I have been "out of the loop" for a few days. I have to say that I really liked Richie Brown last year, and would like to see him again. That is a Who's Who list you have there, Tater. I look forward to it....
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- Hide quoted text - > > - Show quoted text - --~--~---------~--~----~------------~-------~--~----~ 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 -~----------~----~----~----~------~----~------~--~---
