Ken_Coles
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Posts posted by Ken_Coles
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I did many a bluegrass jam in the State of Indiana (where I lived for years, as that's about the only kind jam around where I was) and they were indeed nice, though I always played my fiddle (as a beginner) and never sprang concertina on them (fiddlers were scarce, and up to 11 dreadnought guitars out of 20 musicians. Boom boom boom). They were comparable to tolerant Irish players: just observe the genre, or be willing to learn about it, and you're in.
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The usual question: Your profile doesn't say where are located. Where are you located?
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Well, Chris used to have Connor do something similar for him in years past...I don't know if that arrangement is still in place or if this one replaces it. Chris generally doesn't spend a lot of time revising his Web site; he just buys and sells concertinas (My impression, anyway!)
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OK, thanks. I would be free the second week of March (when you met last year) but not in April, so have fun!
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I was curious if anything was planned for a repeat of the SESI; a short search of the archives didn't turn up any notes on this. Thanks.
Ken
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In the circles I used to run in, UCL could be University College London. But that was geologists, not concertina players.
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I hate when that happens.
It is baffling. But it is one thing the software here lets us edit (and this is one of the few things I am useful for), so I fixed it. (I hope)
Your comments on anglo are interesting and very apt. The layout does make it hard to explain to new players how you pick up a tune by ear. I'm left with telling people it is a combination of developing the ear to hear modes and degrees of the scale (years of experience on other instruments has been a big help) and endlessly practicing scales (which for me has been the key to playing other instruments).
As for English, in some ways I've found it easier to figure out music by ear than anglo was. Most of the time, if the interval is a third or a fifth, the button is on the same side. If it is a second, the button is on the other side. These intervals cover much of what constitutes (for example, Irish) traditional music. At least, I think that is what my brain is doing subconsciously. Again this also relies on substantial scale practice as well.
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Now Jim, you did tell our friends to post your Limericks!
Moving one or two posts isn't hard, but reorganizing whole threads is time I should spend on the enormous "in" box here at Concertina Central (which I might actually get to today). I guess public conversations tend to be a little chaotic, especially when they involve lots of intelligent people like we have here.
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For you first-timers, the schedule was a little atypical this year. Because it was so wet (over 3 inches/8 cm rain from that storm) no or few events were held in the tent, big gazebo, on the various lawns, etc. The other four times I've attended there were 5-7 choices in each hour rather than 3. That might affect your impresson.
In fact, for five years (I think) a major week-long anglo school was held at Bucksteep just before the SI. It ended (moving to the summer in other locations) due to schedule considerations for the teacher and the desire to hit multiple parts of the country. My own job (teaching) no longer allows me days off in September, but back then it did, and I enjoyed it. There are underserved student markets in the U.S. (I content that playing English Conc. is one of them). Maybe someone other than the BBox should/could step up to pursue this possibility and take the financial chances.
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It would also stop the general discussion forum being swamped by postings about things that some of us can't get to because we are on the other side of the world.
Based on experience, I'm inclined to agree with Jim. I believe we can set up a credible subforum aimed specifically at impending and recent moves and travel by people who want to meet other concertinists or find a teacher. But discussion of big events like weekends and regular meetings are hard to parse out and can live in the General area. When a thread about an event not on my side of the world gets to 3 or 4 pages I learn to recognize the title of the thread and don't reread it if it is not of interest. I suggest we consider this approach.
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Hi gang,
Yes, the Squeeze-in was great as usual!
I enjoyed meeting & playing tunes with all you concertina fanatics.
Britt
Hi Britt! Did you sell your accordion? If I weren't broke I would have bought it. Never enough instruments, I say.
It was fun meeting Perry. He was a sax player in former times, from the same state as my sax-playing jazz teacher in LA, Gary Foster. But Perry, it turns out Gary went to Kans. State, not Wichita State. Sorry for the mixup. Could have fooled me, Gary even looks like you!
Hope to be there next year.
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Well call him and tell him I sent you! (505)-356-4692 Steve Durand
He kidnapped his mother this summer and took her from a hospital in Indiana (the state, that is, not the PA town I live in now) to convalesce in Portales and she seems to like it. Hope you do too. Me, I'm hunting up music in Pittsburgh.
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You all will agree Bob did us a great turn sending four of his instruments to the Squeeze-In (and I'll take some credit for transporting them -- I had nine concertinas on the way home, and could hardly make myself use the restroom. All told they were worth more than that car was when it was new!). I did get a little extra playing time with them when I got home and I think they're great. The octagonal looks just as great as I thought, and the gold stamping and the bellows papers.
Let's pay Bob back by giving him some reactions. Allison, you used the baritone in the concert, yes? I saw Howie L. lingering about, and some of the rest of you. Post it here, or send to Bob offline. Thanks.
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Anyone get a chance to play one of my concertinas?
Bob
Bob, I was about to start a thread asking about this, shall we move it there? I'll try it.
Ken
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Did anyone record the concert?
Al
I have the concertina band on my minidisk...such a noise, er sound. I was sitting in the baritone section, so they are too loud compared to the trebles.
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I know it is in one of the Mallinson Irish books I have. I'll try to remember to look. I have an interesting story I can tell you about it some time.
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C.netters Group photo from the Squeeze-In. We're all having a great time here. Everyone say "Accordion"
From left to right
Front row: Michael Reed, lildogturpy, bellowbelle, Animaterra, Dave Barnert
Second row: Ken Coles, Jim Besser, Richard Morse, Perry Werner, Jay Lamsa
Third row: Kurt Braun, Doug Barr,
Picture right at the back: Doug , Bruce Boysen, Sean Minnie
Howie Leifer tells me that is him peeking out behind Sean Minnie (see the grin?).
Chere Heppe is also visible in back, near the lodge door.
Doug...which Doug? That's not Doug Criegton, I don't think he made it out on the porch. There were several cameras and several shots, including some where everyone _was_ facing the camera, and many of us (including me!) were smiling. Anybody have one of those?
Will write more later, need to rest up for work Monday. Great time, worth the 20+ hours on the road for 42 hours of squeezin' company.
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A fascinating topic. As someone who primarily plays anglo, I'm considering what to keep because two instruments I ordered long ago are being completed this year. For example, how to choose between two similar instruments of the same make and layout? I am sure I will keep only one (they are Rosewood/bone Lachenal anglos in C/G). When I record my self or close my eyes, the tone is very similar. I'm not sure I could identify them on a recording, one from the other. But one is clearly more responsive, and I had the reed set adjusted on each one once already. Do some have better sets of reeds than others? Maybe they do. Frank E. has said so.
And last night I compared the Tedrow baritone I have on loan with the Geuns-Wakker baritone Bob sold me a while back. Both are responsive and superbly made, but the tone is different. The Geuns I might call nasal, while the Tedrow is more reedy. This would come down to what you prefer, which is what Chris Timson told us long ago in the concertina.faq.
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While playing four lovely Tedrows here (they are great, Bob's work continues to get better and better, like all the makers) instead of grading papers, I wondered where they would weigh in, so to speak. And all the concertinas at our proposed maker's forum.
Can any of you bring a letter scale or barring that, a kitchen scale to the Squeeze-In so we can check them. Rich? Anyone else?
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Maybe I'll just have to come over and do a first person report! I'd like to meet a bunch of you folks as well (as we all would, I'm sure!).
Ken
Off to try the four Tedrows that appeared in a huge box a few hours ago, after a too long day at work!
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This is a Hohner HA-114 model, the black version ("Cajun"), in C with 10 treble buttons, 4 stops (LMMH) and 2 spoon basses. I bought it in early 1998 to learn on. Back then the Chinese-made Ariettes were pretty bad, and this one (though some or all of it was probably also Asian-made) was clearly better. The tuning is a little wetter than the Louisiana makers use, but the sound is favored by some for zydeco. Very small and light compared to the modern Cajun boxes.
I am playing my Savoy Acadian most of the time, and I need to thin out my instrument stash (some concertinas will follow!). I'd be happy to use escrow dot com if the buyer pays the fees. I have a decent wood case I made myself. U.S. $425 without the case, $450 with. You pay shipping, or inspect and/or purchase at the Northeast Squeeze-In!
I don't have a photo, but here is one "borrowed" from Elderly of a very similar box currently for sale (for a similar price). Mine has black bellows and black bellows edges.
Ken Coles
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Every single time I've been through a U.S. airport in the last two years they opened the concertina case (I'm not allowed to touch it) and then immediately said, "Oh that's fine." Maybe a Morse has a different x-ray pattern?
We seem to have drifted to related matters, but after seeing the custom name tags again, it occurred to me to ask myself if I should make one and/or illustrate it here. No, I'm sure you'll know me. I'll be the only one there with one or two button accordions and ... EIGHT concertinas (thanks to Mr. Tedrow and a newly repaired one I'll be picking up from the Button Box folks). It would be nine, but I think I can maybe leave my Morse at home as we'll have other examples of that one!
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I wonder if others were as interested as me to see and read these details and to take this further would anyone be interested in details of UK festivals and sessions etc ? If you are interested many of us in the UK would be pleased to fill in the details and paint the picture like you have for me.
Al
Back when I did the first edition of the North America Summer School (see link from C.net home page) list I made an inquiry on the old forum system (I think) stating I would love to see a parallel document for the U.K. and/or Eire...either general or with annual details about teachers etc. One day soon I will come over to visit, and I have no idea which week/weekend to come for (though Witney is unlikely, bad time to get away for me).
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OK, Bob, will look after them!
Bluegrass, A Whole New World
in General Concertina Discussion
Posted
This is exactly how I started out on anglo, playing open fifths and the like, from 1992 to 1996 on the big red, 20-button box pictured in the "Italian discovery" article (linked on the home page). The jam I went to was mostly old-time and dance tunes, but there was a little bluegrass. Knowing where all those notes are still comes in handy. The jam I went to tends to stick to standard keys; some bluegrassers I've played with will capo into Bb or B since A is too low and C is too high for them to sing. You'll learn your keys in that case!