Twenty bucks! It was sixty on Amazon... and that was just for one of the albums!!
Thats why i had to be happy with listening to the thirty second sound clips. Yeah, thats what i discovered aswell with the irish fiddle tunes, the same ones were played every week and the more familiar you are with them the more you could add to the overall sound. At first i would try to do basic rhythym but just there was usually a clod of rhythym guitars chording so i needed to find some space thats when i found that voicing the melody could fit in well with the general carry on and done well it, which wasnt often, it does give a nice spur to the fiddle/melody playing. Strange as it might be for some of youse here, its the Tater's elaboration of Mrs. Haley's style that actually first caught my ear, its only later through gaining familiarity with his other work that i am gaining a stronger appreciation for Monroe elements in his playing and through them Mr. Monroe's playing itself. On Jun 18, 6:32 pm, erik berry <[email protected]> wrote: After > that experiment, I've tried to to it a little more often. It fills out > the vocals in a way that's hard to explain if you're not paying > attention to the mandolin. What I also found is you have to know the > songs quite well (like anthing else). If you don't know the vocals, > you can't "fake" the vocal rhythm. > > My only experience with Mrs. Haley's playing, though, is the tater > interview and listening to the samples of a Ed Haley reissue at a > record store until I got asked "you gonna buy that?" Twenty bucks, had > to say no, unfortuneately. > > erik > > On Jun 18, 8:28 am, Mark Halpin <[email protected]> wrote: > > > > > Some of my favorite Tater ventures have to be on 'The Speed of the Old > > Long Bow' and t'other John Hartford old-time-fiddler-tribute albums... > > i dont dance much but i knows they do make for fine jogging musics. > > > From one of the old Co-mando interviews Mr. Tate tells that John > > Hartford was looking for something along the lines of what Ela Haley > > was doing on mandolin. Hers how its put in the interview > > > 'Haley's wife Ela played taterbug (or roundback for you yanks) > > mandolin on the recordings. She played simple chords with a heavy- > > handed rhythm and that's what John said he really wanted me to do. I > > thought it was a very primitive way to play mandolin until I started > > to notice Ela seemed to be playing the melody line, but with chords. > > In other words, her right hand played the melody, her left played > > chords. It's sort of the same thing tap dancers do I guess.' > > > Now, given that those Ed Haley recordings seem to be both rare and > > pricey i have'nt much of chance to hear what exactly is going on with > > the original recordings, i'm actually just going through the some mp3 > > samples at the moment and i'm beginning to hear the sound i associate > > from the Hartford albums. > > > Now i'm wondering if anyone here, not just Mr Taterbug though it'd be > > interesting to hear his views, have paid much attention to Ela Haley's > > playing or have tried to adapt it into their own playing? > > > If so, what attracts you to that style of playing, any observations > > about it, in particular i'd wonder how do you think it sits with the > > Monroe style?- 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.
