On Feb 9, 2:27 pm, mistertaterbug <[email protected]> wrote:
> Another note on the Monroe Camp...
>
> No official word on the instructor roster so far, but moving closer to
> a final list. Unfortunately, Bobby Osborne will not be back because
> he's got work that weekend. Good for him, I say. I've been in contact
> or left messages with Sam Bush, Ronnie McCoury, Ricky Skaggs(no,
> really), Tim O'Brien, David Davis, David McLaughlin, Skip Gorman,
> Butch Waller and Richie Brown. Will Kimble says he might like to come
> back and do setups again.Tom Ewing will likely be back too.
>
> Looks like there will be a trip up to the Monroe homeplace again and
> gravesite in Rosine. There will be a trip to the resting place of
> Arnold Schultz and and a meeting with some of Schultz' living
> relatives at the Rosine Barn and General Store plus a jam there. Now
> we're talking. Looks like too, that Gabrielle Gray, head of the IBMM,
> has offered her ample home for jamming space on Friday and Saturday
> nights. As soon as I find out who all will be joining us. the topics
> list will be revised and requests will be made accordingly. So, it's
> coming along.
>
> Sign up now, avoid the rush. Hey, how come everybody quit talking
> about this? Has everyone chimed in that's going to?
> Tater
>
> On Jan 25, 11:45 pm, mistertaterbug <[email protected]> wrote:
>
> > Okay, okay, the speculation regarding Monroe and Scotland is good, but
> > back to the topic...What is missing from the headings list regarding
> > MonroeCamp? 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, 6:33 pm, taurodont <[email protected]> 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, 11:49 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
> > > > MandolinCamp2009. I understand that Mike Lawing doesn't work at the
> > > > museum anymore, so that leaves a gap. From what I can gather thus far,
> > > > thecampwill 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 thecamp, 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 thecampbefore 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? Thecampis, 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
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