Chris Drinkwater

Number 158. I always knew you had a head for figures, Peter. Good session at The George on monday and just to let you know, Juliette's CD is quite magical. I shall let her know too! Chris

It's in the Liverpool Road, Peter, at the Angel end. As you proceed way from the Angel in the direction of the Holloway Road, which it meets at the other end, the shop frontage is on the right-hand side nearer the Angel end. I can't remember the number off hand but the sign "Crabb - concertina makers" above the shop frontage, has been preserved (a bit like a blue plaque) and was still up and visible last time I drove past it a couple of years ago. Hope this helps. Chris

I've always been told that one of the virtues of vodka is that it has no taste, i.e., no flavor. Personally, I go easy on drinking when I am playing, especially when playing in pub sessions. I wouldn't want to be breathalized, found over the limit, and be charged with being drunk in charge of a concertina. >Hic< Fortunately, it hasn't happened yet, though some notes do seem to come out in the wrong order sometimes, as the evening wears on. Chris

One thing no one seems to have mentioned in respect to loudness, Glen, is to do with the the type of metal reeds are made from. There are two types of metal used in the making of reeds. These are brass and steel. Brass reeds, usually found on the old Lachenal and Wheatstone tutor models, produce a quiet, mellow sound, which is often used to accompany singing. Steel reeds produce a much louder, bright sound, especially if the concertina ends are made of metal, rather than wood. Steel-reeded instruments are great for playing at sessions where you want to be heard in the company of other instruments. I have one of each and when I practice at home, I tend to play the brass-reeded instrument, so as not to unduly annoy my neighbours. Chris

As David has observed, my understanding is that they were originally fitted to enable the little fingers on each hand to provide extra support when playing standing up. I tend to play sitting down, with the right-hand end of the concertina resting on my right knee. The support my knee gives means that I don't need to use the finger rests. I also find that when I do tuck my little fingers under the plates, not for support but to keep them out of the way, it constrains the movement of my playing fingers, so I tend to let them float free. I have tried to play standing up like players like Alistair Anderson do (he seems to be able to make the concertina appear to be floating in the air, especially when he uses the doppler effect!) and found that the little fingers have to be tucked under the plates in order to take the weight of the instrument. The alternative would be to use a neck strap. I have no idea how much a baritone weighs but given that it is bigger and heavier than a standard treble, I would imagine playing it is a knee only job, in which case use of the finger plates, where fitted, is optional and dependent on personal comfort. My first concertina, a treble, had had them removed by a previous owner (perhaps they got in the way). I managed to get some original replacements and fitted them, partly because the instrument didn't look right without them, only to find that using then as intended impaired my finger movement, as mentioned earlier. I rest my case. Chris

I see the pictures are of Anglos. Hmmm. Supposing you play the English or Duet? What then? Chris

I find the idea of a room full of people all saying, "I am Chris Timson" ... disturbing. Chris Will the real Chris Timson stand up! I seem to recall a similar problem with Henry Kipper (or should that be Kippers?) a few years back. You can always tell the real Chris Timson by his Dipper. Alternatively, you can have a word with the Landlord, and have them all barred. Also, the real Chris will be playing "Mornington Crescent" between tune sets. Sounds like the Radway will be a lot of fun, this year. Regards, Peter. Yes, the Radway was a lot of fun this year. I managed a flying visit on the sunday. No "double entendre" intended there Peter? However, there was someone who looked suspiciously like Chris Timson, playing a Jeffries, at which point I had my Spartacus moment. Cheers, Peter! Saw Flos playing in the Jig competition but he didn't come to the Radway while I was there. I would have loved to have been able to stay all week but work commitments prevented me from doing so. Maybe next year. Chris

At £1,070, I'm definitely gobsmacked. That's nearly as much as I paid for my full size Wheatstone treble. I wonder how much the person the seller bought it from, paid for it at the car boot sale he found it at. A tenner perhaps? It make you weep. Never mind the goldrush, thar's money in them thar concertinas, it seems! Chris

Hi Chris, I've kept in touch with Colin and Rosalie (it's always nice to chat to them), and kept tabs on John's career. I remember John as a youngster, but it's worrying to see that he has now adopted Colin's hair-style (I think that it something to do with the passage of time!). See you on Monday? Regards, Peter. To drag this back on-topic, I should have mentioned that I also visited the old Crabb premises in Islington, where I too was attended to by Neville, but I never made it beyond the counter. Well, Peter, John does seem to have become folically challenged rather prematurely (unlike some of us luckier ones - I am rather attached to mine!) but it doesn't seem to have affected his playing, thank goodness. Re: monday at The George, I'm on a family visit to the west country and won't make it back in time. Hope you have a good session and see you in September. Now, back to topic with a reminisence of a friend of mine who plays the EC. She took her beautiful Wheatstone Aeola to Crabbs many years ago to have it re-tuned. She was told to come back in three weeks, by which time it would be ready. She arrived at the counter to collect it and was served by Neville, who asked her if she would be willing to swap it for one of their new models. What a cheek! Naturally, she refused and it is still her pride and joy to this day. Chris

Yeah, I second that emotion. The proof will be in the listening and I am sure we will not be disappointed. Chris

Well, Howard, the kitchen was looking pretty cosy when I was last there in 1999. Regards, Peter. You'll be pleased to know that the kitchen is still looking pretty cosy, Peter. At least it was when I visited Colin last year. And in between making and repairing concertinas, both he and Rosalie have also found time to raise two children, one of whom, John, is a very successful fiddle player with his own band. Don't know how they do it! Chris

Well, in that case, I hope 'Grace' is taking note! Chris

This second auction is a typical eBay scam, And, in the meantime, I've reported it to eBay. Sure beats me why anyone would try cloning a listing, using identical pics and text, especially at the same time as the genuine item is being auctioned. I can't imagine who would fall for it. A month later, maybe! I have notified the genuine seller, of the scam, just in case she is not aware of it. Chris

I recently saw the latest Walt Disney film, Pirates of the Caribbean, featuring Johnny Depp. I thoroughly enjoyed it. It's very funny from start to finish and worth seeing! Those who have already seen the film will know that, part the way through, there is a scene in which the pirates are on dry land in a pirate hang-out, or similar. There is a tune being played on the soundtrack and as the camera pans from left to right, two musicians can be seen. One is playing the guitar and the other, a wooden-ended concertina, possibly an anglo. Now, given that we're supposedly talking 18th century here, the concertina is a bit of a musical misnomer, though presumably included because it's an instrument often traditionally associated as being played by sailors. After the film finished, I decided to wait for the credits to come up and see if there was any reference to the music being played in that scene. And sure enough, half an later - yes, the credits are nearly as long as the film itself - I saw that a "Skip Henderson" is credited with two hornpipes. Later I did a bit of Googling on Skip, found an email address and emailed him for more info on the titles of the hornpipes. This is his very nice reply: "RE: Pirates of the Caribbean Hornpipes Hello and good day to you: Chris; It's simply amazing what Hollywood can do to history in order to make a commercially rewarding screen play. The Wheatstone Symphonium (circ.1829) became the Anglo concertina when two employees (Crabb and Nickolds) formed a break-away company to produce the same. The "Golden Age" of piracy occurred roughly 1685 to 1735 about 125 -130 years before the advent of the instrument. There was a quiet period of about 100 years after the" Golden Age" and then a short recurrence of water-borne vermin after the end of the plague of wars (1812, Napoleonic, and Latin Colony Succession), so - by a real stretch of the imagination, a concertina might have been played in a pirate hang-out. My album "Billy Bones and Other Ditties" has the track Two Hornpipes which excited official interest and it seems that my chording and arrangements are copyrightable; hence the screen credits. The two hornpipes are the "Fisher's" hornpipe (used in the film) and the "Sailor's or "College" hornpipe (which wasn't). There is no lyrics or music book available at present. Best Wishes; Capt. H.B. Henderson Schooner AIDA Point Richmond, CA. July 19, 2006" Are there any other films, ancient or modern, known to feature one or more concertina players, that Cnetters remember? Chris

Alright Alan! Well, I guess every Day should have his day. Chris

An awesome repetoire, Juliette. Can't wait for the CD to come out. Bravo! Chris

That is, unless you happen to be an old schoolfriend of Colin. And I got fed and watered too! Chris

There are a few old postings which go into more detail. Basically, as I understand it, it was a Wheatstone sub branding for their Anglos. My Linota was built in 1918, and is first rate (very fast, quite loud), and I think that those built 10 years later (Ebony wood trim) were equally good. However, my opinion is that some built with Rosewood trim were not quite so good (I had one made in 1927). Regards, Peter. You had one made in 1927, Peter? Gosh, I didn't know you were that old. Well, in that case, you are incredibly well preserved, just like your Linota. Have you undergone any restoration? Chris

Perhaps the words "Humble" and "Pie", spring to mind, Jim. Nice to know that Harry Crabb is so accomplished, that he can be mistaken for at least two, possibly three players! From first hearing, I thought it sounded like a duet player but then I've only been playing English concertina for a year and am not very familiar with the intricacies of anglo and duet playing, so who I am I to judge, especially when it comes to the finer points of playing a particular instrument? Sometimes, the less you know, the better the conclusion! And often, one's first thought on a matter proves to be right in the end. Chris

Well, I was only reading what you wrote -I could not hear anything!! - John Maybe, John, but words can speak volumes! Chris

ECMW is a peripatetic do, of course, so why don't you get it to come to Croydon? Chris Well, as the ECMW is peripatectic, why don't you get it to come to beautiful Bradford-on-Avon, Chris? Oh, and re: your comment to me about session overload, I can quite happily play for hours and hours with short breaks for refreshment; in fact, I did a calculation of how many hours I spent playing over the weekend and it comes to nearly 24 hours, which isn't bad going! I think the overload was due more to the number of tunes played that I didn't know or haven't yet learnt to play, which kept buzzing around in my head afterwards, leaving me confused as to which of them I should attempt to learn first. If you enjoy playing for hours and hours too, I have a suggestion. How about having a 24 hour concertina tunathon somewhere? Perhaps participants could be sponsored to raise money for charity and we all could have fun and enjoyment sharing some of our favourite tunes with each other. Chris

Demon playing indeed! Are you sure you were playing your concertina and not the church organ, Juliette? I think the 20 seconds of silence is very appropriate, given the church setting, and a nice lead in. Simply wonderful. Chris

Yes, well Peter, it's probably a bit too far for you to cycle!

Yes, I can confirm with Peter Dickey that, the recent ECMW at Bishop's Castle was certainly a great weekend. Fortunately, I was able to stay for the whole weekend and am now suffering from session overload. I have been to to the last three and they always are fantastic in my opinion. The venues are always superb. The organisation is superb, thanks to the organisers, who all do a superb job. (that's enough superbs!) The weather was good, which meant that we could have sessions outdoors, useful when the session room in The Six Bells pub was filled to overflowing. There were something in the order of 100 plus musicians there, playing a variety of instruments, including a number of concertina players, mainly anglo players. I counted about 4 EC players, including myself. Not only is it a wonderful opportunity to play with so many often really good musicians, but the opportunity to learn some new tunes, pass some on, and make some new friends. Harry Scurfield came up to me and had a chat while I was having an early morning practice on the camp site. He told me an amusing story. Some years ago, returning from an ECMW weekend, his van broke down with engine trouble. Another musician from the weekend, a woman, who also played the concertina, was following behind and stopped to offer assistance. He declined, saying he would call out the AA. Then she found her car wouldn't start. It had been raining and Harry told her the electrics electrics had probably got damp and and if she waited about half an hour, they would dry out. He suggested that they spend the time playing a few tunes together in his van. In the midst of their playing, a passing police patrol car spotted them and stopped, assuming something naughty was going on. They were most surprised to find the pair, not canoodling, but innocently making music on these strange hexagonal squeezy things. After learning of the situation, they made their appologies and left! And, half an hour later, her car started OK, as Harry predicted. Here's to next year. Dave Hunt, the organiser had a hip operation just before the event. Sadly, the operation didn't go well and he had to miss the event. We all wish you well Dave. Chris

Yes, a very sad passing indeed. I believe Peter was responsible for persuading Hohner to start producing 2 row melodeons in the keys of D and G in the early 1960's as he considered these keys the ones that best suited and enabled a variety of different music instruments to play English country dance and Morris music together. Hohner, it seems, obliged to his request. Prior to that, the key of C seemed to be the main key traditional music was played in, and that tradition is still continued today in East Anglia by people like Katie Howson, the melodeon player. The English Guardian newspaper published a nice obituary about him on monday 19th June which should be viewable on their web pages at Guardian Unlimited on the net, if anyone is interested. Chris