Greg Jowaisas

Rich, Best glue for redoing chamois seals ? Thanks, Greg

Dave, Richard, Frank, Goran et all, I'm about to redo the chamois seal on the reed pan and bellows. What is the best glue to use? Looking at the valves, they need replacing too, but seem firmly stuck with a solid, brown, transluscent adhesive (seems to disolve with moisture-my best guess: hide glue). Any hints on how to remove the valves without damage? Thank you for sharing your knowledge and expertise. Greg

I was an early responder to a possibly great buy. I like the ending to this Christmas concertina story better than the one I originally had in mind! Give it a good try, Meg! Best of luck. Greg

Hi Jim, I want to welcome you to a wonderful musical world on behalf of all the concertina addicts. I haven't been playing an anglo all that long so take my comments as one who has recently walked the path you are now on and who is far from being an experienced veteran. The one thing I would encourage you to do, and it might be the most difficult, is to find other concertina players and try as many instruments as you can. Your enthusiasm is obvious. That will help you put in the necessary time and practice. The books and videos and listening, listening, listening will help. But, in my limited experience, there has been nothing more helpful than watching and asking questions of an experienced player. One comment or suggestion can save you from reinventing the wheel. I'll leave it to the experts to debate button layouts. But only you can tell what kind of instrument feels right for you. And the best way to make a choice on feel and sound of an instrument is to try as many as you can. If you can get to a concertina workshop (Noel Hill: West Coast), big vintage music store (Seattle) or find concertina players in your area (newspaper ad, one of these forums) it will make you better informed so you can make lots of good choices. And I probably don't need to mention that you've already found one of the best resources: Concertina.net. Lots of information in the buying guide and lots of helpful, knowledgable folks ready to help. I wish you all good luck in your concertina adventures. Greg

Helen, Rhomylly, If you two keep this up you could just as well call it "Concertina Camp Club Med"! Get better fast; stay well! Greg

April can be a beautiful time in Ohio. Go for it! Set a date and I'll reserve the time. Good idea, Helen! Greg

Welcome Russell, You are going to love your new concertina aventures. What kind of music are you going to play? I'm glad you are giving it one more try. A decent instrument can make a difference. Keep us posted on your musical adventures and don't be afraid to ask for help or advice. Best wishes, Greg

I'll play! 1. Pete Seeger's lignum vitae neck, tubaphone banjo. 2. Mary MacNamara's Wheatstone anglo with Mary MacNamara attached! 3. A prime 30b C/G Jeffries in tempered tuning with a good divorce lawyer attached. (My wife knows, I hope, that I'm just not really into physical attachments.) Nice topic. A needed relief from serious discussions.

Clive and all. I'll probably regret that religious reference to "being in a cathedral". But I was looking for a spiritual metaphor. I'm not up to entering a "holy war" of polarized opinions. I'm just a little, young concertina player making his way in a world of wonder and discovery. Just wanted to share some observations that I thought were interesting and wonderful. You guys can crusade and fight; I should be practicing. As far as old time banjo, I've put in my 35 years. It took me ten years to realize that in changing keys (which in old time banjo involves retuning) that certain notes, while true to the electronic tuner no longer sounded so sweet to me. Their relationship with the tonic had changed. Now I can anticipate what notes will probably have to be sweetened. Yes, a fretted banjo has equally tempered notes (compromises in the fret placement). Sometimes I find myself attacking notes at a different finger angle or actively "bending a string" to satisfy that sweet sound. Paul's, and Dave's comments and others contributions in previous threads on tunings and temperments struck a chord with me. It helped explain some of the inconsistant sounds I'd heard on the banjo and guitar for years. Hey, it's all in the eye, or ear of the beholder. I'm headed for the roof. This forum is getting over my head, anyway. I've got three different hammers to nail shingles. Each is different. Each has a different feel. All three are capable of getting the job done. Is one inherently "better" than another? Probably not. I have my favorite, for different reasons. Sometimes my needs change. Here's to roofs with no leaks and concertinas with no squeaks. Greg

Poor Bem! He must be shaking his head thinking, "It's only a concertina!" And who are these crazy, passionate people with nothing better to do than rhapsodise over a dusty squeeze box that my aunt found in the attic and gave to me? And that's just the point! These little boxes are lightning rods for passion. I love it! Clive, I've had an anglo all of three months (although I've been a musician for 30 years). Sitting in at sessions (with a concertina) is still a defered dream. I'm not well off by any means, but I had a some extra money and a Jeffries came along and I jumped. It is in C/G but old (high) pitch. I sought Paul Groff's advice and he pleaded for me not to retune it. I was feeling sorry for myself, thinking "I'm gonna need a hot A=440 session instrument when I finally get this push/pull thing sorted out." I did manage to restrain myself, got to meet Paul and listened to him play several tempered, quality instruments. What a revelation! Like being in a cathedral! (Or going to Wrigley Field!) I've found another less prestgious A=440 C/G that will serve me well as I dutifully practice for session work. The Jeffries? We are going to church!! After years of retuning and fine tuning my banjo to make the modal songs "sound right" I've finally realized its really a matter of "temperment". I hope the sessions are hot and heavy and good times are had by all! But I hope more and more people take time to hear the "tempered muse". She has a siren's voice and it's beautiful! Respects to all. Keep the passion! Greg PS. Thank you, Paul!

Gee, Ben! Fate has dealt you a hand that several thousand concertina afficianados would die for! Have you considered having someone like Colin Dipper restore it and someone like Paul Groff check and preserve the original tuning and temperment? And then YOU could learn to play it! It seems like you have the right disposition if you are enjoying the tempered tuning. And these opportunities, at the right price, only rarely occur. Do consider the option of taking up the instrument. Things can happen for specific reasons. And please consider Paul Groff's advice about preserving the original tuning. I think he's got a very valid point about the beauty and distictive sound of these tunings and temperments. After the current phase and craze of group session playing has passed, the surviving unretuned instruments may be the most valuable and treasured of all! (I think Paul said that; but he didn't tell me to repeat it!) Of course if the instrument annoys you, or you would like to find it a good home please put my name at the top of your list for potential buyers! Best of luck, Greg (Actually, I'm the one that thinks the emphasis on session playing and the perceived need of having every concertina in C/G A=440 will tone down (no pun intended JL). I think Paul Groff is the one who sees the potential in instruments that haven't been noteably changed. (Pun intended))

Jim, Thanks for the heads up! Is the tip off the note imprints in the button tips? And/or the button arrangement? Or the serial #? Greg

Thanks Dave, But does that imply all bets are off on a follow up visit ? Regarding bushing: The Elliot book recommends a button hole be reamed out (from inside to out rather than drilling a parallel bore pg 27-28) Greg

Molloyi, You may want to check out The Concertina Connection (under Links on this Home Page). They have a parts section. If you are getting into repair, Dave Elliott has a clear and unintimidating book, "The Concertina Maintenance Manual". It has a section on bushing. Good luck and remember the Physicians Creed: "Do no harm." Greg

Bring on the information! I would rather read a long paragraph than write one. I appreciate your scholarship, Allan, and your desire to get things right. And I wanted James to know the enthusiasm and provacativeness he brought to the forum was most welcome and helped get answers to questions I wasn't aware of.

Sorry, that reply was to Jim. Give me time, I'll get the hang of this.

Chris, You make lots of good points. And in the end the answers ARE a matter of personal preference, experience and chance. I personally think there is something special to the sound of the old time concertina reeds. That's not to say all the old instruments sounded great, or that the new makers can't capture that old sound. ( At concertina camp I loved the sound from a Dipper and a Suttner as well as a Jeffries, an older Crabb, and a Lachenal souped up by Paul Groff. There were many other nice concertinas both old and new, but these were, to me, the standouts.) So my limited experience coulpled with my preference might make me seek out one of these instruments. Absolute truth? More like love. And when it comes to price: perhaps compromise. One of the charming and frustrating things about the finding and buying an instrument for personal use are the inconsistancies. A bargain here, over priced there. Paul Groff talks of an immature market that hasn't found its consistant levels yet. Again if you personally have the patience and time, and put in leg work, a bargain is possible. If you need a box next week like I felt I did, you make your best choice and pay the piper. I personally think the makers that are forging their own reeds are on an interesting course. Perhaps its the craftsmanship, or the hard won lessons. Or maybe its the sound?

Rhomylly, Greetings from northern Kentucky! We will have to get together and squeeze off a few. Regarding Thoumire recordings: concertina.net has a link to his company, Foot Stompin' Recordings. Great service! My order was here within one week! Thoumire is a technical wizard but, at least right now, a little too far out for me. If you enjoy him yet long for a more traditional approach, check out his inspiration, Allistair Anderson.

Oops! I meant to type Plamondon! With a last name like mine, one can't be too careful with surnames! My apologies.

For James Pamondon: James, haven't seen a recent post. Don't get discouraged. I, for one, have enjoyed your postulations and the responses they have evoked. I've learned about meantone tuning in the past week and been introduced to the scholarly research of Professor Atlas as a result of your questions and musings. We need the both the question askers and answer givers in this forum.

Every day you are a hero Chris! I hope you recovery exceeds all expectations. I remember Michael Cooney coming back from his horrific auto accident. We were all amazed at his determination and surprised at the profeciency he regained in the face of neurolgical damage. Another hero. It would be nice to hear from a music therapist. I bet they could quote the studies that would confirm our intuitions about the "healing nature" of our musical endeavors. Of course my long suffering wife may have a different perspective!

Ahh yes, the Crabb. There must not have been a Morris player in the crowd with $2,000 in his pocket. Two months ago I would have been pleased to buy this instrument at its asking price of $2,250 (see buy and sell concertina.net).

Supply and demand. One person's experience: As a newcomer to the "Irish" concertina world I was floored by the price of a vintage anglo. (My Matusewich Wheatstone english, found thru a newspaper ad had cost me $300. twenty-five years ago.) With a Noel Hill workshop coming up, I was scrambling for a C/G instrument. I had $2000. to spend and was looking for a vintage instrument (with concertina reeds). I don't want to say Chris Algar of Barleycorns laughed, but he was not enthusiastic about my budget! I finally settled on an early 50s Wheatstone from The Button Box, which, if not ideal, has certainly proved servicable and exceeded my meager (but improving) abilities. It may be fun to remember the good old days, or talk about the exceptions (I got lucky at a recent auction), but the reality is that the vintage anglo market is presently on fire. Will it cool down? Yes....eventually. Are any of you old timers going to sell your Linotas or Jeffries at less than current market (Ebay) value? Probably not. Has anyone recently priced a pre 1970 Martin guitar? Supply and demand. The new, quality concertina makers offer some beautiful alternatives to expensive vintage instruments. I enjoyed the Morses, and Tedrows at the workshop (there wasn't an Edgely). But....The makers may argue, but I believe I can hear a difference between their accordian reeds and vintage concertina reeds. And as master Noel Hill says, "It's the reeds, it's the reeds, it's the reeds!"

My observant wife answered my question regarding how and where to send concertina.net a contribution. There is a Pay Pal link on the Buy and Sell forum page. Folks, this is a tremendous resource that Paul provides and to which all of you contribute. Although an anglo concertina newbie, I've spent better than 30 years learning folk instruments (and unlearning self inflicted mistakes). I have come to appreciate the opportunity to apprentice with an experienced master or take advantage of an informed source. concertina.net has certainly given me a chance to shorten the learning curve. Thanks again for all the info and remember to support this site. (Paul DID NOT pay me to say any of this!) Greg J