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.
/Jonas 2009/1/20 Linda <[email protected]> > > 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, 4:19 pm, "David Long" <[email protected]> wrote: > > sorry... too=two. sorry. i suck at spelling. > > > > david > > > > On Mon, Jan 19, 2009 at 11:17 PM, David Long <[email protected]> > 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 < > [email protected]>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 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 mandolin culture. Maybe we should go to Arnold Schultz' > > >> gravesite. > > > > >> Anyway, I would welcome any suggestions/requests/complaints that may > > >> be floating around. I think there needs to be some other activities to > > >> do besides classes too, but right now at this early stage in the game, > > >> I'm drawing a blank. Now's the time to have your say. > > > > >> Tater > > > --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
