DO tell ... I've not heard the story!
Kimber's Jeffries was a G/D (7 fold bellows). I don't think there is any evidence for the two-row he owned before it broke so famously!
I think Roger meant to say it was a C/G
Jeffries. All his recordings are in C and G, as was the instrument. It is true that we don't know what brand the two row was, but we do know that it existed and even have a photo of it, published in Sharp's Morris book (see below). The photo seems to have been taken sometime around or before 1909, although the Morris Book came out a few years later. The story is indeed interesting and worth retelling.
Firstly, it now seems clear that Kimber learned on a two row german or anglo german concertina, as did his father. Of all the tunes I transcribed, he seems to use the top row only for one single note of one ballroom waltz, where he needed a Bb....the rest is all played on the C or G rows. This puzzled me ten years ago, because at that time I knew only of the three row CG Jeffries Kimber owned, via Rev Ken Loveless' writings. Why would such a master musician not use some of the other notes available? I did not know then that the early nineteenth century imported concertinas were mostly two rows, and that these were the instruments most widely played until the English makers got busy perfecting better English-made versions. But I concluded he must have learned on a two row from the music itself, and the attached photo, which I noticed only a year or so ago in Sharp's Morris Book, shows clearly that this was indeed the case. The photo I had, from a fifth generation reprint, was too murky to tell much about the instrument, but this photo from a first edition (at the EFDSS' library) shows it clearly.
Kimber was busy playing the concertina (probably the one in the attached photo) for one of Sharp's lectures in Steinway Hall in 1909 when it broke. The audience, realizing his predicament, took up a subscription and bought him the CG Jeffries three row that you usually see him pictured with (see the photo on the first posting on this thread). You can read a fuller version of this story in Ken Schofield's biography of Kimber, in the EFDSS CD mentioned above in this thread. All the recordings made of Kimber are of him playing this three row Jeffries, but of course by then he had long since put together his Morris repertoire on a two row, and he never seems to have much used the additional row.
This summer, during Chris Timson's thread "English Style of Anglo Playing" (http://www.concertin...?showtopic=2625
), several early anglo tutors came to light via Randy Merris and Stephen Chambers that show that Kimber's style of playing the two row concertina with left hand chords and right hand melody was well established from the very beginning of the instrument in 1840's Germany and London. Thus it seems that it should perhaps even be expected that Kimber learned in a two row style, and that he and/or his father heard others play in a similar "English" style.
Well, Samantha, that is probably more than you wanted to hear about this....