PeterT

Oh good; thought it was just me! I happened to buy the one which Marcus had, at Chippenham. Couldn't really afford it (he's been very good regarding payment), but thought that I couldn't pass up the opportunity. Regards, Peter.

From a technical view-point, what's the advantage? Regards, Peter.

Lobs grenade, and runs. Like it!

Hi Elizabeth, Firstly, you should work on dragging your husband down to my monthly session; it would be good to see you both, and I am always happy to talk concertinas, even though I don't play Anglo in the Irish style. Possibly you could get to Alan Day's session at The George, London Bridge (easier transport for you), which means that you are quite likely to see both of us. I try to side on Alan's right hand side, to see where his fingers are going, then he generally plays the G/D box, which throws me completely! To answer your questions: Jody Kruskal - to my shame, I've never met him (I'm not attending Warwick), but have admired his playing from way back, and on the recent Anglo International. I would say that Jody plays in the "American" style, which reminds me of Bertram Levy, who I have met a couple of times. He does interesting things with the box, which I have not heard before. Alan Day - I've got to know Alan quite well in recent months, having met him, once, many years ago. Alan plays mainly French and English tunes, and has a nice, decorated, style, which is a pleasure to listen too. I don't know anyone else who plays in this style. Chris Sherburn - I've heard his playing on two albums, but not met him. You'll be able to tell me, about him, after Warwick. I'm impressed, although I have to say that on Anglo International, I prefer the playing of Noel Hill and Mandy Murray, who I have met. Brian Peters - great guy, and equally good on Anglo and Melodeon. Don't know whether Brain's doing a Melodeon workshop, but, if he is, get hubby to go along. Brian plays a very varied repertoire, including tunes from Northern England, and some "popular" numbers. Don't miss him. John Kirkpatrick - give him my regards, as I've not seen him for about 8 years; and ask him whether he remembers "An Evening of Squeezing" from Sidmouth 1986 (Brian Peters will remember!). I did Warwick Festival in 1988, as musician for Downes on Tour; John K. was playing for Shropshire Bedlams (as well as performing solo). Luckily, the Bedlams were one stop ahead of us on the Morris tour of Warwick, so I managed to catch up with him at each spot. John is another great guy, amazing sense of humour, and powerful performer. John probably has the most complete "English" style on the Anglo; difficult to understand if you are coming to Anglo from an Irish bachground, but you'll learn a lot about performing. So, Elizabeth, it probably doesn't help when I say that you should try to catch all five. There's not one that I would want to miss. Regards, Peter.

It's the most amazing experience; I've been down to Lewes (Sussex) several times. Important point; Lewes is a small, but very attractive town (I did a Folk Club booking in a club which used to run there - not the current one), and thousands of people turn up for the celebrations on 5th November (or 4th, if the 5th falls on a Sunday). Don't even think about arriving by car; the roads are closed, and you'll have to walk miles to see the action. Lewes railway station is just 400 yards from the main street, and is on the direct line from London Victoria, via east Croydon. Extra trains run on the night, so getting back should not be a problem. During the afternoon, shop-keepers nail boards over the shop windows, to ensure that they do not get smashed (this is England, after all). Local pubs will generally only admit regulars (although I've managed to get in for a swift drink a couple of times). By about 5.00 pm, the crash barriers have been erected, and people are trying for the best vantage points. Once you've got one, it's often best to stay put for 2/3 hours, and let part of the show come to you. I can't remember the exact timings; somewhere, I have a couple of old programmes, but can't think where, at present. The evening goes something like: (1) The five Lewes Bonfire Societies parade through town, in costume (they are really great). In the main street (Eastern end) I think that you see either two or three of the societies. I think this is the best spot for viewing. (2) The five Societies parade again, only this time carrying burning crosses, and flaming torches (some of which get thrown to the side of the road, still burning, when almost finished). It's hot, and dangerous (by the way, wear old clothing, you'll be amazed at the stink, the next morning!) (3) Firework are set off whilst each Society is standing "on parade". The Cliff Society is the most lively, dressed as Pirates, and they throw fire crackers down in the street as they march along. The sound is deafening, and the smoke gets everywhere. The crowd usually gets quite excited at this point. As well as the costumes, giant images are carried along on floats, and these will later be burnt at the five individual Bonfire sites around town. You might see images of, for example, Tony Blair, The Pope etc., and the burning of there images is a reminder that in less civilised times, people were persecuted and burned for their religious beliefs. (4) By about 9.30 or 10.00 pm, the Bonfire Societies march off to their individual sites for a display of fireworks etc. I once stayed for part of this, but it seemed to take forever to start, whilst waiting for everyone to pass in opposite directions though some very narrow streets. Hope that this has given you sufficient information to make you want to join the throng, one year. Regards, Peter.

Yes, and wonderful scenery! I was in Holmfirth in 2001 (first time in 15 years) to compete in the Jackson Bridge Hill Climb. It's a quiet road, up to Tinker's Monument (if I remember the name correctly), and I've seen the location appear on several of the subsequent programmes. The Folk Festival, in May, is well worth attending. I first met Brian Peters, at the festival, in 1985. Was it really over 20 years ago? , or should that be ?

Hi Jim, Maybe, on reflection, it would have been better to mail Alan, off Forum, as you have raised a significant number of valid points (from your perspective). I don't want you questions to go unanswered, as this would appear rude. But I'm not sure that a lengthy response, to each point, should be posted on the Forum. Would you be happy for me to respond off Forum? Regards, Peter.

Firstly; apologies to those who have not heard the extended play version, just the Bluebell Polka. I have just given my undivided attention to the whole CD which runs to nearly 46 minutes. My comments are as follows: From the start until 36min 10 sec I am certain that every item is played solo, by a Maccann Duet player. Bluebell Polka is one of the items played. Note: for those who are not convinced, take away the melody and listen to the accompaniment. Would you really want to be playing that as your contribution to an excellent performance? Any duo would probably be better matched in terms of ability, and the "second line" of the arrangement would be much more interesting. From 36mn 10 sec to 39min 50 sec, we have ensemble playing. I can hear Treble English, Bass English and a third English playing a Tenor part (I suspect it's a Tenor/Treble). I can also hear an audience, suggesting either a competition, or ICA Meeting. From 39min 50sec to 42min 50sec, we have a duo. I can hear a Treble and a Baritone. From 42min 50sec to the end, we have an ensemble. This is interesting; I can hear Treble, Bass, PIANO and, I think, Tenor/Treble. Regards, Peter.

MusicianS, Peter. I'm sure of it. Alan. where's that poll?

I bet that the original musician would have had a laugh had he (or she) known that we would be debating the recording at such length.

Not sure that I have, Alan , although one of my early off-forum mails to you does look a bit confusing. Well, I was doing about three things at once, and I don't multi-task that well. I was fishing for Danny Chapman to respond, and his posting is exactly what I was expecting (thanks, Danny). Regards, Peter.

My brain has not functioned quite as quickly as normal in the last couple of days (hot weather?), and I missed the thing that we should obviously try......playing along with the recording. I've just done this with Maccann Duet. Well, ok, I can't actually play the piece at this speed, but the melody fits the instrument perfectly on the right hand, leaving the left hand free to find the appropriate chords. For a proficient Maccann player, it would be a doddle. So, I now say it's a Maccann Duet. Would someone like to try the same on an English?

Hi Gary, Well, that's much better than I could have managed after two months, so you must be doing something right. Regards, Peter.

Hi Paul, Assuming that you play it on the duet, do you play it in the key of C? Regards, Peter. PS - it can be a very haunting tune, if played as a lament, and I've just remembered that we played it at the funeral of one of our Morris dancers back in 1995; just fiddle and concertina together.

I feel a poll coming on.

Oh right...but when I do as you suggest, it would appear that the concertina is made by the 'Attached Image' company! Hi Paul, My initial thought was that perhaps you needed to change your mouse! However, I then considered whether you needed to change your web browser; I normally run on Mozilla Firefox. I cranked up Microsoft Internet Explorer, and, guess what, same result as you. Regards, Peter.

I hope that you've spoken to the farmer, and suggested that he confiscate their map and compass.

Oh my God! This sounds terrible, and is maybe a warning to those of us with fragile bodies. Hope that you thumb soon recovers, Wendy. Regards, Peter.

I had the advantage of an advance copy. Listening again, I'm still convinced that it is a duet. The vamped chords (if that's the correct musical term) are played as they would be on an Anglo (which it obviously isn't) or Duet. On an English, to play the full chord, it's likely that three fingers would be required, and, of course, the chords are likely to switch from hand to hand as some point. To me, the melody runs are just too fast, and complex, to be played by just the two remaining fingers. Regards, Peter.

Hi, welcome to the Forum. Firstly, covering the instruments which you know (concertinas), we have this link: http://www.concertina.info/ Here we have information about Piano and Button Accordions: http://www.accordions.com/ Hope that these links will answer your queries. Regards, Peter.

I've just had a search through previous posts. This one covers use of air valve, and slackness of hand-strap, which, to my mind, are related. http://www.concertina.net/forums/index.php...p;p=36455 I was speaking from an Anglo perspective, but I dabble a bit on Duet, so the same basic rules should apply. Regards, Peter.

I recorded several hours of material from my paternal grandfather, when he was aged 90. About two hours of it covered WW1. He could talk about the horrors of it; things that you would not wish on your worst enemy. Mum said that her father was so badly affected that he often used to wake in the night, screaming with nightmares. He was a musician, and was the one-man band in "Passport to Pimlico", for which he was paid £25 per day whilst filming. This was the late 1940's and I think that the average weekly wage was about £8. Regards, Peter.

I've not seen or heard of any video recordings, but logic dictates that there must be some, if only lurking in personal archives. Of our Forum members, I would have thought that Roger Digby would be best placed to answer. The other option would be to contact E.F.D.S.S. to see whether they have any video recordings. http://www.efdss.org/ Regards, Peter.

Hi Chris, Lloyd Park. Regards, Peter.

Sorry, I've been out so missed it. Any chance of mailing it off Forum?