B L U E G R A S S NEWSLETTER(7-20-05):

[Jmoss]

DON'T MISS THIS ISSUE!

B L U E G R A S S NEWSLETTER(7-20-05): Jimmy Martin, Wakefield Band.

1) JIMMY MARTIN Talks about Bean Blossom, his Bands, The Opry (PART 3)

2) PLUS! MP3->Frank Wakefield Band 1998,
# # # # # # # # # # # # # # # ## #with guest David Grisman #
#

http://www.candlewater.com/BLUEGRASS...TTER/July2005/
http://www.candlewater.com/BLUEGRASS...TTER/July2005/
http://www.candlewater.com/BLUEGRASS...TTER/July2005/

---------------------------------------------------------------
Jim Moss

[evanreilly]

Jim:
Great audio and video!!
Why does Frank have the tape over 'The Gibson' on his mandolin???

[Jmoss]

What did you think of Frank and Grisman
going to it. I knew he was going to come up
and play, but in the middle of Catnip I noticed
this person along side of me. You can tell just
when it happened because I missed a phrase in
the break. I didn't see David get on stage
as he entered from behind me.

That was a fun show. They were hot.
People should listen to the mp3 files of the
show on the newsletter page.

About the tape on the head stock...
I could tell you, but it is not my place
to get mixed up in this. If someone were to
promise a new fiddle to me from the top of
the line over the telephone, and then not
come through with it, well then I guess
I could tell you about it. That is not what happened,
no fiddles offered to yours truly. No fiddles were
used in the making of this story. :-]

I would not assume anything from what
I just said either. I say, ask Fronk.

I have voiced my opinions
on the marketing of mandolins here before.
That was just my take on the business.

When I was younger and hanging out with
Baker and Monroe, there was always something
like this going on. It was always a scene of some kind.
From the women to the friends of the band, to the fans...
Talk about Bob Black's book, I could write 6 books on
this topic alone. It would just make you tired. It wouldn't
be an issue of having enough stories, but remembering
them all. It would be like trying to remember all of my
old girlfriends!

I just stay focused on the music and getting gigs, then
getting the performances on video and out there on
the web. If I were to focus on all the hassles that
come up in life, I would kill myself.
I just keep my eye on the ball and keep working.

...and I never make promises
that I have no intention of keeping. :-)

Jim Moss
FWB

[Frankmc]

Jim,
Any chance the audio of your interview with Jimmy will be released?
Thanks for a great website.

Frank

[Moose]

Jim will probably need to "edit" it ....first!?# - hee....hee.. - RIP Jimmy Martin - and THANKS for the great music!! - Moose.

[Jmoss]

That's an idea, but for some far later date.
It would need some editing to remove the
use of hard language. He uses some words
as emphasis. He was actually very nice.
I was told to call him early, before he started
drinking, and I did. I just stayed up all night
to call early. I am a night person so it was
just to stay up a little longer.

I think Jimmy's interviews really say a lot
about being in a band in the 50s and 60s and
what made the great bands great. And it came
from a person who was not afraid to tell you either.

Did you get a chance to hear the mp3 files of the
show that had Grisman sitting in? Did all three
files work ok? Did you hear BG Breakdown?
Now that is playing! Usually the guitar players top out
before we get to that speed, but not Nelson.

Jim Moss
FWB

[Philip Halcomb]

Jim, that show with Grisman was awesome... Thanks... I especially liked the old smokey, David really projects a lot of tone with those double-stops in the background. The Rawhide was also hot, David's first break on catnip after he scared you was just nasty. Frank's playing was as always mind boggling and humbling. Probably not to just me but to David as well. It was good to hear Diamond Joe, I haven't heard that since hearing bootlegs of David Nelson playing in the Jerry Garcia Acoustic Band. Thanks, it's in my car now and I just can't stop listening to it. See what you did...

[Jmoss]

Glad to get that stuff out there.

And I might add, thanks to the DAT Heads who
recorded them for us. See what a great
service they do? Those notes would have
been lost forever if they weren't there to
capture them. And of course since we own
the rights to all of them Frank can make
them available to the fans. That's why we
encourage DAT Head. We discourage mp3 recorders
as the quality is not perfect. DATs are fine and
CDRs are fine.

We allow DATs and the like, but we take the tapes
with us when we leave and return copies so to be sure
we actually get copies. Video is a little different in that
we must be working with the person closely to allow a
video camera in the show.

Sometimes it might take me a little time to get the DATs or
CDRs back, but I will always do it.

Jim Moss
FWB

[Jmoss]

Great DAT Mics at Seattle's Tractor Tavern 2005.
Our mics are in the tube type shock mounts.
Must be $15,000 in mics there total.
We have this show covered, two cameras too.


#



#

[Peter Hackman]

I just re-read the whole interview. The fact that
Martin provided a falsetto tenor on two of Monroe's
gospel recordings is an interesting piece of
information. As for "Angels" Martin could have helped
identify the bass and baritone - Rosenberg's
discography doesn't. As for "Church" Rosenberg
missed the fact that Monroe obviously sings lead
on both the verses and the chorus - one of
his very, very few slips I suppose.

Now, the keys of Monroe's recordings of Blue
Moon of Kentucky. To the best of my recollection
they were B flat and C, not A and B.