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 course, he pissed off the old guard too, but that's expected when you've got a new guy around that can outplay most everybody. I also agree with your suggestion of Andy Statman. He knows it, loves it, and can knock down the walls and go someplace else. Mike, I agree with your suggestions too, for the most part. The jamming situation seems to be hot on everybody's mind and needs to be addressed. I've thought about David's McLaughlin and Davis. I intend on asking Ronnie, but I suspect his schedule might prohibit his involvement. Probably a good idea to include a slow jam someplace everyday. Oh yea, the mandolin player is not supposed to play on the front edge of the beat in Monroe style...<G>.
I think the main thing is to get players who can teach or rather, want who want to. Tater On Jan 20, 9:20 pm, Don Grieser <adobeinthepi...@gmail.com> wrote: > 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. I'd focus on getting older masters to the camp > rather than younger players, and people who can teach as well as play, > but that's just me. My .02 since you asked for it. > > On Tue, Jan 20, 2009 at 6:43 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: > > - 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 museum staff - very friendly and helpful > > > Things that might have made it better: > > - break up some of the classes with some jamming time > > - maybe a little more about the dynamics of the mando in a band setting - > > controlling tempo and playing on the > > front edge of the beat > > - a fiddler to do classes on interacting with the fiddle and fiddle back up > > - improvising in different keys and positions > > - better after hours jamming opportunities > > > Other folks I'd suggest for instructors (assuming they teach): > > - Ronnie McCoury > > - David McLaughlin from the Johnson Mountain Boys > > - David Davis - Warrior River boys > > > Folks who've taught who'd be good have back: > > - Bobby Osborne > > - Frank Wakefield > > - Roland White > > > Good luck with it - hope I can make it back sometime. > > > John Gay > > Memphis > > > -----Original Message----- > > From: mistertaterbug <taterbugmu...@gmail.com> > > To: Taterbugmando <taterbugmando@googlegroups.com> > > Sent: Mon, 19 Jan 2009 10:49 pm > > Subject: Monroe Camp 2009 > > > 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 > > > ________________________________ > > A Good Credit Score is 700 or Above. See yours in just 2 easy steps! --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to taterbugmando@googlegroups.com To unsubscribe from this group, send email to taterbugmando+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
