Re: The Armstrong Twins--Mandolin Boogie/Big Mon
Yeah, my wife tried banjo and it was a flop. She couldn't get past quarter notes with it. We discarded that notion and picked up a bass fiddle which she has really taken to. On Jun 15, 10:06 am, Mark Halpin tomas...@yahoo.com wrote: My girlfriend got herself a piano during the year, she had not played in years, and has taken a definite shine to playing some blues, Bessie Smith was first order of the day. I did get a bit of a chuckle recently when she went to learn 'Weary Blues' from a Madeleine Peyroux album, little realising that it was originally a Hank Williams song. Lets just say she tolerates my old time/country/bluegrass interest but she don't endorse it and the horrified look on her face when i played her the original William's version was beyond price... still she is continuing to learn it so i am looking forward to having some nice little jams when we get some common material. In the meantime i'm gonna continue the bluegrass indoctrination by slipping some small speakers in her pillows for when she sleeps, she'll be rattling off Bluegrass Breakdown before the months out i tells ya :D On Jun 14, 1:24 am, Steve Cantrell sec...@bellsouth.net wrote: Also, my wife has recently taken up guitar. I don't know if anyone on the list has a significant other that is also a musician, but I would recommend this a 100 times over. She and I have had a fine time playing every afternoon, and it surely beats the hell out of couch or internet surfing. It seemed like it was just a matter of her learning the chords to one song and then her lightbulb came on. Here's she and I working on Big Mon...http://www.youtube.com/watch?v=hFFNUxrVOgE Anway, just killing some time on a Sunday. Have fun, ya'll.- Hide quoted text - - Show quoted text - -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: The Armstrong Twins--Mandolin Boogie/Big Mon
Yikes, that there is a lucky escape, i'd have a bass fiddle over a banjo anyday :) On Jun 18, 12:34 pm, taurodont jgardin...@roadrunner.com wrote: Yeah, my wife tried banjo and it was a flop. She couldn't get past quarter notes with it. We discarded that notion and picked up a bass fiddle which she has really taken to. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: All about Mrs Haley
I have listened to a ton of it and have done my best to emulate it when I can get away with it...I would call it a mix of rhythm and melody. To me it fits the duo style perfectly. I am content to do some dry chopping in a full band since that seems to be what the straight-ahead contemporary bluegrass calls for, but in any other context it is much more enjoyable to play around with the rhythm and see what comes of it. I was once in a jam with some local guys who are somewhat...rigid...in their approach to bluegrass. I was sort of noodling with the rhythm and one of the guys said, Just play it straight. Hell, I thought that was what I was doing. From: Mark Halpin tomas...@yahoo.com To: Taterbugmando taterbugmando@googlegroups.com Sent: Fri, June 18, 2010 9:28:42 AM Subject: All about Mrs Haley Some of my favorite Tater ventures have to be on 'The Speed of the Old Long Bow' and t'other John Hartford old-time-fiddler-tribute albums... i dont dance much but i knows they do make for fine jogging musics. From one of the old Co-mando interviews Mr. Tate tells that John Hartford was looking for something along the lines of what Ela Haley was doing on mandolin. Hers how its put in the interview 'Haley's wife Ela played taterbug (or roundback for you yanks) mandolin on the recordings. She played simple chords with a heavy- handed rhythm and that's what John said he really wanted me to do. I thought it was a very primitive way to play mandolin until I started to notice Ela seemed to be playing the melody line, but with chords. In other words, her right hand played the melody, her left played chords. It's sort of the same thing tap dancers do I guess.' Now, given that those Ed Haley recordings seem to be both rare and pricey i have'nt much of chance to hear what exactly is going on with the original recordings, i'm actually just going through the some mp3 samples at the moment and i'm beginning to hear the sound i associate from the Hartford albums. Now i'm wondering if anyone here, not just Mr Taterbug though it'd be interesting to hear his views, have paid much attention to Ela Haley's playing or have tried to adapt it into their own playing? If so, what attracts you to that style of playing, any observations about it, in particular i'd wonder how do you think it sits with the Monroe style? -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: All about Mrs Haley
Ahh.. yes, i've heard tell of those types o ...rigid... folks :D Personally, the sort of sessions i was used to attending were far more anything goes, while it did not make for tight ensemble playing it certainly made up for that by allowing a healthy dose of experimentation and sheer bloody fun. We had our fair dose of fiddle tunes too, rattled out on fiddle and tenor banjo, and having little in the way of Irish tune repetoire i found myself messing around with rhythm and the more familiar i got with a tune the better able i was to start adding bits and pieces of the melody in to the mix. It certainly worked in those sessions but that bird don't fly in an Irish session proper... Having never been at a bluegrass or old-time jam, i've never had the pleasure... though i have certainly seen such carry on in Irish traditional sessions, I guess some folks just don't like theirs shaken or stirred. On Jun 18, 3:56 pm, Steve Cantrell sec...@bellsouth.net wrote: I have listened to a ton of it and have done my best to emulate it when I can get away with it...I would call it a mix of rhythm and melody. To me it fits the duo style perfectly. I am content to do some dry chopping in a full band since that seems to be what the straight-ahead contemporary bluegrass calls for, but in any other context it is much more enjoyable to play around with the rhythm and see what comes of it. I was once in a jam with some local guys who are somewhat...rigid...in their approach to bluegrass. I was sort of noodling with the rhythm and one of the guys said, Just play it straight. Hell, I thought that was what I was doing. -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: All about Mrs Haley
One time I was attending a bluegrass fest with my family when the dobroist from one of my favorite local bands asked me if I'd fill in for their missing mandolinist. Unknown to him, their guitarist had asked a different mandolinist to do the same. So we both wound up on stage playing mando. We were excited, cuz we're friends and finally got to play mandolin together on stage, but the way we split up duties is he played chop chords and I played Mrs Haley style, big open chords and I followed the vocal lines with my right hand. Without my buddy playing the chop it wouldn't have felt bluegrassy, but what I was doing added a something else that everyone seemd to like. After that experiment, I've tried to to it a little more often. It fills out the vocals in a way that's hard to explain if you're not paying attention to the mandolin. What I also found is you have to know the songs quite well (like anthing else). If you don't know the vocals, you can't fake the vocal rhythm. My only experience with Mrs. Haley's playing, though, is the tater interview and listening to the samples of a Ed Haley reissue at a record store until I got asked you gonna buy that? Twenty bucks, had to say no, unfortuneately. erik On Jun 18, 8:28 am, Mark Halpin tomas...@yahoo.com wrote: Some of my favorite Tater ventures have to be on 'The Speed of the Old Long Bow' and t'other John Hartford old-time-fiddler-tribute albums... i dont dance much but i knows they do make for fine jogging musics. From one of the old Co-mando interviews Mr. Tate tells that John Hartford was looking for something along the lines of what Ela Haley was doing on mandolin. Hers how its put in the interview 'Haley's wife Ela played taterbug (or roundback for you yanks) mandolin on the recordings. She played simple chords with a heavy- handed rhythm and that's what John said he really wanted me to do. I thought it was a very primitive way to play mandolin until I started to notice Ela seemed to be playing the melody line, but with chords. In other words, her right hand played the melody, her left played chords. It's sort of the same thing tap dancers do I guess.' Now, given that those Ed Haley recordings seem to be both rare and pricey i have'nt much of chance to hear what exactly is going on with the original recordings, i'm actually just going through the some mp3 samples at the moment and i'm beginning to hear the sound i associate from the Hartford albums. Now i'm wondering if anyone here, not just Mr Taterbug though it'd be interesting to hear his views, have paid much attention to Ela Haley's playing or have tried to adapt it into their own playing? If so, what attracts you to that style of playing, any observations about it, in particular i'd wonder how do you think it sits with the Monroe style? -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: All about Mrs Haley
Twenty bucks! It was sixty on Amazon... and that was just for one of the albums!! Thats why i had to be happy with listening to the thirty second sound clips. Yeah, thats what i discovered aswell with the irish fiddle tunes, the same ones were played every week and the more familiar you are with them the more you could add to the overall sound. At first i would try to do basic rhythym but just there was usually a clod of rhythym guitars chording so i needed to find some space thats when i found that voicing the melody could fit in well with the general carry on and done well it, which wasnt often, it does give a nice spur to the fiddle/melody playing. Strange as it might be for some of youse here, its the Tater's elaboration of Mrs. Haley's style that actually first caught my ear, its only later through gaining familiarity with his other work that i am gaining a stronger appreciation for Monroe elements in his playing and through them Mr. Monroe's playing itself. On Jun 18, 6:32 pm, erik berry eberr...@gmail.com wrote: After that experiment, I've tried to to it a little more often. It fills out the vocals in a way that's hard to explain if you're not paying attention to the mandolin. What I also found is you have to know the songs quite well (like anthing else). If you don't know the vocals, you can't fake the vocal rhythm. My only experience with Mrs. Haley's playing, though, is the tater interview and listening to the samples of a Ed Haley reissue at a record store until I got asked you gonna buy that? Twenty bucks, had to say no, unfortuneately. erik On Jun 18, 8:28 am, Mark Halpin tomas...@yahoo.com wrote: Some of my favorite Tater ventures have to be on 'The Speed of the Old Long Bow' and t'other John Hartford old-time-fiddler-tribute albums... i dont dance much but i knows they do make for fine jogging musics. From one of the old Co-mando interviews Mr. Tate tells that John Hartford was looking for something along the lines of what Ela Haley was doing on mandolin. Hers how its put in the interview 'Haley's wife Ela played taterbug (or roundback for you yanks) mandolin on the recordings. She played simple chords with a heavy- handed rhythm and that's what John said he really wanted me to do. I thought it was a very primitive way to play mandolin until I started to notice Ela seemed to be playing the melody line, but with chords. In other words, her right hand played the melody, her left played chords. It's sort of the same thing tap dancers do I guess.' Now, given that those Ed Haley recordings seem to be both rare and pricey i have'nt much of chance to hear what exactly is going on with the original recordings, i'm actually just going through the some mp3 samples at the moment and i'm beginning to hear the sound i associate from the Hartford albums. Now i'm wondering if anyone here, not just Mr Taterbug though it'd be interesting to hear his views, have paid much attention to Ela Haley's playing or have tried to adapt it into their own playing? If so, what attracts you to that style of playing, any observations about it, in particular i'd wonder how do you think it sits with the Monroe style?- Hide quoted text - - Show quoted text - -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Re: All about Mrs Haley
Much as I do actually prefer to buy music, I downloaded it. I tried to buy the Rounder ed haley cds, but was frustrated. I found it all in a fiddler compilation on bittorrent and got the wonderful results. Hope this helps 2010/6/18, Mark Halpin tomas...@yahoo.com: Twenty bucks! It was sixty on Amazon... and that was just for one of the albums!! Thats why i had to be happy with listening to the thirty second sound clips. Yeah, thats what i discovered aswell with the irish fiddle tunes, the same ones were played every week and the more familiar you are with them the more you could add to the overall sound. At first i would try to do basic rhythym but just there was usually a clod of rhythym guitars chording so i needed to find some space thats when i found that voicing the melody could fit in well with the general carry on and done well it, which wasnt often, it does give a nice spur to the fiddle/melody playing. Strange as it might be for some of youse here, its the Tater's elaboration of Mrs. Haley's style that actually first caught my ear, its only later through gaining familiarity with his other work that i am gaining a stronger appreciation for Monroe elements in his playing and through them Mr. Monroe's playing itself. On Jun 18, 6:32 pm, erik berry eberr...@gmail.com wrote: After that experiment, I've tried to to it a little more often. It fills out the vocals in a way that's hard to explain if you're not paying attention to the mandolin. What I also found is you have to know the songs quite well (like anthing else). If you don't know the vocals, you can't fake the vocal rhythm. My only experience with Mrs. Haley's playing, though, is the tater interview and listening to the samples of a Ed Haley reissue at a record store until I got asked you gonna buy that? Twenty bucks, had to say no, unfortuneately. erik On Jun 18, 8:28 am, Mark Halpin tomas...@yahoo.com wrote: Some of my favorite Tater ventures have to be on 'The Speed of the Old Long Bow' and t'other John Hartford old-time-fiddler-tribute albums... i dont dance much but i knows they do make for fine jogging musics. From one of the old Co-mando interviews Mr. Tate tells that John Hartford was looking for something along the lines of what Ela Haley was doing on mandolin. Hers how its put in the interview 'Haley's wife Ela played taterbug (or roundback for you yanks) mandolin on the recordings. She played simple chords with a heavy- handed rhythm and that's what John said he really wanted me to do. I thought it was a very primitive way to play mandolin until I started to notice Ela seemed to be playing the melody line, but with chords. In other words, her right hand played the melody, her left played chords. It's sort of the same thing tap dancers do I guess.' Now, given that those Ed Haley recordings seem to be both rare and pricey i have'nt much of chance to hear what exactly is going on with the original recordings, i'm actually just going through the some mp3 samples at the moment and i'm beginning to hear the sound i associate from the Hartford albums. Now i'm wondering if anyone here, not just Mr Taterbug though it'd be interesting to hear his views, have paid much attention to Ela Haley's playing or have tried to adapt it into their own playing? If so, what attracts you to that style of playing, any observations about it, in particular i'd wonder how do you think it sits with the Monroe style?- Hide quoted text - - Show quoted text - -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en. -- Enviado desde mi dispositivo móvil -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
Interesting Monroe Find
I haven't seen this show on SugarMegs or the like, and thought I would post it here. I have been on a hunt for a 1980 show today that seems like a wild goose chase and in the process ran across this 1955 recording from the New River Ranch. Charlie Monroe joins Monroe for a number of songs in their old duo format and he is in fine form. Some really great picking. You can read a short excerpt on it here: http://www.lib.unc.edu/blogs/sfc/index.php/2009/12/07/the-monroe-brothers-live-at-new-river-ranch-1955/ And you can find the recording itself here... http://www.sendspace.com/file/ox3zk0 Bill Monroe and the Bluegrass Boys 05-08-1955 New River Ranch Rising Sun, MD SBD Various sets with the BGB, Charlie Monroe, and Bill and Charlie. DISC ONE 01. Cheyenne 02. I Bowed My Head and Cried 03. Shenandoah Valley Breakdown 04. Sugar Coated Love 05. Muleskinner Blues 06. Wait A Little Longer Please, Jesus 07. Walkin in Jerusalem 08. Wheelhouse 09. When Golden Leaves Begin to Fall 10. When Cactus Are in Bloom 11. Footprints in the Snow 12. Rawhide 13. Tall Timber 14. In the Pines 15. Bugle Call Rag 16. Girl in the Blue Velvet Band 17. Uncle Pen 18. Rocky Road Blues 19. Get Up John 20. In the Shadow of the Pines 21. Willow Garden 22. Kentucky bound 23. I Know You'll Understand 24. What Would You Give? 25. Nine Pound Hammer 26. Leave Me Alone Little Darling 27. Down Where the River Bends 28. I've Found the Way 29. Got to Walk That Lonesome Valley 30. Theme 31. Katy Cline 32. Darlin Cory 33. Lonely Little Robin DISC TWO 01. The World is Not My Home 02. Roll in My Sweet Baby's Arms 03. Jack and Mae 04. You Call That Religion 05. Little Red Shoes 06. Lonesome Road Blues 07. Bile Dem Cabbage Down 08. Good Morning to You 09. Band Intros 10. Bile Dem Cabbage Down 11. Dear Old Dixie 12. Crying Holy Unto the Lord 13. Just a Little Talk with Jesus 14. Goodbye Old Pal 15. Roll in My Sweet Baby's Arms 16. Nine Pound Hammer 17. This World is Not My Home 18. I Know My Lord's Gonna Lead Me Out 19. Workin on a Building 20. Sally Goodin 21. Watermelon on the Vine 22. Fire on the Mountain 23. Lonesome Road Blues 24. Rose of Old Kentucky 25. Molly and Tenbrooks 26. I'm Going Back to Old Kentucky 27. White House Blues 28. Feast Here Tonight 29. He Will Set Your Fields On Fire 30. Foggy Mountain Top 31. Dance All Night 32. I'm On My Way Back to the Old Home (Decca) 33. Rawhide (Decca 46392) 34. Letter to my Darling (Decca 46392) 35. In the Pines (Decca 28146) 36. Pike COunty Breakdown (Decca 28356) 37. Bringin in the Georgia Mail (Victor) Bill Monroe Archival Project Direct Connect: bluegrasshub.no-ip.com -- You received this message because you are subscribed to the Google Groups Taterbugmando group. To post to this group, send email to taterbugma...@googlegroups.com. To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en.
