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ceemonster

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Everything posted by ceemonster

  1. Thank you kindly, Defra.    I said nothing rude or insulting to anyone, and I also expressed my ability and willingness to ignore all this Zuckerbergian nonsense if that is what people here want.  The fact that expressing my own distaste for it in a waggish manner has so many panties in a twist is shocking . . . yet not surprising, unfortunately.   Part of the new social-media groupthink is that one is rude and a troll if they  don't jump enthusiastically on the cattle car of the day. 

    Unrepentantly,

     

    Ceemonster

     

    1. Defra

      Defra

      Yes, but I do find it shocking that people on this site, of all places, are jumping on the band wagon too. That shows there really is no hope. Oh well, back into the shadows for me but at least your reaction shows that at least someone else shares my views.

      Keep up the resistance.

       

      All the best,

      Dean

    2. Don Taylor

      Don Taylor

      Cee:

       

      I agree with you and with Defra's response.  I tried to post a reply in support but I see that Paul decided to have the last word and then lock the topic from further discussion.  He should have remained neutral before doing so.

      Ah well, I fear that this Zuckerbergian nonsense will destroy the group.  Maybe it is time to take up the Melodian...

      Best wishes,

       

      Don.

    3. Defra

      Defra

      Cheers Don, but please, anything but the melodeon...

  2. [[[Was looking at how you managed to swipe my signature]]] It was the old, Copy + Paste caper.
  3. Whoa, thank you, roving eye. These are so nice. That carpet-bag full of concertinas that Cormac lugs around is the GREATEST. This shade of robin's-egg blue on the walls is perhaps my favorite color, and excellent way to take a convent to its next existential phase. Can't get over that fresco of a cherub with a CONCERTINA!
  4. If it's the Beaumont, I advise going for the option of tipo a mano (AKA "TAM" or "hand-type" or "hand-finished") reeds. It's not that much more expensive, and the response is a tad quicker and suppler. Not saying the "super Durall" factory reeds they use as standard are horribly resistant, just saying, the TAM response is a little faster and more supple. The TAM reeds do sound a bit brighter, which some don't care for in the high notes, but I like the response as well as the clarity the added brightness gives you in the mid-range and low notes. I've got the TAM reeds in two Morse Geordies (a Tenor and a Bari) and wouldn't go any other way. Wakker's promo material used to say "hand-finished" in the Peacock, but I see when Morse has Peacocks in they describe the reeds as "Italian reeds." So I would email Wakker and ask if TAM is standard in the Peacock.
  5. RE the OP's question. The bandoneon has all notes. Obviously the chromatic bandoneon has all notes in both directions, because it is unisonoric. With the main two types of bisonorics, nearly all notes occur on both the push and pull, though this differs. According to maker and player Klaus Gutjahr, the German layout gives you this, while the Argentine layout has a couple of notes on the left side that don't recur in both directions. Some makers now offer Argentine-layout bandos with some extra notes over the traditional 142, to close that gap. But that is a different question from, will a bandoneon play like an accordion: No. It has as many notes and chordal possibilities on both sides, and you can arrange any type or piece of music you like on it, and it is a really cool instrument, but it will not aspirate, phrase, or move like an accordion because it is not an accordion. It has its own parameters and its own ways, and it's worth jumping into it, but it does not play like an accordion. Be aware as well, that Argentine tangueros largely (not wholly, but largely) play tango on bandoneon ON THE PULL, but NOT on the push. They pull out playing a line or phrase. Then they push back in using the air button, and do so at beats and moments that complement and accentuate the lift and movement of tango. Then they come back out again while playing the next phrase, repeat, repeat, repeat. You can see this on Youtube, often 6 or 7 bando players sitting in the front row of a big tango orchestra in their tuxedos, doing this in unison with their bandos. One CAN play the bandoneon in both directions continuously; the notes are all there to enable this, if you do the work necessary to acquire that level of technique. And some advocate that this is the highest and most accomplished mastery of bandoneon (this school of thought would be, more or less the Germans). However, the tangueros maintain it is the alternation of playing on the pull and whomping back in on the push with the air button, that achieves that tango nyah. A master-level Argentine bando player with conservatory technique will KNOW HOW to play in both directions. But in practice playing tango, they're gonna do it largely on the pull. Due to this, the sound difference between playing tango dance music on a bisonoric bandoneon, versus playing it on a unisonoric ("chromatic") bando, is not as dramatic as some might think. The Argentines might not like to hear this, but playing-mostly-on the-pull thing effectively makes your bisonoric bando into a de facto unisonoric. And players of unisonoric ("chromatic") bando who know tango music and know what the hell they're doing, can get this same sense of tango swing or lift by playing their unisonoric . . . . only, or largely, on the pull. And whomping back in using the air button, all in the rhythm and in the phrases appropriate to the movement of tango music. Just like the players of bisonoric, who by doing this are converting their bisonorics into . . . de facto unisonorics.
  6. Chromatic bandoneon is a bandoneon. Bisonoric bandoneon with Argentine layout is a bandoneon. Bisonoric bandoneon with German layout is a bandoneon. They are all bandoneons. It is the reeds, the size and shape, etc. No one in the real world of music understands them as anything but bandoneons. They are built, played, and sold as bandoneons, because that is what they are. The added descriptives will tell you what type. Chemnitzer, while viewable as a bandoneon, gets the chemnitzer appellation due to having different number/voicings of reed sets.
  7. Yes, wondering from the badges if this concertina has post/lever rather than riveted action?
  8. This is the idea behind the 37-key trebles some of the hybrid makers do. Morse, and I believe, Marcus. I think Wakker also does an EC with fewer super-high notes. Nobody plays those high notes for trad music, and losing them lightens and quickens response a bit. I like a 48--a TENOR 48, that is. Or a BARITONE 48. The high notes on a treble are a ridiculous waste of the ergonomic area where your fingers fall comfortably on an EC. If I'm going to have more than 37 ish EC notes, I prefer lower notes--on a Tenor, they are are delightful for adding some bass sounds as well as for playing an octave low in "baritone" mode when you feel like it.
  9. [[[is that the recording aspect you're struggling with, or rather the recording process?]]]] I don't know how you mean "recording aspect" versus "recording process," but it is the tech aspect I'm allergic to. I don't even post photos when I've sold instruments on the internet, allergic to figuring out how. I sell in person, price fairly, and describe truthfully, and they've always found homes with delighted purchasers.
  10. Peter, I don't think I've seen that photo of her. It is luminous and numinous, and thank you.
  11. I've bought a few of the releases by Raelach, and always buy the CD version. But I must admit it's very convenient with that label that if you buy the CD the price includes digital download and unlimited streaming of the recording. I do tend to listen to tangible formats---LP, cassette, CD. But the realization that so much stuff I consider vital portions of the Trad Alexandria is disappearing, has me thinking about putting the stuff on the hard drive and then making my own homemade 2nd-copy CDs to play while keeping the original in the pantry. Much for thought in all this. I was reading Raelach site material during my last purchases, and came across an interview in which founder Jack Talty (who has his own lovely concertina CD in his label roster, along with concertina CDs by Liam O'Brien and Cormac McCarthy), stated that last year there were one-hundred-and-sixty trad recordings released. The context was the crowded field, and the competition for ears. Fiddler Aidan Connolly, who has a wonderful recent solo release on that label, also cited this figure in one the mini-interviews Custys now does during those little player clips they post. He filmed one just before going out to Pepper's Feakle for a release wing-ding. And when John O'Connor asked something like, Do you think you'll record again, or, Now that you've done it would you still choose to make this record, Connolly hesitated a while, said he wasn't so sure, and then brought up the crowded field and that "160" figure. So Peter, when you say you "the book is closed," or, you let TBGY "slip away," does that mean the master is destroyed or disappears? I don't know anything about record engineering.
  12. There is gentleman playing tango on an Aeola, on YouTube. And it sounds lovely. Different from a bandoneon, bien sur. But lovely all the same. The search words are: Tango on Alto-Aeola. Then there is a minor-key, "melancholic" Polish tango on Crane duet. The search words for that one are: Polish tango ostatnia niedziele
  13. He appears to be fingering the tune on his EC on camera, at least, more or less. But the track on the sound doesn't seem to be what he is playing on camera, does it. There's also something un-concertina-sounding about what's on the track. But it doesn't sound particularly accordionish, either.
  14. I remember Dympna O'Sullivan telling me she would not reissue her original solo CD, "Bean Cairdin," once the original run was gone. And lo, I see this beautiful recording is not available anywhere. Custys only has the second one. I've really been in the dark and out of touch RE, the status of all this. Your point is well-taken, Peter, but it's sad. Perhaps those in a position to decide, will make some of these recordings available again as mp3s. I always like a tangible object, but it's wonderful to have the mp3 option as an alternative to, nothing. The Lucy Farr solo fiddle record "Heart and Home," is a good example. This was just about the only out-of-print classic I badly wanted but have not been able to nab lying in wait on the internet, due to its only issuing in cassette form--vintage cassettes are very scarce with dealers and private sellers. I do have a copy of the Lucy Farr tape through the kindness of the trad samizdat, but just on principle, it was a lovely thing to see a couple years ago when this recording entered the world again, in mp3 form. I had also despaired a few years ago of finding the Joe Ryan/Eddie Clarke cassette, when to my surprise an LP version popped up during a word search crawl--I had thought this one was cassette only. I see the Joe Ryan/Eddie Clarke gem is now seeing the light of day again in digital form as well. Again, better than nothing.
  15. I've never posted audio or video to the internet. I don't know how, and have always felt enervated/appalled at the process of trying to figure out how. I guess sooner or later I've gotta break down, and will probly start with audio at that point. RE what the tangueros call the arreglo for rendering "La Boheme" on EC, I probly won't attempt 100% continuous bass oom-pah throughout the entire thing. WIll probly attempt touches here and there under the melody, plus bass oompah in the gaps or spaces where the melody pauses between phrases. This is not a hard tune. It will be easy to get on any concertina system, and will sound lovely on the concertina. One could also eschew bass arrangement, and work duo with another instrument, but I will attempt a little bass color. (It WOULD be fun to do this with a co-conspirator adding chords on ukulele or a little parlor guitar, though.) There are two classic tango instrumental duet recordings where bandoneon plays with acoustic guitar. They are full of gorgeous (and often "melancholic") stuff that would be lovely arranged for concertina. "Conversando con el Fueye" by Ciriaco Ortiz, bandoneon, with two acoustic guitars, one doing the rhythm and the other trading solos with the bandoneon. Anibal Troilo y Roberto Grela (Technically there is a "cuarteto" here, but it's essentially a duo record between Troilo's bando and Grela's guitar) Ciriaco Ortiz was a bando virtuoso with more of an old-school, single-melody-line style. Troilo was a master of the multi-voiced, chord-and-counterpoint-laden, classical-level technique that came in after tango became essentially classicalized in arrangements and technique, the golden age of the fancy drawing-room orchestras, with the violin vibrato, etc. Troilo also composed and arranged many, many tango classics. I personally like a more single-melody-line sound on free-reed instruments, but both these recordings are wonderful, and full of stuff that could easily be adapted to concertina.
  16. I'm currently learning an instrumental version of "La Boheme," (La Bohemia) a "melancholic" Charles Aznavour song in waltz time, on baritone EC. Duet would obviously be a natural for this, but the other systems can do it fine. There are lovely accordion clips out there of this tune, but I first encountered and fell for it through this bandoneon clip. This site won't take link copies from my computer, but on YouTube keyword as follows: "La Boheme" Valse Lento Estudio The instrumental starts at about 2:35
  17. I've long felt the concertina is particularly suited to "melancholic" music be it jazzy, French chanson, eastern-European, argentine tango, etc. Perhaps under-used in that department. The Argentines really "got" this about the bandoneon, which is also used for slow, melancholy songs, sometimes accompanying vocals such as "Sur," the classic wistful tango elegy to the south side of Buenas Aires. I think all that stuff also sounds wonderful on Anglo and EC. And duet, bien sur.
  18. With the heightened interest in concertina for ITM, it is really dismaying to think of this player's music not being heard . . . Now that you note this, Peter, I do see several other small-production gems by now-gone elders of Clare concertina playing also appearing scarce---- "Two Gentlemen of West Clare Music" with Gerdie Commane and Joe Ryan (another irresistible one from the same co-conspirators who produced "Touch of Clare") [[update Edit: I now see Custys lists this as in stock. At a marked-down sale price. It is really precious. But, why not "Touch of Clare," too???]]] "Tom Carey" by the late West Clare player "Elizabeth Crotty: Concertina Music From West Clare" (The scarcity of this RTE archival recording is really a shock, given that it was out of print and much sought for years, and reiussed only a decade-ish ago to much rapture) The archival Paddy Murphy CD Gearoid produced a few years ago seems available still.
  19. Is there no desire out there to keep Kitty's recordings in print? This seems sad . . .
  20. soloduetconcertina--Je crois que Riton demandais si pour vous-meme, vous avez l'intention ou l'idee de jouer de la musette ainsi que les morceaux (tango, anglais) que vous avez deja enregistres. [[i think Riton was asking if you yourself were thinking of playing French musette as well as the tango and English pieces in your video clips.]]]
  21. Gee, it has a very nice vocal timbre indeed.
  22. Not at the prices they once did. I can assure you, when it comes to premium-quality acoustic stringed instruments as well as free reeds, there is indeed plenty of hand-wringing out there about the current moribund "buyer's market." (Of course, it isn't really a buyer's market. Sellers are holding, by and large.) And yes, I've sold my share of very nice instruments, though it's not my principal métier in life, thank goodness. But I agree with you all . . . the OP's TT will certainly sell. The likeliest buyer one would bet would be someone in geographic range to be able to give it the onceover in person. But who knows. I do see on the Barleycorn site, which fairly recently has been listing inventory with pictures, Barleycorn says they have numerous Aeola TTs. I would bet they are priced higher than the OP's, but I do note even Barleycorn's EC prices are lower than we were seeing about five years ago for ECs. They had a metal-ended Baritone-Treble Aeola posted about a month ago at a price I thought was astonishingly low. Not cheap, but much lower than one was seeing seven or so years ago. It did sell very quickly.
  23. I think it's two things: The EC market got overblown there for a while, and it's undergoing a correction. (This also occurred with duets. Well, Anglos also, but they went higher, and the Anglo correction still has Anglos higher than ECs and duets.) Second, I think Geoff is on to something---Across the board on instrument forums there is plenty of chatter about instrument sale markets having bombed. This goes for guitars, banjos, mandolins, no less than free-reed instruments. For the first few years of it, I thought Theo's observation was the main reason---in the wake of the crash years, even into the current so-called "recovery," people simply do not have the cash for these purchases. And if they do have some cash, they are afraid to turn it loose. And I still think that is a significant factor. But the last year or so, it's feeling like that is not the only factor. Something is shifting in the culture. The longing to play and acquire instruments is not what it once was. That is an ominous presentiment.
  24. Well, there is certainly what's approaching a critical mass out there of nifty exemplars of the expressive adventures to be had on duet concertina, and quite a growing accumulation of evidence regarding the Hayden. Specifically, it's wonderful to see increasing numbers of clips displaying such able and proficient playing. The advent of the Morse Beaumont is bearing fruit indeed . . .
  25. The specious assumption that people play instruments not originally used in a folk tradition to "gain attention" is quite a lulu, enough said. To stick to facts as opposed to assumptions of that kind, there are indeed saxophone quartets that play classical string quartet music, and this is true across the classical repertoire as to cross-playing of pieces by instruments other than those for which the piece was originally composed. Not to mention, as with unisonoric piano accordions/chromatic button accordions and bisonoric melodeons, both of which work wonderfully though differently for ITM, bisonoric concertina and unisonoric concertina are the same instrument, aspirated differently, not something we can say of saxophones and string instruments. The fact that EC has not been perceived to be as suited for ITM as piano accordion is a cultural bias and an accident of history, not a limitation of the instrument itself. This perception will be changing sooner than many may suspect.
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