Geoffrey Crabb

Hi Zenia, thank you for your post, you may the following of interest if not immediately useful. Crabb were not only concertina makers and repairers but also dealers of used instruments of their own or other makes. Used instruments were usually acquired as: part payment by those wishing to upgrade to a better instrument, or part or full deposit by those ordering a new Crabb concertina, or by those wishing to dispose of ‘inherited’ and/or unwanted instruments. The condition etc. of acquired concertinas varied considerably and would dictate the amount of work necessary to make them a reliable, re-saleable item. Instruments of other make where, for instance, refurbishment included replacement metal tops to be made and fitted, were not given Crabb identity numbers, the original makers internal number, if present, being left intact. Replacement metal tops, usually bear the ‘CRABB MAKER’ stamp on both ends or if wood, the original maker and number label or a facsimile would be installed. It is therefore, probable that the concertina, the subject of this post, was acquired as one of the above and refurbished or rebuilt and supplied at some time after 1930? Unfortunately, no Crabb sales records for refurbished/rebuilt instruments are available so it not possible to give a positive date of sale or the details of the buyer. In many cases, due to the amount of refurbishment work carried out, it can be very difficult or impossible, to identify the original maker from an external appearance. Recourse to opening the instrument, by one experienced in this procedure, may reveal a recognisable number that can be a attributed to a particular maker and possibly lead to a date of manufacture. Providing a rough indication of your location may attract an offer of help to carry out opening the instrument. Geoff

Model No. 5 of the English Treble range of instruments available in 1959.

Thanks all for your kind words. 'Old' Mr Crabb. 😉 (Geoff)

The attached may be of interest. Lachenal Crabb.pdf Geoff

Having repaired examples in the past and if memory serves me correctly: It is an instrument akin to the bandoneon, that is basically split in half, the left and right sections, each, complete with an independent bellows, being mounted on a board with the keyboards orientated upwards. Each bellows is provided with a large internal spring, (like an old fashioned bed spring) which when restraining clips are released (can be seen in the video) causes each bellows to try to expand. Because the instrument is ‘single action’ (notes only sound when the bellows are compressed) one way flap valves are incorporated to allow air to enter the bellows to allow full expansion. A separate button mounted behind the hand rest and operated by the heel of the each hand opens a wind pad to allow each bellows to be compressed, without sounding any notes, and clipped shut for transporting The single action negates the need for a hand strap, effort only being required to compress the bellows during playing. And of course, a strong pair of knees/legs to support models without a stand. Geoff

Being a simple concertina maker/repairer (now retired) and a technology Luddite, I am somewhat confused by the following part of your statement which seems contradictory: If, 1. 'the problem stays with the note, not the chamber'. This suggests that there is some anomaly with that particular reed. 2. 'despite not being related to the reed itself.' have you actually proved this by careful visual examination and comparison with the other ,non affected, F3 reed? If all the gaps etc are the same, perhaps the profiling is different. Just a thought Geoff

David, I agree, but, judging by the fifteen or so inquiries for clarification I have received, there are some that had expressed confusion. Unfortunately, not everybody has the time or inclination to read linked articles. Geoff.

Having had many requests for my opinion as a retired concertina maker regarding the use of English in the description of miniature concertinas, I have posted my personal observations and opinion in Instrument Construction & Repair . Geoff

Please see the attachment. The content is not intended to contradict the thoughts that may be held by others but are my own personal observations and views that I offer for perusal. It has been rather hastily put together so please excuse the odd grammatical or speeling error. Unfortunately, health issues may prevent me from partaking in prompt or heavy discussion. .Mini Eng Observations 2021.doc Geoff

Current speculation seems to be as to the whether the instrument in question was originally made by Charles Jeffries (Sen) or was commissioned of and supplied (unbadged) by CRABB, an existing maker. It is true that John Crabb and his son Henry Thomas Crabb did, jointly, make and supply a large number of unbadged Anglo concertinas to Charles (Charlie) Jeffries (Sen) before he and his sons began to produce complete instruments in their own right. However, it is also evident, although rarely mentioned or possibly known, that he also procured or commissioned instruments from other, contemporary, makers during the later 1800 period Perusal of a series of external & internal pictures of this particular instrument reveals some features that conflict with what is expected to be seen in J & HT Crabb built instruments. I have attached some of the relevant pictures with my own, personal, observations . Geoff C Jeffries 'badged' Anglo Concertina. Some observations..docx

Seems to be as a slower version, with added part, appears on 'Springtime in Battersea' LP (Freereed Record FR 008) Side 2 Track 1. (Unknown Scottiche ?) played by Tommy Williams. Geoff.

I argree with Frank, plus it won't shrink. The desk also of the same material attached with the face grain at right-angles to that of the base plate. Geoff

I agree with RAc, very doubtful if any of those objects are concertinas. Search ‘Shackleton‘ at concertina.com to show a picture of three sailors aboard ‘Endurance’ possibly with the Lachenal English Edeophone in question. Picture not reproduced here to respect copyright. Geoff

As some will know, health issues have caused me to step back somewhat from concertina related issues, so, due to requests for dating information regarding Crabb instruments, I offer the attached information that may be found useful or at least interesting. I have tried to provide all the information that I believe to be relevant, based on the records that exist and that furnished by current/past owners of these instruments. To those awaiting replies to dating and other enquiries, I apologise. Geoff Crabb Dating Document.docx

Gary, I have found two definite Crabb built Jeffries Duets in the records: No.9055, 50 button, built 1930. No.18298, 60 button, built 1969. I have no other information to hand at the moment on these. When I am more able, I will have a look to see if the plans for these (or any others) still exist. Geoff

AN Other =Tommy Williams Early 1950's

Notemaker, thank you for the kind words. However, the instrument was made jointly by my late father Henry Joseph (1911-1981) and late brother Henry Neville (1938-1989), I joined the firm in 1974 and worked on instrument ID No's 18455 onwards. Geoff. Roger, 17496 was made in June 1964. Geoff.

One of a batch of three (17561, 17562, 17563) made during April 1965. Actually 30 button. The wind button is not usually included in the button count on Anglos. Geoff

Hi Alan, I have sent you a personal message. Geoff

Thanks for bringing this information to public attention. I believe that the name (A G Pendrill) written in the instrument in question is that of Alfred Jnr. In other record entries inspected, he is recorded as Alfred George Pendrill. ( 1872-1966) It is true that he is recorded in the 1911 Census as ‘Tobacconist & Confectioner’ and his wife, Elinor, ‘Retailer’ both residing at 4. The Market, Meads Lane, Ilford. By 1939 (pre-war England and Wales Register), both are now living at 53. Meads Lane. Ilford, a retail shop with accommodation above and are now recorded as Alfred - ‘Concertina Tuner (Retired) and Elinor ‘Confectioner’. This address was and still is, a shop. Regarding Alfred Snr. (1851–1930), on all census records, birth / death indexes and National Probate Calendar he is recorded as ‘Alfred’ only. However, whilst his marriage certificate of (25th July 1875) is annotated Alfred George Pendrill, an amendment in the RH margin indicates that name should read Alfred Pendrill. It is possible that Alfred Sen. was employed ‘in house’ (possibly Lachenal’s) on concertina woodwork construction and Alfred Jnr, as was common, an outworker or ‘journeyman’ tuner. As the latter was usually casual or intermittent work, it would allow him the freedom to take on other tuning/re-tuning work of his choice. Therefore, I believe that the subject Jeffries instrument was only re-tuned by him at some time. Geoff

Don (and Bill), I have requested that this topic be moved to Concertina History forum. Geoff

Yes, apologies for not mentioning. It does appear that my investigations were correct.

Bill, I am having a look, be patient. Try this (links in final post) https://www.concertina.net/forums/index.php?/topic/13534-nickolds-family-concertinas-information/&tab=comments#comment-130584 Geoff

Bill, please see the attachment. Not a lot but something. Samuel Chettle 1829.docx

Hi all, unfortunately I am in the Royal Brompton Hospital London awaiting heart surgery so am unable to access the number/date records. This situation will, if resolved, hopefully see me eventually back and active among the concertina community. Geoff Crabb