Greg Jowaisas

I think the advice of playing in public places is very sound. You will have an additional challenge of "trying to keep the music flowing" when someone takes a particular interest and stops or comes closer to listen. I think adopting an approach of "sharing the music" rather than "performing" helps take the pressure off and may serve folk music better (even on stage). The dreaded acid test for improving your playing is to record yourself and then listen to the playback. You Must promise yourself not to be devastatingly critical, but to listen for aspects of your playing where you think you can improve. You Must also find 3 things that you like about your playing. (Positive reinforcement is quite powerful and otherwise you will be tempted to never do this again!) Music making is, at best, a continuing adventure! That said, I must now go and tape myself for the first time this year. Be gentle, be positive, Greg! Regards, Greg J

In Alan's post asking for help navigating his Jeffries duet John Vernon replied. I've tried to reach John through the normal cnet channels to inquire about some instruction. I was not able to contact him. John, could you email me? Thank you, Greg J

Forrest, Thanks for the pics and another piece of the puzzle. Most illuminating. Greg J

I share all the previously expressed concerns. If Stephen Chambers has reservations, then I am listening. As one who went looking for a Jeffries with too little experience I can identify with those who get caught up in the excitement. (My experience had a relatively happy ending although with more restoration than i had planned.) But the winning bidder in this auction has successfully bid on a number of Jeffries the past two years. If memory serves the others were in apparent better condition. But we don't know if an on site inspection was made or if the buyer had additional information. I know there have been a number of times when i have thought to myself, "Now there is an interesting box! I wonder if I should persue this?" Only to find the winner (often with the last name of Wayne or Algar) also saw something intriguing but had the knowledge, experience and conviction to act. (and perhaps some money too!) Regards, Greg J

Thank you for the clarification, Forrest. I had not run across the spring clips before. Your post was an opportunity to learn something new. Welcome to cnet and don't be a stranger! (Don't be afraid to post) Regards, Greg

Outstanding work, Bob! How about a close up of the case label? Greg J

Hi Stephen, Any chance of a picture of those spring clips for our edification? Greg

Hi Forrest, In your post you mentioned other methods of fixing reed shoes to the pan other than dovetailing and screwing down the frames. Have you observed these other methods on Wheatstone concertinas? I have three Wheatstones from the 1950s and 60s. The C/G anglo has screwed down aluminum frames. The reeds are secured in the frame by crimping rather than two screws and a clamp. The Bb/F piccolo tuned anglo is eight sided and has a mixture of shoes; aluminum for the lower notes and brass shoes for the highest notes. All shoes are dovetailed into the pan. The 1960s made by Wheatstone for Matusewich english has all aluminum shoes which are set with dovetiling. If you have a different arrangement on your Wheatstone I would be interested in seeing a picture of your reed pan showing how the reed shoes are secured. Regards, Greg J

For the sake of the Attention Deficiet I'll try and sedgeway this conversation back to the original topic: The only thing more dangerous than handling snakes is buying cheap, flea market concertinas (unless they are stamped "C. Jeffries (on the right hand side. Right, Dave prebble?)) The pope says save your money and buy a nice concertina. Get a good one and you'll never regret it! (I said that!) I'll light a candle for all the English majors. Kind regards, Greg J

Hi Alan, Michael Hebbert has set a high standard for Jeffries duet playing among modern practicioners. If I was in the UK I would arrange my schedule around where he was playing and watch and try and learn his every move. He has a Topic album that you might try and find in the used record stores, "The Rampin' Cat". Stuart Estill is a member of this forum and has been working on the Jeffries duet. You might try emailing him. My own, very elementary experiences, suggest patience. I've found that working on the core scale with three right hand fingers with the pinkie in reserve offers flexibility up and down. Ivan's suggestions of duet tutorials is a good one. Your piano experience and note reading should help. That said, unless you track down a helpful player, it will just take some time and practice. Perhaps as encouragement I can add, that at least in my case, the Jeffries duet makes more "intuitive" sense then my limited experience with the MacCaan system. Best of luck in your adventure, and if you'd like to compare "notes", drop me a line. Regards, Greg J

Now this is no reflection on Nils conviction that he is seeing letters in his fretwork. But I'll be a bit crass and suggest I've started seeing something in the fretwork of a large duet I have. I think I can make it out. Yes, of course, it says: "Your message here! Contact Greg J for rental details!" (Nickel silver, wood, or Dr. Dave"s neon available) (My apologies, Nils. I couldn't resist!) Greg J

Welcome! Congratulations! Enjoy the journey! (some, like mine, take lots of time!) I hope your concertina adventures bring you much enjoyment. Regards, Greg J

Flip, While I tend to agree with you in that the brass shoe concertinas I have heard sound better to me than those with aluminum shoes, I think Geoff Crabb, for one, will offer another opinion. I'll let the experts expound but it is my understanding that once stable aluminum alloys bcame available aluminum offered the advantages of easier stamping/machining and weight reduction. The adoption of widespread use of aluminum frames by Wheatstone may also coincide with some other time and money saving practices that affected instrument and sound quality. That said, I cut my anglo teeth on an aluminum shoe Wheatstone that came out of South Africa (#54991) with added and nicely done 8 fold bellows. I've enjoyed its bright, cutting sound and aside from thinking rivetted action might be a plus, still enjoy playing it along with the more expensive vintage concertinas that have come my way in the meantime. Regards, Greg J

Great news!! Pictures! Pictures! Please! Greg

Quote: "Great instrument! Why didn't I do more of this 20 years ago!" Since this post was an impatience induced duplicate of the previous one, I'll start answereing my own question in the edited post: 1. I wasn't ready to have this much fun! 2. The right instrument hadn't come along. 3. You Can get smarter as you get older. 4. Live long enough and you will get lucky!

I mentioned at the start of this thread that I had played "around" with english for a number of years before finding an anglo and deciding to really work on Irish music. I have fallen in love again with english concertina and am working harder than ever at it. Marvelous, logical instrument! But I must confess that I have really come to appreciate what a special instrument the anglo concertina can be. In playing dance music the instrument and its bellows movement takes on a life of its own. Almost like holding your heart in your hands and...yes, keeping the beat. I remember the first six months of practice and how it was almost impossible to separate my own breathing from the bellows movement. Now the challenge is to allow the instrument to pulse with the accents of the music in moving the dancers along. Great instrument! Why didn't I do more of this 20 years ago! Greg

Ahhh! Do not underestimate the powers of the vintage concertina force! It is all around us and ties our universe together. As close and as natural as your own breathing. (Apologies to OB 1 and George Lucas) Greg

Hi Helen, Sent you an email but I'll also make a public declaration: I'm camping! "Rain, rain, stay away...." Greg

Bruce, Thanks for the reminder to get off my duff and register for concertina classes. (Just did.) It sounds like it will be a glorious week. I'll be driving from northern KY (Cincinnati area) and have room for a passenger or two. Thru Cleveland/Northern OH with a NY or Pennsylvania route possible. Greg

The way I read Tony's explanation of his reed swapping experiment I thought he was saying that the timbre did not change with the reed. (the pitch incidentally remained constant) Which "might" warrent an exploration of the relationship between chamber size and timbre. Tony?

Hmm! This is getting more complicated than I thought! I would have picked the Jeffries. Ken would first pick up the vacation tickets and then ask the lady to accompany him, leaving the tiger to eat the Jeffries. Alan would scoop up the Jeffries, jump on the tiger, grab the lady and play morris tunes all the way to East Germany. Gotta' love Alan's enthusiasm! Greg

Ken, tell the truth! Imagine there is a wonderful Jeffries sitting in front of you and a $7,000. European vacation. (Don't let me down now!) Please tell me you'd pick the Jeff and then busk your way across Europe!?! I could put everything behind doors and throw in a lady and a tiger but I wanted to keep things simple! Greg

Congratulations, Jeff, you poor devil!! Now you are hooked like the rest of us! Time to start working on your recalcitrent compatriot, Rellcollect. I know he can eventually be bent to the vintage side of the concertina force! (Heavy bellows breathing in the background) I salute you! Greg

Hi Richard, To me, the sound of Gearoid O hallmhurain's Bb Jeffries on his album "Traditional Music from Clare and Beyond" is hard to beat. As with Noel Hill playing lots of differnet instruments at a camp, the sounds that Gearoid gets out of his instrument is no doubt a wonderful synergy of his talent and the instrument's potential sound. Perhaps the 3 Jeffries I heard and played at the 2004 camp all had the potential for that gurgling, chortling honk that Gearoid evokes from his concertina. With that thought, I'd better humbly get back to practicing. Regards, Greg