Roland White will now take your/our questions

[Scott Tichenor]

Someone I made sure I wanted to get in the first few interviews we've been doing since late last Fall was mandolin and bluegrass legend Roland White. Roland has agreed to be the subject of one of our future interviews where our forum members ask the questions, and I'm thrilled he has accepted our offer.

Think about what Roland has accomplished in the music world. Not sure I can get close to mentioning it all, but for starters, considerable stints with the Nashville Bluegrass Band, Alan Munde and Country Gazette, the Kentucky Colonels, a role as the guitarist for Bill Monroe and the Bluegrass Boys, now leader of his own Roland White Band, and a real favorite for workshops and camps.

But enough already. Here's a chance to ask some special questions from someone that has a really remarkable musical career, and someone that is instantly recognizable with their own voice on the mandolin. Sort of an American original, and one of the nicest guys you'll meet if you have the chance.

Fire away.

And please... dispense with the "what kind of picks, strings" questions. All interviews have a section where we cover all the fundamental gear for you.

[Mike Romkey]

Thanks for so many years of great music, Mr. White, and for the YouTube videos and other things you do aimed at helping developing mandolin players.

My question: Please discuss how you approach developing a solo on a bluegrass tune like Soldier's Joy or Bluegrass Stomp. When your turn comes around to play a solo, what are some of the things you try to do -- and avoid doing -- during your breaks?

[outdoors4me]

Hello and thanks for the opportunity to ask you some questions. I am like Dr.Jekyl and Mr. Hyde when it comes to playing on the couch or on stage. At home, my playing is relaxed and smooth. When I play on stage, I'm nervous and my fingers don't work like they do at home. Have you experienced this in your career, either early on or to this day, and how do you deal with it?

Thanks! Beck

[300win]

Have always enjoyed your picking and that of your brother's. Really don't have any questions, but will say the last time I saw you in person was at Ernest Tubbs Record Shop around 2000 when the Osborne Brothers did a little show there. You, like me and my wife were out in the crowd enjoying the music, although you might have been doing some scouting then ? Anyway I admire all the playing you have done, and being a part of the making of the history of Bluegrass music. Your break on "Hot Burrito Breakdown" was/is awesome, a dang great tune, that not many people are familar with these days. That entire "Country Gazette" album was A1 in my book !

[Bigtuna]

Thanks so much for all the music, both recorded (Appalachian Swing is still one of my all time favorites) and on paper (I've learned so much from your Approach to Bluegrass Mandolin). Do you have plans for an Approach to Bluegrass Mandolin 2?

[woodwizard]

Roland I have been enjoying your music for such a long time. I switched from strap over one shoulder to over the neck because of you doing it and your remarks as to why. So glad I did. My question is ...do you think that you ever might do another show in Arkansas in the near future? please ... we love ya here! and last do you still have the woodcarving spirit face I carved for ya that your wife got from me? We both thought it looked a little like ya.
Be well!
Mike

[wamjr52]

Roland, I was wondering for some time about the recording of Nine Pound Hammer on the Appalachian Swing album. Did you play the
F4 ? The sound of that mandolin on that record is different, in a very good way. The only way I can even get close to the "sound" is to pick down the neck. Some have suggested that is was the recording technics of the day, and it could be, inquiring minds want to know. Thank you Roland for being a great standard bearer for the mandoiln, and bluegrass music. If you tell us that it was the F4 then I will have to get one. Thank You Again.

[Nelson Peddycoart]

Roland, thanks for the great music and the opportunity to ask questions. This is timely since I have been listening to Appalachian Swing and Long Journey Home for a few weeks now. I have 2 questions.

1. Could you talk about influences other than Monroe on your playing? I hadn't noticed crosspicking sounds coming from your playing with the Colonels until just the other day.

2. Could you talk about the influence your mandolin playing had in the development of the Colonels overall sound, especially the guitar playing of Clarence?

Thanks,
Nelson

[Denny Gies]

Thanks for taking these questions and for all the great music over the years. Way back when I met you at a workshop in Arcadia, Florida and enjoyed the insights you provided. Are you still playing the Randy Wood you had back then? Thanks again.

[guitar junkie]

Mr. White
I have been working in the studio for the last year and one of the things that I found is that A Model mandolins seem to have a lot more clarity in the studio, what would you suggest to get a clearer recorded sound out of a mandolin?

[Kevin Briggs]

Roland,

Thanks for the awesome music. I hope I can play for you at the Mayville Bluegrass Festival competition whenever they decide to reinstate it.

What's your approach to learning new styles of music? How do you get going with it, and how do you practice?

[GRW3]

Roland,

I may not have been your best student ever at Camp Bluegrass but I can't imagine anybody got more out of it. I went in as guitar player who dabbled in mandolin and came out a dedicated mandolin player. Yes, I have been working on my tempo and work with a metronome routinely.

When we were doing tunes in class we did a lot of double stopping. That was one of the revaltory moments of the class where one of the big mandolin characteristics. I have to admit, though, that I find following a pre-TABed double stop pattern a little confusing. At the same Camp Joe Carr gave us some stripped down, just the basic notes TABs of some well known tunes. I find that I prefer to know the basic tune and work in double stops and ornaments from there.

Still there is no denying the power and taste of your technique. Assuming you take a basic song break or tune and add the double stops from there, what is your approach to doing this? Is there a specific plan or is it just a matter of listening for what sounds good?

[chasray]

Roland,
How does a kid from Maine end up playing for Bill Monroe? Besides Bill, who influenced your playing? It's been described as "uncluttered" - is that on purpose? Is it true you like jazz, too? One more question. You see a lot of beginner and intermediate players who look to you for advice and direction. What are the most common mistakes you see from us?

[Piper]

Any plans for an instructional dvd in the near future to go along with the cds? I have been using your instruction book and cds, but it would be great to have some visuals for those who can't get to lessons or camps with you. Thanks for the help so far. Also, your wife is a very nice and helpful person. She handled my purchase of the materials with the expertise, customer attention and business sense that we just don't see much of these days.

[mandolirius]

Can you speak about the change you made in your right-hand technique? What was the change, when did you do it and why did you decide it was something you needed to do? How did you accomplish it and how long did it take you to make the switch?

Also, I understand you sold the Randy Wood mandolin you used to play? I always thought that was a fantastic instrument. Do you know where it is now and what did you replace it with?

[James S]

Hi Roland,

Thanks for all your contributions to the bluegrass mandolin world.

Are there any plans for some new albums and/or the re-release of older ones such as "Live in Sweden?" Also, are there any bands that have influenced your sound over the years - especially those outside the bluegrass genre? Lastly, can you come to the NYC-area sometime soon? We're in dire need of a visit...

- James

[Jim Roberts]

Roland,

Do you grip your pick the same when playing guitar versus mandolin? Seems like I saw a video of you from way back playing mandolin and you were holding the pick a bit different than you do now.

Also, do you still eat jelly on your tofu?

[AlanN]

Dear Roland,

I always dug your Ridgerunner record "I Wasn't Born To Rock 'n Roll (But I Love To Cook)", especially for the fact that you grabbed songs outside the genre, like Same Ol' Blues...and the funny album cover backside. How did that record come to be?

[swampstomper]

Roland, I read somewhere that you have small hands. So do I, and I wonder if you have any specific advice for compensating for this. For example, some of jazz chords require long stretches. Or, playing out of Ab, Eb, Bb in first position.

[Piper]

One addition to my inquiry about an instructional dvd. It would be really neat if Diane would participate and provide some insight into her rhythm guitar playing. The youtube videos are very effective and some mandolin players are lucky enough to have a spouse who is also learning to accompany on the guitar. That would be incredibly unique for the two of you to put together a dvd and it would sell like hotcakes. Thanks.

[Mandoist]

Thanks to Roland and Diane for the most excellent CLARENCE WHITE BLUEGRASS GUITAR LICKS book and CD-ROM!!! It's a classic if ever there was one.

I hope you got your copy of the Bluegrass Europe magazine with the article/review?

All the best,

Kevin Lynch
Netherlands

[William Grant Macdonald]

I've never gotten up to speed on reading music and become a bit flustered in workshops when teachers hand out music. I grew up listening to the radio and records and picking things out by ear. Does being able to read music play an important part in your musical life? Also, comment on how or if that skill is held among those who you've played with over the years.

[doc holiday]

First of all Roland, I'd like to thanks you for the Clarence book. Together with Russ B's book they are a real important source for me that I go back to all the time. One of my favorite tunes that you played together is "Alabama Jubilee" of which there are a number of recordings with lots of interesting differences between them, the same I guess, could be said for "Julius F...Beaumont Rag"... Could you talk a little about how you played together on these particular tunes and how you went from working up the tunes to arriving at the various versions. I also want to say what a pleasure it was to meet with you & Diane in Alberta a couple of years back. Over the years I've always enjoyed your music, and I want to thank you for keeping the music and the memory of Clarence alive. The Kentucky Colonels recordings that you made together were, the most exciting music I had ever heard. They are still today , especially the live recordings, some of my very favorites, and not a week goes by when I'm not listening to two you play together.

[KirkwoodCowboy]

Roland, i just wanted to know, was that a real egg on your mandolin on the back cover of " I Wasn't Born To Rock N Roll " ?