Simon Rosser

Ah the temptation ... But no , my lips are sealed until, let us say, next February. Chris I can hardly wait as I've been researching the annals with Samantha and she has kindly allowed me to use the little known Thread Drift Inversion on which the Smyth-Barton Infraction has absolutely no bearing. Therefore at almost every stage of the game (with the obvious exception of the occurence of the Woodford Conundrum) I shall be able to go "Conkerfosters" with out fear of Knip or frayed string. Simes

When I was at college and suffering the then normal penury, I occasionally used to busk at central london tube stations and, in the summer, in various parks. I always did quite well and though I occasionally got moved on it was always in a polite fashion. Playing a concertina certainly got me noticed and (I like to think) earnt me a bit more than say a guitarist. It was louder anyway! When out with friends from school or college, my box generally went with me and in only a few pubs was I ever asked to desist. Most landlords in those days welcomed a bit of music and the Morris side were welcome everywhere. I was never offended by the few who didn't appreciate or want the music. I simply shut up and got on with my beer! This is sadly not so often the case now and I rarely think to take my box with me unless we're playing at an organised function or an increasingly rare music pub. I've heard a lot recently about a requirement for a licence in order to perform like this nowadays and I'm saddened if this is truly the case. Music is a real gift to all of us whether as players or as audience and anything that restricts its appearance in public life serves only to render us all the poorer. I suspect that the occasional strange looks from passers by are more frequent simply because fewer people play and I've often had passing folk engage me in conversation, the general theme of which appears to be "I wish I could play". I'm no hotshot player by any means but I'm grateful to be able to play and suspicious of anything, institution or person that would restrict the proliferation of music in our society. Keep on playing! Simes

I, in common with many of the above correspondents, find DPM's ideas on this subject a little baffling. I started with a little red plywood 20key machine and it was sufficient for about two weeks. I got hold of a 26key lach and was told when I took this along to morris, that it was already limiting my ability to play - something I felt myself. A linota followed and I got the same advice " If you really want to play find yourself a Jeffries" When I eventually did so, the upturn in my playing ability was remarkable and immediate. Moreover, the instrument itself made demands on me to improve. My playing of the Linota also improved. There is no doubt at all that I did not deserve my Jeffries when I first got it nor that without it my playing would not have improved as it did. DPM would probably not have allowed it me in the first place and would probably want it confiscated in the second. I have played for about thirty years or so both professionally and as an amateur and I know that apart from pleasing me, my music has given pleasure to others. I may not be the finest player of an anglo in the world but my playing, such as it is, is made all the better for having the instruments I love and appreciate. I suspect that DPM's assertion about older beginners or "casual fans of the concertina" (what? who are these?) buying and not using quality boxes - for which they have had to pay very good money - is largely twaddle. Where I have some sympathy for him and others is when I hear of collectors who are not players. I believe that instruments are there to be played and, speaking as a restorer for a moment, they quite definitely deteriorate if they are not! I am now in my early fifties and still improving. I have a G/D, a Bb/F and a C/G Jeffries, all of which I play regularly. My other half has my instructions to make sure, on my death, that my boxes go to someone who really wants to play. I think I'll tell her to make an exception in DPM's case! Oh, and in case anyone's interested as to the source of my advice all those year ago.... John Watcham was that man and it would have been churlish - not to say stupid - of me to ignore the wise words of such an exponent as he! Simon Rosser

The instrument as shown on ebay has only two rows (1 Octave) per side but I know that Mike Acott has one which has four rows (2 Octaves) per side. He recently took it to Whitney and a keyboard player picked it up and began playing with absolutely no difficulty - despite not being able to use his thumbs! As I'd never come across one before I would be interested to know its likely value? Any guesses from the boxers out there? Simon Rosser

My first good anglo was a "linota" - a sweet voiced box - in Bb-F and I sold it to a mate some years ago. It was an ebony ended 30 key and a cracking instrument. I used it for several years when playing with Keith Dignam in "Pickled Dill". I'm sorry to say that I pulled the end out of the instrument at a gig while singing the Norton New Bell Wake. It required extensive and expensive repairs!! I recently met my mate again and found that he had done nothing with the instument since buying it from me twenty years ago and I bought it back from him in a sad state and am in the process of rebuilding it. In my opinion "Linotas" are among the best anglos of their time so, if you get hold of one, enjoy it! Cheers! Simon Rosser

When I was playing and dancing with Chingford Morris in the seventies, one of our members, a certain Chris Beale, had two Jeffries system duets one in Bb and one in C. I think they were both about 56 or 58 Keys each. Certainly they were heavy enough to require a neck strap! He is rumoured to be still with us and presumably still playing though I haven't heard of him for some time. A delightful bloke, he was then a particularly accomplished player and a wonderful exponent of Scott Joplin tunes. I have no idea whether they were C.J. machines or J. Bros. though I suspect the former. So there's another two to add to the count! I shal watch this one with interest!!! Simon Rosser

Hello Ian, How nice to hear from you. When Charlie gave me the 46 key G-D Jeffries which I still play regularly (it being the pride of my collection) he told me that he did not play this type of concertina (Anglo)and was a Duet player. He actually told me that he would be leaving his other instrument to his son, though I don't remember him naming you at that time. I'm delighted to see that he did! I must say the instrument looks to be in very good condition (far better than the G-D was!!!) and I would be very interested to know whether you've had it refurbished since Charlie's day. Is it in fact a duet? Or is it an Anglo? If you don't play it - though I hope you do - you can tell quite easily. Simply press one of the buttons and pull the bellows in and out. If the same note sounds on both pull and push you have a duet. If a different note sounds when you push & pull using the same button, you have an Anglo (although there are occasionally one or two buttons on a Jeffries pattern anglo which are meant to sound the same so try the middle two rows). If it does need some remedial work, I'd be very happy to do it for you and I'd love to meet you so we could have a look at each other's boxes - if you'll pardon the phrase! Are you anywhere near London? You can also contact me through my website on www.eastlondonconcertinas.co.uk Also, if your son might be interested in learning to play, we have one or two loan instruments to hand and after all, an anglo is in many ways only a (slightly more complicated) mechanical mouth organ. I'm astonished at the possible Titanic connection and it's a sobering thought that had it not been for the disaster, I might never have owned such a fabulous instrument. It's not such a huge leap from Croggan to Croughane after all so maybe the stoker is the missing link in the chain - not as I had supposed some minor music hall artist - what a great story! Get in touch if you fancy a chat over a beer or two - I'd be delighted. Ive also attached a photo (I hope) showing my G-D and my Bb-F Jeffries - Ialso have a 46Key C-G but I don't have a snap of this or my Bb-F baritone Simon Rosser

Hello Ian, How nice to hear from you. When Charlie gave me the 46 key G-D Jeffries which I still play regularly (it being the pride of my collection) he told me that he did not play this type of concertina (Anglo)and was a Duet player. He actually told me that he would be leaving his other instrument to his son, though I don't remember him naming you at that time. I'm delighted to see that he did! I must say the instrument looks to be in very good condition (far better than the G-D was!!!) and I would be very interested to know whether you've had it refurbished since Charlie's day. Is it in fact a duet? Or is it an Anglo? If you don't play it - though I hope you do - you can tell quite easily. Simply press one of the buttons and pull the bellows in and out. If the same note sounds on both pull and push you have a duet. If a different note sounds when you push & pull using the same button, you have an Anglo (although there are occasionally one or two buttons on a Jeffries pattern anglo which are meant to sound the same so try the middle two rows). If it does need some remedial work, I'd be very happy to do it for you and I'd love to meet you so we could have a look at each other's boxes - if you'll pardon the phrase! Are you anywhere near London? You can also contact me through my website on www.eastlondonconcertinas.co.uk Also, if your son might be interested in learning to play, we have one or two loan instruments to hand and after all, an anglo is in many ways only a (slightly more complicated) mechanical mouth organ. I'm astonished at the possible Titanic connection and it's a sobering thought that had it not been for the disaster, I might never have owned such a fabulous instrument. It's not such a huge leap from Croggan to Croughane after all so maybe the stoker is the missing link in the chain - not as I had supposed some minor music hall artist - what a great story! Get in touch if you fancy a chat over a beer or two - I'd be delighted. Ive also attached a photo (I hope) showing my G-D and my Bb-F Jeffries - Ialso have a 46Key C-G but I don't have a snap of this or my Bb-F baritone Simon Rosser

Hello Ian, How nice to hear from you. When Charlie gave me the 46 key G-D Jeffries which I still play regularly (it being the pride of my collection) he told me that he did not play this type of concertina (Anglo)and was a Duet player. He actually told me that he would be leaving his other instrument to his son, though I don't remember him naming you at that time. I'm delighted to see that he did! I must say the instrument looks to be in very good condition (far better than the G-D was!!!) and I would be very interested to know whether you've had it refurbished since Charlie's day. Is it in fact a duet? Or is it an Anglo? If you don't play it - though I hope you do - you can tell quite easily. Simply press one of the buttons and pull the bellows in and out. If the same note sounds on both pull and push you have a duet. If a different note sounds when you push & pull using the same button, you have an Anglo (although there are occasionally one or two buttons on a Jeffries pattern anglo which are meant to sound the same so try the middle two rows). If it does need some remedial work, I'd be very happy to do it for you and I'd love to meet you so we could have a look at each other's boxes - if you'll pardon the phrase! Are you anywhere near London? You can also contact me through my website on www.eastlondonconcertinas.co.uk Also, if your son might be interested in learning to play, we have one or two loan instruments to hand and after all, an anglo is in many ways only a (slightly more complicated) mechanical mouth organ. I'm astonished at the possible Titanic connection and it's a sobering thought that had it not been for the disaster, I might never have owned such a fabulous instrument. It's not such a huge leap from Croggan to Croughane after all so maybe the stoker is the missing link in the chain - not as I had supposed some minor music hall artist - what a great story! Get in touch if you fancy a chat over a beer or two - I'd be delighted. Ive also attached a photo (I hope) showing my G-D and my Bb-F Jeffries - Ialso have a 46Key C-G but I don't have a snap of this or my Bb-F baritone Simon Rosser

Hello Ian, How nice to hear from you. When Charlie gave me the 46 key G-D Jeffries which I still play regularly (it being the pride of my collection) he told me that he did not play this type of concertina (Anglo)and was a Duet player. He actually told me that he would be leaving his other instrument to his son, though I don't remember him naming you at that time. I'm delighted to see that he did! I must say the instrument looks to be in very good condition (far better than the G-D was!!!) and I would be very interested to know whether you've had it refurbished since Charlie's day. Is it in fact a duet? Or is it an Anglo? If you don't play it - though I hope you do - you can tell quite easily. Simply press one of the buttons and pull the bellows in and out. If the same note sounds on both pull and push you have a duet. If a different note sounds when you push & pull using the same button, you have an Anglo (although there are occasionally one or two buttons on a Jeffries pattern anglo which are meant to sound the same so try the middle two rows). If it does need some remedial work, I'd be very happy to do it for you and I'd love to meet you so we could have a look at each other's boxes - if you'll pardon the phrase! Are you anywhere near London? You can also contact me through my website on www.eastlondonconcertinas.co.uk Also, if your son might be interested in learning to play, we have one or two loan instruments to hand and after all, an anglo is in many ways only a (slightly more complicated) mechanical mouth organ. I'm astonished at the possible Titanic connection and it's a sobering thought that had it not been for the disaster, I might never have owned such a fabulous instrument. It's not such a huge leap from Croggan to Croughane after all so maybe the stoker is the missing link in the chain - not as I had supposed some minor music hall artist - what a great story! Get in touch if you fancy a chat over a beer or two - I'd be delighted. Ive also attached a photo (I hope) showing my G-D and my Bb-F Jeffries - Ialso have a 46Key C-G but I don't have a snap of this or my Bb-F baritone Simon Rosser

There are pitfalls here for the unwary!!!! Many people purport to perform quality repairs. This is not always the case! I recently had my G/D 46 key & Bflat/F 39 Key Jeffries overhauled after 25 years by Mike Acott Concertinas of Ipswich. I was delighted with the transformation and with the obvious care which had been lavished on my beautiful boxes. Mike's number, if you're interested, is 01473 743080. The price was very reasonable and the speed of turnround was unexpected. Wherever you do eventually go for your repairs, give yourself the peace of mind of seeing examples of their work - if they're any good at all they should be capable of showing you several examples of their work and of providing plenty of referees for you to speak to. If they can't do either - run for your life (taking your concertina with you)!!!!! Good Luck!

Hi Chris, yes I do remember you. After PD split up and Keith Dignam moved to Norwich I fell out of the scene until fairly recently. I've never stopped playing though. Good to hear from you. I spoke to KD about three or four years ago having unfortunately to turn down an invite to his & Julie's 25th Wedding Anniversary. Lord, How the time rolls by! Steve, I think we first met at the time you mention and if I'm right it was at the Blackbirds FC in Leyton. If you can't tell me anything about S Croggon, then I doubt anyone can! this makes me feel much better about my failure. Ireland? Long way from Leyton! Wes, When I met Charlie in the seventies, he would have been about seventy -ish certainly not ninety-ish so I guess that makes your second choice right and therefore Streamer senior wold have likely been Charles also. Thanks to all Simon By the bye, When I got it the G-D had a whistle and a Fart Button which would I suppose Charlie's theory about S.Croggon having commissioned the instrument for Music Hall. Any Ideas?

Congrats on a wonderful site! First Time post for me this, though I've been playing Concertinas for over thirty years. I'm lucky enough to possess two C.Jeffries anglos - both of which have been expertly serviced quite recently by Mike Acott of Ipswich, thanks Mike. I had previously owned an ebonised 30 key Wheatstone Bb-F during the early seventies which was a sweet box for singing to and it may be heard on " By chance it was" by Pickled Dill - of which I was one half! I used to play at a Liberal Club in Walthamstow for many years and was accosted one night by a regular who claimed to know an old boy who had a similar instrument. Long story shorter, the regulars eventually turned up with said old boy, one Charlie Streamer by name, who brought with him a very delapidated but not completely unplayable Jeffries 46 Key in G-D. Even with the ragged bellows and the leaking reed box it was exciting enough for me! Charlie was obviously pleased to hear it played as he was a duet player and, " couldn't get on with it". I asked him how he came to own it and he told me that his father had worked for Charles Jeffries and had made the box himself. It bears the C. Jeffries Maker stamp on one end and is engraved on the other with the name S.Croggon. Charlie told me that Mr Croggon (Sam, he thought) was a small time Music Hall performer and he didn't turn up to pay for the box he'd commissioned. Charlie's Dad apparently bought it for a set of small deductions from his pay. It was his practice on a Friday and Saturday night to drink with a company of friends at a pub some miles from their own village. Charlie told me that his Dad played them all the way to the pub and back but never got the instrument out in the pub itself. Apparently, playing would interfere too much with his drinking and conversation! He asked me what I thought it was worth and I said " too much for me" but about £4-500 even in it's current condition was what he ought to look for (remember this was in the early 70's). I told him he should try to make sure the instrument went to someone who not only could but would play it. " Don't you want it then?" he said, " You obviously love it." Of course I did but I simply couldn't afford it. " Give us a bottle of scotch for it, " he said " I just want it to be played." I was then dancing with Albion Morris and John Watcham, whom I still regard with awe as a player, advised me to take it to Neville Crabbe for repair, adding as an afterthought "I'd have a seven-fold bellows if I were you." I've blessed him many times for that advice - it doesn't adversely affect playing for the Morris, and allows a far greater flexibility when accompanying song. Neville did the same job on the Bb-F 39 key which I came to a few years later. This had been part of a house clearance undertaken by the father of a friend of mine who was an Antiques dealer. Ken came to me for advice on how much the instrument would be worth and again I said several hundred pounds - well beyond my student means - and recommended he go to Neville for the repairs telling him that the last lot had cost me about £400. " I can't be a**ed," he said " Is it worth £80 to you?" Silly Question. If I never own another concertina I will still count myself blessed. Both instruments are a joy to play and will always cheer me up when I'm down as soon as I play one. I'm interested in finding out a bit more about the elusive S.Croggon - no luck so far - and it would be very good to hear from anyone who knows if Streamer senior actually was one of Jeffries factors and what his first name was. Charlie is also now dead so I can't ask him. I'd love to find both a C-G and an Eb-Ab Jeffries (preferably 39 Keys or better) and I'm perfectly willing to pay for the privilege of singing with such wonderful instruments. I'm not simply interested in possessing them - they'd be played frequently and, when I die, my other half will have the unenviable task of making sure they go to like minded folk. Incidentally, on the subject of Jeffries Duet concertinas and their players, Chingford Morris had an excellent player in the person of Chris Beale who when not playing for the Dance would regale us with Scott Joplin and similiarly tortuous pieces while we drank. I have no idea whether Chris is still alive or if not, what happened to his two duets (One in C and one in Bb I believe) but he was an superb player. Simon Rosser