Archive for November, 2009
From Europe to Hawaii: The Ukulele’s Journey
Until a few years ago, I had always associated the ukulele with traditional Hawaiian music – and for good reason. The instrument is actually a minor variation on stringed lutes that were played in Europe for centuries. Eventually, some Portuguese immigrants introduced that lute to natives of Hawaii, and the craze spread throughout the islands. Now I have a much more sophisticated view of the instrument’s potential, however, after hearing the song “Postcards from Italy” by Beirut.
The song is sung as a lamentation for lost people and places, and it perfectly utilizes the ukulele’s versatility. It can be used to strum mournful lullabies or uplifting chants. Baritone ukuleles feature an entirely unique tone, especially those made from the wood of Hawaiian koa trees. In recent years, the electric ukulele has become almost as popular as its acoustic counterpart.
Gibson’s now-legendary Mastertone banjo line was introduced in 1925 and quickly became an industry standard, but by the late 1930s the banjo had fallen in popularity. Anxious to kick-start flagging sales, Gibson announced a new product that fixed an old problem. The new “top-tension” Mastertone design, introduced in 1937, was intended to make life easier for banjoists contending with the fickle calfskin heads. Calfskin heads were the standard before World War II (Remo Belli would later develop mylar heads) and calfskin needed frequent attention. Changes in the climate, especially in levels of humidity, dramatically changed the tension on a calfskin head and changed the banjo sound. Retensioning the calfskin head was common, and by moving the tension hook adjustment to the front (or top) without removing the resonator, Gibson made the tensioning process much easier.
While they were at it, Gibson introduced other changes such as carved solid-wood resonators, radiused fingerboards, and bold Art Deco cosmetics. Most important to modern players, flathead tone rings were also standard on the top-tension models. The three new top-tension Mastertone styles 7, 12, and 18 were, according to company literature, the “alarm clock” that was going to “wake up new possibilities in banjo playing”. The banjo’s time as America’s favorite fretted instrument had passed, however, and the top-tension line faded away when Gibson suspended banjo production during World War II.
The top-tension banjo had no real champions among the first generation of bluegrass banjo players (although Don Reno did occasionally use a style 18), but as the decades passed, Gibson’s prediction of top-tension-fueled banjo innovation seemed accurate, though delayed. A young Bill Keith used a converted TB-12 for his groundbreaking performances and recordings in the new melodic style when he joined Bill Monroe’s Blue Grass Boys in the 1960s. A Style 18 has been in Bela Fleck’s arsenal since the 1980s, and a Style 7 is the favored banjo of Noam Pikelny of Punch Brothers fame. Although Gibson top-tensions are once again out of production following a revival in the 1990s and early 2000s, the banner has been taken up by other companies including Ome, one of whose top-tension models has found favor with virtuoso Matt Menefee of Cadillac Sky.
While electric guitar may be at the forefront of most mainstream music today, many artists will still occasionally go back to the classic acoustic guitar. There is still a love for acoustic music in the mainstream, and there are efforts to assure that the tradition doesn’t die. Although MTV has done a lot to “kill the radio star,” their popular series Unplugged has helped revive the mainstream appreciation of acoustic music.
In the last few years there has been an increase of bands exclusively performing acoustic music. Sub Pop Records is home to some of the most notable of these bands, including Fleet Foxes and Iron & Wine. The Seattle radio station KNDD features a full three hour radio show each week devoted exclusively to acoustic mainstream music.