Poe 14 for trade

2009-03-05 Thread secsc2 





Hi all, I posted this on the Mandolin Cafe and thought I would post it here in the event that not everyone lurks around the classifieds there. I've decided to trade my Poe F5. This is a great mandolin with some fine appointments, and sounds great too, but I just can't deal with the neck on it, which is leaving the meat of my thumb pretty darn sore at times. It doesn't help that I have hands the size of my toddler son. At any rate, if anyone has a trade or purchase offer I'm happy to entertain all. Thanks, Steve

Re: High technology

2009-03-05 Thread secsc2 







 

 Hey Robin, I use a freeware called Cam Studio that records everything--audio and video--that transpires on your desktop. Has come in handy. Thanks, Steve

 -- Original message from Robin Gravina robin.grav...@gmail.com>: --


Hi therehas anyone figured out a way, on a Windows PC and with Gmail chat, of recording their Taterlesson either on audio or video? I was wondering about using Audacity to record the stream, but I really don't know if that would do it, or if it would interrupt the class. Another option would be to have my daughter and her super recording bunny rabbit ready for the vital moments, but it doesn't have a slow down feature and I can't remember which paw you press to playback...
BestRobin
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Re: Practising

2009-03-04 Thread secsc2 







 

I think you and I could learn something from each other, Robin. My biggest problem is my tendency to do FAR too much noodling without any kind of structure. All of my discoveries have been accidental and I think my improvement in terms of technique has been slowed because of the lack of focus. Lately I've been making a very concentrated effort to examine what I'm doing and account for shortcomings--even on things like grip, theory, movement of my fingers on the fretboard...just to bring things into focus. It sounds to me like you have that part of in spades...but just need some noodling, or the "looking for good sounds" Mike described. I think if we both tried to balance things out we'd be in the rightbut hey, that's just my two cents. I haven't been at it long enough to offer too much helpful.Steve

 -- Original message from mistertaterbug taterbugmu...@gmail.com: --


 
 Robin,
 After you play all those exercises...so many exercises, my God...after
 you spend most of your time working on technical issues, do you have
 any time left for FUN? I think your plan is imbalanced, though your
 dedication is very admirable. I asked all the instructors at the
 Symposium one year what they practiced, how they practiced, and why.
 The best, IMHO,  was from Evan Marshall. His is more or less balanced
 in three areas. I don't remember the exact percentages, but he
 basically told me that he spends about 1/3 of his time doing technical
 exercises, about 1/3 maintaining the material he knows, and about 1/3
 learning new material. So, only 1/3 of his time is spent on exercises.
 The other 2/3 is spent playing, but with a specific focus. One of the
 things that his evil twin Mike Marshall said was that what he
 practices doesn't necessarily have anything to do with what he has on
 the set list. Radim Zenkl told me that one of the things he does is
 spend time "looking for the good sounds". That sounds like Radim. Don
 Stiernberg told me that the things he practices that are in exercise
 form are what he called "mindless" things that he could play watching
 television because in his way of looking at it, they're just meant to
 teach coordination skills between the right and left hand and for
 nothing else. Dawg said, in true Dawg fashion, that he plays whatever
 he wants. 
 
 So, really, I think you've come up with this regimen because you feel
 you need to practice scales. A lot of people do. I practice them
 sometimes. But mainly what I practice is new material and the
 technical challenges that come with each one such as how to play
 slides that sound like fiddle turns or which voicings to use or what
 key, etc. Are all the tortures you put yourself through paying off? I
 mean musically, of course
 Specula-tater
 
 On Mar 1, 4:03pm, Robin Gravina  wrote:
  Hi Taterfolks
 
  I just read an article in our Sunday press about how some researcher has
  figured out that talent needs 10.000 hours of practice time: they talked
  about the Beatles and about Bill Gates, and how doing the thing they loved
  for that enormous time got them to where they could start being original and
  successful - ie the Beatles playing live for 8 hours a day in Hamburg, and
  Gates programming for even more hours on a loaned computer.
 
  Anyway, to the point, at present speed I have 2000 weeks until I get there,
  which means that at age 89 I will be ready to take the world into a new era
  of mandolin music. I'd rather get there quicker, and I thought I'd like to
  know what everyone does as regards practice in order to make the most of
  their time: I don't get a lot of that stuff- as well as a wannabe musician I
  am a full time worker and commuter, husband, father, cook, mechanic and dog
  owner and I figure there are those amongst us in a similar position, as well
  as people who can dedicate lots of hours,and as those who make a living from
  music.
 
  So, here's my practice scheme at the moment: would love for others to say
  what they do
 
  Weekend - between an hour and two each day: all with metronome
 
  working on tone:
 
  1. right hand exercises (do using only downstrokes, then doing down-up, do
  at different places on the string)
  -play single strings 1 per beat, 2 per beat, 3 per beat, 4 per beat
  -play GD GA GE GA GD.. DA DE DG DE DA and so on
  -do rolls like GDA GDA GA GDE GDE GE GAE GAE GE and so on
 
  2- do some LH exercises - off the Mike Marshall dvd - on any string and then
  across the strings. up down and downstrokes. 2345432 2346432 2356532 2456542
  and so on (this is like one of those logic tests)
 
  3. do some aonzo scales, but separate the scales each time by a semitone,
  then a tone, then three frets...
 
  4. work on tremolo - set the metronome lowish (for me that would be 84 and
  work up to 96 or 102) and work on 4 time, three time in its various rythmic
  forms, tremolo - open strings, single strings, sliding double stops. Think
  about

Re: personal youtube videos

2009-03-03 Thread secsc2 







 

 Awesome, Karen. Clean as a whistle. 

 -- Original message from karenth...@aol.com: --


> 
http://vids.myspace.com/index.cfm?fuseaction=vids.showvidsfriendID=250410447n=
> 250410447MyToken=819c0da1-3263-442f-9c88-ca250044f4a9
> 
> I've been inspired to stop lurking and post something. Its been great 
> seeing everyone's videos - very inspiring. For some reason, I keep 
> getting error messages when I try to post to youtube, so I added this 
> video to my myspace page.
> 
> Karen
> 
> 
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Re:New mando

2009-02-28 Thread secsc2 





Hey Trey, I appreciate it. It does have an elevated fretboard. I'm actually pretty taken with that round sound it has. I would really love to have bought an older Gibson, but it seems like so many have repaired top cracks, etc. I guess I'd rather do all the breaking myself. Thanks again, Steve

Re: Happy Birthday Mr. Tate R. Bug

2009-02-28 Thread secsc2 







 

I'll raise a glass...well, a flaskto you this evening, Mr. Tater. Hope your birthday suits you to a T. 

 -- Original message from Mike Romkey mrom...@mac.com>: --


> 
> If it weren't already Saturday I'd take the day off in your honor.
> Happy birthday.
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Re: New Mando

2009-02-28 Thread secsc2 







 

Thanks Mike, I appreciate it. Yeah, I can barely take care of myself so I try to limit my responsibilities. Since my son was born I gave up shaving and eating fruit to balance things out. Adding an older Gibson seemed like it might pitch things out of my favor again. Still really liking your "Reelfoot Reel/Cotton Picking Time". Some fine playing on there. 

 -- Original message from Mike Romkey mrom...@mac.com>: --


> 
> Oval As rule! Congrats. Beautiful instrument. I got the bug for an
> oval awhile back and bought a '21 Gibson A to complement my Collings
> MT2. Old mandolins are cool, but as you say, they have issues. A new
> mandolin gets you out of dealing with all of that.
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Re: Personal YouTube Videos

2009-02-25 Thread secsc2 







 

That's fine picking, Perry.

 -- Original message from 14strings perrypale...@gmail.com: --


 
 here's one I've been torturing Mssr. Tater with lately
 
 Leather Britches:
 
 http://www.youtube.com/watch?v=Vr3UAiyyHy4feature=channel_page
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Re: Personal YouTube Videos

2009-02-23 Thread secsc2 







 
Thanks Jonas. That one is a "white whale" tune for me, meaning that I just seem to chase it and chase it but never get it. It'll straighten out eventually, I suppose. Thanks again.


 -- Original message from Jonas Mattebo jonas.matt...@gmail.com: --


 
 That's one of my favourite mandolin tunes! It has such a ghostly  
 feeling to it. Thanks, nicely done.
 
 
 22 feb 2009 kl. 00.41 skrev sec...@bellsouth.net:
 
   Here's one from me--
 
  http://www.youtube.com/watch?v=HuChxF3v4j4feature=channel_page
 
  Sorry for the low light and bad sound, but my webcam has seen better  
  days. Not a scale or arpeggio to be found, Mike.
  -- Original message from sgarrity   : --
 
 
  
   Thanks for the kind words everybody. EPB is such a cool tune. One
   day I'll be able to play it like Tater!!
   I don't have tab for what I played. I just kinda stole ideas from
   different recordings. There is some tab for it over at mandozine.com
   though. That'll get you started.
  
   I also recorded Farewell to Longhollow last night. Took me three
   takes to get it how I wanted. Then I played it back and there was
   this loud crunching, cracking sound in the background. My dog had
   been chewing his new bone behind me and I didn't even notice! LOL
   He's goin' outside next time I decide to make a video! And now it'll
   take me another 3-4 trys to get it right again. ;-)

 
 
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Re: Mobile Website Geekdom

2009-02-23 Thread secsc2 







 

Works great on my CDMA Motorola Q. 

 -- Original message from Dasspunk dassp...@gmail.com: --


 
 I bought an iPod Touch this past weekend and then decided to create a
 mobile website for (This is the) Squirrel Hunters. Anyway, if there
 are any mobile websurfers here in the land of Tater, might y'all take
 a peek and see that it works okay for you?
 
 The main site (http://titsh.com) should detect a mobile device and
 kick you to http://titsh.com/m/ .
 
 It probably only looks good on an iPhone/Touch... but I'm curious how
 it handles other devices. And if you're NOT on a mobile and it kicks
 you to the /m/ folder, I'd want to know for sure.
 
 Thanks,
 Brian
 
 
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Re: Personal YouTube Videos

2009-02-21 Thread secsc2 







 

Here's one from me--http://www.youtube.com/watch?v=HuChxF3v4j4feature=channel_pageSorry for the low light and bad sound, but my webcam has seen better days. Not a scale or arpeggio to be found, Mike.

 -- Original message from sgarrity shaungarr...@hotmail.com: --


 
 Thanks for the kind words everybody.  EPB is such a cool tune.  One
 day I'll be able to play it like Tater!!
 I don't have tab for what I played.  I just kinda stole ideas from
 different recordings.  There is some tab for it over at mandozine.com
 though.  That'll get you started.
 
 I also recorded Farewell to Longhollow last night.  Took me three
 takes to get it how I wanted.  Then I played it back and there was
 this loud crunching, cracking sound in the background.  My dog had
 been chewing his new bone behind me and I didn't even notice!  LOL
 He's goin' outside next time I decide to make a video!  And now it'll
 take me another 3-4 trys to get it right again.  ;-)
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Re: regionalism (long-winded and rambling)

2009-02-18 Thread secsc2 







 
That one has been running around on the mental soundstrack since I read this yesterday, and unfortunately it's the repeated falsetto backing, "In the ghetto...in the ghetto."

 -- Original message from Dasspunk dassp...@gmail.com: --


 
 And his momma cried...
 
 On Feb 17, 3:53pm, mistertaterbug  wrote:
  Ghetto?
 
  On Feb 17, 2:23pm, Mike Hoffmann  wrote:
 
   Nelson - I disagree, I think that there are a ton of young people playing
   music today and writing original music.
 
   Tater-
   you just reminded me. I really should be reading Making the second ghetto
   instead of playing mandolin.
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Re: regionalism (long-winded and rambling)

2009-02-18 Thread secsc2 







 

Excellent, Nelson. I like to make a pot of Great Northerns with ham and onion and a plate of buttered cornbread. That kills me just thinking about it.

 -- Original message from Nelson nelsonpeddyco...@knology.net: --


 
 How appropriate that I am reading this as a pot of greens cooks down
 on my stove.  They might be foreign to some of you, but they are one
 of the best foods for your body that you can find on earth.  Gonna add
 some Great Northern beans and mashed taters to go along.
 
 On Feb 18, 3:10pm, Robin Gravina  wrote:
  Well in my Spanish ghetto we have plenty of greens of mustard and collard
  sort, and there has yet to be a heavy blues and southern funk movement
  coming out of Castilla. I have to go with Val and say that the emotion does
  it, and if you change a couple of words so that a song has some relation to
  your own life, then you can own the emotion and sing the thang. In fact I
  think that is how the folk process goes pretty much. In the US you have the
  luck that people worked on the land and played music until recording
  started. In the UK people had largely moved to the city and worked 12 hours
  in the cloth factory and had no time or energy for singing, so the tradition
  pretty much turned stomach up.
 
  Now if I make a big plate of black eyed peas cooked with a hambone and some
  hot pepper, and serve it with rice and collard greens, also with the
  hambone, why do Spanish people say it reminds them of home?
 
  Why does Flamenco exist? Why are the lyrics so similar to blues? Are we sad
  and do we like dancing? Are we all human? Can I get another beer?
 
  (this was the random rambling thread right?)
 
 
 
  On Wed, Feb 18, 2009 at 8:37 PM, Dasspunk  wrote:
 
   Personally, I'm a fan of mustard greens... and had many a helping as I
   carpet bagged down in the land of Tater (old times there are not
   forgotten, look away...).
 
   If you are what you eat... do you play what you hear? That is to say,
   playing a style well, requires listening to the style. If this is so,
   I would think this "collared greens" theory would have had more merit
   back in the day... before recordings and such. Recordings would allow
   more non-regional folk, and even more interestingly, more not-yet-
   living folk, to listen and learn. To this, I would like to thank those
   sons-a-bitch recording pioneers that screwed nice musical folk out of
   royalties and such for their own gains... and my gain 'cause it allows
   me to own the recordings. Thanks bastards!
 
   And this will be nothing to what the web can offer. Take Mr. Tate R.
   Bug for example. That boy's been given lessons over them internets for
   years now. I'd call him a trailblazer (among other things). Who'd a
   thunk it (besides me I guess)? He's spreading his collared greens all
   over the world, live and in person... and all this without having to
   leave his house. Amazing really...
 
   B
 
   On Feb 18, 12:18 pm, Val Mindel  wrote:
Mike H, if you ever get a chance to catch "The secret lives of
banjos," you should. It's a show put together by Jody Stecher and Bill
Evans and includes a great story about Arctic explorations, banjos and
penguins ... It also shows the broad reach of the instrument. They use
something Iike 27 banjos in their show and demonstrate convincingly
that the banjo has a wild and well-traveled history.
 
Meanwhile, for my $.02, I think we can play outside our immediate
zones, just as we listen outside those zones, given sufficient will
and passion/obsession. It's a matter of relating to the underlying
emotion. Music really is generated from just a few main themes --
love, death, god, events, work -- mixed and matched as appropriate,
and we can relate to these themes, even if the specifics (collard
greens) are foreign. Granted there is music that is outside my ken
(Chinese opera, for example), but I suspect that if I wanted to and
had a spare lifetime to mess around with it, I could tackle anything
that moved me. But being moved by it is the key. Just look at some of
our Japanese old-time musician friends who play great, with scrupulous
regard for the channels the music has come through. Of course, the
farther you are from the source, the harder it is to pick up the
nuances, rhythmic and otherwise, but I don't buy the you-gotta-have-
been-born-there notion, nor do I think the music died with some past
generation. Many young people are playing it well, with great
attention to detail and history, and not-so-young people like me are
still working at playing it, and that's a good thing, I think. But
then I've spent much of my life in zones where the frost-free date
skated to the end of June (or where other climatic realities dominate)
so I'm hardly any sort of argument for regional

Re: Monroe Camp 2009

2009-02-09 Thread secsc2 







 

Ditto on Tony Williamson. Immensely talented.

 -- Original message from Mike Hedding michaelhedd...@gmail.com: --


 
 has anyone mentioned tony williamson? He's so cool and can play Monroe
 style from what I have heard. I would also be willing to nominate
 myself to teach if you want this to be the camps last year in
 existence.
 
 On Feb 9, 3:07pm, Mike Hoffmann  wrote:
  Man, you all who can get to this are lucky! This is a great, affordable
  event and I wish I could make it this year but I can't swing it.
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Accidents happen

2009-02-05 Thread secsc2 







 

Pretty sure I know what happened to all those lost Arnold Schultz recordings. http://www.youtube.com/watch?v=UbJgAthnTo4NR=1

Re: Dewey Farmer

2009-01-30 Thread secsc2 







 

These are the series of clips that prompted the question, really:http://www.youtube.com/watch?v=a29WbPb17EE I guess I was wrong to say THE STYLE, but should have said "not contemporary mandolin style", which I hate. Maybe hate is a strong word. Loathe, abhor, detest...one of those is probably better...but I'll keep an open mind. There's some bluesy sounds in there. At any rate, I heard some of those cusp-of-time triplet sets in his playing that seem awfully familiar. For what it is worth, no Powder Creek out there I can find

 -- Original message from Mike Hedding michaelhedd...@gmail.com: --


 
 That's how I first heard of him as well. Someone mentioned he was a
 Monroe style player so I searched out some of his recordings. I don't
 exactly hear it but he does have a great right hand and good timing. I
 have a version of him playing southern flavor that's pretty cool. I
 think he plays an f sharp note in the a section that I don't really
 care for but it's still cool. I think some of tater's strict standards
 are rubbing off on me. It's great.
 
 On Jan 30, 4:07pm, mistertaterbug  wrote:
  Steve,
  If you go back a ways, you'll find Dewey was one of the "gunslingers"
  that came around on bluegrass' rebound. Sam Bush has made mention of
  Dewey for years. And you're right, he's on the Butch Robins recording.
  As Mike says, he has an interesting style, sort of a potpourri of
  licks and loop-dee-loops. I notice that he has been regarded as a
  Monroe style player and is hard to stump on Bill's tunes. That may be
  so, but he's far from being a Monroe stylist. To me, he's got more of
  that contest fiddle sense to his playing. A very capable player,
  regardless of what he's being pigeon-holed as.
 
  puhtater
 
  On Jan 30, 11:41am, Mike Hedding  wrote:
 
   I have a bunch of misc. Recordings of him and his band powder creek I
   believe. He's got an interesting style sound more like a Sam bush kind
   of thing to me the notes he uses but very cool.
 
   On Jan 30, 8:17am, sec...@bellsouth.net wrote:
 
Howdy. I'm hoping some of the learned brethren here on the list might be 
 able to help me with this fellow. I don't know much about him other than seeing 
 a video on Youtube which might indicate he plays THE STYLE, which I happen to 
 like. I've heard his name tossed around before--might have even asked but can't 
 recall. At any rate, Google hasn't been very revealing other than some credits 
 on Grounded, Centered and Focused by Butch R. and another disc. Seems like his 
 name gets around though, so what should I be looking for? Wouldn't mind having 
 some recordings.
Thanks,
Steve
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Re: Approach to tunes

2009-01-27 Thread secsc2 







 
Fatten up is the best phrase to describe it. I was looking for a good way to describe this recently and all I had was "flesh it out", which sounds like something I would do to a shitty project plan at work. 


 -- Original message from 14strings perrypale...@gmail.com: --


 
 Hmmm I may be preaching to the choir here
 
 But to me one of Senor Tater's unique talents is stripping down fiddle
 tunes to their bare essence so what is left
 is pure melody and rhythmic drive. Kind of like just leaving just the
 eyes, ears, nose and mouth on Mr Potato Head :)
 
 If I'm reading you correctly. I agree that some of the fiddle
 tunes have gone through a game of "telephone" in that today's version
 have been mutated through the years. Not always for the better. Case
 in point...does it get better then Eck's "Sally Goodin"?
 
 M.C. has helped me straighten out and fatten up some fiddle tunes via
 the webcam lessons.
 
 
 On Jan 21, 12:36pm, Nelson  wrote:
  I have been working on taking some fiddle tunes as they existed in the
  old-time era (beginning of the recording age) and trying to find the
  way that I like to play them best.
 
  Something that I have noticed, particularly with "Old Joe Clark" is
  that the OT version seems quite different from the BG/modern version
  we are used to. It almost seems like slowing down the BG version and
  playing it in an OT context does not sound right.
 
  Does anyone have any advice? It is because of added harmony notes?
  Has the root melody itself evolved?
 
  I am trying to learn enough tunes that are suitable for playing with
  an OT band, in a BG environment and in the contest arena, but one size
  doesn't seem to fit all.
 
  Thanks any advice you may have to offer,
  Nelson
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Re: You Be The Judge

2009-01-26 Thread secsc2 







 

Bluegrass needs new leadership. HmmmI guess we should consider ourselves lucky that Master Skaggs is willing to assume the mantle of leadership and take such a burden upon himself. I wonder what he'll have us do?

 -- Original message from mistertaterbug taterbugmu...@gmail.com: --


 
 I'm just gonna stay outa this. I think it's important to know what
 others are up to so I'm posting the link as forwarded to me. You'll
 have to decide what the motivation might be.
 
 http://www.naplesnews.com/news/2009/jan/22/ricky-skaggs-digs-deep-vau...
 
 Instigi-tater
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Re: Monroe Camp 2009

2009-01-26 Thread secsc2 







 

The one topic that I think would benefit me most is not necessarily just the review of tunes that Monroe wrote or made popular, but an exploration of improvisation in the Monroe or Compton style. I think I saw this mentioned in conjunction with the Compton seminar being hosted by Jim Richter. I would be curious to see an instructor take a modern bluegrass tune, remove the linear, neutering aspect of the modern mandolin style, and then show how you might construct a Monroe-esque break in its place. It would be interesting to define the difference--I know what my ears hear, but sometimes breaking things down like that makes it click for me in a new way. Just my 1 cent.

 -- Original message from mistertaterbug taterbugmu...@gmail.com: --


 
 Okay, okay, the speculation regarding Monroe and Scotland is good, but
 back to the topic...What is missing from the headings list regarding
 Monroe Camp? What has been overlooked? What has not been looked at
 closely enough? Any other old/new fusion ideas(reasonable, of course)?
 It needs to be understood that there is a lot of this that I take for
 granted because I don't necessarily need to actively think about to
 play "Wheel Hoss" or "You Won't Be Satisfied That Way" or whatever.
 There may be whole topics for discussion that lay buried in the info
 that would really help explain the style better to all of us, just it
 has not been recognized so far. Come on, this group page is for us all
 to use to talk about this mandolin music obsession we have. I know
 there's more of you here than are responding. I know there are
 opinions and questions not being voiced.
 
 Jump in the fray.
 Tater
 
 On Jan 22, 6:33pm, taurodont  wrote:
  I have been to all three Monroe Camps.
 
  Although I learned from all the previous instructors I got the most
  out of Tater, Butch Waller and Skip Gorman. All three had classes
  where you walked in, there was a brief introduction , then they
  started to pound a song into your brain. That is good learning.
  Frank is an amazing picker but is so scatter brained that you can
  hardly get a straight thought out of him. I had to verbally pin him
  down to show us a break to Blue Moon of Kentucky.
 
   I enjoy the history and lore but am mostly there to get better in
  that style. Repeatedly I overheard fellow students say they wished
  more songs or techniques were taught. People get irritated when they
  sit through a class and never get to remove their mando from the
  case.
 
  My foremost complaint was that some instructors clearly had given no
  thought to what they would teach. Students appreciate when an
  instructor has given the class some thought ahead of time. I can
  remember several classes where the instructor came in and said
  "Monroe's Timing? I'm not sure how to approach this". Then by the
  time they figure something out to teach the class is over. I think
  parameters or suggestions along with the class titles may help guide
  them. For instance the class title may be "Monroe's blues" and the
  objective to present several songs that illustrate his use of the
  blues or themes that recur that are "blue". Or maybe a class that
  touches on a few songs that use the downstroke and tremelo. Or maybe
  one devoted to Gospel turnarounds.
 
  I don't see any probllem rehashing some of the previous camps concepts
  except with different instructors.
 
  I would like to see David McLaughlin, Ronnie McCoury, David Davis. Or
  how about some fiddlers that can also play mandolin, especially those
  familiar with Monroe's fiddlers. Perhaps Aubrey Haynie or Mike
  Cleveland. Although all talented I have no idea how good of teachers
  they are and that is an extremely important skill to have when in
  charge of a class.  So many excellent musicians are not efficient
  teachers. Tater is an exception.
 
  Enough for now.  I'm sure it will be a good one if Tater is at the
  helm.
 
  John
 
  On Jan 19, 11:49pm, mistertaterbug  wrote:
 
   I agreed today to take the administrative (uhm...or was that advisory)
   duties for the International Bluegrass Music Museum's Bill Monroe
   Mandolin Camp 2009. I understand that Mike Lawing doesn't work at the
   museum anymore, so that leaves a gap. From what I can gather thus far,
   the camp will basically be similar in format to the last few. It will
   be on/around Monroe's birthday and will be Friday/Saturday/Sunday.
   There will be at least 5 instructors and the topics will be somewhat
   similar, but I am looking at other aspects of KY style bluegrass
   mandolin that have not been touched on so much before.
 
   I know some of you on this here list have been to the camp, whilst
   others have not. What I would like for you to do, beings we have this
   forum, is to think about what it was you didn't get last time that
   would have been welcome knowledge. What aspects of Bill's music did
   not get looked

Re: You Be The Judge

2009-01-26 Thread secsc2 







 
Right on, Fredand while this might be a small quibble, I just can't tolerate that whole "Mama's fried chicken" stage persona. Very, very tiresome.


 -- Original message from Fred fkel...@scicable.net: --


 
 
 
 Good lord.  It may be that Picky-Ricky's greatest talent is that of 
 self-aggrandizement.  That coupled with his well-known penchant for 
 receiving and transmitting the gospel from god himself on stage may 
 explain his self-anointing.
 
 There's no doubt the man can play and sing but how can one take him 
 seriously when he WAS the problem he decries back in the '80's?  I mean 
 he gets down on the whole "urban cowboy" thing but has he seen his own 
 video--the one where Bill Monroe plays Uncle Pen to Ricky's corporate 
 exec?  Oy gevalt.  What a putz.  This schmuck carries like 8 guitars in 
 his band and calls it "digging deep into the tradition."
 
 That's actually something that bears notice too, this death-grip on 
 tradition that so many bluegrassers seem to employ as if it were a 
 post-mortem stamp of approval from Bill himself.  It seems to me that if 
 bluegrass is a living, breathing art form then it needs to grow and 
 evolve in different and often strange and unnerving ways.  You don't 
 have to like it but you have to respect it.  Only art forms that are 
 dead and buried repeat themselves endlessly.
 
 Going back to the vaults of tradition and then inflecting it with one's 
 own personality and interpretation is a viable way of breathing new life 
 into a genre art form.  Going back to the vaults of tradition and saying 
 "this way and only this way is right" is embalming and turns the vaults 
 of tradition into Lenin's tomb, fit only for periodic review.
 
 
 
 Dasspunk wrote:
  I got a 404 error from Mike's link. Here's one that should work:
  
  http://tinyurl.com/dhuvja
  
  It's always been clear that Ricky wants to be the heir for Bluegrass.
  Luckily, want of a thing don't make it so... It would also seem that
  he suffers from self loathing...
  
  "I can’t get excited about (the music on country radio). It’s all
  cookie cutter like they are trying to build one car for everyone."
  
  Brian
  
 
 
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Re: New Quandry

2009-01-26 Thread secsc2 







 

That pretty well freaks me out, Mike. I keep my mandolin hanging on one of those wall-mount jobs. I hate to put it in the case since I take it down every day. I try to keep a humidifier running in the room during winter when the gas heat has a tendency to dry everything out. It usually stays around 40%, which I understand is about right...right? It's something that occurs to me with passing dread every so often. On the plus side, if you have to make friends, that F-4 is a good 'un to do it with. I heard you play it in Asheville and it just boomed. 

 -- Original message from mistertaterbug taterbugmu...@gmail.com: --


 
 Well, now the back seam on my Gil is open nearly halfway from the
 button to the heel. Starting to dry out at the heel. Reckon I'll have
 to get one of them green snake humidifiers to put in my case, once I
 get it fixed, that is.
 
 I called Gilchrist repeatedly the day before yesterday but got no
 answer.  So, I called Paul Duff trying to find out if there was some
 kind of national kangaroo day going on that I didn't know about. Paul
 said he'd call Steve. I got a call back from Paul after a bit saying
 he'd found Steve and that he was doing what any good Scottish lad
 should do; he was in a park in Melbourne listening to Robert Burns
 poetry being read. Got a call later from Steve saying he couldn't take
 my call on his cell phone because he was in the park listening to
 "Robbie" Burns poems being read accompanied by musical score and
 "scenic views".
 
 Reckon me and the F4 are going to become best buddies. Better look in
 the case...
 Tater
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Re: Monroe Camp 2009

2009-01-20 Thread secsc2 







 

I agree with you about Rawlings, Jonas. I got the chance to see him play in a small setting and it was all hard downstrokes ala Monroe. A tremendous guitarist. I don't think he gets his due...

 -- Original message from "Jonas Mattebo" jonas.matt...@gmail.com: --


I won't be going to this camp (it's too far off for me), but I wouldn't it be cool to have David Rawlings talk about and show how he has incorporated Monroe's mandolin style into his guitar playing? Just a thought... I always percieved his playing as very Monroesque, at least some of the time.
/Jonas2009/1/20 Linda lj...@intas.net.au

I rather like the idea of looking at the Scottish roots of old-time
music and how that influenced Monroe. This year at our Cygnet Folk
Festival one the highlights was a young Scott Fiddler and his mate who
plays accordian.

Ronan Martin and Sandy Brechin

Ronan is from the Isle of Skye and is much in demand as a traditional
fiddle player, both at home and abroad. He was steeped in music from
an early age and has performed with many of Scotland's finest bands
and high calibre musicians such Sandy Brechin, who grew up in
Kirkliston, West Lothian and has been playing the accordion for twenty
years. He has developed his own unique approach to the art of
accordion playing and his innovative style is instantly recognisable.
He is Scotland's most renowned accordionist, touring internationally
with many bands, he has his own independent recording label, 'Brechin
All Records'.

They played an excellent range of dance music, including some
impressive 6/8 marches, very well done. They work well as a team,
Ronan the straight man and Sandy making all the jokes, introducing the
tunes.

Maybe some of you folks have heard of one or both of these fellas.
I would love to be able to hear a tune played in the Scott style by a
fiddler the caliber of Ronan, (he seems to have a vast knowledge of
the subject) and the patter re the history, etc of the tune by someone
like Sandy, then a similar tune in the style of old-time Ky Fiddlers,
by someone who can do it justice, then maybe something where the blues
came into things, then in the Monroe style, how in some detail he
worked his mandolin effort according to fiddle style, now that to me
would be a fantastic experience.

Don't know if this is any use to your project, Tater G
Love the idea of black mandolin culture.

Then there is that pentatonic scale, and bluegrass, and international
bluegrass players from exotic places like India...G ..
Linda

On Jan 20, 4:19pm, "David Long" bigevemu...@gmail.com wrote:
 sorry... too=two. sorry. i suck at spelling.

 david

 On Mon, Jan 19, 2009 at 11:17 PM, David Long bigevemu...@gmail.com wrote:
  It would be great to have Caleb Klauder there. To my ears, he hits all the
  buttons, so to speak.  And though it may be a long shot, Luke Plumb might
  offer a wonderful sense of some Scotch-Irish styles, and I think it would
  show the true cross-continental evolution of this music right before our
  eyes and ears. These are too young and very formidable practitioners that
  are a bit over looked in our fair circle. I hope this is to be considered.
  Carl Jackson also crossed my mind as well.  And if I may say, there is is
  no one more suited to run this process than Mike Compton.
  Best to all,
  David

  On Mon, Jan 19, 2009 at 10:49 PM, mistertaterbug taterbugmu...@gmail.comwrote:

  I agreed today to take the administrative (uhm...or was that advisory)
  duties for the International Bluegrass Music Museum's Bill Monroe
  Mandolin Camp 2009. I understand that Mike Lawing doesn't work at the
  museum anymore, so that leaves a gap. From what I can gather thus far,
  the camp will basically be similar in format to the last few. It will
  be on/around Monroe's birthday and will be Friday/Saturday/Sunday.
  There will be at least 5 instructors and the topics will be somewhat
  similar, but I am looking at other aspects of KY style bluegrass
  mandolin that have not been touched on so much before.

  I know some of you on this here list have been to the camp, whilst
  others have not. What I would like for you to do, beings we have this
  forum, is to think about what it was you didn't get last time that
  would have been welcome knowledge. What aspects of Bill's music did
  not get looked at, either at all or adequately? Is there something
  slipping through the cracks that I'm just not thinking of? What have I
  left out? Are there artists currently working that have not worked as
  instructors at the camp before that either loosely base some of their
  work on Monroe's mandolin style or whom you'd like to see tackle KY
  style mandolin with a more contemporary flair? The camp is, of course,
  devoted to furthering and explaining Monroe's work and music, so I'm
  not saying we need to get too far out on a limb. I am also looking at
  possibly having the "before bluegrass" idea actively pursued, as well
  as the black

Re: Dueling Banjos?

2008-12-30 Thread secsc2 







 

This same instrument was featured in a bluegrass band on the PBS series "Song of the Mountains" a few months ago. I think it might have been a University group and they had a short, smiling fellow come out and do some fantastic fiddle tunes along with them. Haven't been able to find a video of it, but you have to assume it's posted somewhere. 

 -- Original message from Robert Dragone dragonm...@mac.com>: --


> 
> Man, put some Scruggs tuners on that thing and she could really go to  
> town!
> 
> 
> On Dec 30, 2008, at 1:45 PM, mistertaterbug wrote:
> 
> >
> > Well it really seems to me that the technique is quite efficient.
> > Watch these guys. But hey, if you want "sho' nuff" right hand
> > technique, this gal takes the prize...
> >
> > http://www.youtube.com/watch?v=nUZ1BH9Fnsw
> >
> > Picture perfect to my way of looking at it. Lord have mercy...to have
> > that right hand. Plus, she knows how to sell what she's doing. Of
> > course, this Chinese lady's not doing too badly herself...
> >
> > http://www.youtube.com/watch?v=1hZ6xEd-b8E
> >
> > I'd say she could use one of them fancy Larry Sparks pickguards and
> > some fret work too. A few more flouishes and dramatic hand movements,
> > boys. 
> > Tater
> >
> > On Dec 30, 9:42 am, "Robin Gravina"  wrote:
> >> Yup - I got put onto some of these a while ago - I love the way  
> >> they have
> >> these fixed fierce stares and also the control that they have  
> >> whilst picking
> >> with what looks like a plasterer's trowel...
> >> R
> >>
> >> On Tue, Dec 30, 2008 at 4:31 PM, mistertaterbug  
> >> wrote:
> >>
> >>
> >>
> >>> Energy, energy, energy! Apparently the brother duet is alive and
> >>> well...
> >>
> >>> http://www.youtube.com/watch?v=w5rs7pfZuPs
> >>> http://www.youtube.com/watch?v=Ron17xFNBf0
> >>> http://www.youtube.com/watch?v=1i1FznZT7fU
> >>
> >>> And of course, a little rock and roll...
> >>> http://www.youtube.com/watch?v=b9Pp8KxLZ7s
> >>
> >>> One never knows where one's mind will lead them to next. If you'd  
> >>> have
> >>> told me I'd have been watching shamisen players on Youtube, I'd have
> >>> said, "What?"
> >>
> >>> Tater
> > >
> 
> 
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>

Re: It Was Bound to Happen Sooner or Later...

2008-12-18 Thread secsc2 







 

I feel your pain, Petimar. I waited for my Poe mandolin for a year, had it shipped overnight in a Calton. When it arrived, I opened the case and looked inside...and there was the broken headstock scroll. Hadn't even played a single note. 

 -- Original message from Petimar p...@petimarpress.com: --


 
 Join the earless Gil crowd Mike.  Mine broke when dropped, locked
 inside a Calton case, about 3 inches off the floor (Calton owners
 BEWARE).  I have become kind of fond of the broken look, so I leave it
 unrepaired, it's a great conversation starter at festivals.
 
 However, I replaced the Calton with a Pegasus case, much better
 protection.
 
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