First things first -- Hi all! My name is Will and I'm
currently living in New Jersey (near Trenton.) I play a '93 F-5G and
am picking it back up after a long hiatus away from things musical.
I've loved bluegrass since I first got exposed to it in 1987 (Seldom
Scene at the Philly Folk Fest) and li
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 wrote:
> OK I'll bite, i've never been to the monroe camp but have been to the
> Kaufman Ka
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 b
Knowing how to shut folks up is as important as knowing how to get them to open
up.
I have been nurse to a wife with the flu all week and fulltime caregiver to my
five year old. Y'all can guess that I have had little time for very much of
anything else.
I like the Camp faculty line up and pl
2009 3:17 pm
Subject: Re: Monroe Camp 2009
Thread buster --?a digital?jam buster...
-Original Message-
From: mistertaterbug
To: Taterbugmando
Sent: Fri, 27 Feb 2009 2:58 pm
Subject: Re: Monroe Camp 2009
Boy Nelson,
You really know how to shut down a thread, or in this case I
Thread buster --?a digital?jam buster...
-Original Message-
From: mistertaterbug
To: Taterbugmando
Sent: Fri, 27 Feb 2009 2:58 pm
Subject: Re: Monroe Camp 2009
Boy Nelson,
You really know how to shut down a thread, or in this case I reckon it
would be threads(or the lack thereof
Boy Nelson,
You really know how to shut down a thread, or in this case I reckon it
would be threads(or the lack thereof).
Tater
On Feb 10, 11:36 am, Nelson wrote:
> That could be, but I usually only wear those in the hotter months -
> they help the butt sweat dry faster.
>
> On Feb 10, 11:17 am
That could be, but I usually only wear those in the hotter months -
they help the butt sweat dry faster.
On Feb 10, 11:17 am, D Fehling wrote:
> I actually think you were spotted in a overall thong.
>
> Denniswww.friendsforlifedogtraining.com
--~--~-~--~~~---~--~
I actually think you were spotted in a overall thong.
Dennis
www.friendsforlifedogtraining.com
When will the madness stop. Spay and Neuter your pets
EMAILING FOR THE GREATER GOODJoin me> Date: Tue, 10 Feb 2009 09:15:11 -0800>
Subject: Re: Monroe Camp 2009> From: nels
If the "boxers in a bind" comment was for me, I have one question. I
know I drank a little last year at the camp, but I didn't run around
in my drawers, did I?
I just meant that the list of possibilities are impressive. I am sure
the faculty will be knowledgeable and provide interesting points
I really liked John's suggestions. Especially on the use of arpeggios.
Some topics I'd be into:
Mixing Arpeggios and Slides - Monroe would often move from one "mode"
to the other in the 2nd part of a break - I struggle with this
mightily.
Fiddle Tunes - Monroe played fiddle tunes with his own s
Well, now don't get your boxers in a bind, there's only gonna be about
half dozen or so off that list. That's only my list of people to call
to find out if they're available or interested. The IBMM will do the
choosing.
Taterbug
On Feb 9, 7:23 pm, Nelson wrote:
> I have been "out of the loop" f
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 wrote:
> Another note on the Monroe Camp...
>
> No
other alternative in terms of possible
workshops Tater. He could offer a bit of a history lesson on the development
of the instrument to those interested.
Paul
- Original Message -
From: "Mike Hedding"
To: "Taterbugmando"
Sent: Tuesday, February 10, 2009 8:45 AM
Subj
Forgot to mention that I've talked to Tony too. Thanks Mike, but I
think maybe we're looking to extend the camp instead of wrap it up.
I'll let Gabrielle know you're available. But then, I suspect she's
lurking around here somewhere...We're also looking at possibly working
in a "camp" tune just as
Another thought I had:
I can speak for anyone else goals on this forum but one of my goals in
learning Monroe's music is actually to discover my own unique voice
and to try to figure out what I want to say with my mandolin.
One way that Compton suggested that has been helpful is taking a non
Mon
Ditto on Tony Williamson. Immensely talented.
-- Original message from Mike Hedding : --
>
> has anyone mentioned tony williamson? He's so cool and can play Monroe
> style from what I have heard. I would also be willing to nominate
> myself to teach if you wa
has anyone mentioned tony williamson? He's so cool and can play Monroe
style from what I have heard. I would also be willing to nominate
myself to teach if you want this to be the camps last year in
existence.
On Feb 9, 3:07 pm, Mike Hoffmann wrote:
> Man, you all who can get to this are lucky!
On Feb 9, 2:27 pm, mistertaterbug 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
Man, you all who can get to this are lucky! This is a great, affordable
event and I wish I could make it this year but I can't swing it.
--~--~-~--~~~---~--~~
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To post
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
e this helps.
>
> Rich
>
>
>
> -Original Message-----
> From: taterbugmando@googlegroups.com [mailto:taterbugma...@googlegroups.com]
>
> On Behalf Of mistertaterbug
> Sent: Thursday, January 29, 2009 4:31 PM
> To: Taterbugmando
> Subject: Re: Monroe Camp 2009
re frequently with emphasis.
Hope this helps.
Rich
-Original Message-
From: taterbugmando@googlegroups.com [mailto:taterbugma...@googlegroups.com]
On Behalf Of mistertaterbug
Sent: Thursday, January 29, 2009 4:31 PM
To: Taterbugmando
Subject: Re: Monroe Camp 2009
Rich,
I hear that there are two di
Thursday, January 29, 2009 10:02 AM
> To: Taterbugmando
> Subject: Re: Monroe Camp 2009
>
> John great suggestions and titles...
>
> I especially like the "double stop" class ideamaybe just some
> generic double stop connectors over chord changes
>
> True
Now we're getting somewhere.
You see, the main thing I run into is that after a lot of years of
beating out these tunes (not to mention beating my head against a
wall), I don't think about what the sounds/configurations/scales/
phrases/etc are called. I just go for them. I think so does anyone
el
Great ideas. Consider this...the pentatonic scale is the blues. The "Blues"
in Bluegrass.
-Original Message-
From: taterbugmando@googlegroups.com [mailto:taterbugma...@googlegroups.com]
On Behalf Of 14strings
Sent: Thursday, January 29, 2009 10:02 AM
To: Taterbugmando
Subject:
John great suggestions and titles...
I especially like the "double stop" class ideamaybe just some
generic double stop connectors over chord changes
True Life & Tall Tales:. tales of song origins and maybe some tall
tales about Big Mon's mythical powers
(students can leave mando in case
John great suggestions and titles...
I especially like the "double stop" class ideamaybe just some
generic double stop connectors over chord changes
True Life & Tall Tales:. tales of song origins and maybe some tall
tales about Big Mon's mythical (students leave mando in case for this
on
All right then I'll try to shed a few more rays of light.
Topics :
Monroe and the pentatonic scale, the winter of his life. This sound
is more prevalent toward the end. Demonstrate several tunes and teach
a few of them. And yes I know that he probably didn't know what scale
it was just that i
Hi Mike,
Good discussion going on here! I love all the great ideas coming out.
I have a suggestion on the jamming issue. How about this: I'll open up
my house for both Friday and Saturday nights. It's not huge but it's
big enough for all the campers AND faculty to jam in. You can pick all
night,
excellent idea. There was some discussion of this on the Comando list: Tune
of the week was salt creek and many people compared the Monroe version to
the more 'conventional' versions. It seems absolutely clear when you compare
the two, but then you (or at least I) try and do it on something else an
The one topic that I think would benefit me most is not necessarily just the review of tunes that Monroe wrote or made popular, but an exploration of improvisation in the Monroe or Compton style. I think I saw this mentioned in conjunction with the Compton seminar being hosted by Jim Ric
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 under
There is this:
http://au.youtube.com/watch?v=lu5J5UCvUEw&feature=related
On Jan 24, 1:03 pm, Linda wrote:
> Robin, you have said something close to what I have thought, better
> than I can. I think in those early days, they handed down tunes,
> wrote tunes, etc that came initially from direc
Robin, you have said something close to what I have thought, better
than I can. I think in those early days, they handed down tunes,
wrote tunes, etc that came initially from direct experience of the
mother country,..and we ended up with what we call old time music.
My theory is, many, maybe ev
I never thought about Scottish music being a big conscious influence on
Monroe, but what I think, is that Scottish, Irish, Galician and Asturian
(and probably English) musics come from the pipes: the fiddle was another
way of expressing the pipe music, in the same way that the fiddle for the
blues
In response to the public and private emails I've gotten involving the
"scottish connection"...I get it. Considering the people that settled
the southern and eastern part of the US (and the midwest and...), it
is very unlikely that Monroe could escape the influence of the Scots/
Irish. The musical
I've never been. I plan on going this year and I think John just pretty much communicated what my expectations would be. I know three days isn't very long to dissect Monroe's style, but breaking it into the high points is a good start.
-- Original message from taurodont : -
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 lea
I have nothing to contribute to this discussion except to say that I am
green with envy. I think Madrid, Spain would be a very suitable place for
the camp in 2010 - there is a massive tradition of Monroe style playing
here, and we would eat very well!
R
On Wed, Jan 21, 2009 at 6:26 PM, Nelson wro
Of the sessions I attended last year, the one that I would most like
to see repeated and expanded is the one about fiddle tunes. (I have
been going through a related exercise lately.) Specifically, you
could start with the straightforward tune that Bill might have been
exposed to. Play it and t
Since you asked..
I thinking some folks would appreciate at least (1) ten minute or so
"one on one" session with one of the instructors...realize this is
logistically difficult but I bet it could be orchestrated...maybe the
student does not have his/her choice of which instructor but get's a
I would love to get a closer look/listen to the playing of Bobby
Osborne and Frank Wakefield. Goodness GRACIOUS that's good.
B
On Jan 20, 7:43 pm, johnhga...@aol.com wrote:
> Mike / all,
>
> I went the first year - I believe it was 2006 - and had a ball.
>
> Things I liked the year I went:
t: Re: Monroe Camp 2009
I agree, Don. I think that it is a good idea to get the older ones in
while we have them. I do think that some of the young guys have valid
contributions in their interpretations too and I think it brings a
freshness to the music, just like Monroe did to the old sound when he
I've not been to Monroe Camp so can't really say what needs improving,
but from being around music and teaching for a while it seems that
ability/desire to teach trumps musical geniosity, although it is
always lovely to get both traits in one player (as in our very own
Tater). Jamming is the key t
I agree, Don. I think that it is a good idea to get the older ones in
while we have them. I do think that some of the young guys have valid
contributions in their interpretations too and I think it brings a
freshness to the music, just like Monroe did to the old sound when he
came on the scene. Of
While Andy Statman does not play Monroe style these days, he certainly
learned about every Monroe solo/tune he could when he was young, and
he still knows what Monroe is about. He's also an excellent teacher.
John Reischman has a solid grounding in Monroe/old time and is also an
excellent teacher.
Sounds like fun. The Scottish suggestions are appealing. A river runs
through it, Mister Tater, an I ain't talkin' no River Dance!
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To post to this
Mike / all,
I went the first year - I believe it was 2006 - and had a ball.
Things I liked the year I went:
- the teachers - Mike, Red?& Chris Henry, David Long, Skip Gorman - they all
did a great job and hit on different aspects
- the museum setting - good spot for it
- the other students
- the
I like Caleb's music and I think it would definitely fit. But I don't
think you'd need to go back much further, style-wise. And like Mr.
Tater said, I doubt Monroe had any "real" Scottish influence. Have
you heard Scottish fiddling? I have friends that practice strict
Scottish fiddling and oth
I agree, Caleb is one of my favorite young writers/players. But then,
so is Mr. Long. I wonder which Caleb does better, plays western/honky
tonk dance floor music or string band. What say you, David? I don't
follow the logic behind suggesting Luke Plumb. He is without a doubt a
hoss of a player (n
I agree with you about Rawlings, Jonas. I got the chance to see him play in a small setting and it was all hard downstrokes ala Monroe. A tremendous guitarist. I don't think he gets his due...
-- Original message from "Jonas Mattebo" : --
I won't be going to t
I won't be going to this camp (it's too far off for me), but I wouldn't it
be cool to have David Rawlings talk about and show how he has incorporated
Monroe's mandolin style into his guitar playing? Just a thought... I always
percieved his playing as very Monroesque, at least some of the time.
/Jo
I rather like the idea of looking at the Scottish roots of old-time
music and how that influenced Monroe. This year at our Cygnet Folk
Festival one the highlights was a young Scott Fiddler and his mate who
plays accordian.
Ronan Martin and Sandy Brechin
Ronan is from the Isle of Skye and is muc
sorry... too=two. sorry. i suck at spelling.
david
On Mon, Jan 19, 2009 at 11:17 PM, David Long wrote:
> It would be great to have Caleb Klauder there. To my ears, he hits all the
> buttons, so to speak. And though it may be a long shot, Luke Plumb might
> offer a wonderful sense of some
It would be great to have Caleb Klauder there. To my ears, he hits all the
buttons, so to speak. And though it may be a long shot, Luke Plumb might
offer a wonderful sense of some Scotch-Irish styles, and I think it would
show the true cross-continental evolution of this music right before our
e
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