Hello

This just sold on ebay and I wonder if anyone has an idea who made it.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=380042878573

I was curious about it because of the parellel reed pan and the rivetted action. I thought it looked interesting.
I heard it over the phone and it had a good tone from what I could tell.

It seems it will take a lot of work to get it back to life.

Thanks,

Richard

Did early tinas actaully use the parallel arrangement? I thought that was somethign Jeffries came up with and used later in concertina construction, seems like they are just guessing at the age (they claim its over 125 years old).

If the fretwork was a bit different I might have guessed Jones.

With the keyhole shaped action posts, broad scale reeds and larger diameter buttons it certainly looks like a Jones to me.

Martyn

That's what I reckoned in the previous thread about it: More Intriguing Than Many On Ebay


It's a feature that was in use long before Jeffries.


Their 1850s guess is too early, though "125 years old" might not be so far out.

This is what an 1850s 26-key Jones looks like:

Hello

From anyone's experience could this (Jones) concertina have many redeeming qualities and strengths?

R

I have a Jones 26, originally Salvation Army, now a G/D. Looks not too dissimilar. I got Colin Dipper to bush it for me which improved it greatly. Lovely sweet sound, though a bit hard work to play. Very light weight, about the same as a Morse. A very good first instrument, I think, and usually very good value for money. In fact I keep it specifically to lend to people to help spread the addiction ("God damn the pusher man").

Chris

Yep it looks very much like the G/D Sally Army Jones that I used to own. The fretwork looks a bit different but the insides look nigh on identical.

Oh dear yes!

I made the mistake of selling a 26-key Jones to a friend of mine, many years ago, as his first concertina. The only trouble was that he had to pump it very hard to get any volume & response out of it, and got so much into the habit of doing so on a concertina that he now plays any other box extremely loudly...

Or perhaps in the concertina context, "God damn the pusher/puller man"?

Sorry. couldn't resist...