Ken_Coles

We have made arragements to bring a Tedrow anglo, so that is another make covered. Someday I hope we get one with Bob's hands still in the handstraps!

We could do that, but I was thinking of folks who own and play these various makes as a primary instrument. My guess is some of (all of) them would want to _play_ their own instruments most of the weekend rather than leave them on long-term display, so I am just proposing to display them for, say, 15 minutes before and after the Panel. Folks who want to see more can then seek out the identified owners, which happens every year at the Squeeze-In anyway. Of course, if someone volunteers theirs for display (like the Tedrow and Edgley out last year) of course we know you'll accomodate that. I was going to refer to this as a Roundtable instead of a Panel, but the tables i recall there are all rectangular! Since you are on the inside Rich, I'm sure you can get us a good time slot in the barn! Ken

After talking to several makers, Frank E. and Rich M., who will be at the NESI, have volunteered to be part of a panel or forum of concertina makers I proposed to organize. This is to highlight current makers and their instruments rather than the vintage boxes. (What I've called the Second Age of concertina making.) I thought it would also be fun to set out examples for the uninitiated to look at. If these gents bring examples of their own and I have mine, we have Edgley, Morse, Geuns-Wakker, and Kensington covered. If anyone will be there with a Norman/Marcus/Herrington/Tedrow/Connor or any of the top end U.K./German makes or even recent Stagi or Chinese instruments, let us know if you'd like to participate. What I envision is setting up a table (Rich, maybe we can snag the barn for this get together?) before/during/after the hour - not very long in the context of the whole weekend. All systems welcome, we're not just talking anglos here. Bob T. is not coming but if other makers show up (Dana J.? Wally C? John O'S?) we'd love to have them on the panel as well.

OK, great, but don't inspire a disclaimer contest or there won't be room for them all!

It might make sense (with Bob's blessing) to repost the Stagi upgrade pages here on C.net, preceeded by his amusing disclaimers. Let me know Bob!

Granted all that you say Bob, but your idea with buttons in particular was very clever and I have seen it used to great effect, e.g. by Len Rheaume. I still feel it would be of use to folks to see what you did; you could label it "here is something you might want to try on your Stagi even though I wouldn't bother doing it myself." Just a thought. Still, perhaps I'd better revise the reference in my Italian story.

Another route to consider is that Frank Edgley and Bob Tedrow (and possibly others) would make you an accordion-reeded model in Ab/Eb. Might be less costly and faster than searching out a used...I haven't seen many of them here in the U.S. Good luck, concertina players do go for the exotic. Ken Coles (who plays F horn and Bb trumpet)

lildog, Are these workshops you want to teach? If so, you just put them on the board when you arrive. If you want someone to teach them, you need to find a willing teacher and a time slot when they are free. Last year no one had an intro to anglo session down and there were requests for one, so I finally threw one together, although I'm hardly the best teacher for that. It may be interesting this year...I'm not we have ever had so many sessions set up in advance for the few dozen slots...spontaneity is part of the fun, and something tells me there will still be a lot of that too. See you then. Bob, I'm willing to babysit again if no one else has volunteered, write me off bbs. We will miss you at the maker's forum. Ken

I have no idea what instruments I will bring. Something, I'm sure. Probably my Morse and my Kensington (both C/G anglos) and maybe a button box or two to sell off. Oh, and do this old dumb-dumb a favor and reintroduce yourself even if we have met before. Everyone remembers me as the Wizard behind the curtain (or the wicked witch) but all of you are nice so I don't remember you (huh? What did I just say?). Ken in my annual start-of-school haze PS Isn't it fun when Rich Morse says "check with the Button Box?" He's a busy guy, after all!

Two handy diagrams are now available showing the left end and right end of a 48-key English system concertina. These are courtesy of John Nixon (Thank you!), who patiently waited for them to appear here for us to refer to them during many forum discussions. They are not yet linked from other relevant pages, but it was past time I got them put up for folks to refer to, as John intended.

Of course, you could also purchase a Concertina.net shirt or other item, and wear/use it! (Merchandise link at top of this page). End of commercial. As for your suggestion, I'm interested in other reactions from folks here. Perhaps it could be broadened a bit ("connections forum" ?) to include searches for a local teacher or local playing companion when one is already in an area but new to concertina or just new to asking for company.

I also associate Doug with his 2-1/2 row in D/G that he uses for Morris/Sword and for some Quebecois. I will be there, not sure with what instruments yet, though likely with at least one anglo and one 1-row BA (Cajun). If I can get off work (from my new job) Friday, will attend whole weekend, otherwise won't arrive until wee hours of Saturday morning (when the jams are just getting good)! Hope to see/meet many of you.

As many others here will remind us (including Frank himself!), Frank E. lives in Canada. Let us know if that still counts. I usually say "North American" when referred to these makers/repairers collectively. Will a Morse do also? Jim, I recall you as very active on the newsgroup, yes?

Hi all, The reason I've been scarce is I am at the English and American dance week at Pinewoods Camp (run by the [u.S.] Country Dance and Song Society in Plymouth, Massachusetts). I have been rather idle, as I twisted my left ankle pretty hard a couple of hours after arriving here. Not so much to do at a dance week when you can't dance (hence my presence, during this evening's dance, in a phone booth with a computer). I have pulled myself together to take a sword dance class (very new stuff to me) and since it is all stamping on the right foot I am surviving. Today we learned to make the really cool sword lock. Our swords do hit the rafters in the building at times, or us beginners knock each other over (and we haven't even had any beer yet). Since I have so much time and naught to do, I volunteered to help with the run for provisions today. We had $250 contributed to buy libations which we had fun spending. It was more like a 3 stooges movie than a shopping trip. We will comsume it (all, I assume) after the dance ends. The only person I believe squeezers might know (unless you know a lot of dance callers) here is Doug Creighton, and it has been fun to talk to him without the pressure of him having to work. (Well, he is on the teaching staff here, but you know what I mean). He already has three extra instruments given to him to take back to the shop and/or store! Well have fun out there in cyber land, see you in a week maybe. Ken

If we are talking Tuesday the 10th of August, Doug will be away, teaching at Pinewoods English and American Dance week (where I will also be, as a student). I have never seen Rich in the shop, though I expect he does come by. They just moved repair to the new building so they are pretty busy. But Becky and/or Alice should be there, and they have lots of inventory you can squeeze through.

And Len Rheaume is in Phoenix, except that right now he is overseas...he sent me a very interesting story about it (building bridges of trust using music you might say) that I need to post.

We are happy to advise you here, but there are really two issues to address. There are the (usually small) six (or 8 or 12)-sided concertinas of several fingering systems that most of us here play or aspire to play. These designs originated in the British Isles, with other influences, esp. Germany in the case of the anglo concertina. For these there are only three established repair people in North America that spring to mind (disclamer: all are site sponsors), the Button Box, Frank Edgley, and Bob Tedrow. Am I forgetting any shops? if so forgive me folks. House of Musical Traditions in Maryland may do work also, I'm not sure. I know a few people who repair privately for friends but if they wanted to advertise I presume they would let us know. [Note to my friends here: I know I'm generalizing about concertina history!] But if your grandfather's concertina was made is Chicago the odds are better than even that it is a Chemnitzer or related system, larger than our hex jobs, with square ends and up to 72 buttons. These were (and are) popular in German and Polish music, and a cousin, the Bandoneon, is used in parts of South America. For those, a different set of repair shops tend to work on them, but there may be more places to advise you. I've seen Baldoni in Milwaukee working on them (are they still going?), while Star in Chicago is now closed. Faithe Deffner (Minnesota?) is another expert on accordions, perhaps she would know something. Button Box has sold a few over the years; I don't know if they work on them. For concertinas of any system there are not so many well-established repair shops, even for piano accordions they aren't real common. My colleagues will no doubt have more to add. Of course, you're going to learn to play it, aren't you? Welcome to Concertina.net. Edited to add: Brian posted while I was writing this and already covered most of this. So let me just say welcome!

I thought I had seen it in a CD retail catalog somewhere, Elderly maybe? But I checked there and no luck. Maybe our search mavens here can help.

As part of a general realignment of email accounts, I have altered the email address I will use for Concertina.net. If you use the forum system to contact me, everything will work. If you have my old email stored away on your computer, messages sent to that address may bounce (depending on which old address it is). Just come back here and use the forum to contact me. Thanks!

Another thing about this community...it is very polite, but at times our enthusiasm takes over from out training in etiquette. Like my colleagues here asking repeatedly how old someone is!

Tina, A standard first reply, is where are you located? If you tell us, we may have someone nearby who can give you a real evaluation, based on physical examination, which is nearly always necessary. It sounds as if you may have some high-quality instruments, so getting an evaluation and maybe insurance would be wise. Your great-grandfather must have been a serious player! Your Wheatstone 27116 can be looked up in the maker's ledgers; I'll let the experts interpret what you'll find there. Next for you is to start playing! We always encourage new owners to play what they inheirit. Welcome to Concertina.net and xoxo yourself! Ken Assistant bottle-washer

Kurt, your Master's Degree in music from the University of Life Experience is in the mail.

There are actually a lot of them extending back over 100 years. Virtually all of those were German-made low-end 20-button anglos with ganged plates (usually two zinc reedplates per side with 10 reeds in each). More recently the Italians have made similar concertinas though with two reeds per aluminum reedplate. Even more recently Stagi is currently producing Hayden duets which have a mix of parallel and perpendicular reeds. I have one other example. I have a Geuns-Wakker baritone anglo. The four lowest pairs of reeds are mounted on a wood box that extends into the interior of the bellows at an angle somewhat less than 90 degrees from the reed board. The ends are slightly deeper to make room for this. Doug at the BBox opened it up for a look at my invitation and agreed that it was well-executed, with the timbre and volume matching that of the other reeds pretty well.

That's a big question alright. I have owned 5 Lachenals (which may make me a mere dabbler around here) and they vary so much (both original construction and care in the years since) that I cannot generalize beyond what Chris T. has in the concertina faq and Chris Algar's notes on his web site. Judging those boxes on ebay without personal examination is pretty much a shot in the dark. I bought 4 of my 5 from people I know or had met in person so I knew what I was getting and the 5th from a music dealer (not of concertinas, but still willing to take a return). You'll hear lots of other experiences (and some real expertise) on this here. Anyone else?

Yes I was a regular at the People's Pint (but usually couldn't resest the ESB) this past year. Definitely something I will miss about Massachusetts. But I get through there fairly often, and will check that bookstore. Cheers.