Comments

• AndrewLawrence Northampton, MA✭✭

  February 2018 Posts: 56

  Charles Meadows wrote: »

  When I saw Angelo in Montreal his English was not bad. I'm gonna try to relearn a little french though... I wonder how Angelo will do the class. I'm not planning to go to his class as I'm more of an intermediate level player. But it will be great to listen to him sitting around jamming.

  
  William Brunard tells me the same thing about Angelo...that his English is better than most expect. His son Raangy, by contrast, will need some help with translation in his rhythm classes, so we'll make sure he's got that.
  
  I think your hit on how to best take advantage of having them around is spot on...
  
  Cheers,
  ~A
  
  
• Lango-Django Niagara-On-The-Lake, ONModerator

  February 2018 Posts: 1,855

  As wonderful a player as Angelo is, I don't think he'd be my first choice as an instructor.
  
  Maybe I'm weird, but I'd like to just sit there and soak up, say Tcha Limburger's or Rino van H's thoughts on music...
  
  But if Angelo's workshops (or anybody else's, for that matter) are deluged with participants, I think it might work to try a first-class-second-class kind of thing...
  
  Imagine that the instructor's got seven or eight extra-fine players sitting near him in the first circle of the room with their guitars, and behind the first circle are lots of empty chairs for guitarless spectators (e.g. yours truly ) who can watch from the cheap seats...
  
  Have you ever tried something along those lines, Andrew?

  Paul Cezanne: "I could paint for a thousand years without stopping and I would still feel as though I knew nothing."
  
  Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
  
  Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
  
• AndrewLawrence Northampton, MA✭✭

  February 2018 Posts: 56

  Lango-Django wrote: »

  
  Imagine that the instructor's got seven or eight extra-fine players sitting near him in the first circle of the room with their guitars, and behind the first circle are lots of empty chairs for guitarless spectators (e.g. yours truly ) who can watch from the cheap seats...
  
  Have you ever tried something along those lines, Andrew?

  
  That's exactly what we're proposing, in fact. We've always suggested this approach for people who want some exposure to a teacher who's working at a level that is too challenging, but with Angelo on board this year we're planning on creating this "observer" space very intentionally. I want our most skilled participants to have the opportunity to work with him at their level, but folks will be welcome to sit in as observers if they think that's a good use of their time.
  ~Andrew
• TheHotClubofLickMyAxe New

  February 2018 Posts: 107

  AndrewLawrence wrote: »

  Jim Kaznosky wrote: »

  
  For the record, no one person's experience at the camp is more important than any others.
  
  Hope to see you all again this year.
  
  Jim
  

  
  True enough, Jim...hope to see you, too!
  Cheers,
  ~Andrew

  
  Very interesting. This must explain the very eclectic line up of artists.
  Thanks for solving the mystery Jim.