Grisman got communication I think, but I was told that there was no response. Yes, I suspect Dawgie is priced out of range. Anyway, he has the Symposium to think about.
Tater On Mar 2, 4:50 pm, malagrass <[email protected]> wrote: > OK I'll bite, i've never been to the monroe camp but have been to the > Kaufman Kamp once and it was a blast. I agree with several other > responders that its imperative the instructors know how to teach, > otherwise its just a waste of time. Mike, I don't think there's > another guy on the planet who's better suited for this job than you, > congratulations......I think! > > Anyway, Its always my fascination to "get inside Monroe's head" or > better yet get inside Mike's head. Most of us can slow down his licks > and grasp most of what he's doing physically but "why" is he playing > that way???? To me thats key. Was it his limitations, did he hear > something as a child that stuck, whatever it was I think it deserves > some discussion. Call it "Monroe Theory"...................... > > Anyway, for instructors that best suits big mon's style; I agree, > Ronnie, David, Skip definitely. How about Grisman, he may be too > expensive but its worth a try and I think he's one of those guys who > tries to incorporate Monroe licks into todays recordings. > > Good luck, Mike see you next week. > > JM > > On Jan 26, 12:45 am, 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 > > Monroe Camp? 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 > > > > 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 -~----------~----~----~----~------~----~------~--~---
