In response to the public and private emails I've gotten involving the "scottish connection"...I get it. Considering the people that settled the southern and eastern part of the US (and the midwest and...), it is very unlikely that Monroe could escape the influence of the Scots/ Irish. The musical influence runs from there to here, did then and does now. If nothing else, something as simple as our incessant love of going from the root to the flat 7 and back again would give us away, I guess. Oh, and I do guess. I am not a scholar nor historian nor academic. What I am doing is trying to make a legitimate study of that means a great deal to me, something that has been taken for granted for decades mainly because Monroe was always around. Now that he's gone, somebody's got to make sense out of this and help us all understand why it's so hip because it's too hip to let slide. Back to the subject...
All I was saying was that I don't suspect Bill nor anyone else in Rosine, KY ever thought a lot about the roots of their music other than to say that they got such and such a tune from so and so or that "the old folks played it like this and now we play it like this". Oh, I'm sure they thought about it some, but not to the point of sitting down and tracing it back to its' origins. In the interview with Bobby Bare, Bill talked about bluegrass having blues and fiddle music and "sacred numbers" and jazz and Scottish bagpipe...ding, ding, ding, ding, ding....okay, he says it. So what? Far as I can tell, there's really only one tune in Monroe's repertoire that suggests anything about Scotland, and that's "Scotland". Did the Father of Bluegrass actively engage in tracing down the ancestors of the tunes he loved to play, or was that just another bit of information given him by somebody who's opinion he trusted, say somebody like Ralph Rinzler? I'm just playing devil's advocate here. I don't know when Monroe decided his music had Scottish influence in the sound. I do know that in the later years he was prone to write tunes that had titles that showed he was fond of reminiscing, but how far does it go? Now, I understand too that David Long's suggestion to include Luke Plumb in the Monroe Camp mix is to "A/B" the old and the new, to have Luke play an old Scots/Irish tune in the manner he is so adept at doing and show a modern interpretation, maybe even one of Monroe's tunes. That would be very well worth the price of admission in itself. But I wonder who could tie up all the loose ends there? I'm honestly not educated extensively enough to even know where to begin, much less go indepth. I don't think there has been any major unraveling of Monroe's bluegrass like there has been of classical and jazz, nobody taking it apart and making a serious study of it. Maybe I'm wrong. Seems to me somebody needs to do it. Or maybe this is just me justifying my own existence and interests again. Whatever. I suppose that this mandolin style, even with all its' links to other sounds/places/times is destined to become another pigeon-holed, underground minority clan. Tater On Jan 20, 9:15 pm, Mike Romkey <[email protected]> wrote: > Sounds like fun. The Scottish suggestions are appealing. A river runs > through it, Mister Tater, an I ain't talkin' no River Dance! --~--~---------~--~----~------------~-------~--~----~ 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 -~----------~----~----~----~------~----~------~--~---
