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jdms

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Posts posted by jdms

  1. I'll be there starting around midafternoon--my status as backup musician for Pipe Dream Morris means I'll be with them at the Gore Place Sheepshearing Festival in Waltham for the morning, but if fortune smiles upon me, I'll arrive by 3 (when my wife's rapper team does its thing).

  2. Well, from looking at the Facebook page for Les Cornemuses a Miroirs du Limousin (here), I gather that the piece is Italian. The musicians (and possibly the piece) appear to hail from Cassino. There's also the Facebook page for the Festival La Zampgna-Maranola (here), which seems to be where the video was recorded, but (speaking neither French nor Italian) I couldn't glean any further information. No one seems to have posted the title of the tune, though.

  3. Irish: Tolka Polka

     

    I just love this unusual sounding polka. The A part is interesting; the B part gets really cool. And the C part - wow. It's hard to get the rhythm right on the C, but totally worth it. (Some groups just do the A and B parts, and that's OK - it's still a great tune)

     

    And unlike some polkas, it sounds great played slow, as well as fast, IMO.

    Here’s a fast version on multiple instruments, including concertina.

    Gone--the link gives me "video removed by user."

  4. I started playing after I joined a morris side (relatively thick on the ground in the Boston area). After briefly considering a melodeon (neither the fiddle nor the pipe and tabor appealed), I bought a 20-button Hohner, quickly ran up against its limitations and took a drive out to the Button Box, where I found a used Morse Ceili G/D that has served me well ever since (and am slowly increasing my use of the 40-button Wheatstone I obtained from Ben of this forum).

  5. ...I am still somewhat hesitant to have anything replaced on it (ie: valves and pads), that may adversely alter another persons view on its "originality".

     

    No worries there--the value of a concertina lies in its playability and tone, and valves and pads are wear items that are regularly replaced on antique instruments. An analogue would be the tires on an antique car or motorcycle. If you want to drive the vehicle safely for any distance, you need to put new tires on it, and the only collectors who value the old tires are those who prefer their cars/bikes as static displays rather than vehicles (or keep a second set of wheels with new tires on them for road use, wherein the parallel breaks down rather). Anyway, replacing the curled valves and worn pads on your Lachenal (assuming it's done right) will increase its value, not decrease it.

  6. Very well said Stephen. Some find it very easy to defame others without any penalty. A correction is needed here.

    Also, editing. Lots of editing. The ability to spell and the ability to make a decent concertina aren't the same, of course, but "In 2009 I started making concertinas with my nephnew. We origionally started as Goodwood Concertinas" does not make me think attention to detail is a priority.

  7. Jim, I expect to see Lynn a week from Saturday--I'll pass along your greetings (or maybe I'll just drop her a note on Facebook...)

     

    Steve, I had forgotten the Skellig session was happening then. It's well worth it (either the commuter rail fare or the lengthy schlep by bus). I haven't been in a while, but the Skellig is one of many places in the Boston area inspired by Irish pubs; it has a nice selection of beers on tap and a decent menu. The song session usually has the back room to itself. Lynn and Jeff, not to mention many of the session regulars, have a considerable store of songs in their heads.

  8. Non-musical, but still a good thing that's happening (if you, like me, like that sort of thing): NERAX (the New England Real Ale Exhibition, www.nerax.org) is happening in Somerville (on the other side of Cambridge from Boston, reachable by bus or by subway train plus a short walk) 3/26 - 29, so you might be able to catch the first session (or even the second, if you're in town for all of the 27th).

  9.  

    The low F on mine is located where the low G# would normally be.

    I have acquired a 29 button Wheatstone bass (no serial number), with F where the G# should be on the RHS, and C on LHS 2 octaves below middle C.

    Not at all relevant to the discussion, but this reminds me of the "Beyond the Fringe" sketch about WWII, the part where they were preparing for a German invasion by switching signs around (I gather that in real life, they were simply removed):

     

    "We'll put Ipswich where Great Yarmouth was...Great Yarmouth where Lyme Regis was...and Lyme Regis where Great Yarmouth was."

     

    "Arr, that'll fool the Boche!"

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