I enjoyed Monroe Mandolin Camp very much. Very laid-back and comfortable setting, met some great folks who I will be friends with forever. The most impressive part was the accessibility of the instructors, ever ready to pick or answer a question (David Davis rules!). Listening to Raymond Huffmaster’s and The Bluegrass Boys stories was a real treat. If you are going to be with a group of people for several days I can’t think of a better bunch than Monroe-focused musicians. And how Heidi can be in several places at once and pull it all off so effortlessly amazes me. Thanks to Mike and Heidi for putting this together-great fun! —Gary Darling, March 5, 2016
Author: Jim Kendrick
Skill Levels
Every year we’re asked, “what skill level am I?” Most folks have a fairly good idea of their level, if they’re being honest. And many who are early into their musical journey rate themselves lower than they actually are. At MMC, during each class period, we offer classes at all levels, so there is always a class for everyone! We classify levels as ALL=for campers of any level, BEG=Beginner/Novice, BEG-INT=Beginner-Intermediate, INT=Intermediate, INT-ADV=Intermediate-Advanced, ADV=Advanced. That said, here are a few rough guidelines to follow.
BEGINNER/NOVICE
This level starts when you’ve figured out that that thing your uncle had stored in the attic is not a ukulele, but a taterbug mandolin.
Players should be able to:
- Tune by ear or with tuner
- Know the names of the strings
- Have a basic idea of the right hand pick grip
- Know how to play and move somewhat easily between several chords in first position.
- Be able to strum along to slow jams in the keys of G, C, D and A.
- Be able to play alternating strokes (tremolo) and downstrokes at slower tempos with reasonable competence
- No knowledge of how to read tab/notation is necessary at this point, but would be helpful.
- If you are a novice or beginner, we are also able to pair you with a MMC Ambassador-someone who will show you the ropes and help you feel comfortable in jams and classes.
INTERMEDIATE
A lot of us fit into this category.
Players should be able to:
- Tune. This pursuit never ends. It’s a mandolin/fiddle/banjo/guitar/bass, remember? As Tim O’Brien says, the mandolin is Italian for “out of tune”.
- Have a much higher proficiency with the pick
- Be able to play with some fluency in the keys of B, Bb, E and F as well as the rest
- Have developed an ability to play basic improvisations on familiar tunes/songs and transpose up/down the fingerboard
- Be able to use tremolo and downstrokes at medium tempos with relative ease
- Have a working repertoire of at least a couple dozen tunes/songs
- Have a good knowledge of how to play full bluegrass “chop” chords in 1st and 3rd positions
- Be able to play simple melodies by ear
- Recognize chord changes
ADVANCED
If you’re at this level you’re probably teaching at camp, or out playing gigs. What does your schedule look like for 2022?
Players should be able to:
- Play at most tempos comfortably
- Have a solid theoretical understanding
- Be able to improvise in major and minor keys with relative ease
- Play a large repertoire of tunes/songs
- Be striving for higher technical proficiency and tonal excellence
- Tune. Nah. It’ll never happen. Don’t kid yourself.
- Jam comfortably with other competent musicians on a wide variety of material
- Should have firm ideas about how the style you’ve chosen fits together and have developed creative ideas of your own
Okay, These guidelines are pretty commonly recognized, so I hope this helps you sort it out. Next time someone asks you what skill level you are, you say, “Genius, Thanks”.
[/et_pb_text][et_pb_gallery gallery_ids=”27409″ fullwidth=”on” _builder_version=”4.8.2″ _module_preset=”default” width=”31%” max_width=”30%” custom_margin=”-5px||||false|false” custom_padding=”3px||6px||false|” animation_style=”zoom” animation_duration=”1150ms” animation_intensity_zoom=”53%” animation_starting_opacity=”18%” border_radii=”on|15px|15px|15px|15px” border_color_all_image=”#4E77D3″][/et_pb_gallery][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_sidebar _builder_version=”4.8.2″ _module_preset=”default” background_enable_image=”off” width=”100%” custom_padding=”|||0px||” locked=”off”][/et_pb_sidebar][/et_pb_column][/et_pb_row][/et_pb_section]2 New Tracks: Old-Time Mandolin & Traditional Bluegrass Banjo
Starting in 2016, we’ve decided to offer two special tracks in conjunction with the mandolin camp.
It is no secret to anyone that has studied the music of Bill Monroe that he was a huge fan of oldtime fiddle music. In fact, Bill originally wanted to be a fiddler himself but there was nothing left for him to play but the mandolin. I know we’re all thankful for that. However, Bill carried the sound of the fiddle in his soul and transformed it into mandolin music. He injected the pulse of the bow into the pick and brought rhythm and melody together in an unstoppable voice.
We’ve added a special Old-Time Mandolin Track this year that will focus on the musical generation that influenced Monroe and the creation of his mandolin style. Fiddler and mandolinist Adam Tanner will be your guide. Adam is an enthusiastic and accomplished practitioner of old-time fiddling as well as traditional bluegrass, and he is a published author on the subject of transferring fiddle rhythms to the mandolin. Adam is recognized by all those who have sat in his classes as a master teacher and communicator.
Participants are welcome to choose any class they want to attend by any instructor (in the mandolin grouping). One is not required to sign up for a track. We used the word ‘track’ to announce a wonderful new addition to camp.
There will also be offered a Traditional Bluegrass Banjo Track that will feature the influence Monroe’s music had on the banjo, the ‘5th Child’ of Bluegrass.
The banjo is essential to the bluegrass ensemble and there were a number of highly skilled musicians that made huge contributions to the sound of the music. The MonManCamp’16 Banjo Track will not only cover some of Bill’s instrumental tunes for the banjo over the years, but also how the banjo contributed as a backup instrument in the classic bluegrass ensemble of guitar, mandolin, fiddle, bass and banjo.
We are proud to present to you this year’s banjo instructor, Alan O’Bryant, banjo great from Reedsville, North Carolina. Alan has been a long-standing band member and friend to the Monroes and really knows his craft when it comes to playing bluegrass banjo. Alan is an excellent and experienced teacher as well. Alan will be coaching intermediate and advanced students only. This is NOT a beginner course, but an intensive look at the inner workings of traditional bluegrass banjo. What constitutes an “intermediate” banjo player is that they can tune the instrument, they are proficient in right and left hand technique (know basic rolls for three fingers, etc.), have a repertoire of a couple of dozen tunes, and can play in several keys.
The Traditional Bluegrass Banjo Track will be limited to an intimate size with a maximum of 15 students. Don’t miss this great opportunity!
Any questions about either of these tracks, please contact us at monroemandolincamp@gmail.com
New 2016 Camp Poster!
Another fine design by Mike Armistead, of both OTM Sho-Card in Goodlettesville, TN
and The Tennessee Mafia Jug Band
Bill Monroe Discography
78/45 RPM Singles
Year | Title | Label | Number | Notes |
1940 | Mule Skinner Blues / Six White Horses | Bluebird | Bb 8568 | – |
1940 | No Letter In the Mail / Cryin’ Holy Unto My Lord | Bluebird | Bb 8611 | – |
1940 | Dog House Blues / Katy Hill | Bluebird | Bb 8692 | – |
1940 | I Wonder If You Feel the Way I Do / Tennessee Blues | Bluebird | Bb 8813 | – |
1941 | Blue Yodel No.7 / In the Pines | Bluebird | Bb 8861 | – |
1941 | The Coupon Song / Orange Blossom Special | Bluebird | Bb 8893 | – |
1941 | Shake My Mother’s Hand For Me / Were You There | Bluebird | Bb 8953 | – |
1941 | Honky Tonk Swing / Back Up and Push | Bluebird | Bb 8988 | – |
1945 | Rocky Road Blues / Kentucky Waltz | Columbia | 20013 | – |
1945 | True Life Blues / Footprints In the Snow | Columbia | 20080 | – |
1946 | Mansions For Me / Mother’s Only Sleeping | Columbia | 20107 | – |
1946 | Blue Yodel No.4 / Will You Be Loving Another Man? | Columbia | 20189 | – |
1946 | Goodbye Old Pal / Blue Moon of Kentucky | Columbia | 20370 | – |
1946 | Blue Grass Special / How Will I Explain About You | Columbia | 20384 | – |
1947 | Shine Hallelujah Shine / I’m Travelin’ On and On | Columbia | 20402 | – |
1947 | My Rose of Old Kentucky / Sweetheart You Done Me Wrong | Columbia | 20423 | – |
1947 | I Hear A Sweet Voice Calling / Little Cabin Home On the Hill | Columbia | 20459 | – |
1947 | That Home Above / Little Community Church | Columbia | 20488 | – |
1947 | Summertime Is Past and Gone / Wicked Path of Sin | Columbia | 20503 | – |
1948 | It’s Mighty Dark To Travel / When You Are Lonely | Columbia | 20526 | – |
1948 | Toy Heart / Bluegrass Breakdown | Columbia | 20552 | – |
1948 | The Old Cross Road / Remember the Cross | Columbia | 20576 | – |
1948 | Heavy Traffic Ahead / Along About Daybreak | Columbia | 20595 | – |
1948 | I’m Going Back To Old Kentucky / Molly and Tenbrooks | Columbia | 20612 | – |
1949 | The Girl In the Blue Velvet Band / Bluegrass Stomp | Columbia | 20648 | – |
1949 | Can’t You Hear Me Calling / Travelin’ This Lonesome Road | Columbia | 20676 | – |
1950 | New Mule Skinner Blues / My Little Georgia Rose | Decca | 46222 | – |
1950 | The Old Fiddler / Alabama Waltz | Decca | 46236 | – |
1950 | I’m Blue, I’m Lonesome / Boat of Love | Decca | 46254 | – |
1950 | Bluegrass Ramble / Memories of You | Decca | 46266 | – |
1950 | Uncle Pen / When the Golden Leaves Begin To Fall | Decca | 46283 | – |
1951 | On the Old Kentucky Shore / Poison Love | Decca | 46298 | – |
1951 | Lord Protect My Soul / River of Death | Decca | 46305 | – |
1951 | Kentucky Waltz / Prisoner’s Song | Decca | 46314 | – |
1951 | Swing Low, Sweet Chariot / Angels Rock Me To Sleep | Decca | 46325 | – |
1951 | Rotation Blues / Lonesome Truck Driver’s Blues | Decca | 46344 | – |
1951 | I’ll Meet You In Church Sunday Morning / Get Down On Your Knees and Pray | Decca | 46351 | – |
1951 | Highway of Sorrow / Sugar Coated Love | Decca | 46369 | – |
1951 | Brakeman’s Blues / Travelin’ Blues | Decca | 46380 | – |
1951 | Christmas Time’s A-Coming / The First Whippoorwill | Decca | 46386 | – |
1952 | Raw Hide / Letter From My Darling | Decca | 46392 | – |
1952 | I’m On My Way To the Old Home / The First Whippoorwill | Decca | 28045 | – |
1952 | When the Cactus Is In Bloom / Sailor’s Plea | Decca | 28183 | – |
1952 | Pike County Breakdown / A Mighty Pretty Waltz | Decca | 28356 | – |
1952 | Footprints In the Snow / In the Pines | Decca | 28416 | – |
1953 | You’re Drifting Away / Walking In Jerusalem | Decca | 28608 | – |
1953 | Cabin of Love / Country Waltz | Decca | 28749 | – |
1954 | Memories of Mother and Dad / The Little Girl and the Dreadful Snake | Decca | 28878 | – |
1954 | I Hope You Have Learned / Wishing Waltz | Decca | 29009 | – |
1954 | Y’all Come / Changing Partners | Decca | 29021 | – |
1954 | Get Up John / White House Blues | Decca | 29141 | – |
1954 | Happy On My Way / He Will Set Your Fields On Fire | Decca | 29196 | – |
1955 | Blue Moon of Kentucky / Close By | Decca | 29289 | – |
1955 | I’m Working On A Building / A Voice From On High | Decca | 29348 | – |
1955 | Cheyenne / Roanoke | Decca | 29406 | – |
1955 | Wait A Little Longer, Please Jesus / Let the Light Shine Down On Me | Decca | 29436 | – |
1956 | Put My Little Shoes Away / Wheel Hoss | Decca | 29645 | – |
1956 | On and On / I Believed In You Darling | Decca | 29886 | – |
1957 | You’ll Find Her Name Written There / Sitting Alone In the Moonlight | Decca | 30178 | – |
1957 | A Fallen Star / Four Walls | Decca | 30327 | – |
1958 | Molly and Tenbrooks / I’m Sitting On the Top of the World | Decca | 30486 | – |
1958 | Sally-Jo / Brand New Shoes | Decca | 30647 | – |
1959 | Panhandle Country / Scotland | Decca | 30739 | – |
1959 | Gotta Travel On / No One But My Darlin’* | Decca | 30809 | – |
1959 | Tomorrow I’ll Be Gone / Dark As the Night, Blue As the Day | Decca | 30944 | – |
1960 | Lonesome Wind Blues / Come Go With Me | Decca | 31031 | – |
1961 | Precious Memories / Jesus Hold My Hand | Decca | 31107 | – |
1961 | Linda Lou / Put My Rubber Doll Away | Decca | 31218 | – |
1961 | Blue Grass Part 1 / Flowers of Love | Decca | 31346 | – |
1962 | Toy Heart / Danny Boy | Decca | 31409 | – |
1963 | Blue Ridge Mountain Blues / How Will I Explain About You | Decca | 31456 | – |
1963 | There Was Nothing We Could Do / Big Sandy River | Decca | 31487 | – |
1963 | New John Henry Blues / Devil’s Dream | Decca | 31540 | – |
1964 | Darlin’ Corey / Salt Creek | Decca | 31596 | – |
1964 | Shenandoah Breakdown / Mary At the Home Place | Decca | 31658 | – |
1965 | Jimmie Brown, the Newsboy / Cindy | Decca | 31802 | – |
1965 | I Live In the Past / There’s An Old, Old House | Decca | 31878 | – |
1966 | Going Home / Master Builder | Decca | 31943 | – |
1967 | When My Blue Moon Turns To Gold Again / Pretty Fair Maiden In the Garden | Decca | 32075 | – |
1968 | Train 45 / Is the Blue Moon Still Shining | Decca | 32245 | – |
1968 | The Gold Rush / Virginia Darlin’ | Decca | 32404 | – |
1969 | I Haven’t Seen Mary In Years / Crossing the Cumberlands | Decca | 32502 | – |
1969 | Fireball Mail / With Body and Soul | Decca | 32574 | – |
1970 | Bonny / Sweet Mary and the MIles In Between | Decca | 32645 | – |
1970 | Walk Softly On My Heart / McKinley’s March | Decca | 32654 | – |
1971 | Going Up Caney / Tallahassee | Decca | 32827 | – |
1972 | My Old Kentucky and You / Lonesome Moonlight Waltz | Decca | 32966 | – |
1973 | Foggy Mountain Top / Tall Pines | MCA Records | 40006 | – |
1973 | Down Yonder / Swing Low, Sweet Chariot | MCA Records | 40220 | – |
1977 | My Sweet Blue Eyed Darling / Monroe’s Blues | MCA Records | 40675 | – |
Studio albums
Year | Title | Label | Number | Notes |
1958 | Knee Deep In Bluegrass | Decca | DL 8731 | Reissued in UK as Brunswick 8259 |
1959 | I Saw the Light | Decca | DL 8769 | Reissued as MCA 527 |
1961 | Mr Bluegrass | Decca | DL 4080 | Reissued as MCA 82 |
1962 | Bluegrass Ramble | Decca | DL 4266 | Reissued as MCA 88 |
1963 | Bluegrass Special | Decca | DL 4382 | Reissued as MCA 97 Reissued in UK as Brunswick 8579 |
1964 | I’ll Meet You In Church Sunday Morning | Decca | DL 4537 | Reissued as MCA 226 |
1967 | Bluegrass Time | Decca | DL 4896 | Reissued as MCA 116 |
1972 | Uncle Pen | Decca | DL7 5347 | Reissued as MCA 500 |
1973 | Bill & James Monroe – Father and Son | MCA Records | 310 | – |
1974 | Road of Life | MCA Records | 426 | – |
1976 | Weary Traveller | MCA Records | 2173 | Reissued as MCA 707 |
1977 | Bluegrass Memories | MCA Records | 2315 | Reissued as MCA 872 |
1978 | Bill & James Monroe – Together Again | MCA Records | 2367 | Reissued as MCA 633 |
1981 | Master of Bluegrass | MCA Records | 5214 | – |
1983 | Bill Monroe and Friends | MCA Records | 5435 | – |
1985 | Stars of the Bluegrass Hall of Fame | MCA Records | 5625 | – |
1987 | Bluegrass ‘ 87 | MCA Records | 5970 | Reissued as MCA 31310 |
1988 | Southern Flavor | MCA Records | 42133 | – |
1991 | Cryin’ Holy Unto the Lord | MCA Records | 10017 | – |
Compilations
Year | Title | Label | Number | Notes |
1961 | The Great Bill Monroe | Harmony | HL 7290 | – |
1962 | My All Time Country Favorites | Decca | DL 4327 | Reissued in Japan as Decca 5086 |
1962 | The Father of Bluegrass Music | RCA Camden | CAL 719 | Reissued as RCA ACL 7059 |
1964 | Bill Monroe’s Best | Harmony | HL 7315 | – |
1964 | Songs With the Bluegrass Boys | Vocalion | VL 3702 | Reissued as Coral CB 20099 |
1965 | Bluegrass Instrumentals | Decca | DL 4601 | Reissued as MCA 104 |
1965 | The Original Bluegrass Sound | Harmony | HL 7338 | – |
1965 | Bluegrass Style | Vocalion | VL7 3870 | Reissued as Coral CB 20077 |
1966 | The High Lonesome Sound | Decca | DL 4780 | Reissued as MCA 110 |
1968 | Greatest Hits | Decca | DL7 5010 | Reissued as MCA 17 |
1969 | Bill Monroe & Charlie Monroe | Decca | DL7 5066 | Reissued as MCA 124 |
1969 | A Voice From On High | Decca | DL7 5135 | Reissued as MCA 131 |
1970 | 16 All-time Greatest Hits | Columbia | CS 1065 | – |
1970 | Kentucky Bluegrass | Decca | DL7 5213 | Reissued as MCA 136 |
1971 | Country Music Hall of Fame | Decca | DL7 5281 | Reissued as MCA 140 |
1973 | Greatest Hits | MCA Records | 5023 | Japanese issue |
1974 | Bill Monroe & His Bluegrass Boys 1950-60 | MCA Records | 9224-27 | 4 vol.; Japanese issue – |
1975 | The Best of | MCA Records | 2 4090 | Double album |
1975 | Bluegrass Special Vol.1 | BS | 1 | French issue |
1976 | Bill Monroe & His Bluegrass Boys 1950-72 | MCA Records | 9269-71 | 3 vol; Japanese issue – |
1976 | Bluegrass Special Vol.2 | BS | 3 | French issue |
1976 | Bill Monroe & His Bluegrass Boys Vol.1 | CBS Sony | 20AP11 | Japanese issue |
1976 | Bill Monroe & His Bluegrass Boys Vol.2 | CBS Sony | 20AP12 | Japanese issue |
1976 | New Greatest Hits | CBS Sony | 20AP27 | Japanese issue |
1977 | Sings Bluegrass, Body and Soul | MCA Records | 2251 | Reissued as MCA 708 |
1978 | With Lester Flatt & Earl Scruggs | Rounder | SS 06 | – |
1980 | Classic Bluegrass Recordings Vol.1 | County | CCS 104 | – |
1980 | Classic Bluegrass Recordings Vol.2 | County | CCS 105 | – |
1980 | Country Hall of Fame | Coral | CDL 8505 | UK issue |
1981 | Singles Collection Vol.1 | MCA Records | VIM 4068 | Japanese issue |
1981 | Singles Collection Vol.2 | MCA Records | VIM 4069 | Japanese issue |
1981 | Singles Collection Vol.3 | MCA Records | VIM 4070 | Japanese issue |
1981 | Singles Collection Vol.4 | MCA Records | VIM 4071 | Japanese issue |
1983 | Bill Monroe 1950-54 | Collector’s Classics | CC 18 | German issue |
1984 | Bill Monroe | Columbia | FC 38904 | – |
1985 | Classic Bluegrass Instrumentals | Rebel | 850 | Canadian issue |
1987 | In the Pines | Rebel | 853 | Canadian issue reissued as County CCS 114 |
1989 | At His Best | Hollywood | HCD 409 | Reissued on Classic World Production as Greatest Hits |
1989 | Bluegrass 1950-1958 | Bear Family | BCD 15423 | 4 vol; German issue |
1991 | Bill Monroe | MCA Records | D 10082 | Part of the Country Music Hall of Fame series |
1991 | Mule Skinner Blues | RCA Victor | 2494-2-R | Reissued as Country Legends |
1991 | Bluegrass 1959-1969 | Bear Family | BCD 15529 | 4 vol; German issue |
1992 | The Essential | Columbia | C2K 52478 | Double album |
1994 | The Music of Bill Monroe 1936-94 | MCA Records | D4 11048 | 4 vol. |
1994 | Bluegrass 1970-1979 | Bear Family | BCD 15606 | 4 vol; German issue |
1996 | 16 gems | Columbia | CK 53908 | – |
1997 | Bluegrass Breakdown | Javelin | PRACD 4003 | – |
1997 | The Father of Bluegrass Music | RCA Victor | BVCP 7464 | Japanese issue |
1998 | The Early Years | Vanguard | VCD 79518 | – |
1999 | The Best of | MCA Records | 088170109-2 | – |
1999 | The Best of | MCA Records | MCF 2696 | – |
1999 | Blue Grass Special Memories | Raintree | RR 599 | – |
1999 | Lookin’ Back | Silver Eagle | SEA 70007 | – |
1999 | Father of Bluegrass: the Early Years | ASV | AJA 5298 | 1940-47; UK issue |
2000 | American Traveler | County | CCS 119 | – |
2000 | The Father of Bluegrass | Castle Pulse | PLS 359 | UK issue |
2001 | Mansions For Me | Music Mill Entertainment | MME 71007 | – |
2001 | 36 All-time favorites | Universal Music | – | 3 vol. |
2002 | The Very Best of | MCA Records | 088112982-2 | Reissued as The Definitive Collection |
2003 | All the Classic Releases 1937-1949 | JSP | 7712 | 4 vol.; UK issue |
2003 | Gotta Travel On | MCA Records | MCLD 19403 | – |
2003 | Bill Monroe Anthology 1950-81 | MCA Records | 088113207-2 | – |
2003 | Blue Moon of Kentucky 1936-49 | Bear Family | BCD 16399 | 6 vol; German issue |
2003 | Blue…Blue…Bluegrass | Black Cat | BCCD 0074 | Czech issue |
2004 | The King and the Father | Music Mill Entertainment | MME 70048 | – |
2004 | The Gospel Spirit | MCA Records | 290702 | – |
2004 | Far Across the Blue Water | Bear Family | BCD 16624 | 4 vol; German issue |
2005 | Shady Grove | Fruit Tree | FT 843 | Italian issue |
2005 | Nine Pound Hammer | Tomato | TMT 2154 | – |
2005 | I Saw the Light | Universal Music | B0004618-02 | – |
2007 | My Last Days On Earth 1981-84 | Bear Family | BCD 16637 | 4 vol; German issue |
2009 | Bill Monroe and His Bluegrass Boys | JSP | 77119 | 4 vol.; UK issue |
Live albums
Year | Title | Label | Number | Notes |
1973 | Bean Blossom | MCA Records | 2 8002 | Double album |
1975 | Bill Monroe & Doc Watson – Sings Country Songs | FBN | 210 | – |
1976 | Bill Monroe’s Bluegrass Festival | Country Music Magazine | CM 1039 | – |
1979 | Bean Blossom ‘ 79 | MCA Records | 3209 | Reissued in Japan as MCA VIM 6222 |
1980 | Radio Shows 1946-48 | Country Canada | BGC 80 | Canadian issue |
1981 | Orange Blossom Special | Stack-O-Hits | 9001 | Reissued in Germany as Aston 20018 |
1982 | Live Radio | Country Road | CR 02 | Canadian issue |
1989 | Live At the Opry | MCA Records | 076742228620 | – |
1993 | Live Recordings 1956-69 Vol.1 | Smithsonian Folkways | 40063 | – |
1993 | Bill Monroe & Doc Watson – Live Duet Recordings | Smithsonian Folkways | 40064 | 1963-1980 |
1999 | Live From Mountain Stage | Blue Plate Music | BPM 400 | – |
2001 | Live Vol.1 | Rural Rhythm | RHY 1015 | – |
2002 | Live At Vanderbilt | Bear Family | BCD 16614 | German issue |
2003 | Two Days At Newport 1963 | AndMoreBears | AMD 25001 | – |
2004 | Live At Mechanics Hall | Acoustic Disc | ACD 59 | – |
2005 | 200th Show At the Brown County Jamboree Barn | No Label | No # | – |
Congratulations to Jack Baker of London, England
Winner of the 1st Annual Mon Man Camp Video Scholarship Competition
He wins a full scholarship—including tuition, lodging, meals and t-shirt—to the September 9–13, 2015 Mon Man Camp.
A difficult process for the judges, one said, “It was great fun, and required real concentration and reflection.” Based on total points for playing and essay answers, a clear winner emerged: Jack Baker of London, England.
If for any reason Jack is unable to attend, we will announce the next runner-up—the points were very close for the top 3!
Mike and I would like to personally thank each of you for your submissions and entries, which came not only from around the U.S., but the world—it’s encouraging to see so many Monroe enthusiasts! Thank you all for your efforts, time investment, and contribution to this competition. We proudly support and invite you to attending the camp this year, or anytime in the future.
Keep playing, keep practicing, and keep keeping Monroe’s music alive in your life and community.
Cheers!
Heidi Herzog
The Winning Video and Essay Questions
Jack’s video: https://youtu.be/cYxj1Fu7L9g
Jack’s answers to essay questions:
- Why is the Monroe Mandolin Camp, and the study of Bill Monroe’s music, and traditional bluegrass mandolin music important?For me, bluegrass music, and particularly the music of Bill Monroe, is everything that music should be. It deals with the full spectrum of human emotion and can elicit the full spectrum of human feeling. The distinctive sound, pioneered by Monroe, is what allows it to do that, whether in the form of songs or instrumental numbers. The study of the mandolin is important as it’s the instrument played by the man who, more than anyone, led to the development of bluegrass as a genre; in my opinion, his style of playing allows you to get closest to the music in its rawest form, featuring the drive, speed, delicacy, precision, and the blues/old time/Scotch-Irish musical influences that give bluegrass instrumentation its characteristic feel. Specifically, I feel most enthusiastic about learning, sharing and preserving Bill Monroe’s myriad instrumental compositions that are, as far as I’m concerned, some of the most unique and creative pieces ever composed, and stand as an indication of his singular nature amongst musicians of any genre or time period.
- Why do you want to come to Mon Man Camp?Bluegrass is also a style of music firmly rooted in a cultural identity and geographical location, and I feel that if you want to understand the music fully, you need to experience and understand the history of the peoples and places that led to its development. I come from London, England, and have lived there all my life, and the opportunity to come over to the US to learn at first-hand about the music I love in the area it originated and from musicians, professional and amateur, with a much closer personal and cultural connection to the music than I have, would be a once in a lifetime opportunity.
- What do you expect to take away from the camp?I feel I would gain a much more authentic appreciation of bluegrass music in general, and Bill Monroe’s mandolin style in particular, by attending an event like the Monroe Mandolin Camp and learning from who knew Monroe himself or who have a much closer personal connection to the history of the genre and the places it came from. I’d also love to make some of my own connections to other musicians from around the world who feel the same as I do about the music of Bill Monroe and his style of mandolin playing, and hopefully contribute in my own way to keeping both alive as an art form in order that future generations can hear and appreciate the incredible music that Bill Monroe created.
Special Thanks to Our Sponsors!
Lauren Price
Music has long been present in the life of Lauren Price Napier. Growing up, she learned to sing duet-style harmony with her twin sister, Leanna, by listening to their parents sing together. Although Lauren and Leanna were gifted instruments as children, it wasn’t until they attended a few workshops and festivals in their high school years and saw some of their favorite artists performing live, that they girls began to take a strong interest in bluegrass music.
Lauren holds the role of co-founder, mandolinist, and vocalist with ‘The Price Sisters’ band and most of her professional work in the music industry comes from within that position. While still in college, Lauren and Leanna signed with Rebel Records, released an EP, and subsequently began touringas The Price Sisters. The Sisters’ released their first full-length album for Rebel, “A Heart Never Knows” in spring of 2018. The five-piece band to-date has performed at numerous venues and festivals across the United States, Canada, Germany, Austria, and Switzerland.
Lauren has been an instructor at the Monroe Mandolin Camp, the DelFest Academy, Camp Bluegrass, Mandolin Camp North, Augusta Bluegrass Week, the Bobby Osborne Mandolin Roundup, and workshop-leader at various festivals where The Price Sisters have performed. Lauren has also hosted or been guest on several virtual mandolin workishops including the Lousiville Folk School. Lauren has worked as an Artist-in-Residence with the Bluegrass Music Hall of Fame and Museum. In June 2019, she was the featured for an interview on Mandolin Cafe. In 2019, Lauren was nominated for the International Bluegrass Music Association’s (IBMA) Momentum Vocalist of the Year, and in 2020, was nominated for Momentum Instrumentalist of the Year. The Price Sisters have a debut album to be released February 16, 2024 on McCoury Music titled “Between the Lines”.