This is the only piece that appears on both of Dan Beimborn's cds. Music from Ryans Mammoth collection played on a Savannah. Apparently Jackson was a famous piper and the title may refer to brushing out his pipes in the morning after playing all night.
Thanks for posting this tune and its source in Ryans collection. You play the tune well. It's on my to learn list now. And I mean no disrepect in saying this, but I hope you can upgrade to a better mando someday, your talent deserves it. dusty
Nicely done, Maudlin! You've put some life into this intricate little jig.
great tune that, but just a wee bit of constructive criticism - having just listened to both Dan B's version and Mick Moloney's version from his "Strings Attached" album, your emphasis seems a wee bit off - the held note your playing at the start of one of the parts seems to be throwing things a bit, at least to my ears.
Well played, though I can hear what Jill is referring to - ornaments are nice, but a constant beat is mandatory (who's gonna help the dancers get up after they fell over each other?) Funny tune, it seems to contain whole chunks of "My Darling Asleep" without actually being a version of that. About dustyamps' remark - Upgrading is always good, but you might even get more tone out of this mandolin by picking further away from the bridge (which is not wrong on a new instrument either ) An alternative story for the name of the tune might be Jackson brushing his teeth...
I always envisioned Jackson as an ould lad having a bit of a spruce up in the morning before going out to face the world! I have to say I'm a bit relieved that someone else chimed in as I was worried that I'd been a "thread killer" with my very well intentioned comment - I think one of the great things about this group is that folks are learning together and that we can point things out to each other that will ultimately improve our playing and understanding of whatever the music in question is. Grasping that trad music is a dance music, and that therefore emphasis is really important is as integral to the playing of it as is knowing the notes. My banjo teacher back home always said to learn the tune slowly, with the right emphasis, because then when you go on to build up speed, you've already internalized the emphasis and it's just there. I'm not a thread killer, I swear!
No worries Jill: Atropos, one of the three fates, is the only one licensed to kill a thread
Jill and Bertram- as usual you are both quite right, there should not be any held notes in this piece. All I can say is; Dan Beimborn may be able to play it at top speed without any breaks, but I cannot. Wanted to post this as I enjoy playing it so much. I will try again next year and if I can manage it then I will know I've improved.
maudlin, I would encourage you to not set a goal of posting a year from now and instead slow it down and post again much sooner. Just because Dan B plays it fast doesn't mean that you have to play it that fast as well. My goals in playing are always feel and emphasis first, speed second. No one is berating you for posting a tune you enjoy playing, and I sincerely hope you didn't take my extremely well intentioned comment about the held note in that light. For myself I've gotten invaluable guidance and advice from participating at the cafe, stuff that's made me more knowledgeable about mandolins and also as a player. If my chiming in has made you feel bad in anyway then from here on out I'll endeavor to keep my thoughts to myself, lurk more and contribute less. My apologies.
Jill, I don't think there is anything wrong with constructive criticism, especially when you are pointing out something that the player may not be aware of. Duncan is a part of our group and I have been pointing out to them about speed! We start off at a steady tempo and it ends up like who can be first past the post. I've told them all to practice with a metronome. I understand where people find it hard to adjust to the robotic tempo of a machine, but there is no better discipline than working at keeping a steady tempo. To be fair, Duncan is steadier than most, and when you hear players of Dan's capabilities it is easy to be inspired to play at that kind of speed when you hear the tracks. Unfortunately we all can't be as good as Dan. It is much better to play a tune slower and more precise than to go a hundred miles an hour and make a piece sound error prone and untidy. After all speed is a by-product of accuracy, and the more comfortable you become playing it slower and accurate, the faster your tempo will go naturally. Also I agree about 'feel', I prefer to hear a tune played well and accurate than be murdered by someone trying to be the next Chris Thile or Simon Mayor. That is not to say that anyone shouldn't be aspiring to reach that level, and I applaud anyone who works hard and gets to that level, but for most of us, with full time jobs, and starting an instrument late, that isn't going to happen. It is more important to try and play to your own abilities and aim for accuracy over technique. Playing fast only exacerbates the tension in your playing, the more relaxed you are the better you will play. That is how I feel about it, I am not an expert or a preacher of how anyone should do it, but that is my thoughts about it and I think the most important thing is to be happy in your playing, no matter what approach you take........
maudlin. It's been a long day. And, my feet are tired. But, you got them tappin'. Thanks. Gary
Nice playing Duncan, you made me want to learn the tune and that's what this group is all about. I found this four part version at the Session which is a little different than the one in Ryan's. I play it here in the God awful key of Bb because I can. I've also included a little bit of "My Darling's A Sheep" for Bertram, just for comparison porpoises. Here's the abcs: X: 1 T: Jackson's Morning Brush M: 6/8 L: 1/8 R: jig K: Dmaj |:D|DFE EFD|DFA AFA|BAB def|gfg e2D| DFE EFD|DFA AFA|BAB d2e|fdd d2:| |:g|fed faf|ede fdB|AFA def|gfg e2g| fed faf|ede fdB|AFA d2e|fdd d2:| g|fdf ece|dBd AFA|DFA def|gfg e2g| fdf ece|dBd AFA|DFA d2e|fdd d2g| fdf ece|dBd AFA|DFA def|gfg e2g| afd gec|dcB AFA|DFA d2e|fdd d2g| fed faf|gbg faf|fed faf|gfg e2g| fed faf|gbg faf|fed eag|fdd d2:|
Brilliant David, I have been trying to learn the Ryans one and the turnarounds have been driving me bonkers, although I have it and will try and do it this week.....
janey mack that sits really well on the baritone guitar!
