Paul Read

Because the sound of the concertina goes out of the sides, it's my experience that you have more of a problem hearing the concertina when you play with others because it gets drowned by the other instruments. Of course, everybody else hears your mistakes loud and clear!

The first one I've seen too. It looks like a nice one. Probably needs some work though.

Go for it boys! Perhaps he'll move to Brazil

I was outside in the Toronto cold yesterday when TfMM did the annual border dance out for the "Out of the Cold Programme". My Jeffries came through no problem but my fingers weren't happy during the early part of the day. They did get happier once we were in the pub, however. Overall, I think I was better off than the fiddle player. I agree with the comment about the fingerless gloves. Of course, I couldn't find mine yesterday morning

Ax?

Some of the larger Wheatsones and many from the 1910-1929 period (and probably others) come fitted with wrist straps. As Jim Lucas has pointed out a number of times in the past, these are different to handstraps on an anglo. They sit across the wrist as opposed to just behind the fingers. I personally really like them but some people think they are somewhat restrictive. I would think that in the old concertinas bands when you were marching or playing standing up they would have been extremely welcome. I have had a couple of converted English concertinas pass my way where the thumstraps and finger rests have been replaced by home made handstraps.

No concertinas in sight, but I would vote for Nic Jones' Penguin Eggs. Some magnificent melodeon playing from Tony Rose. On a personal level, my most influencial album was 'The Young May Moon" by Rams Bottom. This had great songs and superb english dance tunes. Keith Kendrick was in the band but I believe he didn't play anglo back then. There is some fine anglo playing on the album but I'm not sure who the player was.

It sounds great Mark. I wasn't into concertinas back then but it's interesting that you say he was the architect of the concertina revival. I've heard comments that he 'basically swept the streets clean of concertinas', possibly almost having the opposite effect. Just to be clear, I'm not making that statement, I'm only repeating hearsay and may well be well off base (and maybe shouldn't repeat hearsay). I would love to hear comments from those who were in the concertina world at the time and find out what was happening then I would have thought that the contributions of the likes of John Kirkpatrick, Alistair Anderson, Tony Rose etc would have played a large part. Maybe even Chris Algar because he was bringing concertinas back into circulation as opposed to stockpiling them.

Boy, c.net is getting good! You just beat me to the punch Malcolm. Perhaps we need co-ordinated overbidding to complete the anti-scam kit.

All the same, if the high bidder was one of us, it would be interesting to know what the follow up is. I'm glad someone (or I hope!) has scammed the scammer.

And that could open up a whole new debate

When you win you can offer to have a friend deliver the cash in Colorado! It will be interesting to see what he does. It looks like he's cancelled your bid. It needs a last minute bid by the looks of it.

Thanks Bill. It sounds like an interesting option, priced in between the accordion/concertina-reedgroupings. It's interesting that the metal ends follow the old Lachenal (and Wheatstone) approach of having a wooden perimeter instead of taking the metal to the edges. I always think that looks very neat. How have the bellows worked in?

I'm not sure you could dance to the tunes the way they play them, but if you want to hear Morris tunes that really rock, try 'Tunes' by Spiers and Boden. I believe at least one of them has been a morris musician. There are some good non-morris English dance tunes on there too.

I was thinking more of a ballpark - do they compete with the Morse/Normans or with the Carroll/Suttners.

What is the price range of these instruments Bill?

Thanks Chris. It lookd like it's already brewed!

I think there has been previous discussion on here about this subject. As I understand it, concertinas were not really the dominant sailor's instrument. For one thing, they wouldn't be very durable in marine conditions. However, given the general low status and financial situation of most mariners, it is likely that the majority of those who did own concertinas would have had anglos. These were generally the common man's instrument. English concertinas were aimed at a more genteel level of society as a drawing room instrument for classical music. I suspect there is an externsive discussion brewing here, however.

Jay, Another remedy if you're wary of bending the levers is to put new, thicker pads on.

I did e-mail him and ask if my friend could come round to look at it. Surprisingly he hasn't responded.

Chris, it isn't just that it was sold to someone else recently. The wording is very specific about him having two concertinas, one in Ireland one at home. I remember it from the last time. If it is the guy who bought it, why has he left the wording unchanged? It also has exactly the same photos. I don't think there is any question about this one. I think if one is convinced it's a scam, it should be raised.

Any relation to Graham Pirt of Cockersdale?

There are a couple of morris tune books by Mallinson (google Mally's and Morris). These have suggested chords

Hi Dan, I have reported it although I don't know the number either - just the date

It's been suggested to me that ends that are shaped like those on the Crane (with crimped edges) are unlikely to be amateur made due to the difficulty of shaping the metal. However, the ends do look very crude.