* Tune Me In *
I can't imagine life without music. Some people find their instrument at an early age. Others go through life assuming they were meant to play the stereo. I fall into the category of folks who find out that they really are a musician after years of half-hearted attempts at various instruments.
I fell in love with the Hawaiian steel guitar in 1998, at the age of 45, three years after moving to the Big Island of Hawaii. I woke up very early one morning and recalled that I had been playing a steel guitar in my dreams. My mother-in-law, living in Colorado, had a 1953 Supro electric steel stored away (it had been my father-in-law's), and offered to bring it to me on an upcoming visit. I struggled to learn how to play it, and might have given up, had it not been for a chance meeting with Ken Emerson, a world class musician. Though he told me at the outset that he was not a teacher, he inspired me to continue my efforts, and also to stick to the Taro Patch (D-G-D-G-B-D) tuning until I had mastered it.
Ken also introduced me to the acoustic Hawaiian steel guitar, father of the dobro and electric lap steel, and grandfather of the pedal steel guitar used in country music. He plays a National Tri-cone from the 1920's, which has a very distinct sound. Finally, Ken sold me a guitar which has become very dear to me. This style of guitar (the "Weissenborn") was developed in the early 1900's by inventor, Hermann Weissenborn, and it is making a small comeback due in part to the efforts of guitarist Bob Brozman. It has a sweet acoustic sound, which made it very popular in the early 1900's.
Further adventures from the bottom of the Taro Patch:
One day, while playing steel with Lenard Kaniho, I was introduced to one of his friends who plays a "pakini" bass, a Hawaiian version of the proverbial "broomstick on a bucket". I got to thinking about making one of these, but being a steel guitarist, I decided on putting several strings on it, and tuning it to an open G (Taro Patch) tuning. The Kona Walkingbass© was born. I play it with one finger on my left hand, using my finger like a bar to move up and down the neck. At right, I am backing up some of the kupuna at Keauhou. They have graciously taught me the ropes and the old favorites of the Big Island's local culture.
Meanwhile, my first love is still taro patch steel.
Check out the tunes below:
- The Kona Hotel © 2002 - Konabob Stoffer
I wrote this song about the Kona Hotel in Holualoa. Built in 1926, she is large and rambling, and Pepto Bismol pink! When first built, she developed a reputation for being a fine place for traveling businessmen to meet their favorite women friends. Today she still stands, big and pink, attracting mostly low budget mainland travelers. Though she is getting up there in age, she has had a fresh coat of paint. Like an aging woman who is not quite ready to call it quits, she has applied a little more makeup and is ready for a few more nights on the town. Here are the lyrics.
- Poi Dog Waltz
One of the first tunes I figured out on the steel. This slow waltz sounds suspiciously like David Grisman's 'Dawg Waltz', done Hawaiian style. I am playing steel on 2 tracks and bass on the third.
- Waikiki
A great vintage Hawaiian tune by Andy Cummings. Art Akina and I recorded it in my living room. What a voice that guy has!
- Kialiali Ipo © 2002 - Konabob Stoffer
I wrote this for my wife, Shirley. Auntie Leilehua Yuen gave her the Hawaiian name Kialiali because she has beautiful shining white hair. I wrote the lyrics after a trip Shirley and I took to Waikiki.
- Kona Inn
Written by George Kahumoku. He and Ledward Ka'apana asked me to join them with my bass at a free concert at the Kona Public Library.
- Ironwood Moon © 2002 - Konabob Stoffer
This was the first taro patch steel song I ever wrote. It was inspired by the pines that shade the beach in Waipio. Story has it that on full moon nights you can hear voices from both the past and the future in the soft whisperings of the wind passing through these pines.
- He Aloha No 'O Honolulu
Written by Lot Kauwe. A bouncy slack key standard.
- Parker © 2004 - Konabob Stoffer
John Palmer Parker was both a cowboy and a sailor. Above all, he was a man who was always looking for the next "somewhere" in his life. This song tells a story that is based on someone like Parker. It starts with his life as a lad of 13 in Boston and later as he is still looking for paradise as an aging man in Hawaii. My wife often accompanies me on the violin - it creates a haunting backdrop which sounds like rolling waves.
- Medley
Two beautiful Hawaiian waltzes. He Punahele No 'Oe is song from a father to his daughter. Pua Lilia is a song from a man to his wife. Since I have both a wife and a daughter, I like to play them together.
- Somewhere
Yes, "Over the Rainbow"... I have loved this song since the early sixties when I heard Judy Garland sing it in The Wizard of Oz. I love the way Iz sings it too. It still conveys our desire to fly free.
I have created a 13 page booklet in PDF format which is an introduction to playing Acoustic Hawaiian Lap Steel in the "Taro Patch" open G tuning.
You can download it here.
Based loosly on my experiences of playing bluegrass on the beach with the Voggy Mountain Ramblers, I took Hank Williams tune "Jambalaya" and created "Jam-da-Island", which is often requested at kanikapilas. Only two chors! Here are the lyrics.
In November 2005, I found a small kids' guitar for sale at our local Walmart. It was made reasonably well - for a $30 import from China! I removed the plastic saddle, and replaced it with a piece of 3/16" stainless steel rod. I also put a short length of 1/8" stainless rod next to the nut. This raised the strings, and allows me to play Hawaiian steel in B flat ( F - Bb - F - Bb - D - F ) tuning, using the strings that come with the guitar. I have since, changed the string set and play in open G using this set of strings. Here is a photo of the details and Kalena Kai, a short mp3 played on this guitar. |
My collection of acoustic steel guitars:
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| Gratitudes: I learn best by osmosis, and have been inspired and trained both directly and indirectly by playing music with many people, including Hawaii's legendary Ledward Ka'apana and George Kahumoku. Bob Brozman, who visited Hawaii in Dec. 2003 and spent a couple of days teaching three lucky steel guitarists a thing or two. Big Island musicians Lenard Kaniho, Art Akina, Aunties Leilani and Loretta from Keauhou, Bruddah Matt, Joe Spencer, Buddy Fo, Sonny Lim, Bruddah Smitty, and many others have contributed to my style. I also would like to thank Maggie Lobo and John Dedeaux of the Voggy Mountain Ramblers, who first pushed me in front of a crowd and made me play. My beautiful logo was designed by Sarah Whitaker, a slack key guitarist that I met at one of George Kahumoku's workshops on Maui. She can be found on Taro Patch Net. Finally, I wish to thank Swami Shambhavananda, who taught me how to be happy, and to be grateful for my life. |
Shirley and I run KONAWEB, a web site about the Big Island of Hawaii. My thanks to all of the people I have had the pleasure to meet through this virtual community.
Email Konabob, Call (808) 322-4714,
or Post Something on the Taro Patch