I agree, Caleb is one of my favorite young writers/players. But then, so is Mr. Long. I wonder which Caleb does better, plays western/honky tonk dance floor music or string band. What say you, David? I don't follow the logic behind suggesting Luke Plumb. He is without a doubt a hoss of a player (not to mention having the best treble I've heard on a Gilchrist F5), but I don't think I've heard him play much music I'd identify as hillbilly music. Of course, if we're talking about the hills of Scotland or Greece, then I'm in. David Rawlings has a definite Monroe "flair" now and then, and I know he has a love of it and deliberately uses the style to good effect on occasion. Not sure what the rest of his influences are, but he has definitely got a dose of Big Mon. Might be a good time to ask him about it.
In some ways, I'm not sure I think Monroe has Scottish influence in his playing. I tend to think that what he had was regional influence and if there was any Scottish flavor in it (and there was, sure) he picked up on that. But I'd bet he couldn't lay his finger on it, couldn't say, "That there is Scottish playing, right there." I think his tune "Scotland" was probably more him paying homage to his heredity than something that he remembered. Of course, it might have been something tugging at his innards from the gene pool. I guess my opinion is far less dreamy and certainly far less academic than tracing down Scottish roots, but hey...I have a hard time listening to much Scottish/Irish fiddling. Must be from having my kids overplay that damned "River Dance" DVD... Tater On Jan 20, 8:14 am, [email protected] wrote: > 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" > <[email protected]>: -------------- > > 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 -~----------~----~----~----~------~----~------~--~---
