Chords for Tony Williamson - Meeting Bill Monroe & plays Dusty Miller

_ _ _ _ Bill Monroe was an amazing man and he had a very curious way of teaching the people who came to work for him.
Because of the poor pay and other problems in the band, his turnover of musicians was fairly frequent,
thus giving him the opportunity to be the mentor to literally hundreds of wonderful musicians
who then spread his music across the country _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
and be mentored by him in a way.
I've got a little story that will give you insight as to the way he mentored. _ _ _
I went to him, his record of Dusty Miller had just come out, and I went to him, a young man, I was maybe 14, _
but a fairly bold young man, and I walked up to Bill and I had my mandolin and he says,
You _ know, people _ _ think that he was a curmudgeon, _ _ _ _ _ _ _ _ _ _ he said, can you play that thing?
And so I said, yes sir.
He says, will you play me a tune?
And so I say, okay.
And so I started playing Dusty Miller just exactly the way the kid played it. _
_ _ _ _ _ _ _ _
_ [Bm] _ _ _ [Am] _ _ _ [G] _
_ [B] _ _ _ _ _ [Am] _ _
_ _ [D] _ Am [G#m] I finished?
No.
_ And _ _ _ [B] _
_ _ _ _ he says, let me see that mandolin.
_ So I hand him my mandolin and he says, this is the Dusty Miller. _ _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ _ _ And I was _ _ absolutely exasperated.
My confidence [N] level fell down to my toes.
And I just figured that I must have listened wrong or heard wrong or something because it was so different,
it was so miracle and it bounced around the melody and I was, oh. _
So I listened for a while.
He didn't say anything, he just handed me back the mandolin.
So all that night I sat at the campground learning that new way to play Dusty Miller. _ _ _ _ _
_ Completely rewrote what I had spent months trying to learn, wearing out that old vinyl recording.
_ Now the next day when Bill hit the stage, I was standing right there in the wings because I wanted to see what was going on.
About halfway through his show, he said, well, one thing I have to be clear on, people ask me today,
he says, well, you were with me a little while, I know you spent a lot of time with him,
did he ever know you well enough to call you by a name?
And I said, of course he did.
He said, hey boy.
_ _ _ So I was hey boy.
He said, Monroe said, this is a young man here today, he's going to come up here and he's going to play mandolin with me.
Hey boy, come on up here.
_ _ _ So I'm looking around to see who he's talking to, right?
So somebody finally pushes me onto the stage and I walk up there _ and I get [D#m] ready and he says,
hey, we're going to play the Dusty Miller.
[G] He's terrible.
So I walk up to the microphone and I start [Am] playing.
_ [G] _
_ [Am] _ _ _ _ [B] It's like he's yawning.
He comes in right behind me and goes. _ _ _
_ _ _ _ [D] _ [G#] _ _ _
_ _ _ But you know what?
That day, _ as we continued to play, I stayed playing it the way I was playing it.
And he played it that way.
And the two versions blended together and really were like, _ _ and without _ actually saying the word counterpoint,
he showed me how two instruments could play together and dance. _ _ _ _
_ _ _ _ _ So let me try to play this _ one.
And I'll see if I can weave those two ways into this thing.
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_ [Em] _ _ _ _ [B] _ _ _
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_ [D] _ _ _ [C#] _ _ _ _
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_ [F#] _ _ _ _ _ _ _