My father was Dick Cathcart (trumpet/cornet), and he and George were lifelong friends and bandmates and worked together as often as they could for many decades. So I had the great fortune of knowing George and seeing him play with my dad's groups (especially the original Pete Kelly's Big 7) and other gigs, countless times. He was the reason I started playing guitar at 6 years old, and the advice and tips and tricks he laid on me in those days were and are pure treasure for me. It is wonderful to hear his voice again. Reminds me of some lucky, incredible times.
@@djangokeli I hope you don't mind a ramble here: perhaps my favorite tale of those days: I came home from school one day (nearing the end of freshman in high school) and walking up the driveway could hear the music playing live from the living room and suddenly remembered that dad was rehearsing the Big 7 for the upcoming L.A. Trad Jazz Festival at the LAX Marriot, the first time the Big 7 had played in many, many years... and so I just went in the front door, closed it quietly behind me, and plopped myself down and watched/listened for the next hour of classic swing jazz awesomeness. Then, on a break, I went up to George and chatted him up about his guitar and was asking all kinds of young guitarist things, and he showed me some great stuff... and played a great bit of Just You, Just Me... then he said "here, take her out of tune." He handed me the guitar, and I said "Like, BADLY out of tune or just - ?" "No, just different tuning." I tuned it (if I recall something like D B E G A F E - it WAS the 7 string Epi!)... and handed it back to him. He then strummed it open a few times, noodled a few things... and then proceeded to play Just You, Just Me again -- SAME KEY as before! -- transposing on the fly. It was... I was stunned. I STILL am not sure it happened but man! I was floored. My dad started laughing, and said "Got ANOTHER one George!" I'll never forget it. He was simply a genius.
Hi, I hope you see this. George Van Eps was my Uncle. I am collecting and archiving as much of his recordings as I can find. I have several that also have your Dad playing. I recently digitized all of Bob Taber's Poor Angel reels. Quite a few with your Dad on them. Let me know if you'd be interested in copies.
I called Mr. Van Eps years ago and asked him about buying a Van Eps string damper. He sold me a Gibson one he had. Later I got one from Vintage Guitar (Stamped VanCo) which was covered with nicotine. I took it apart and cleaned it and put new rabbit felt in it, and it works great. Both of my jazz boxes have Van Eps dampers. I thank the late Herb Ellis as well as George Van Eps for introducing me to swing guitar and the Van Eps string damper. Mr. Van Eps was such a nice fellow to talk to. He was a classic.
This is great! I have a ton of footage (some of which I gave to Eric Swanson) but an actual long interview like this is....gold! A treasure! Thanks...Bill Dee.
Incredible! I keep tuning into your concerts but never knew you had this interview on here! It's a real piece of history to hear him talk and tell his stories. I got a pdf copy of one of his early books and am still learning from it. Thanks for making this available on RUclips!
15:29 > RB: When you started playing guitars that were amplified (and even before that) did you do specific exercises to cut down on finger noise with the left hand? > GVE: No, because I worked for years before amplification. I didn't like the whistling sounds that other people got -- it didn't seem to bother them, but it bothered the hell out of me! It's like someone constantly going *whew* *whew* behind you! It had a tonality that was not particularly attractive. I made sure that my technique -- I didn't slide along the strings. I'd release the pressure **and gently touch the string, but no pressure. That whistle, as you know, comes from a slight amount of pressure. I just used the string as a benchmark to feel my way along the neck. You know, you don't wanna lose your place.** This is an important note for me b/c I've been working on fast chord switches w/o noise (I also detest the whistle). I tried completely lifting fretting-hand-fingers when switching chords, but it's error-prone. After hearing this part of the interview, I started keeping some "guide fingers" w/o pressure on the strings, and I find that it's not noisy (if you don't apply pressure) and (2) it helps keep you oriented when switching chords quickly. Thanks for the wisdom, George! (and thanks Rolly for uploading this!)
The song George is talking about at 26:54 was originally composed and published in 1926 by James P. Johnson with lyrics by Henry Creamer. Here's the first version that made it popular: ruclips.net/video/dXcpQAxNZ8s/видео.html Benny Goodman version with Allan Reuss (the guitarist he mentions): ruclips.net/video/fYvo85FQluA/видео.html A vocal version with Kay Starr: ruclips.net/video/Oe7A6U9QumA/видео.html
Thanks very much for this. You asked some good questions (especially re: guitar technique), and his answers were precise and very helpful - especially for those of us going through his books...
what would the full tuning be then, the 2nd tuning. I'm not quite sure what he means B to low A. Anyone? this interview is so interesting. thanks for sharing.
The full tuning that George used, if I understood correctly, was GDGCFAD. That would be AEADGBE tuned down one whole step. If you've ever used "Drop D" tuning on a 6 string, you'll understand how the low bass functions like a "Drop G".
@@djangokeli interesting, most 7 strings are B E A D G B E so he invented his own 7 string tuning? Thanks so much, this is fascinating to me as I love open tunings on acoustic.
@@DaveElke Van Eps essentially invented the 7 string jazz guitar, so I'd tend to think his successors were the "inventors". I played a 7 string for a couple years, and used the low B, but I might rethink that if i were ever to take it up again. George's tuning makes a good bit of sense to me.
I think he means 6 string guitar, but remove the high E string, and put the B string there and the other 5 strings in sequence - EADGB. Then add the low A string where the low E would have been. So low to high, AEADGB. This seems to be what he was "training" himself with to work out the low end before he got the 7 guitar made.
Fascinating conversation Rolly - I tried 7 string a couple of years ago, but I decided to stick to 6 ! By the way did you know that George was very interested in steam railway locomotives ?
I believe George was credited with building the smallest functioning steam engine ever. It was never made clear whether "steam engine" meant just the motor or meant "steam locomotive"...
Not in anyway to take anything from Mr. Van Epps , but he did not invent the 7 string guitar. The 7 string guitar is a traditional Russian instrument which predates his adaptation by 100 years. The Russian guitar uses a different tuning though. In Brazil the 7 string Russian instrument has been adopted in the standard 6 string tuning with the lowest string being tuned to either A,B or C depending on the key of the piece being played. Thanks for making this interview available . GVE is an important figure in the development of the American guitar...
Видеоклипы
My father was Dick Cathcart (trumpet/cornet), and he and George were lifelong friends and bandmates and worked together as often as they could for many decades. So I had the great fortune of knowing George and seeing him play with my dad's groups (especially the original Pete Kelly's Big 7) and other gigs, countless times. He was the reason I started playing guitar at 6 years old, and the advice and tips and tricks he laid on me in those days were and are pure treasure for me. It is wonderful to hear his voice again. Reminds me of some lucky, incredible times.
Thanks for checking in, SM! Just as GVE was bounced on Gershwin's knee, you are then another step in that amazing lineage!
@@djangokeli I hope you don't mind a ramble here: perhaps my favorite tale of those days: I came home from school one day (nearing the end of freshman in high school) and walking up the driveway could hear the music playing live from the living room and suddenly remembered that dad was rehearsing the Big 7 for the upcoming L.A. Trad Jazz Festival at the LAX Marriot, the first time the Big 7 had played in many, many years... and so I just went in the front door, closed it quietly behind me, and plopped myself down and watched/listened for the next hour of classic swing jazz awesomeness. Then, on a break, I went up to George and chatted him up about his guitar and was asking all kinds of young guitarist things, and he showed me some great stuff... and played a great bit of Just You, Just Me... then he said "here, take her out of tune." He handed me the guitar, and I said "Like, BADLY out of tune or just - ?" "No, just different tuning." I tuned it (if I recall something like D B E G A F E - it WAS the 7 string Epi!)... and handed it back to him. He then strummed it open a few times, noodled a few things... and then proceeded to play Just You, Just Me again -- SAME KEY as before! -- transposing on the fly. It was... I was stunned. I STILL am not sure it happened but man! I was floored. My dad started laughing, and said "Got ANOTHER one George!" I'll never forget it. He was simply a genius.
Hi, I hope you see this. George Van Eps was my Uncle. I am collecting and archiving as much of his recordings as I can find. I have several that also have your Dad playing. I recently digitized all of Bob Taber's Poor Angel reels. Quite a few with your Dad on them. Let me know if you'd be interested in copies.
I called Mr. Van Eps years ago and asked him about buying a Van Eps string damper. He sold me a Gibson one he had. Later I got one from Vintage Guitar (Stamped VanCo) which was covered with nicotine. I took it apart and cleaned it and put new rabbit felt in it, and it works great. Both of my jazz boxes have Van Eps dampers. I thank the late Herb Ellis as well as George Van Eps for introducing me to swing guitar and the Van Eps string damper. Mr. Van Eps was such a nice fellow to talk to. He was a classic.
Lenny Breau loved GVE!!!!!!! I am a former student of LBHe was quite amazing as well!!!!
This is great! I have a ton of footage (some of which I gave to Eric Swanson) but an actual long interview like this is....gold! A treasure! Thanks...Bill Dee.
I went to see George, being a guitar player myself, I could not believe what I was hearing.Amazing guitarist great interview. History I didn't know.
Incredible! I keep tuning into your concerts but never knew you had this interview on here! It's a real piece of history to hear him talk and tell his stories. I got a pdf copy of one of his early books and am still learning from it. Thanks for making this available on RUclips!
Invented the 7-string. Mastered the 7 string. Replaced wooden bridges with brass bridges. Wrote the most complete book/s for guitar.
Man was a genius.....never saw him play....have Harmonic Mechanism volume one....great stuff in there.....
To quote Barney Kessel...Van Eps was a genius.....a superb guitarist with exquisate taste. I love listening to him.
Excellent interview with a genius!
This guy was a visionary.
What a fascinating interview , thanks
15:29
> RB: When you started playing guitars that were amplified (and even before that) did you do specific exercises to cut down on finger noise with the left hand?
> GVE: No, because I worked for years before amplification. I didn't like the whistling sounds that other people got -- it didn't seem to bother them, but it bothered the hell out of me! It's like someone constantly going *whew* *whew* behind you! It had a tonality that was not particularly attractive. I made sure that my technique -- I didn't slide along the strings. I'd release the pressure **and gently touch the string, but no pressure. That whistle, as you know, comes from a slight amount of pressure. I just used the string as a benchmark to feel my way along the neck. You know, you don't wanna lose your place.**
This is an important note for me b/c I've been working on fast chord switches w/o noise (I also detest the whistle). I tried completely lifting fretting-hand-fingers when switching chords, but it's error-prone. After hearing this part of the interview, I started keeping some "guide fingers" w/o pressure on the strings, and I find that it's not noisy (if you don't apply pressure) and (2) it helps keep you oriented when switching chords quickly. Thanks for the wisdom, George! (and thanks Rolly for uploading this!)
Thanks so much for posting this interview...a true pioneer of Jazz guitar. RC
Rolly, this is a treasure -- many thanks.
The song George is talking about at 26:54 was originally composed and published in 1926 by James P. Johnson with lyrics by Henry Creamer.
Here's the first version that made it popular: ruclips.net/video/dXcpQAxNZ8s/видео.html
Benny Goodman version with Allan Reuss (the guitarist he mentions): ruclips.net/video/fYvo85FQluA/видео.html
A vocal version with Kay Starr: ruclips.net/video/Oe7A6U9QumA/видео.html
This is wonderful. Thank you for sharing.
Great interview! George Van Eps truly an innovator
Thank you for this treasure, Rolly!
Thanks very much for this. You asked some good questions (especially re: guitar technique), and his answers were precise and very helpful - especially for those of us going through his books...
Mr. Van Eps is well spoken.
That is fantastic
Thanks for sharing this!
what would the full tuning be then, the 2nd tuning. I'm not quite sure what he means B to low A. Anyone? this interview is so interesting. thanks for sharing.
The full tuning that George used, if I understood correctly, was GDGCFAD. That would be AEADGBE tuned down one whole step. If you've ever used "Drop D" tuning on a 6 string, you'll understand how the low bass functions like a "Drop G".
@@djangokeli interesting, most 7 strings are B E A D G B E so he invented his own 7 string tuning?
Thanks so much, this is fascinating to me as I love open tunings on acoustic.
@@DaveElke Van Eps essentially invented the 7 string jazz guitar, so I'd tend to think his successors were the "inventors". I played a 7 string for a couple years, and used the low B, but I might rethink that if i were ever to take it up again. George's tuning makes a good bit of sense to me.
I think he means 6 string guitar, but remove the high E string, and put the B string there and the other 5 strings in sequence - EADGB. Then add the low A string where the low E would have been. So low to high, AEADGB. This seems to be what he was "training" himself with to work out the low end before he got the 7 guitar made.
Fascinating conversation Rolly - I tried 7 string a couple of years ago, but I decided to stick to 6 ! By the way did you know that George was very interested in steam railway locomotives ?
I believe George was credited with building the smallest functioning steam engine ever. It was never made clear whether "steam engine" meant just the motor or meant "steam locomotive"...
@@djangokeli In any case, the locomotive is sure to have had _seven_ wheels.
What happened to the full post?
Someone took it down?
ruclips.net/video/jaGt2qIQTqM/видео.html
Do you know who is the interviewer ?
I am the interviewer.
Not in anyway to take anything from Mr. Van Epps , but he did not invent the 7 string guitar. The 7 string guitar is a traditional Russian instrument which predates his adaptation by 100 years. The Russian guitar uses a different tuning though. In Brazil the 7 string Russian instrument has been adopted in the standard 6 string tuning with the lowest string being tuned to either A,B or C depending on the key of the piece being played. Thanks for making this interview available . GVE is an important figure in the development of the American guitar...
Brazilian 7 strg guitar is usually tuned to a low C for Choro music and Samba.