Much as I do actually prefer to buy music, I downloaded it. I tried to
buy the Rounder ed haley cds, but was frustrated. I found it all in a
fiddler compilation on bittorrent and got the wonderful results.
Hope this helps

2010/6/18, Mark Halpin <tomas...@yahoo.com>:
> 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 <eberr...@gmail.com> 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 <tomas...@yahoo.com> 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 -
>
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