J.V.
How has MSA been doing since the introduction of the new (Millennium) steel guitar models?

M.A.
I'm very happy to say, acceptance of the new MSA Millennium has far exceeded all our expectations.

J.V.
What is your involvement in the new company? And your brother Jerry's?

M.A.
My involvement with MSA is that of public relations, sales, part of the design team and business related matters. My brother Jerry is primarily involved in business related matters.

J.V.
Doesn't MSA experience an enormous competition from Carter steel guitars? After all Bud Carter took a lot of the ideas he originally used for MSA to build MCI and later on Carter steel guitars.

M.A.
The word competitor is a word that can provide many different connotations. There can be harsh competitors, co-operative competitors, un-cooperative competitors, fierce competitors, and friendly competitors. I'm proud to say, most other guitar builders are friends of mine, and there's no negative connotation attached. Bud Carter is still a dear friend today, and he played a vital role in the development and production of the old MSA. However, the new MSA Millennium is totally different from anything we built at the old MSA or even imagined in virtually every aspect relative to design, materials, precision and concept.

J.V.
Does MSA also work with specialized dealers or does the new company deliver "factory direct to players" exclusively?

M.A.
In today's business environment, the advent of the Internet and other technological innovations have resulted in the expansion of possibilities for successful marketing strategies relative to steel guitar as well as many other products when compared with the available strategies of even a few years ago. While we are not wed to any particular strategy for the future, our current direct sales marketing approach has proven very satisfactory to date.

J.V.
My personal experience has been, many pedal steel guitars are adjusted and serviced very poorly after having been in use for some time. This is because many players aren't even aware of the fact that a pedal steel guitar is not just a musical instrument, but a machine as well. In my opinion every non-technical player should visit a specialized dealer now and then to keep his / her instrument in optimal condition. Aren't you afraid that many factory direct sold pedal steel guitars shipped abroad will lack the necessary servicing (which is bad for the image of the instrument in general)?

M.A.
MSA has gone to great lengths to build in a reliability factor through design, computer precision and space aged materials that in our opinion, will dramatically reduce the need for service when compared with service required for old or new traditional steels. Additionally, we believe the design itself makes the mechanics of the Millennium very user and service friendly. We think that those facts, when considered with our ability to respond immediately to questions through the Internet and other media, and other solutions, will allow us to provide the customer service that we are dedicated to provide. In addition, we have initiated a designated service representative concept for selected areas and continue to evaluate the results from that program. Further, we are frequently theorizing among ourselves and with customers as to how to provide the best service now and in the future. As with marketing strategy, we are not wed to any particular paradigm and plan to retain the flexibility necessary to be ready to adopt any viable plan that serves our goal of outstanding customer service.

J.V.
What was your main income source during the years between the old and the new MSA company?

M.A.
Soon after the old MSA closed in 1983 I started building custom homes in the Dallas Ft. Worth area, and I continued that until 1987. Even during the time between 1983 until 1987, I remained totally dedicated to the music business. Since 1987 everything I have done has been musically related. I still record, play over 150 engagements a year at a local music theatre, do personal appearances, manage my musical booking agency and a mail order business for my teaching materials, do extensive teaching, and since the day of inception of the new Millennium on Sept. 17th 2001, I am involved with MSA. The truth of the matter is, I now lead a busy but non-stressful, rewarding and enjoyable life with my family and friends. You may be assured, I return thanks each day to Him for His blessings. This is truly a wonderful time in my life.

J.V.
I saw that during those years you did quite a few in depth writings about the steel guitar, mind control etc. Please tell something about these writings.

M.A.
I have always believed the secret of being an exceptional player is in the mind. The fingers, feet and knees are simply servants and therefore execute commands issued by the mind. If those commands are not logically based by using a consistent and organized procedure which allows the mind to make determinations and decisions in the blink of an eye, the mind will not accept or process the information fast enough to relay commands to the hands, feet and knees. The result of all that can be a total mental lockdown, insofar as playing music is concerned.

J.V.
During the past 20 years you were sometimes offended for venting (in your writings) your Christian belief. Have you something to say to these people?

M.A.
I try not to take offence at people's comments in that regard. I am simply trying to live my life in a way that will be a testimony to my Christian beliefs. In addition, I never intended to give the impression I was venting frustration toward others because they did not share my religious beliefs, convictions and opinions.

J.V.
I remember your tours through a few European countries in the early 1980's. One of these was in Utrecht, Netherlands, and was visited by approx. 30 steel guitar fans. This was a perfect promotion for the pedal steel guitar and a good way to show its potential. In my opinion these performances were actually meant to obtain orders for MSA. Are you still doing such promotion performances now end then?

M.A.
I remember very well my many trips to Europe where I met so many wonderful and kind people like you and your lovely wife Trudy. Those times will always have a special place in my heart. I agree, those type performances as done by others in addition to me, has had great promotional value for steel guitar. I'm considering another tour to Europe in the next few years God willing.

J.V.
Do you and Teresa still perform regularly or did you quit roadwork? Do you still do recording sessions regularly? Is this strictly in the Dallas area?

M.A.
Thank you for remembering and asking about my wife Teresa, She is still active in the music business, both with her band and working with others. However, she has now devoted her working life to a non-profit organization called Meals On Wheels that provides not only meals but other necessities of life to the elderly and less fortunate. She started her business in our garage about 9 years ago. That business is now housed in a large building, and comprises a full time staff of 5 and about 30 volunteers. Neither of us do much roadwork anymore because of commitments here at home.

J.V.
Are (or were) your sessions mainly jazz or are (were) they country and pop too?

M.A.
Most of my recording sessions are country and gospel. In contrast and comparison to the past, very little jazz is recorded here in the Dallas area.

J.V.
When preparing the questions for the interview, I didn't know at all, that your sessions were mainly country and gospel. I learnt just recently that you use an E9th Universal and a double neck guitar beside your Bb6th Universal. Which guitar (or tuning) do you prefer to use for the country and gospel sessions?

M.A.
I usually select the guitar I'm going to use the day of the session when loading my equipment. This may appear strange to some, therefore I will explain my reasons. I have always attempted to attain and maintain a "mental freshness" in everything I do, both in everyday life as well as playing steel guitar. This is the reason I play many different guitars, amps, strings, bars, string gauges, tuning compensations, effects, experiment with tunings and set up combinations, as well as play and enjoy all styles of music. I realized long ago the real truth is -no one can change the way they truly feel inside-. As an example, one cannot force themselves to love someone or something, no matter how hard they may try. Considering and acknowledging the possibility my mind could one day decide it no longer has the enthusiasm or desire to continue playing steel guitar, is very disturbing to me. Recognizing the reality of such things, I continually strive to do everything possible to maintain a "mental freshness" by never allowing myself to become complacent. I owe every material thing I own in this world to the steel guitar. And far more importantly, had I not played on Box Car Willie's very first recording, which my wife's father produced, I would never have met the love of my life, Teresa. We will soon celebrate our 25th wedding anniversary. I have made myself a personal promise, should the day ever come that my enthusiasm is diminished, I will quit playing. My most sincere wish has always been that through MSA and my playing career I would have the opportunity to give something back to steel guitar in appreciation of that which it has given me over my lifetime.

J.V.
In former articles you were often called "Steel's ambassador" and "Chord king". In a few of my own articles about the steel guitar I also called you an ambassador for the Universal tuning. Was I right? I mean: were you really promoting the Universal tuning on purpose or was the use of an extended set up just necessary to be able to play "Nashville style"? I guess otherwise it would not have been possible for you to get many country music recording sessions.

M.A.
I have always believed in the musical validity and versatility relative to the capability of the Universal guitar. In addition, I appreciate the very kind "titles" to which you refer in association with me. Steel guitar has been a lifelong pursuit for me, both from a playing and a building perspective. Being a proponent of the Universal concept while always striving to improve and have the ability to play different styles of music, was the catalyst for me in developing my version of the Universal concept. I consider tunings and pedal set ups as nothing more than interval (distance) movement. I interpret the interval movement relative to the interval distances of the notes on the strings, and then examine the musical connection of the pedal and knee lever combinations and their access and relationship to each other. Using this method, I don't have to think about a "tuning" as most might envision. This may come as a surprise, but I sometimes enjoy alternating from my Universal 12 string, to my double 10. I believe this provides me an insight to all concepts and keeps me mentally fresh and alert. Some who were astonished to see me playing a double neck, have asked me why I was not playing my Universal guitar? My joking reply has been...I have no need to drive a high performance race car to the grocery store. At times I play country music jobs in which I don't play my Universal because there is no need to consider complex musical interpretations. For musical engagements that require more complex interpretations, the Universal guitar is my trusted and reliable friend.

J.V.
Since you started using the "Nashville" part of your tuning, E9th players developed hundreds of new licks and effects. Many of these cannot be played on your Bb6th tuning and set up. Are you often confronted with this "lack" when using your Bb6th guitar for country music sessions?

M.A.
Of course the E9th/B6th Universal is to be preferred when playing modern commercial country licks. When considering the E9th/B6th Universal I believe one will find most of what's heard today on record can indeed be played on a single-12 that has the recommended set up. Both the Universal and double neck can create musical instances the other cannot. The standard double neck has 3 pedals and 5 knee levers on E9th, and 5 pedals and 2 knee levers on the C6th. The E9th/B6th Universal has the potential of 8 pedals and 5 knee levers on E9, AND a B6th that also has 8 pedals and 5 knee levers. The ability of the Universal to provide accessibility of both tunings at the same time, is in my opinion, a distinct musical advantage. I'm sure most will agree, many great players have dedicated their lives to playing only the E9th, therefore over all the past 40 years they have been extensively exploring the possibilities of the 9th-tuning. Consequently, the identifiable licks to which you refer are a combined result of the insight of those players over many years. Had the Universal mechanics been available 40 years ago and those same players been playing the Universal concept for all those years, one can only imagine what might have evolved by now. I suspect there would be many things being played today on a Universal which are not possible with the double 10.

J.V.
Do you have a C6th tuning on your double neck or is it Bb6th?

M.A.
My double neck Millennium has a C6th tuning on the bottom neck for two reasons. The first is to provide anyone who wishes to try my new Millennium the opportunity to do so while using a tuning with which they are most familiar. Secondly, should I be teaching someone who has a double neck guitar, it provides a more direct relationship, and is therefore used as a teaching aid as well. I'm currently having a new double 10 made for my personal use which will most assuredly have a Bb6th on the bottom neck with an F note on the top string for reasons expressed within this interview. (Equivalent of a G on the first string of the C6th)

J.V.
I have read the article about you in the "Guitar Player magazine" issue of February 1971. The Bb6th tuning and set up diagram printed with it showed only 5 pedals and 5 knee levers, while the printed photograph showed 7 or 8 pedals. Does this mean that you first started using 8 pedals around that time? The pictures on your "The Moods of Maurice Anderson" LP box, which had just been released then, also showed only 5 pedals.

M.A.
I don't remember a time when I didn't use 8 pedals. I even had 8 pedals when I made my "Moods" recordings. Possibly at the time I was playing an older model guitar and thought it best to show a newer model in the photo for promotional consideration.

J.V.
In the May 1979 issue of "Steel Guitarist" magazine there was a corrected diagram showing your -at that time- current Bb6th set up. Some pedal functions had been replaced by knee levers or had gone to other pedals. Were you still experimenting then?

M.A.
I was experimenting then, and there's still not a day that I'm not experimenting by considering ideas for the new Millennium, my Universal set up configuration, or how to play things a different way.

J.V.
I recently took your current tunings from the forum website. I think there is an error in the E9th Universal diagram. It shows that the 6th pedal lowers the 8th string a ½ tone. In my opinion this should be a full tone. Would you be so kind to thoroughly check both diagrams? I will ask Alexander ( PPU editor & webmaster) to put the note names in the diagram he is going to publish. I personally prefer this to the plus and minus system. The forum people rather should not use the note names Gb, Eb, Ab in the E9th tuning, as these are no part of the E major scale. Even Bb in the E9th/B6th tuning should be called A#. I know there can be some differences between American and European notations. For instance: what we call b10 is often called #9 in America.

M.A.
I understand your question perfectly. To best eliminate confusion to most, the 8th string appears as having a ½ tone lower on the charts, but in reality it should be a full tone. If it's shown as a full tone lower, most do not recognize the fact it is the same pull normally found on a double neck guitar on the 6th pedal.

J.V.
When transposing your old and later Bb6th set up to C6th, I see that some pedal functions and the pedal order of the "6th" of your set up part are different from a standard C6th set up. Did you develop your set up completely yourself or did you derive it partly from the standard Sho-Bud C6th set up?

M.A.
All set ups are created from interval necessity and their relationship relative to pedal and knee lever location. There is a musical criterion which must be met and adhered too, therefore certain pedals MUST be located in specific places in order to meet and achieve a viable musical criterion. The tunings I use were created from that concept, and although I have always appreciated and explored the applications of others, my decision for the composition of my personal set up was predicated relative to what was most mentally comfortable to best allow my mind to relax and issue commands directed toward physical response. My only criterion was, to be sure my set up was musically compatible, and the set up combinations were present which would allow me the most freedom of musical movement.

J.V.
What made you decide to go to play a 12-string guitar? The extension you used was in the upper register, which was not particularly a "jazz" sound. Later on you replaced your high A-string by a D-string. (C6 players replaced their high G-string by a D-string, as the high string did not fit in the jazz sound. Besides that they reduced the interval gap between the upper C and E). As you had a D-string already as your 4th string, I guess you wanted to use the 1st string for "chromatic" effects as done on the regular E9th "chromatic" (actually E9th.add.maj.7th) tuning. Please comment.

M.A.
As I mentioned earlier, I enjoy playing both a Universal and a double 10, but after playing a double 10 extensively, and with a totally open mind, I still must honestly say, a single-12 is more comfortable for me to play both from a musical and a comfort perspective. You are absolutely right, and I'm flattered you would remember I first used a high "A", which provided me a Bb major 7th. However after playing it a few years it evolved to the "D" note which not only provided the E9th chromatic sounds, it still provides a major 7 and it's now an Eb major 7th. I have never been a proponent of replacing the "G" (1st string, 5th interval) note on a C6th tuning, with a "D" (9th tone) note. For me, the melodic and chord advantages of the "G" (5th interval on the C6th) has ore significant close proximity musical interval value, while allowing the playing positions to more easily align themselves relative to pedal and knee lever applications. Admittedly, the "D" note is very important to the C6th tuning, which is why I lower my 4th string on the Bb6th to the same 9th tone to achieve the same end. In so doing I have the equivalent to the "D" note on my Bb6th tuning in addition to the 5th interval which is the equivalent to the G on the C6th. To achieve this on the C6th tuning one would need to lower the 2nd string E to a D and ideally place it on a knee lever. In addition, the D and the G note can then represent the root and 5th intervals relative to the 5 chord (G). And then, when the 3rd string is lowered (which is a standard change) it becomes the 3rd interval of the 5 chord which provides a 3 note 5 chord triad on the top 3 strings at the 1 position. Using this procedure provides the best of both worlds in my opinion, and there is a musical advantage of movement relative to the string involved, which in this case would be the 2nd string on C6th. The musical equivalent of the suggested Universal also offers this same advantage. Lowering the 2nd string to Db provides the same as the D note on C6th, AND the first string Gb is the 5th interval relative to B6. Playing a Universal provides both options.

J.V.
Do you use a Bb6th rather than a C6th tuning for the fact that in Texas music they often use horns, saxophones etc.?

M.A.
While it's true the Bb6th provides very good relative positioning with common keys used in brass bands, that was never a consideration in my reasoning for using that specific pitch, although admittedly, it works out great. I personally like the feel, and tonal timbre of that specific pitch.

J.V.
Your tuning and set up diagram shows, that you can make a real C6th tuning by combining 2 pedals. I guess, you included this in your set up to be able to play the notes of the C major scale in the open tuning and / or to be able to play C6th standards in the original scale?

M.A.
Again my set up was created out of musical necessity relevant to a musical criterion. The original scale of C or any other key has no specific relevance to me, because I consider each key centre as a 1 chord, therefore they all appear relative to a consistent musical formula.

J.V.
When depressing your RKL knee lever, you change your tuning from Bb6th to Eb9th. Both open tunings fit very well when playing with horns, saxophones etc. When one would use your system on a C6th tuning, the RKL lever would change the tuning to F9th. You must be glad that you chose Bb6th instead of C6th, otherwise you would have had much breakage of your highest string!

M.A.
You are absolutely correct, and some may consider that another reason to use the Bb6th pitch.

J.V.
You were the first player whom I saw using temperament compensators. Was this actually your invention?

M.A.
I was aware many years ago of the necessity of musical compensation. As I have stated concerning other instances, even within this interview, I have simply always pursued what I knew were musical principals based on what I consider to be a logical premise. The need for musical compensation has been present since music itself was invented. I do not know if I was the first to apply temperament compensators to steel guitar, but I can honestly say I had never seen it done before mine were installed.

J.V.
I invented -what they call- a universal 12-string E9th/B6th tuning myself in 1977. People who still have the first issue of my "Steel Guitar Player" magazine, have proof of that. It may be "flattering" for you to know that I came to the idea of that tuning by simply "reversing" what you did on your Bb6th tuning. A former co-operator of my magazine, Bas Kapitein (you will surely remember that name), took my magazine to the U.S.A. when visiting a few prominent steel guitar players. Some of them may have learned about my "invention" that way. But some American players came to the same idea without knowing about my invention. Bill Stafford seems to be one of them. The Sierra company still uses his ideas. Do you have any records about who started using the E9th/B6th in the U.S.A.?

M.A.
I'm very flattered you consider my musical input as being helpful to you and others. The very fact you are pointing out that others had thought of the same idea you had, validates a point I made earlier, that the musical requirements are clearly defined, and if someone is going to have a workable set up, they must adhere to the specifics of musical requirements.

J.V.
I rather do not use the expression "E9th/B6th". After all no one calls your tuning "Bb6th/Eb9th". Neither did someone call Bud Isaacs' tuning "E9th/A6th". I think everyone should use "Universal-12" or "Universal-10" or simply "extended E9th" or -in your case- "extended Bb6th". What is your opinion about this?

M.A.
I look at tunings the way a piano player looks at the keyboard. They don't consider it a tuning, they simply recognize the interval consistency. In order for steel players to communicate and relate musically, we have to designate the tuning relative to a specific pitch while considering the movement of those notes within the set up configuration so as to present a musical concept. In so doing I look at the steel guitar and identify the interval consistency same as a piano player looks at their instrument.

J.V.
Being in the steel guitar business myself, I found out that currently in my country there is hardly any interest in 12-string pedal steel guitars. Used ones are also hard to sell. As 12-stringers are relatively expensive, some manufacturers even dropped these from their list. I invented a 10-string universal tuning, which is being played by at least 22 Europeans now. Of course 10 strings offer less than 12 strings, but the player will be bugged no longer by so many strings. Secondly almost every single-10 pedal steel guitar can be converted to a "Universal-10". The hard truth is that most players use E9th for let's say 90%, as there is hardly any employ for the sounds of the "other neck" in music other than jazz, swing or jazz rock. Having it all on a "single-10 Universal" with some restrictions may be a better solution for most players than having it on a single-12 and hardly ever pick the 2 lowest strings but yet being bugged by these. What is your opinion, apart from your own musical taste and needs?

M.A.
There's no question the double neck is the preferred choice of most, and I expounded upon the reasons why I believe that to be true within an article I did for the Steel Guitar Forum. My article can be found under "articles" on the forum, and it's called, "Back- And To The Future". Also relative to your question, there is no doubt that based upon your observation, the single-12 is far more popular in the United States than it is in your part of the world. Although I have not seen your 10-string universal concept, given your musical ability, I have no doubt as to it being musically valid and cohesive. If I were at the point in my musical career of making an open minded decision between a single-10 or 12-string, I believe logic would dictate that a 12-string would provide more musical options. But, of course, that is just my opinion. In my experience and that of others who have related it to me, it is far easier for one to adapt to strings added on the bottom, than it is on the top. Since the 12-string E9th/B6th universal adds strings to the bottom only, and the top 8 strings are identical to the top 8 strings of an E9th, it appears odd to me why there are those who consider a 12-string as being more difficult to play. A piano does not become more difficult to play just because it has more note possibilities and neither does steel guitar in my opinion.

J.V.
Do you have any idea of which percentage of the steel guitar players is using a "Universal" tuning?

M.A.
I wish I had a way of knowing, but unfortunately I don't.

J.V.
Do you play a lot using both feet on the pedals?

M.A.
I have been very careful in my pedal and knee lever configuration considerations so as to allow myself the ability to play what I want to play without the necessity of using both feet. I have seen few players who can successfully adapt to using both feet while playing fluidly and managing the process of getting off and on the expression pedal. I believe the fact there are so few using this approach, it is an indication that for most, doing so is not acceptable. I further believe the reason is due to a mental management dilemma. Continually adding to mental management requirements has a tendency to create confusion and mental lockdown.

J.V.
Personally I do not know many players who pick with (their thumb and) 3 fingers. Most players simply use 2 fingers and simultaneously strum with their thumb when playing 4-, 5- or 6-voiced chords. Lately a few C6th players added a D-string above their middle C-string. Consequently they cannot do as many strums as before. Do you strum a lot?

M.A.
It really depends on the style music I'm playing. If it's country, I do little strumming, if it western swing I do a lot of strumming, if I'm playing Jazz I use little strumming. There are of course always exceptions to everything.

J.V.
Paul Franklin's fantastic picking inspired many steel players to block with their picks besides blocking with the side of their right hand (although pick blocking already was used long before Paul did). Did you add pick blocking to your technique also?

M.A.
First of all I consider Paul as being a master of the steel guitar, but more importantly, Paul and his family are dear and valued friends. Without question, Paul's exceptional ability elevated pick blocking to another level, and it's hard for me to imagine anyone ever being any better. I have been using a combination of pick blocking and palm dampening for decades.

J.V.
Do you see pick blocking as a way to play faster or does this method mainly allow for more fluent playing?

M.A.
When one masters the art of pick blocking like Paul has done, I see no playing detriment to pick blocking.

J.V.
What is your opinion about the future of the pedal steel guitar? I know this demands for a "political" answer, as you are commercially involved. In my country, the Netherlands (approx. 16 million inhabitants) approx. 450 pedal steel guitars (both new and used) were sold over a period of let's say 30 years, which is an average of 15 each year. Of course, like everywhere, we had our ups and downs, but it seems that currently it still is approx. 15 each year. This shows that the average annual sales didn't expand, at least in my country. AND: most European players still buy the instrument as they know it exclusively from country music, so every attempt to get the pedal steel guitar used frequently in other kinds of music eventually seems to have failed. How is this in the U.S.A. and Canada?

M.A.
Had I not believed the steel guitar could reach new levels both in playing and acceptance, we would not have formed the new MSA and expended the large amount of capital necessary to re-enter the steel guitar market. I have always been, and will continue to be, enthusiastic about the marvellous potential of steel guitar and its future, both in acceptance and from a marketing aspect. From all indications I have personally observed, the steel guitar market is very good in country, Hawaiian, gospel, rock and now getting more exposure in pop.

J.V.
During the past 6 months there was a remarkable increase of the use of the lap steel guitar in my country. I think the same is going on in the U.S.A. Please comment.

M.A.
I haven't noticed a trend, but since I'm not familiar with that market one can understand why I don't have a valid opinion about the use of lap steels. My last recording was done on a 12-string non pedal guitar, and I must admit, it was by far the most successful recording I have ever made, so obviously there is an interest, and it could be growing. I love playing my 12-string lap steel and I play it often.

J.V.
I own your CD and cassette tape "Steel playin' Texas swing". It is amazing how you played on that recording. Is it really ALL lap steel? Please attach your tuning to the answer. Tom Morrell, Billy Robinson and others did similar amazing recordings. Don't you feel the lap steel should deserve a lot more promotion being used that way?

M.A.
I appreciate your comments concerning my non-pedal recording. Everything was recorded without exception on my 12-string lap steel. The following is the tuning I use for my non-pedal 12-string:

• D...tuned 1 step above the 5th string
• B...tuned ½ step below the 5th string
• G
• E
• C...root note
• A
• G
• E
• C
• A
• F
• D

J.V.
Why do you use C6th instead of Bb6th on your lap steel?

M.A.
I of course first installed a Bb6th, but on the 22½ inch scale it did not respond to my touch the way it does on a 24 inch scale.

J.V.
The pedal steel guitar has become "stereotyped" in some ways. Do you think that the use of a Universal tuning will eventually lead to a wider acceptance of the instrument?

M.A.
I see a tremendous musical potential in steel guitar because no other instrument has the unique ability to guide and slide from one chord to the next. No one knows if, or how much impact the Universal concept will have concerning steel guitars evolution, but I personally believe the 12-string Universal will play a vital role in the instrument's future because it provides a musical advantage which I believe has an unexplored musical potential.

J.V.
In The Netherlands we have an annual festival called "The North Sea Jazz Festival", with world famous players such as Winston Marsalis, Herbie Hancock, BB King and many others. I often thought that having a good jazz steel guitarist, like you or Doug Jernigan, to play at the festival would be a good opportunity to promote the pedal steel guitar as a jazz instrument. It would be good to let the steel player do a short spoken introduction. Otherwise next day some visitors would just speak about what they had experienced as a nice sounding, but strange looking instrument with the player constantly looking at it. And that would be it. What is your opinion?

M.A.
I'm glad you have the vision of steel guitar being incorporated into such a famous jazz festival venue. The steel guitar certainly needs that kind of association and recognition. I'm very appreciative of the fact you would suggest I have the musical ability to play with such jazz legends. I can assure you, I would love nothing better than to have such an opportunity. There is no doubt my dear friend Doug whom you also mentioned, could certainly make a contribution in behalf of steel guitar by playing with such great artists. He is a marvellous talent.

J.V.
A lot of steel players have been trying to draw the attention from people outside the country music field, by playing rock fusion, classical music and even new age type music. However, with a few exceptions, they hardly ever got recognition. The use of a steel guitar in a big band playing familiar repertoire, like Buddy Emmons did with Ray Pennington and like you did yourself on your "Steel with brass" recording, seems to be a much better way to reach common people. Do you have any suggestion on how to let the steel guitar break through best? Unfortunately, as with other instruments, the use of a steel guitar depends mainly on what producers and singers want.

M.A.
As we proceed into the age of technology, information and computers, I envision steel guitar advancing in concept, public acceptance and player participation. For both personal and marketing reasons, I have always strived to expand the limitations some may perceive as being attached to the steel guitar, either musically or by limiting its participation in any style of music. I think what must be done is being done by open minded players who pursue steel guitar while searching for their own musical identity within logical musical parameters, both in tuning and in configuration. These are the players who will lead the steel guitar into the future.

J.V.
When Paul Franklin went on tour with the Dire Straits, many steel fans expected a "boom" in the use of the pedal steel guitar in pop music. Although many standard guitar players went to use the pedal steel guitar as a second instrument since then, there came no real boom. Around the early 1970's pedal steel guitarists like Rusty Young, Sneaky Pete, Bobby Black, Al Perkins, Jerry Garcia, Jay Dee Maness, Red Rhodes and others had quite an impact as many rock bands started using the pedal steel guitar. Unfortunately, however, most of these bands would soon disappear. Some people believe, that with that the pedal steel guitar had its final chance. But who knows? After all, the lap (or non pedal) steel is quickly gaining popularity now, as I mentioned earlier. Please comment.

M.A.
The contributions of each man you named are significant, as is others. I too thought a high profile band such as Dire Straits having a steel guitar would have had a much greater impact in marketing, acceptance, and recording. The only reason I can think of as to why that didn't happen is because Paul was so good it was discouraging. So let's all (in good humour) blame it on Paul for being "too" good.

J.V.
I was told once, that the original "S" of the "old" MSA initials was from Bobbe Seymour. Is that true?

M.A.
From 1963, the time of the old MSA's inception, until 1983, when the old MSA discontinued business, the "S" in the old MSA stood for Shields; Danny Shields. The new MSA now stands for MicroSpaceAnderson.

J.V.
Do you still have contact with Tom Morrell and Danny Shields now and then?

M.A.
I'm sorry to inform you that Danny Shields passed away a few years ago. He was a good friend and a talented individual. In his later years he was recognized for his line of fine steel guitar pickups. I haven't been in contact with Tom Morrell for quite some time. I have heard some of his recordings though, and he remains an exceptional musician.

J.V.
Do you remember some of your performances with Bob Wills? Wasn't it exciting to play with such a famous artist?

M.A.
I will never forget the thrill of playing night after night with Bob. He was a master bandleader and innovator. I always found him to be a kind, caring, sharing and thoughtful person. I once overheard him while I was behind a curtain on stage after a job in which he was engaged in a conversation with quite a large number of people. He was asked the question, "who was the best steel player he ever had?" Naturally, my ears perked up when the question was asked, and no one knew I was there listening while packing up my equipment. His answer was one I will never forget and will always admire. He said, "the steel player I have with me now is the best, and if he wasn't I'd have whoever is the best". I of course knew then, just as I know now, that was not the case at all. I immediately recognized, appreciated and admired his loyalty and commitment to his players, his professionalism, and consideration of his response. I truly believe his answer would have been the same regarding any player on the band. There was never any disillusionment on my part relative to his kind response, but I was honoured by his comment just the same. He was a joy, honour and privilege to play with, and play for.

J.V.
I recently got a message about you having been inducted in the Western Swing Hall of Fame. The induction is quite an honour. Please tell something about the WSHoF and about the receiving of your award.

M.A.
Unfortunately, when I found out about my induction I already had a contractual commitment that I could not break. A good friend and exceptional steel player named Bobby Dixon accepted the honour in my behalf, and he also graciously read a short acceptance speech I had previously prepared. I of course have the plaque proudly displayed in my music room.

J.V.
Do you have plans to record a new solo CD?

M.A.
Due to my current responsibilities mentioned earlier in this interview, I have not had the time to consider making another recording, although I plan to do so in the future.

J.V.
Well Reece, thank you very much for your co-operation. I hope that you may enjoy many years of playing and promoting the steel guitar and the universal tuning.

M.A.
Thank you for the interview, I'm both honoured and proud to have had the privilege and the opportunity. I appreciate your intelligent, respectful, dignified and insightful questions. As far as my playing and promoting steel guitar, you may be assured I will always continue to play and enjoy doing so until its time to take my place on the biggest bandstand of all, while playing for Him.