire (Dick McIntire) 1902-1951
As a teenager he joined the U.S. Navy in 1919 and served on the cruiser U.S.S. Birmingham. Along with younger brother Lani, who was also serving on the same ship, they soon formed a Hawaiian band that was the envy of the Pacific Fleet.
After his service in the navy, he performed in Tijuana, Mexico from 1923 to 1928. Eventually Dick would form a large orchestra with his brothers Lani and Al. In the mid 1930’s Dick began his career on a radio station in San Diego with a program called “Harmony Isle”. He also performed in a very popular trio which consisted of brother Lani and Danny Kuʻuana.
Dick was known for having opened several teaching studios and because of his notoriety and proximity to Hollywood became known as the teacher to many movie stars. He took great joy in teaching people from all walks of life. Along with Sol Ho’opi’i and his brother Lani, he performed in many of the Hawaiian movies of that era.
Dick McIntire recorded over 300 sides, backing up singers such as Bing Crosby, Frances Langford, Dorothy Lamour, Ray Kinney, and Lena Machado. He only made a few strictly instrumental recordings, but it is immediately apparent in these recordings that Dick McIntire was one of the most beautifully expressive performers in the industry. His sense of timing, intonation, and creative interpretation has never been surpassed.
Dick McIntire primarily performed in the Los Angeles area, but also appeared in New York’s Biltmore and Ambassador Hotels, and at the Tropic night club in Reno.
For his contributions on the stage and in the studio, Dixon K. McIntire was inducted into the Steel Guitar Hall of Fame in 1982.
As a teenager he joined the U.S. Navy in 1919 and served on the cruiser U.S.S. Birmingham. Along with younger brother Lani, who was also serving on the same ship, they soon formed a Hawaiian band that was the envy of the Pacific Fleet.
After his service in the navy, he performed in Tijuana, Mexico from 1923 to 1928. Eventually Dick would form a large orchestra with his brothers Lani and Al. In the mid 1930’s Dick began his career on a radio station in San Diego with a program called “Harmony Isle”. He also performed in a very popular trio which consisted of brother Lani and Danny Kuʻuana.
Dick was known for having opened several teaching studios and because of his notoriety and proximity to Hollywood became known as the teacher to many movie stars. He took great joy in teaching people from all walks of life. Along with Sol Ho’opi’i and his brother Lani, he performed in many of the Hawaiian movies of that era.
Dick McIntire recorded over 300 sides, backing up singers such as Bing Crosby, Frances Langford, Dorothy Lamour, Ray Kinney, and Lena Machado. He only made a few strictly instrumental recordings, but it is immediately apparent in these recordings that Dick McIntire was one of the most beautifully expressive performers in the industry. His sense of timing, intonation, and creative interpretation has never been surpassed.
Dick McIntire primarily performed in the Los Angeles area, but also appeared in New York’s Biltmore and Ambassador Hotels, and at the Tropic night club in Reno.
For his contributions on the stage and in the studio, Dixon K. McIntire was inducted into the Steel Guitar Hall of Fame in 1982.
David Keliʻi
David Keliʻiheleua (David Keliʻi) 1914-1983
As a Hawaiian electric steel guitarist, David Keli'i was in a class of his own. His perfect intonation, balanced tone, logical harmonic choices, natural exuberant swing, and long time career on Hawaiʻi Calls inspired scores of future steel players.
Young David Keliʻi was first discovered by John Kameaaloha Almeida, the Dean of Hawaiian Music. Soon he joined Al Kealoha Perry’s Singing Surfriders. The combo featured John “Squeeze” Kamana on ʻukulele, Andy and Simeon Bright on guitars, Frank “Mystery” Cockett on bass, and David Keli’i on the steel guitar.
Perry’s Singing Surfriders was the perfect showcase for the steel guitar artistry of David Keli'i. In the opening of the weekly Hawaii Calls broadcast, his steel guitar was blended with the sound of ocean waves – establishing the Hawaiian Steel Guitar as the signature sound of Hawai’i to listeners around the world. David Keliʻi performed with Hawai’i Calls cast from the 1930’s to 1952. On one of those broadcasts the host of the program, Webley Edwards, featured David Keli'i by listing any number of natural and mechanical sounds and having David recreate them on the steel. In a period of about 45 seconds, David was able to emulate a train whistle, a diving fighter plane, and a galloping horse, among others.
David popularized the Hawaiian Steel Guitar through his recordings and his many years of broadcasting with "Hawaii Calls." According to Jerry Byrd, David WAS "Hawai'i Calls," and when David left for the mainland, the Hawaiʻi Calls sound was never the same again.
David Keliʻi went on to perform at the Stardust Hotel in Las Vegas with Nalani Kele from 1960 to 1972, where David was voted “Outstanding Steel Guitarist on Las Vegas Strip” by Guitar Player Magazine. In addition, he was much in demand as a freelance steel guitarist for guest spots and luaus.
David recorded on many Hawaiʻi Calls albums and with other artists for 40 years – such as Joe Keawe, Kelaloha Kalama, Sonny Chillingworth and Al Kealoha Perry. But David Keliʻi made only one solo album, entitled “Hawaiʻi’s Own, David Keli’i.
David Keli’i was Hawaiʻi’s aliʻi of the Hawaiian steel guitar, the epitome of perfection. His recordings and Hawai’i Calls albums offer a testimony to his genius. David Keliʻi dedicated a lifetime to the pioneering of multiple tunings and as the inspiration to scores of players through his style.
For his contributions to the popularity of the Hawaiian Steel Guitar, David Keliʻi was inducted into the Steel Guitar Hall of Fame in 1990.
As a Hawaiian electric steel guitarist, David Keli'i was in a class of his own. His perfect intonation, balanced tone, logical harmonic choices, natural exuberant swing, and long time career on Hawaiʻi Calls inspired scores of future steel players.
Young David Keliʻi was first discovered by John Kameaaloha Almeida, the Dean of Hawaiian Music. Soon he joined Al Kealoha Perry’s Singing Surfriders. The combo featured John “Squeeze” Kamana on ʻukulele, Andy and Simeon Bright on guitars, Frank “Mystery” Cockett on bass, and David Keli’i on the steel guitar.
Perry’s Singing Surfriders was the perfect showcase for the steel guitar artistry of David Keli'i. In the opening of the weekly Hawaii Calls broadcast, his steel guitar was blended with the sound of ocean waves – establishing the Hawaiian Steel Guitar as the signature sound of Hawai’i to listeners around the world. David Keliʻi performed with Hawai’i Calls cast from the 1930’s to 1952. On one of those broadcasts the host of the program, Webley Edwards, featured David Keli'i by listing any number of natural and mechanical sounds and having David recreate them on the steel. In a period of about 45 seconds, David was able to emulate a train whistle, a diving fighter plane, and a galloping horse, among others.
David popularized the Hawaiian Steel Guitar through his recordings and his many years of broadcasting with "Hawaii Calls." According to Jerry Byrd, David WAS "Hawai'i Calls," and when David left for the mainland, the Hawaiʻi Calls sound was never the same again.
David Keliʻi went on to perform at the Stardust Hotel in Las Vegas with Nalani Kele from 1960 to 1972, where David was voted “Outstanding Steel Guitarist on Las Vegas Strip” by Guitar Player Magazine. In addition, he was much in demand as a freelance steel guitarist for guest spots and luaus.
David recorded on many Hawaiʻi Calls albums and with other artists for 40 years – such as Joe Keawe, Kelaloha Kalama, Sonny Chillingworth and Al Kealoha Perry. But David Keliʻi made only one solo album, entitled “Hawaiʻi’s Own, David Keli’i.
David Keli’i was Hawaiʻi’s aliʻi of the Hawaiian steel guitar, the epitome of perfection. His recordings and Hawai’i Calls albums offer a testimony to his genius. David Keliʻi dedicated a lifetime to the pioneering of multiple tunings and as the inspiration to scores of players through his style.
For his contributions to the popularity of the Hawaiian Steel Guitar, David Keliʻi was inducted into the Steel Guitar Hall of Fame in 1990.
Jerry Byrd
Gerald Lester Byrd (Jerry Byrd) 1920-2005
In 1933, a touring tent show came through Lima, Ohio. Thirteen year old Jerry was dazzled by the instrument featured during the performance of eight Hawaiian entertainers. The Hawaiian steel guitar entranced him for life. Jerry quickly acquired the hypnotic instrument and began taking lessons. He listened to the steel guitar on the radio, especially during the weekly “Hawaii Calls” broadcast, and constantly replayed his collection of 78 rpm records. Through hard work in a variety of jobs Jerry upgraded his instrument to a new $150 Rickenbacher Electro steel guitar at age sixteen.
His first gig was with the J-Byrd Trio, featuring Jerry on steel guitar, playing on a Hawaiian music radio show every Sunday in Lima, Ohio. Then in 1938 he was hired as the featured player with the Novelty Aces, a vocal group, for a weekly nationwide radio show in Cincinnati, Ohio. In the same year Jerry invented his famous C6th tuning, for which he became world famous. He could now play almost any chord in a triad with the added use of slant positions with his bar.
After high school graduation Jerry became a full-time professional musician. In October of 1939 he earned $13.50 a week playing on the Renfro Valley Barn Danceshows. They were broadcast over both the NBC and CBS radio networks in Kentucky. In November 1941 Jerry made his first recordings for RCA Bluebird Records in Atlanta, Georgia with rhythm guitarist, Ernie Lee.
By 1944, Jerry was appearing at the Grand Ole Opry with Clyde “Red” Foley’s Cumberland Valley Boys, while his succession of gigs on the road continued. During the summers of 1950 and 1951 Jerry joined the Mid-Western Hayride show in Cincinnati, Ohio featured on NBC-TV as the summer replacement for the number-one ranked Milton Berle Show.
In addition to road tours, Jerry also became a top studio musician. During the Golden Years of Country Music (1945 to 1972), Jerry recorded with hundreds of new artists that were discovered during those boom times. Hank Williams, Patsy Cline, Ernest Tubb, “Red” Foley, Hank Snow, Burl Ives, Marty Robbins, Grandpa Jones, and Dolly Parton are just a few of the stars who recorded with Jerry. Jerry recorded “Lovesick Blues” with Hank Williams at Herzog’s Studio in Cincinnati, Ohio. Although it was recorded on the “B” side of the record, it became one of the biggest hits in the history of country music. Jerry also recorded “I’m So Lonesome I Could Cry”, again with Hank Williams. Jerry’s short steel guitar instrumental break was heralded as a landmark effort of musical artistry.
In 1950, Mercury hired Jerry for his first recording session as a featured soloist. Jerry composed, “Steelin’the Blues” and, “Byrd’s Boogie” moments before they were recorded. In January of 1951, Jerry received another recording opportunity from Mercury: to record a Hawaiian album of four two-sided 78rpm discs. Although Jerry Byrd had never been to Hawaii, he was excited to record it. He approached Danny Kuaʻana to record the Hawaiian-themed album with him. Danny arranged the vocals and Jerry arranged the music. “Nani Hawaii” (Beautiful Hawaii), featured Danny Kuaʻana on ʻukulele and lead vocals, Mel Peterson on rhythm guitar and vocals, Al McIntire on bass and vocals, and George Ku on guitar and vocals. Jerry, of course, played the steel guitar.
The Monument label released a string of colossal albums by Jerry Byrd, including: “Byrd of Paradise” in 1961 and “Memories of Maria” in 1962 – which was written for Jerry by Roy Orbison. This single was a hit on the West Coast, selling 42,000 records in the Los Angeles area alone and was re-released as “Satin Strings of Steel” in 1965.
In April of 1964 Jerry Byrd finally made his first trip to the land of his dreams, Hawaii. He was both thrilled and gratified to learn that many of the Hawaiian musicians had been well acquainted with his work for years. During this trip he met the legendary vocalist, Hilo Hattie, who expressed her concern about the uncertain future of the Hawaiian steel guitar. Jerry took her message to heart and would return in less than a decade with a mission to preserve the steel guitar.
In 1971 he took part in his first recording session in Hawaiʻi with the New Hawaiian Band, which consisted of many of Hawaiʻi’s top musicians who he had previously met on his 1964 trip to Hawaiʻi. He was repeatedly told by them, “You belong with us, over here.” So, in 1972, at age 52, Jerry Byrd moved permanently to Hawaiʻi.
Jerry Byrd pursued his dream to play Hawaiian music in a bar in Waikiki. He hired Pua Almeida on rhythm guitar and Norman Isaacs on bass to play for three nights a week at the Outrigger Hotel on the beach at Waikiki. People from all over the world listened to his music. His fans came from India, Singapore, Indonesia, China, Japan, Australia, New Zealand, and Europe. It was a great feeling of satisfaction for Jerry to learn that his music was known internationally.
While in Hawaiʻi, he played in some of the biggest show rooms, including the Danny Kaleikini Show at the Kahala Hilton Hotel. His trio held court at the Surf Room of the Royal Hawaiian Hotel, and later, at the House Without A Key at the Halekulani Hotel. His trios included a who’s who of Hawaiʻi’s top musicians: Benny Kalama, Hiram Olson, Kalani Fernandes, Harold Hakuole, Cookie Among, and many others.
Jerry taught steel guitar in Hawaii for 25 years. His purpose was to preserve the instrument, in gratitude for the gift of aloha he had received from Hawaiʻi’s people. He knew that his well-trained students would, in turn, teach the next generation of Hawaiian steel guitarists.
From his birthplace in Lima, Ohio Jerry pursued his passion for the Hawaiian steel guitar to the instrument’s birthplace in Honolulu, Hawaiʻi. Jerry Byrd was a rare individual who followed his heart his entire life. This steel guitar virtuoso excelled in every genre of music, including country, western, classical, jazz, sacred, and above all, Hawaiian. He was a legend in Nashville, Tennessee, an international icon, and the leader of the instrument’s rebirth in Hawaii as the instructor of a new generation of Hawaiians who learned to play the Hawaiian steel guitar from him.
Jerry Byrd was a master of his instrument, but never lost the burning desire to learn more. He would never allow himself to be entirely satisfied with his music. Jerry Byrd was Jerry Byrd’s worst critic. Jerry Byrd recognized pride but spurned ego. Jerry recognized that the steel guitar as the only instrument capable of an entire range of tunings and a variety of ways in which to set relative string pitches. He never used a pedal when he played the steel guitar, as he preferred to let his strings sing with their own voice. Jerry Byrd will forever be remembered as the Master of Touch and Tone, for his velvety, smooth caress on the instrument he loved so much.
For his contributions to the art of the Hawaiian Guitar, Jerry Byrd was one of the inaugural inductees into the Steel Guitar Hall of Fame in 1978.
In 1933, a touring tent show came through Lima, Ohio. Thirteen year old Jerry was dazzled by the instrument featured during the performance of eight Hawaiian entertainers. The Hawaiian steel guitar entranced him for life. Jerry quickly acquired the hypnotic instrument and began taking lessons. He listened to the steel guitar on the radio, especially during the weekly “Hawaii Calls” broadcast, and constantly replayed his collection of 78 rpm records. Through hard work in a variety of jobs Jerry upgraded his instrument to a new $150 Rickenbacher Electro steel guitar at age sixteen.
His first gig was with the J-Byrd Trio, featuring Jerry on steel guitar, playing on a Hawaiian music radio show every Sunday in Lima, Ohio. Then in 1938 he was hired as the featured player with the Novelty Aces, a vocal group, for a weekly nationwide radio show in Cincinnati, Ohio. In the same year Jerry invented his famous C6th tuning, for which he became world famous. He could now play almost any chord in a triad with the added use of slant positions with his bar.
After high school graduation Jerry became a full-time professional musician. In October of 1939 he earned $13.50 a week playing on the Renfro Valley Barn Danceshows. They were broadcast over both the NBC and CBS radio networks in Kentucky. In November 1941 Jerry made his first recordings for RCA Bluebird Records in Atlanta, Georgia with rhythm guitarist, Ernie Lee.
By 1944, Jerry was appearing at the Grand Ole Opry with Clyde “Red” Foley’s Cumberland Valley Boys, while his succession of gigs on the road continued. During the summers of 1950 and 1951 Jerry joined the Mid-Western Hayride show in Cincinnati, Ohio featured on NBC-TV as the summer replacement for the number-one ranked Milton Berle Show.
In addition to road tours, Jerry also became a top studio musician. During the Golden Years of Country Music (1945 to 1972), Jerry recorded with hundreds of new artists that were discovered during those boom times. Hank Williams, Patsy Cline, Ernest Tubb, “Red” Foley, Hank Snow, Burl Ives, Marty Robbins, Grandpa Jones, and Dolly Parton are just a few of the stars who recorded with Jerry. Jerry recorded “Lovesick Blues” with Hank Williams at Herzog’s Studio in Cincinnati, Ohio. Although it was recorded on the “B” side of the record, it became one of the biggest hits in the history of country music. Jerry also recorded “I’m So Lonesome I Could Cry”, again with Hank Williams. Jerry’s short steel guitar instrumental break was heralded as a landmark effort of musical artistry.
In 1950, Mercury hired Jerry for his first recording session as a featured soloist. Jerry composed, “Steelin’the Blues” and, “Byrd’s Boogie” moments before they were recorded. In January of 1951, Jerry received another recording opportunity from Mercury: to record a Hawaiian album of four two-sided 78rpm discs. Although Jerry Byrd had never been to Hawaii, he was excited to record it. He approached Danny Kuaʻana to record the Hawaiian-themed album with him. Danny arranged the vocals and Jerry arranged the music. “Nani Hawaii” (Beautiful Hawaii), featured Danny Kuaʻana on ʻukulele and lead vocals, Mel Peterson on rhythm guitar and vocals, Al McIntire on bass and vocals, and George Ku on guitar and vocals. Jerry, of course, played the steel guitar.
The Monument label released a string of colossal albums by Jerry Byrd, including: “Byrd of Paradise” in 1961 and “Memories of Maria” in 1962 – which was written for Jerry by Roy Orbison. This single was a hit on the West Coast, selling 42,000 records in the Los Angeles area alone and was re-released as “Satin Strings of Steel” in 1965.
In April of 1964 Jerry Byrd finally made his first trip to the land of his dreams, Hawaii. He was both thrilled and gratified to learn that many of the Hawaiian musicians had been well acquainted with his work for years. During this trip he met the legendary vocalist, Hilo Hattie, who expressed her concern about the uncertain future of the Hawaiian steel guitar. Jerry took her message to heart and would return in less than a decade with a mission to preserve the steel guitar.
In 1971 he took part in his first recording session in Hawaiʻi with the New Hawaiian Band, which consisted of many of Hawaiʻi’s top musicians who he had previously met on his 1964 trip to Hawaiʻi. He was repeatedly told by them, “You belong with us, over here.” So, in 1972, at age 52, Jerry Byrd moved permanently to Hawaiʻi.
Jerry Byrd pursued his dream to play Hawaiian music in a bar in Waikiki. He hired Pua Almeida on rhythm guitar and Norman Isaacs on bass to play for three nights a week at the Outrigger Hotel on the beach at Waikiki. People from all over the world listened to his music. His fans came from India, Singapore, Indonesia, China, Japan, Australia, New Zealand, and Europe. It was a great feeling of satisfaction for Jerry to learn that his music was known internationally.
While in Hawaiʻi, he played in some of the biggest show rooms, including the Danny Kaleikini Show at the Kahala Hilton Hotel. His trio held court at the Surf Room of the Royal Hawaiian Hotel, and later, at the House Without A Key at the Halekulani Hotel. His trios included a who’s who of Hawaiʻi’s top musicians: Benny Kalama, Hiram Olson, Kalani Fernandes, Harold Hakuole, Cookie Among, and many others.
Jerry taught steel guitar in Hawaii for 25 years. His purpose was to preserve the instrument, in gratitude for the gift of aloha he had received from Hawaiʻi’s people. He knew that his well-trained students would, in turn, teach the next generation of Hawaiian steel guitarists.
From his birthplace in Lima, Ohio Jerry pursued his passion for the Hawaiian steel guitar to the instrument’s birthplace in Honolulu, Hawaiʻi. Jerry Byrd was a rare individual who followed his heart his entire life. This steel guitar virtuoso excelled in every genre of music, including country, western, classical, jazz, sacred, and above all, Hawaiian. He was a legend in Nashville, Tennessee, an international icon, and the leader of the instrument’s rebirth in Hawaii as the instructor of a new generation of Hawaiians who learned to play the Hawaiian steel guitar from him.
Jerry Byrd was a master of his instrument, but never lost the burning desire to learn more. He would never allow himself to be entirely satisfied with his music. Jerry Byrd was Jerry Byrd’s worst critic. Jerry Byrd recognized pride but spurned ego. Jerry recognized that the steel guitar as the only instrument capable of an entire range of tunings and a variety of ways in which to set relative string pitches. He never used a pedal when he played the steel guitar, as he preferred to let his strings sing with their own voice. Jerry Byrd will forever be remembered as the Master of Touch and Tone, for his velvety, smooth caress on the instrument he loved so much.
For his contributions to the art of the Hawaiian Guitar, Jerry Byrd was one of the inaugural inductees into the Steel Guitar Hall of Fame in 1978.
The Rogers ʻOhana
The Rogers ohana of steel guitarists consisted of brothers George “Pops” Rogers and Benjamin “Benny” Rogers, George’s son David “Feet” Rogers, and David’s cousin Ronald “Ron” Kanahele.
George Rogers (Pops Rogers) 1915-1986
From about 1940 to 1980 George performed with the Melelani Serenaders, the Raymond Kane Band, the George Kahea Band, and the Danny Camacho Band.
It has been said that we he was secretive about the tunings he used, even with his immediate family.
George Rogers (Pops Rogers) 1915-1986
From about 1940 to 1980 George performed with the Melelani Serenaders, the Raymond Kane Band, the George Kahea Band, and the Danny Camacho Band.
It has been said that we he was secretive about the tunings he used, even with his immediate family.
Benjamin Rogers (Benny Rogers) 1921-1970
He performed with Genoa Keawe and her Hawaiians, Lena Machado, the Halekulani Girls, and Myra English. He toured with Genoa in the 60’s and 70’s and performed at the New York World’s Fair and the Japan Exposition.
He recorded under the 49th State record label, including the classics Driftin’ and Dreamin’ in Hawaii and Hawaiian
Hospitality. In addition Benny was the featured steel guitarist on many of Genoa Keawe’s recordings as well as the albums of several other artists.
He performed with Genoa Keawe and her Hawaiians, Lena Machado, the Halekulani Girls, and Myra English. He toured with Genoa in the 60’s and 70’s and performed at the New York World’s Fair and the Japan Exposition.
He recorded under the 49th State record label, including the classics Driftin’ and Dreamin’ in Hawaii and Hawaiian
Hospitality. In addition Benny was the featured steel guitarist on many of Genoa Keawe’s recordings as well as the albums of several other artists.
David Rogers (Feet Rogers) 1935-1983
Known for his use of the D tuning and excellent harmonics. Feet performed with the Maile Serenaders in the
1950’s.
Then in 1960, Feet was approached by Eddie Kamae, Gabby Pahinui, and Joe Marshall to join their new group. The musical chemistry that resulted produced an extremely popular group, The Sons of Hawai'i, whose albums remain among the best selling in Hawaiian music history.
His music was a simple pure Hawaiian style always delicately played and beautifully expressed. Feet, like his Uncle Benny, left behind a legacy in recordings. His best work can be heard in the Sons’ recordings, these were his gift to the next generations of steel guitarists.
Known for his use of the D tuning and excellent harmonics. Feet performed with the Maile Serenaders in the
1950’s.
Then in 1960, Feet was approached by Eddie Kamae, Gabby Pahinui, and Joe Marshall to join their new group. The musical chemistry that resulted produced an extremely popular group, The Sons of Hawai'i, whose albums remain among the best selling in Hawaiian music history.
His music was a simple pure Hawaiian style always delicately played and beautifully expressed. Feet, like his Uncle Benny, left behind a legacy in recordings. His best work can be heard in the Sons’ recordings, these were his gift to the next generations of steel guitarists.
Ronald Kanahele (Ron Kanahele) 1951-2011
A first cousin to David Feet Rogers, Ron distinguished himself as a most generous performer both on and off the stage. He was always eager to share his knowledge with others, especially the younger generation.
He was the featured guest artist at the 2010 Aloha International Steel Guitar Association’s convention in Wnchester, Indiana.
A first cousin to David Feet Rogers, Ron distinguished himself as a most generous performer both on and off the stage. He was always eager to share his knowledge with others, especially the younger generation.
He was the featured guest artist at the 2010 Aloha International Steel Guitar Association’s convention in Wnchester, Indiana.
