Post by ericcalewichita on Jun 8, 2016 21:33:50 GMT
2016 Electric Guitar Symposium
Initial post-symposium synopsis
Friday, May 6, 2016
“WICHITA & THE ELETRIC GUITAR – The coming of the electric guitar, Gage Brewer and its Wichita Debut” presented by Eric Cale, Director of the Wichita-Sedgwick County Historical Museum, opening session Friday, May 6th 1:00 p.m.
The illustrated presentation reviewed Brewer’s life beginning in Oklahoma Territory where he developed his love of Hawaiian music, leading to his establishment in Wichita, continental coast to coast connections and junket in Tahiti. The talk examined his involvement with the Los Angeles based guitar companies National and Rickenbacker illuminating facts about his access to the 1932 Ro-Pat-In Electro Spanish Guitar. His direct connection to other guitarist of his time from Sol Hoopii to Nick Lucas was also explored.
PANEL DISCUSSION – “WICHITA GUITAR STORIES – Gage Brewer, June Frisby, Lowell Kiesel, Milo and Bob Wiley” with Kevin Brown, Eric Cale, Dave Clothier, Scott Kern and Ron Starkel
This illustrated presentation reviewed the genesis of the early electric guitar culture in the city that first embraced it. This discussion expanded on Brewer’s local presence beginning in the 1920s and introduced his competitor, guitarist June Frisby. Both went on to promote music education a ’la electric guitar. The discussion included the formative years Lowell Kiesel, founder of the Carvin Guitar Company of Los Angeles, spent in Wichita during the 1930s. The careers of Milo Wiley and his virtuosic son Robert, early electric guitar builders operating early studios and dedicated guitar retail storefronts were reviewed.
“GUITAR – The Instrument that Rocked the World”; presented by H P Newquist, Director of the National Guitar Museum (via Skype), final presentation of opening session, Friday, May 6th.
This presentation examined the genesis of the guitar and its trajectory in becoming the world’s most popular instrument. This story is being brought to the wider public through the National Guitar Museum’s traveling exhibits. nationalguitarmuseum.com
Saturday, May 7, 2016 (morning session)
“ELECTRIC MELE, the Hawaiian Pre-history of Electric Guitars” presented by Dr. John Troutman, Associate Professor of History, University of Louisiana at Lafayette.
This illustrated lecture examined the history of the steel guitar’s origins in Hawaii, its far reaching influence and the instrument’s unprecedented rapid world-wide rise in popularity out-selling standard-Spanish guitars 4 to 1 during the 1920s and 30s. Much of the information presented drew from Troutman’s recently published book: “Kika Kila, how the Hawaiian Steel Guitar changed the sound of Modern Music” (University of North Carolina Press).
“Charles Christian – seminal electric guitarist” presented by Dr. Wayne Goins, Distinguished Professor and Director of Jazz Studies, Kansas State University.
This lecture focused in depth on the life of renowned jazz guitarist “Charlie” Christian (1916-1942) and his profound and lasting influence. Dr. Goins was joined in conversation by Craig McKinney who coauthored the definitive biography of the guitarist, “A Biography of Charlie Christian, Jazz Guitar’s King of Swing”, published by the Edwin Mellen Press, 2005.
Saturday, May 7, 2016 (afternoon session)
“I Sing the (solid) Body Electric - The Hidden Story of the Electrification of the Guitar” presented by Dr. Matthew Hill, Author, Scholar, Curator and Organologist.
This illustrated lecture reached back centuries to the earliest documented experiments applying the use of electricity to musical instruments. Dr. Hill utilized sound samples as well as images to explain obscure musical inventions inspired by electricity. Much of the material utilized will be included in the presenter’s upcoming book: “The Rise of the Electric Guitar, 1740-1939”, which will be published this year by the University Press of Mississippi.
“Vivi Tone – Recent Discoveries and Revised Timeline” presented by Arian Sheets, Curator of Strings at the National Music Museum
This illustrated lecture examined the Vivi Tone Company and its pioneering work in the creation of electrically amplified instruments designed by Lloyd Loar (1886-1943). Exhaustive research conducted over the past few years has illuminated details of this misunderstood company including the fact that the company had was the second to market an electrically amplified guitar (1932) after Stromberg-Voisinet (1929). The presentation examined documents, existing instruments and the life of Loar in great detail.
“Diversity in Early Pickups” presented by Lynn Wheelwright, Author, Curator and Collector
This illustrated lecture examined the earliest pickups used during the first decade of the electric guitar, the 1930s. The presenter’s exhaustive research on the technical aspects of amplifying the guitar with an electric pickup revealed that the groundwork for all technologies in use today had been laid, if not fully developed, in those first years.
PANEL DISCUSSION – “The significance of various technologies and marketing developments during the 1920s and 30s” with Dr. Matthew Hill, Arian Sheets and Lynn Wheelwright during the afternoon session Saturday, May 7th.
This discussion examined the symbiotic chain of technological developments, their marketing and public reception. The talk exposed a timeline of developments, establishing precedents that debunked statements included previously published work such as Julius Bellson’s 1973 book “The Gibson Story”. This conversation emphasized the conclusion that no single inventor conceived of the electric guitar, inventing it in a moment of inspiration; rather that a wide range of electrical experimenters of the time, who were interested in music, were at work to develop amplification for musical instruments. Due to communication systems of the time many of these efforts were conducted in isolation. It wasn’t until something hit the market that its technology could be understood and appreciated.
Sunday, May 8, 2016 (morning session)
“Play it Loud – the Style, Sound, and Revolution of the Electric Guitar” presented by Alan DiPerna, Music Journalist and Author
Expanding on research developed for his upcoming book of the same title, DiPerna explored the electric guitars profound influence on the world today. The presentation examined the instrument’s origins with fresh perspective and reconsidered its influence, challenging popular perception. The book, coauthored with Brad Tolinski is being published October 25th by Doubleday.
“The Bigsby Guitar Story” presented by Deke Dickerson, Author, Collector, Curator, Guitarist and Entertainer.
This illustrated lecture examined in depth the work of Paul A. Bigsby (1899-1968), California guitar designer. The lecture, including audio samples, began with an encapsulation of the electric guitars origins in the Los Angeles area. It highlighted the popular enthusiasm for Hotrod, Western, Hillbilly and Cowboy subjects, especially in the post-war era. The resulting decorative material culture: clothing, automobiles and Guitars, were adapted and customized for individuals, identifying them and setting them apart. The presenter recounted Bigsby’s production beginning with the recently discovered “first” guitar, a circa 1940 Rickenbacker “Frying-pan” interpretation and emphasis on the 1952 introduction of the Bigsby Vibrato. Special focus was given to the third electric Spanish guitar included in the exhibit. Bigsby’s role was that of creator of what is popularly recognized today as the electric guitar.
The presentation concluded with a short performance by Dickerson with the Bigsby #3 Spanish Electric Guitar that included remarks. Dickerson was joined by Dr. Matthew hill who played a circa 1953 Fender Precision Bass. It was remarked that guitarist Jerry Hahn had made the point earlier that weekend that the electric guitar had not really been played loud until the Fender Bass had gained popularity. Also noted was the fact that Paul Tutmarc of Seattle had been the first to introduce the electric bass guitar as a production instrument with his little known AudioVox electric instrument company circa 1935.
Sunday, May 8, 2016 (afternoon session)
PANEL DISCUSSION – Compare and contrast of early solid body electric Spanish Guitars: 1935 Rickenbacker Model B (first in production) and the 1950 Fender Esquire (first commercially successful), with Cale, Hill & Wheelwright.
This brief discussion took into account the similarities and differences between the two guitars, taken from the exhibit and examined side by side. Both are instruments reduced in profile and stripped of unnecessary acoustic qualities, their form following their function. Though separated by 15 years (and WWII) the two instruments shared remarkable similarities: Bolt on necks, bolt-on electronics and other appointments, strings through body and near scale lengths. Differences included cutaway access to frets (Fender) and materials: Bakelite verses Wood. It was noted that other companies followed Rickenbacker’s lead and attempted to develop a similar product but that it was not until the guitars of Paul Bigsby beginning in 1948 that guitar design made the leap to the instrument we know today.
INSTRUMENT DEMONSTRATION, presented by Deke Dickerson, symposium finale
Deke Dickerson played the following three instruments through a circa 1957 vintage Fender Bassman Amplifier
Bigsby #3 Standard (Spanish) Guitar – Remarks: offered distinct sound familiar on many country and western records circa 1950.
Charlie Christian’s 1940 Gibson ES-250 Guitar – Remarks: a sacred instrument leaving the player feeling somewhat intimidated, the amplified sound was markedly acoustic in quality.
Gage Brewer’s 1932 Ro-Pat-In prototype Spanish Electric Guitar – Remarks: surprisingly loud, electric and playable, discounting intonation problems - practically “good enough to gig with.”
Initial post-symposium synopsis
Friday, May 6, 2016
“WICHITA & THE ELETRIC GUITAR – The coming of the electric guitar, Gage Brewer and its Wichita Debut” presented by Eric Cale, Director of the Wichita-Sedgwick County Historical Museum, opening session Friday, May 6th 1:00 p.m.
The illustrated presentation reviewed Brewer’s life beginning in Oklahoma Territory where he developed his love of Hawaiian music, leading to his establishment in Wichita, continental coast to coast connections and junket in Tahiti. The talk examined his involvement with the Los Angeles based guitar companies National and Rickenbacker illuminating facts about his access to the 1932 Ro-Pat-In Electro Spanish Guitar. His direct connection to other guitarist of his time from Sol Hoopii to Nick Lucas was also explored.
PANEL DISCUSSION – “WICHITA GUITAR STORIES – Gage Brewer, June Frisby, Lowell Kiesel, Milo and Bob Wiley” with Kevin Brown, Eric Cale, Dave Clothier, Scott Kern and Ron Starkel
This illustrated presentation reviewed the genesis of the early electric guitar culture in the city that first embraced it. This discussion expanded on Brewer’s local presence beginning in the 1920s and introduced his competitor, guitarist June Frisby. Both went on to promote music education a ’la electric guitar. The discussion included the formative years Lowell Kiesel, founder of the Carvin Guitar Company of Los Angeles, spent in Wichita during the 1930s. The careers of Milo Wiley and his virtuosic son Robert, early electric guitar builders operating early studios and dedicated guitar retail storefronts were reviewed.
“GUITAR – The Instrument that Rocked the World”; presented by H P Newquist, Director of the National Guitar Museum (via Skype), final presentation of opening session, Friday, May 6th.
This presentation examined the genesis of the guitar and its trajectory in becoming the world’s most popular instrument. This story is being brought to the wider public through the National Guitar Museum’s traveling exhibits. nationalguitarmuseum.com
Saturday, May 7, 2016 (morning session)
“ELECTRIC MELE, the Hawaiian Pre-history of Electric Guitars” presented by Dr. John Troutman, Associate Professor of History, University of Louisiana at Lafayette.
This illustrated lecture examined the history of the steel guitar’s origins in Hawaii, its far reaching influence and the instrument’s unprecedented rapid world-wide rise in popularity out-selling standard-Spanish guitars 4 to 1 during the 1920s and 30s. Much of the information presented drew from Troutman’s recently published book: “Kika Kila, how the Hawaiian Steel Guitar changed the sound of Modern Music” (University of North Carolina Press).
“Charles Christian – seminal electric guitarist” presented by Dr. Wayne Goins, Distinguished Professor and Director of Jazz Studies, Kansas State University.
This lecture focused in depth on the life of renowned jazz guitarist “Charlie” Christian (1916-1942) and his profound and lasting influence. Dr. Goins was joined in conversation by Craig McKinney who coauthored the definitive biography of the guitarist, “A Biography of Charlie Christian, Jazz Guitar’s King of Swing”, published by the Edwin Mellen Press, 2005.
Saturday, May 7, 2016 (afternoon session)
“I Sing the (solid) Body Electric - The Hidden Story of the Electrification of the Guitar” presented by Dr. Matthew Hill, Author, Scholar, Curator and Organologist.
This illustrated lecture reached back centuries to the earliest documented experiments applying the use of electricity to musical instruments. Dr. Hill utilized sound samples as well as images to explain obscure musical inventions inspired by electricity. Much of the material utilized will be included in the presenter’s upcoming book: “The Rise of the Electric Guitar, 1740-1939”, which will be published this year by the University Press of Mississippi.
“Vivi Tone – Recent Discoveries and Revised Timeline” presented by Arian Sheets, Curator of Strings at the National Music Museum
This illustrated lecture examined the Vivi Tone Company and its pioneering work in the creation of electrically amplified instruments designed by Lloyd Loar (1886-1943). Exhaustive research conducted over the past few years has illuminated details of this misunderstood company including the fact that the company had was the second to market an electrically amplified guitar (1932) after Stromberg-Voisinet (1929). The presentation examined documents, existing instruments and the life of Loar in great detail.
“Diversity in Early Pickups” presented by Lynn Wheelwright, Author, Curator and Collector
This illustrated lecture examined the earliest pickups used during the first decade of the electric guitar, the 1930s. The presenter’s exhaustive research on the technical aspects of amplifying the guitar with an electric pickup revealed that the groundwork for all technologies in use today had been laid, if not fully developed, in those first years.
PANEL DISCUSSION – “The significance of various technologies and marketing developments during the 1920s and 30s” with Dr. Matthew Hill, Arian Sheets and Lynn Wheelwright during the afternoon session Saturday, May 7th.
This discussion examined the symbiotic chain of technological developments, their marketing and public reception. The talk exposed a timeline of developments, establishing precedents that debunked statements included previously published work such as Julius Bellson’s 1973 book “The Gibson Story”. This conversation emphasized the conclusion that no single inventor conceived of the electric guitar, inventing it in a moment of inspiration; rather that a wide range of electrical experimenters of the time, who were interested in music, were at work to develop amplification for musical instruments. Due to communication systems of the time many of these efforts were conducted in isolation. It wasn’t until something hit the market that its technology could be understood and appreciated.
Sunday, May 8, 2016 (morning session)
“Play it Loud – the Style, Sound, and Revolution of the Electric Guitar” presented by Alan DiPerna, Music Journalist and Author
Expanding on research developed for his upcoming book of the same title, DiPerna explored the electric guitars profound influence on the world today. The presentation examined the instrument’s origins with fresh perspective and reconsidered its influence, challenging popular perception. The book, coauthored with Brad Tolinski is being published October 25th by Doubleday.
“The Bigsby Guitar Story” presented by Deke Dickerson, Author, Collector, Curator, Guitarist and Entertainer.
This illustrated lecture examined in depth the work of Paul A. Bigsby (1899-1968), California guitar designer. The lecture, including audio samples, began with an encapsulation of the electric guitars origins in the Los Angeles area. It highlighted the popular enthusiasm for Hotrod, Western, Hillbilly and Cowboy subjects, especially in the post-war era. The resulting decorative material culture: clothing, automobiles and Guitars, were adapted and customized for individuals, identifying them and setting them apart. The presenter recounted Bigsby’s production beginning with the recently discovered “first” guitar, a circa 1940 Rickenbacker “Frying-pan” interpretation and emphasis on the 1952 introduction of the Bigsby Vibrato. Special focus was given to the third electric Spanish guitar included in the exhibit. Bigsby’s role was that of creator of what is popularly recognized today as the electric guitar.
The presentation concluded with a short performance by Dickerson with the Bigsby #3 Spanish Electric Guitar that included remarks. Dickerson was joined by Dr. Matthew hill who played a circa 1953 Fender Precision Bass. It was remarked that guitarist Jerry Hahn had made the point earlier that weekend that the electric guitar had not really been played loud until the Fender Bass had gained popularity. Also noted was the fact that Paul Tutmarc of Seattle had been the first to introduce the electric bass guitar as a production instrument with his little known AudioVox electric instrument company circa 1935.
Sunday, May 8, 2016 (afternoon session)
PANEL DISCUSSION – Compare and contrast of early solid body electric Spanish Guitars: 1935 Rickenbacker Model B (first in production) and the 1950 Fender Esquire (first commercially successful), with Cale, Hill & Wheelwright.
This brief discussion took into account the similarities and differences between the two guitars, taken from the exhibit and examined side by side. Both are instruments reduced in profile and stripped of unnecessary acoustic qualities, their form following their function. Though separated by 15 years (and WWII) the two instruments shared remarkable similarities: Bolt on necks, bolt-on electronics and other appointments, strings through body and near scale lengths. Differences included cutaway access to frets (Fender) and materials: Bakelite verses Wood. It was noted that other companies followed Rickenbacker’s lead and attempted to develop a similar product but that it was not until the guitars of Paul Bigsby beginning in 1948 that guitar design made the leap to the instrument we know today.
INSTRUMENT DEMONSTRATION, presented by Deke Dickerson, symposium finale
Deke Dickerson played the following three instruments through a circa 1957 vintage Fender Bassman Amplifier
Bigsby #3 Standard (Spanish) Guitar – Remarks: offered distinct sound familiar on many country and western records circa 1950.
Charlie Christian’s 1940 Gibson ES-250 Guitar – Remarks: a sacred instrument leaving the player feeling somewhat intimidated, the amplified sound was markedly acoustic in quality.
Gage Brewer’s 1932 Ro-Pat-In prototype Spanish Electric Guitar – Remarks: surprisingly loud, electric and playable, discounting intonation problems - practically “good enough to gig with.”