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Thread: Andy Statman technique

  1. #1

    Default Andy Statman technique

    Hi folks!
    Just wondered, are there anybody that have tabbed/studied some of the recent material from Andy? Refering especially to his two recent albums. A lot of fantastic songs and mandolin material there. On the mandozine I only find two songs tabbed(way to few!!!). I know that picking up his playing by ear is difficult, but have anyone done this? I.e his certain way of phrasing and doing fast runs (klezmer and bopish) really appeals me. I really think this should be given more attention. Although, I am not good enough to do this myself I encurage someone else😊...

    Thanks for any comments😊!

    Best regards, Sondre

  2. #2
    Registered User Glassweb's Avatar
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    Default Re: Andy Statman technique

    If you live anywhere near Brooklyn you should think about taking some lessons with the man himself... he'll put you on the right track!

  3. #3
    Registered User swampstomper's Avatar
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    Default Re: Andy Statman technique

    His Homespun "Jazz Mandolin" books/CD are uneven but full of Andy's approach to blues (Monroe style) and then on to jazz and bop. He was a lot younger then (weren't we all?) and his folksy way of presenting the material is appealing. And you get to hear lots of the famous A2Z.

    See this link

  4. #4

    Default Re: Andy Statman technique

    Thanks for answer guys!
    Having a lesson with him would be a dream, but I live in Norway so rather difficult.
    Have both his jazzbook (which is fabolous) and his klezmer DVD. Great stuff in them both, but his mandolin style has developed/ evolved a lot since those days...
    For me, he presents the most facinating stuff on the mandoscene!

  5. #5
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    Default Re: Andy Statman technique

    Quote Originally Posted by Glassweb View Post
    If you live anywhere near Brooklyn you should think about taking some lessons with the man himself... he'll put you on the right track!
    I was lucky enough to get some lessons from Andy at his home in Briton Beach, NY early on in my mandolin journey in 1980. He was a great teacher. We worked on scales and picking techniques, and a bunch of Monroe tunes. At that point he insisted on teaching by repetition and recording his examples ( on portable cassettes) because he felt bluegrass was an aural tradition and should be approached that way.

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