The only other necessary comment is that the Oak publication Jesse McReynolds – Mandolin, by Andy Statman is unfortunately out of print, and has been for. His Bill Monroe and Jesse McReynolds influences are especially clear on Andy’s Ramble, a release wi. Available with an Apple Music subscription. Buy a cheap copy of Bluegrass Masters: Jesse McReynolds book by Andy Statman. Free shipping over $
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I think you’re more likely to play badly through lack of practice. I’d done mcreynols one time, but don’t ask me to do it again!
Jesse McReynolds book by Andy Statman The problem with Jesse’s style, to me, is his use of his superflexible double-jointed thumb. It must have been an amazing time. So I had to start from scratch and work out my own routines.
Similar Artists See All. The way you use your right hand is the opposite extreme of the free, loose wrist of players like Red Stafman.
A very good introduction to anyone wanting to learn your style of mandolin playing is your book in the Oak ‘Bluegrass Masters’ series, Jesse McReynolds: But every time I pick up the mandolin, as I do finger exercises, I have no particular pattern I run on.
That’s another thing I wanted to play different. The Wedding of the Century. Do you find this gives you any problems with speed, for example on the tremolo?
Jesse has been interviewed many times see below for some useful sourcesand we tried to avoid areas that are already well documented e. I used to be a Herb Alpert fan, jesee the idea for Hartsvilie Pike came from the chord sequence he used with the Tijuana Brass for tunes like Spanish Flea.
Jesse McReynolds Mandolin : Bluegrass Masters by Andy Statman (Paperback) | eBay
I patterned after Earl Scruggs type of banjo andu. You split the string, and hammer your harmony string down there – you get the same effect as Floyd Cramer does on the piano, and the same as when you press the pedal on the steel guitar. Having received considerable acclaim for his mandolin playing, Statman became interested in exploring his Jewish roots and began studying klezmer clarinet mentored by Dave Tarrasand his subsequent recordings have found him focusing increasingly on the reed instrument, moving from klezmer to expressions hesse his newfound devotion to orthodox Hasidic Judaism.
Then I just sit down and start playing; sometimes a tune comes to me and I don’t know where it comes from!
And on a couple of songs I used my converted F Too bad I don’t live closer to Jesse. I know exactly what you mean. I play Never On A Sundaywhich is a pop tune, as one of my feature tunes on stage. Another performer we’ve hoped to have over here some time is Ralph Stanley. Talking of rhythm, I read in an interview with Allen Shelton that he found the rhythm quite different when he started playing with you, and he had to modify his own playing accordingly, to fit.
I’ve heard a lot, and learned a lot from pedal steel guitar players. Whatever feels natural, that’s the way I play.
He plays mandolin statkan Kenny Baker plays fiddle, he has no bother with his wrist. If questioned, it will be your hide they’ll be after and not mine, and I will cooperate with authorities if asked. Yeah, I try to be original. I think he did a good job on it. And when I find someone who can take a tablature like that, and play it note-for-note, and I say, “Well, play a tune that’s not in the book,” for a long time they’ll go blank, you dtatman, they got nowhere else to go!
In conclusion, have mcreyolds got any more comments you’d like to make about bluegrass music today? Where the recordings ended up nobody knows. That’s what I did, and no one told me to leave this out, or not to do that, or anything. Thank you for all the advice! I enjoyed doing the album with Allen Shelton.
A lot of people have patterned after Kenny, they use the bow like he does.
Andy Statman on Apple Music
Then it took over, and I had to work it into what I did, wherever possible. You seem to have gone along quite a different path from the Stanley Brothers, right from an early stage.
Oh yes, it was interesting. My way, you have a mcreyolds wrist, but you do get the notes clearer, or at least I do.
It’s one of the few times when I didn’t have to worry about being the boss. Yeah, I used to own one.
However, during the early 50s other players found their own distinctive way of playing bluegrass, and the most radical of these was Jesse McReynolds. On a lot of Gibsons you have to raise the action way up in order to get good rhythm. I always wanted to do our music as smooth as we could. In the era of the Internet you can now catch up on the band at the Jim and Jesse website.
I’ve got to have a good balance, for one thing, across the strings, which I never could get out of a Gibson. You have quite a low action, don’t you?