Bill's break on Jerusalem Ridge on KB plays BM

[dan in va]

Even tho this tune has been done so many times so many ways, i haven't been able to find any teachings of the way Mr. Monroe played it on Kenny Baker's landmark recording. Can anyone direct me to a good resource?

[Mark Wilson]

Huh. I wonder why BM didn't play the D(last) part on the recording? I do like his choices in the C part - might use that

I'm no expert, but slowing down segments of his solo using software (like transcribe! or amazing slowdowner) and looping them until my ear decodes it, seems easier (for me) than following someones transcription.

[farmerjones]

https://www.youtube.com/watch?v=IvXKDebl68w

You'd only need to watch Sierra's break.

I also thought it was a glaring omission on that album track. According to legend, Bill just happened to be "around" that day Josh and Kenny were recording. Maybe they did it to shorten the track? Maybe they did it because Bill wasn't warmed up that day? I know, he'd theoretically, have no trouble playing it. But age effects us all. Maybe Bill, as it was Kenny's project, deferred to Kenny's playing, as Kenny really does have a sweet high part in that tune.

Took me months to learn this by ear. To me, it sure ain't the same on fiddle as mandolin.

[AlanN]

Yep, she picks it straight and narrow (I only watched her opening break). The fellow on her left is a southpaw and is playing a righty mandolin, doing a fine job. I got dizzy looking at it

[Don Grieser]

Keep listening to the video. Compton comes on after the lefty and gives you more of the Monroe take on JRidge. Sierra's break, while great, is not anywhere near the Monroe break.

[Russ Jordan]

https://www.youtube.com/watch?v=IvXKDebl68w
According to legend, Bill just happened to be "around" that day Josh and Kenny were recording. Maybe they did it to shorten the track?

This was not a Kenny and Josh recording.

[dan in va]

i get a little seasick too from the camera work on the video. Thanks for that, by the way, farmerjones. There's some pretty good pickin' in there when one gets past the recording process. But better off with it as is than not at all.

That's always been the question i had on the lack of the last part. My guess would also be that he decided to play second fiddle, as it was KB's album, and that it was planned for the Great Picker to be there, otherwise it would've been only the fiddle and banjo to handle the lead work. i also 'spect BM was just changing it up with this arrangement.

AlanN, your PM was extremely helpful, and something i've wanted since the mid 1980's. Thanks again...you da man for sure.

Don, i wonder if you'd consider doing a video on this version. Your other Monroe videos are very well done, and this would go well with your version of Ashland Breakdown, especially if'n it's so that BM got the download of both tunes the same night. Your somewhat slower and sweet treatments somehow make the videos a little more majestic.

[Don Grieser]

Sent you an email.

[sgarrity]

I'm no Don Grieser but this is a fairly straightforward Monroe-ish attempt....

https://youtu.be/YdsCSkaqhEY

[dan in va]

Well, i'm no Shaun Garrity, and i liked your pickin' just fine. Sounds like maybe a touch of Compton in there to boot...another fave. Thanks very much!

And thanks again, Don!

[Mark Wilson]

this is a fairly straightforward Monroe-ish attempt....

Nicely done.

[Don Grieser]

You and the Heiden sound mighty fine on JRidge, Shaun. That's got the Monroe feel.

[Perry]

The funny thing about Bill's solo on KBPBM is to my ear on the third section he clearly hits a D major triad even whilst the band seems to be in D minor.

You can hear it right here. I tried to link right to it; if not it occurs the first time at 1:48

I have a version I posted many moons ago where I play D major on the third section. YouTube channel down below.

[ralph johansson]

The omission of the fourth part is a bit strange; I think of the form as three parts waiting for the fourth - the first three parts don't amount to much in hemselves. One reason for this omission could be that Monroe resisted going out of first position, probably owing to his superstitiously high action. He was about 64 or 65 years old at this session, so age is not the issue here.

But I wonder why anyone would want to learn or study this solo. To my ears he seems to just be drifting along with the beat, there's really no snap to his phrasing. Also some note choices (and repetitions) seem to be dictated more by his fingers than his ears. I doubt that he ever really worked up a version for his mandolin. His own recording on MCA has Baker running through the entire song twice.

My favorite version of the tune is that of Mark O'Connor on his 30 year retrospect album, where he leaves the adlibbing to Bryan Sutton and Chris Thile. He also did it on the Heroes album, with two fiddlers, him and Baker. The insert, by the way, gives an account of the genesis of the song in a hotel in Ashland, Kentucky. Roughly, Baker contributed most of the ideas (except the 3rd part) and Monroe made the decisions.

[AlanN]

Another keen version is by Canadian Raymond Legere, on his Common Denominator recording. Ray plays all of the instruments and takes lovely and hard-pressed solos on g, f, m. The mandolin break goes off on a triplet-tinged flurry, which although nicely laid out in the accompanying tab booklet, is a bear to mimic. Not fair, at all

[dan in va]

Yeah, Bill didn't really light it up with his break on the KBPBM version, but it's a pretty good study and insight into his impressionistic style of playing and thinking; he seemed to hear things that the average bear didn't. Maybe it would've been better if he had done all the parts, but i still prefer his break. It's kind of interesting that he didn't formally record such a big hit on his own record.

i'm okay with my taste being in my mouth...dan