Me too! And Doc Roberts playing is beautiful. I love that Honeymoon
Stomp, I have been working on it and plan on playing it in Kentucky on
my Honeymoon.
On Jun 21, 2010, at 1:14 PM, Tud Jones wrote:
Don't want to veer to far off topic but I've always dug the mando
backup in the Hoyt Ming recordings...http://www.youtube.com/watch?
v=77DqfsT_rF8&feature=related
On Jun 21, 12:10 pm, mistertaterbug <[email protected]> wrote:
I reckon another way of saying that, or a clearer way, is that
Monroe's right hand didn't always play the 'rhythm melody' when the
left hand was, nor did his left hand always play the melody when his
right hand was. Then, there's that abstract thing to consider, and
the
implied notes, and...Oh what the hell, it's *just* bluegrass
mandolin.
How could it *possibly* be that difficult or advanced?
Bugs
On Jun 21, 9:28 am, mistertaterbug <[email protected]> wrote:
Sounds like to me you guys have got it well in hand. My ramblings
about Ella and her methods are purely my own way of understanding
what
she's doing, but I think this all bears out pretty well to the test.
To me, Ella is a step ahead of fiddlesticks players, dancers and
drummers when they play melody with percussion only(not that drums
don't have pitch). It sounds like Monroe took the same idea and
played
it with tremolo, not just chord strums, and built melody and
rhythmic
backup too, though I don't think his use of it was always related to
the melody specifically, but oftentimes to an alternate rhythmic
pattern built into the melody.
All this thinking makes my head hurt.
TBug
On Jun 21, 8:47 am, Mark Halpin <[email protected]> wrote:
I think one of the advantages of say trios or duets is that it
demands
that the instruments are shifted from their normal sound space and
have to find new voices to support each other.
The genius of Bluegrass, for instance, is that each instrument
has its
own sound space and as a result they all support each other, but,
the
danger with that is that the space can become so defined that it
can
also serve to limit the possibilities for each instrument.
Approaching even bluegrass material as a trio or duo straight away
offers you the difficulty of freedom... just how do you fill for
the
missing instruments on the selection that you have left?
I think it was earlier in that same interview that Mr. Tater
mentioned
encountering the same trouble when working on the album with David
Grier, that the bluegrass chop just wouldnt cut the mustard in that
situation, so new backup solutions on the mandolin had to be found.
For me that right there is the interest, that someone is kinda
kicked
from their comfort zone and they have to engage their imagination
and
ear again (thats not to imply that Mr. Tater was not being
imaginative
before the Grier album ;-)
Also i think that the more stripped back nature of a two or three
players does not leave much for a musician to hide behind, in my
opinion, it demands that you listen to and interact more with the
other players, and thats where the natural familiarity of family
groups like the Haleys, Stanleys, Louvins, Monroes etc plays an
advantage lending a second-nature to the interaction... and we
all can
marvel in the wonder that sort of initmacy can produce in music.
The real wonder for me though is when you have a group of musicians
who are unused to each other, or, as i said above, are shunted from
their traditional roles and are flying by the seat of their pants,
sometimes yes sir, the results can be ragged other times it can
produce moments of pure unexpected adrenalin fueled magic .
On Jun 21, 2:44 pm, Dasspunk <[email protected]> wrote:
Sign me up for trios too. Myself, my fiddler Paul and Bob Black
sat
down one night and played as a trio for about 4 hours straight.
With
no guitar player to hold us back, them were some lively tunes!
Bob has
great rhythm sensibilities himself and it was a joy to play off
each
other.
I also find it interesting that--for whatever reason--my love of
the
duet seems to be shared with a number of folks on this list...
it's
nice to know I'm not alone!
Brian
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 -
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