PeterT

Picking out the question from the Witney correspondence thread, I'll give my reason for joining Concertina.net. A friend has been looking for a good quality Anglo for some while (a challenge in itself, as we know), and he happened to mention another web site which he had discovered (and I had not). This prompted me to take a look, just to see what was "new" on the web. I'd actually found Concertina.net a couple of years ago, as I had the site book-marked, but not noticed the Forum (guess that I was looking for something else at the time). Anyway, I signed up, did a posting, then had a trawl through recent correspondence. One comment which I will make (which can be applied to all topics), is that whilst we might post "facts" which later turn out to be incorrect, we are all entitled to an opinion. We do, however, have a duty to ensure that because of our opinions, our responses to postings do not degenerate into personal attacks. It's a fine line, which I don't think has been crossed in recent correspondence (others may not agree) , but I think that we are getting close. Be positive. We've mostly joined Concertina.net to exchange news, views, and ideas. Also, to promote the playing of our very special instrument, encourage more people to take it up, and, hopefully, to make more friends. Regards, Peter.

Regards David. Hi Peter,They sound like twins.I bought mine via an ad in Cecil Sharp House from a seller in the midlands.Colin Dipper had given it a refurbishment during the mid seventies.But by the new millenium it was time for some more attention.Andrew Norman at this point gave it a lovely new set of (black) bellows and a few other minor tweeks.When I bought mine I was earning £37/ week and it was a big commitment at £300.One that I am always very happy I made.Regards David. Hi David, Looking at the photograph of your instrument, I can confirm that they look identical except that mine does not have a baffle, or magpie attached to the left hand end! How on earth did you manage that? I was in the Cotswolds, and managed to attract a horse with my playing - it seemed to appreciate the music more than the people I was with. I've looked at the Wheatstone ledgers; your instrument is dated 1917. Mine came from a batch of 6, yours from a batch of 4. They are to the same specification. Regards, Peter.

Hi Folks, I think that I'm in a position to be reasonably un-biased in my comments, having attended Sidmouth/Chippenham/Wadebridge Folk Festivals and Halsway/Kilve/Witney Concertina Weekends both as tutor, and punter, during the period 1986 - 1995. What I witnessed at each event, almost year on year, was a tremendous growth in the popularity of the concertina. My first visit to Sidmouth (1985) saw about 25 concertina players attending the daily workshops which were hosted by Jenny Cox and her WCCP Committee. A year later, I took my first Anglo workshop there; seven of us attended, including Brian Peters and John Kirkpatrick who I specifically invited along, and, as always were only too willing to give of their time, despite being booked at the main festival. Incidentally, Brian and John had not met prior to this, so I was delighted to be able to make the introductions. By Sidmouth 1990, I had about 25 Anglo players wanting tuition each day, from complete beginner up to one or two technically more advanced than myself, so "pupils" from previous years were roped in to become "tutors". It was a similar story for English and Duet players. I first tutored at WCCP Halsway Manor in 1986. Jenny Cox had booked Nigel Chippindale, who subsequently found that he had cancer, and, in fact, died just prior to the March event. Knowing Nigel, I readily accepted the invitation to help out. In total, there were 40 residential places, and about 15 day visitors. By 1991, WCCP moved from Halsway to Kilve; numbers doubled, and Halsway was just too small as a venue. By this time, Kilve was being organised by Pauline & Barry Wallace, plus WCCP Committee, and Jenny Cox (as indicated in her previous posting) was working on "Concertinas at Witney" with Dave Townsend. Same story here, ever increasing numbers which meant that the event had outgrown the original venue. The Henry Box School, I believe, is a magnificent venue. However, when I was last there, numbers were c120, and a more recent conversation with Jenny Cox indicated c150 towards the end of the 1990's. I don't know what the comfortable maximum is, or should be, but I believe that it is this continued success, and popularity of our chosen instrument, which has created some of the logistical problems referred to in previous posts on this thread. I'm not saying that bigger is better. In many ways, the larger the event, the more chance there is of people feeling left out. If I'm in a group of (say) 25 people, of whom I know 5 well, 10 a bit (but haven't seen for ages), it's going to take me a while to even say "Hi" to the 10 I don't know at all. I think that this is human nature. To sum up. Residential-type events ARE hard work, both for tutors and pupils. They have to be, if you are parting with relatively large sums of money for the tuition. However, I think that you gain almost as much from old friendships renewed, and new friendships made. This is irrespective of the relative abilities as musicians. Regards, Peter.

Paulino, If you are thinking of classical music transcribed specifically for the Anglo, you might have difficulties. Any music would (theoretically) need to be transposed depending on whether your instrument was in the keys of C/G, G/D, or B'/F. However, if you play solo, you could play the same fingering on any of the instruments, irrespective of the instrument tuning. You will just have to accept that the tune might not come out in the key in which it was written. I can't remember whether the International Concertina Association has any Anglo-specific classical music. They do, however, have an archive of popular light classical and Concertina Band type music which could be arranged for the Anglo. I don't play from music myself, but I would have thought that once the "melody line" had been mastered, it would be possible to work out chords or counter-melody to suit the Anglo. Try the following link (site being developed, but will give you a contact): http://www.concertina.org/ Regards, Peter.

Hi Peter,Just out of curiosity do you have any pictures of your " instrument of torture".I also have a 36 button 1918 Linota (27489).Mine sounds as if it is pretty similar to yours, very loud very fast.It would be interesting to make a visual comparison.Iv'e had mine 26years and still love it as much as the first time I held it. I only noticed the serial number two years ago and was interested to find it should come from such an historic year.Regards David. Hi David, Unfortunately no photos (I still work in black & white!). However, the description is as follows: Number: 27835. Tuned: C/G. Metal end plates inset, rather than overlapping the ends. Left-hand end fretted to accommodate a drone button, but the instrument was never fitted with one. Metal buttons. Ends are Ebony finish. This instrument also came from Hobgoblin, early in 1982, when the late (and very talented) Nigel Chippindale worked there. Cost then; £375. A lot of money, which I could not afford, but it was too good an instrument to leave on the shelf, and I was in urgent need of a good instrument. Where our instruments will (almost certainly) differ, is that the last major overhaul (1990) saw the fitting of replacement dark blue 6 fold bellows and handstraps by Rosalie Dipper. I can't remember the name for this shade of blue, but until then, it had only been used for new Dipper instruments for the US market. So, at the time it was unique in UK, and might still be. Regards, Peter. PS - Picking up Jeff's point, on the Jeffries count, I've owned four over the years. From what I've seen and heard, at least three are in regular use, and I believe that the fourth gets the occasional Band Gig outing (I'll have to check when I next see the current owner). Some players might question why I play Wheatstone rather than Jeffries; simple answer is that I learnt the keyboard layout of the 36 Wheatstone, and the Jeffries keyboard has significant differences outside the "home" keys. It seemed a shame to have the Jeffries layout changed to Wheatstone, so I didn't. I remember that the late Paul Davies always had about four or five Jeffries at home (plus at least two Wheatstones), all good/superb instruments. I visited him when he lived initially in Worthing, then in York. As well as dealing in concertinas, Paul also busked for a living, and I remember him telling me that he had paid for the purchase of his Worthing house (which he then refurbished himself) through his busking. He was good; I first met him busking in Crawley (wonderful Jeffries, in old pitch), back in 1983, and parted with 50 pence. I remember Paul telling me that the widow of a friend contacted him, to say that he had been left her husband's collection of concertinas; 15 Jeffries. Now, it might just be one of Paul's stories, but I know of two Forum members who might be able to confirm this. So, the number of Jeffries in circulation is probably much higher than the initial estimates. Since posting the message above, I've found the posting from Stephen Chambers (Concertina History - Fred Kilroy thread), which gives a more complete version of the last Paul Davies story.

Hi Peter,Just out of curiosity do you have any pictures of your " instrument of torture".I also have a 36 button 1918 Linota (27489).Mine sounds as if it is pretty similar to yours, very loud very fast.It would be interesting to make a visual comparison.Iv'e had mine 26years and still love it as much as the first time I held it. I only noticed the serial number two years ago and was interested to find it should come from such an historic year.Regards David. Hi David, Unfortunately no photos (I still work in black & white!). However, the description is as follows: Number: 27835. Tuned: C/G. Metal end plates inset, rather than overlapping the ends. Left-hand end fretted to accommodate a drone button, but the instrument was never fitted with one. Metal buttons. Ends are Ebony finish. This instrument also came from Hobgoblin, early in 1982, when the late (and very talented) Nigel Chippindale worked there. Cost then; £375. A lot of money, which I could not afford, but it was too good an instrument to leave on the shelf, and I was in urgent need of a good instrument. Where our instruments will (almost certainly) differ, is that the last major overhaul (1990) saw the fitting of replacement dark blue 6 fold bellows and handstraps by Rosalie Dipper. I can't remember the name for this shade of blue, but until then, it had only been used for new Dipper instruments for the US market. So, at the time it was unique in UK, and might still be. Regards, Peter. PS - Picking up Jeff's point, on the Jeffries count, I've owned four over the years. From what I've seen and heard, at least three are in regular use, and I believe that the fourth gets the occasional Band Gig outing (I'll have to check when I next see the current owner). Some players might question why I play Wheatstone rather than Jeffries; simple answer is that I learnt the keyboard layout of the 36 Wheatstone, and the Jeffries keyboard has significant differences outside the "home" keys. It seemed a shame to have the Jeffries layout changed to Wheatstone, so I didn't. I remember that the late Paul Davies always had about four or five Jeffries at home (plus at least two Wheatstones), all good/superb instruments. I visited him when he lived initially in Worthing, then in York. As well as dealing in concertinas, Paul also busked for a living, and I remember him telling me that he had paid for the purchase of his Worthing house (which he then refurbished himself) through his busking. He was good; I first met him busking in Crawley (wonderful Jeffries, in old pitch), back in 1983, and parted with 50 pence. I remember Paul telling me that the widow of a friend contacted him, to say that he had been left her husband's collection of concertinas; 15 Jeffries. Now, it might just be one of Paul's stories, but I know of two Forum members who might be able to confirm this. So, the number of Jeffries in circulation is probably much higher than the initial estimates.

For clubs/sessions etc., try the following Hobgoblin link: http://www.hobgoblin.com/hobnob/main.php?p...0and%20Sessions Sort by club, or session, for London. There is a link from this site, to Folk London, which gives additional opportunities. You may well have to ring around to find something to your liking, but I can assure you that music is still happening in London. Someone, somewhere, will be able to offer you the help that you need to "get started". Regards, Peter.

My regular "instrument of torture" (to quote a well-known fiddle player who sat next to me at one festival session) is a 36 key Wheatstone Linota of 1918 vintage. It is amazingly quick, and quite loud. However, I acquired a 40 key Wheatstone Linota (no. 26250) of 1914 vintage, from Hobgoblin (£800 pre-restoration), at Sidmouth 1991. Colin and Rosalie Dipper did an excellent restoration job, and Colin commented on the difference in material quality compared with the post-war Wheatstone instruments. Several months later, I took it along to a Downes on Tour Morris practice. Boy, was it loud! Several of the dancers came out of the kitchen (coffee was the priority after the previous night in the pub), just to see what I was playing. I can honestly say that I've never heard a louder instrument. Anyway, as I rarely play for the Morris nowadays, it went to a new home three years ago, where it is equally loved, but played very differently. Back to the main topic thread - Jeffries Anglos. I love the sound; more mellow than a Wheatstone, and the general consensus seems to be that it was due to the quality of steel used in the reed manufacture. However, as any manufacturer will tell you, there are so many variables which contribute towards the overall sound; depth of reed-pan, size of reed chambers, wood or metal ends, even bone or metal buttons. In a recent conversation with Colin Dipper, he commented that bone-button Jeffries sounded more mellow than metal-button. Last week, I played a bone-button Jeffries, and, guess what, Colin was right. Peter.

This is quite an old thread, and it might also be old news; if I correctly recall details of a conversation with Colin Dipper, a few weeks back, Ivor Hyde has now retired from repair work.

Hello Everyone on the Forum. Just a brief mail for everyone who might remember me from 10+ years ago, to say that I'm still in the land of the living, and still playing a bit (mainly Anglo). I've scanned some correspondence over the last day or so; it's good to see some "old" names, but great to see many new ones. Whilst I spend much time training, and racing my bike, I'm still available should anyone need tuition/playing tips in, or near, the Croydon area. I also have a small music & song session at "The Two Brewers", Gloucester Road, Selhurst, where all musicians are welcome (second Tuesday every month, from 8.30 p.m.). Regards, Peter Trimming.