blatherskite

Pardon the long winded reply, but the thread just made me realize that without actually trying, we're doing an interesting experiment in Indianapolis that others might be interested in. I'm from the same area as Ken originally, and have found overall similar relaxed attitudes about the music, mostly. Now we have the best (or worst) of both worlds, depending on your viewpoint, a learning session and a real trad session. I think both are awesome. It just sort of happened this way. I don't tell anyone that my session is "traditional". It's more like 'a session where we try to learn Irish music, mostly'. We have many folks who started late in life, a surprising number of classically trained musicians from local orchestras, and a mix of trad and non-trad instruments. I don't care what instruments show up at the session, or if folks bring music. I just explain that if they get used to this, they have to understand they can't just show up at any session and be welcomed. I do provide a printed collection of common tunes, which I encourage people to learn on their own. As the "Mayor of Tune Town", I pick and choose which session etiquette rules to enforce, and then I invent my own: No noodling between tunes, whoever starts the tune sets the tempo, music is ok, trying something new that you are not 100% sure of is ok, playing a tune from earlier in the session is ok, having fun is ok, polkas are ok, singing is ok, 5-string banjos are ok, remember to tip the bartender, if anyone is out of tune they get to call for a pause in the proceedings to get tuned again, everyone gets a turn to call a tune or set for the first half of the session, then it's a free-for-all. The other session in town is much more trad, much more focused with musicians that have been playing much much longer. For all the talk about session rules I really have to say that I do understand what they are trying to promote/preserve. I have been to sessions that were completely mind blowing experiences, and you don't get that without some focus. So what happens here is that we get the beginners, who for the most part eventually learn to lose the sheet music and listen better. We now occasionally sound completely awesome, hammered dulcimers and double bass included. Eventually some of the better players 'graduate' to the other session, which is fine. Makes me feel like the idea is working. Different members have spawned at least 3 other performing groups. So rather than beating newbies with the rule book, I let them figure out on their own how little the music book is really going to help them, and why that is. Why 5 bodhrans may not be a good idea, and why you don't want to trust my crummy musical notation skills... regards ed

I've used a Microvox for years, and it has worked fine for me with a few caveats. Big plus on portability, definitely better than 1 normal mic, highly recommend the customer support folks, sound isn't as spectacular as a regular mic, but it's absolutely good enough. About 10 years ago I sent it back because something had come loose and they totally rebuilt it for free. Unbelievable. I recommend them. Not being a hardware guy, there are times when the soundman can't get much volume out of it, even when I have it turned up. I sent it back to the Microvox folks (who are excellent by the way), and they tested it and certified it ok. So I went and got myself a little mini tube amp which I go through on the way to the sound board, and that seems to help, but now I'm dealing with a hum that some sounds guys can fix and some cannot. The other thing is that I absolutely must remember to tell the sound guy to turn down my channel all the way if I plan on turning the microvox on or off. If I don't, I treat everyone within earshot to a sound akin to a lightning bolt striking next to your head. Unfortunately if there is any stray noise or oddness in the sound system, all eyes immediately turn to the concertina player. The absolute best sound I've ever heard come out of my concertina (currently a Morse English), was when I was seated in front of 2 high quality condenser mics on a T shaped stand so they were positioned perfectly on either side, and the sound guy used a compressor. There was little mechanical noise, and the fact that every note spoke equally (volume-wise) was a real treat. I'd never heard it sound so good, it was really exciting to hear. I'm not sure even when you're not mic'd that there is not some variation in volume caused by where your hands are, but boy, a compressor is the next thing I'm going to buy. ed

Hi, I'm just north of Indy (Noblesville). Contact me directly and I'll see if I can help. I play English concertina and button accordion and may be able to get you connected. Ed delaney<dot>ed<at>gmail.com

Hi there. Some time ago I had the same thought about the tapes, a neat treasure that should not be lost. I contacted many of the musicians who submitted material for the tapes and with general approval got the ok to share the tapes in digital form. The International Concertina Association is kindly hosting them at their ICA Sound Archives The magazines themselves are another treasure and I think you should find some interest in them. Cheers, ed

Hey, Welcome to Indiana! I live just north of Indy, so here are some additional bits of info. You'd find all this out soon enough but anyhow. Bloomington is great, for reasons others have said. (The Dali Lama's brother used to teach there, and started a wonderful Tibetan Buddhist center) Years ago I tried to start a Morris side in Richmond, and invited some folks from B-town to help us out, not sure if they still are dancing, but there is some Morris history there. Besides the Old-Time scene and the Irish session there, there are 2 and soon possibly a third Irish session in Indy, which is only a bit over an hour away. Bloomington musicians regularly make the trek. You're really going to like it there, Hoosiers are really friendly people. Let me know when you get settled, I think the number of button accordion players in the state can probably be counted on your fingers. Ed

As a long time English concertina player I have never had time nor opportunity to explore any type of anglo concertina up close. Since I do play Irish B/C accordion I figured I would take the opportunity when it arose. Well, a friend loaned me an old beater Bastari he said was a D/G. I'm looking at all the fingering charts I can find online, and this is a little odd. While most of the main buttons match up, there are some extras. Can someone tell me what this is? Left Right in B E G# E Eb C# | Bb G# E Eb G# C G out C F Bb D F G# | G# Bb D F Bb E A in G D G B D F | C G B D G B out D F# A C E G# | D F# A C E F# in F# A D F# A C | F D F# A D F# out G* C# E G B Eb | Eb C# E G B C# in G! | A C# out G! | E B * Yes, that's a G on the out of the near lower left button (seems the Wheatstone layouts say it should be an A) ! and a G on both directions of the near upper left button. Thanks for any clue, ed - A clueless English Concertina player

Hello all, You can add me Ed Delaney (USA) to the list of EC who mainly play ITM. I got here via a long circuitous route through years of playing for contra dances, and now host an Irish session in Carmel IN. I've never been turned away or looked down on in any Irish session I've attended, but I do totally understand what people are referring to when they talk about 'bounce' and other sonic phenomena produced by the different instruments. When I win the lotto I'm surely going to add an Anglo to the list of other non EC instruments I half play :-) I personally love playing for dances (not just contra), and really think that it grounds you more than just playing in sessions alone, and if used as a guide for what works and what doesn't, clearly either style works. I stick with EC because I've played it for 40 years, and because I can do a credible enough job on ITM to fit in. I know my limits and the limits of my instrument, and just follow it wherever it leads me. I don't know if others would say I'm 'In' or 'Out' of the tradition, I'll leave that to them, but I feel like it's allowed me to introduce lots of people to ITM who then learn enough on their instrument (box,whistle,fiddle or whatever) to decide just how far, or how traditional they want to get. I'd also like to mention Ken Sweeney, who did a workshop at the Northeast Squeeze-In on how to play EC in a more Anglo style. He really did a great job, and opened my eyes to not only new possibilities on the EC, but also to what the essential and most attractive sounds the Anglo makes naturally really are. ed

Trying to get all the words to this song from the C&S reader's tape here: It's a Beautiful Day This is what I have so far as best as I can make it out. I can't find any other online source of lyrics. Maybe some others out there can make out more of the words? Thanks for any help you can provide! ed It's a Beautiful Day Charles O'Heagarty There's all sorts of people who people this earth. Some people judge people by what they are worth. Some people hate people and that's really the worst, for we're really not so different as we might seem at first. Chorus: But there's one thing in common and I really must say, We're all happy when the sun shines and it's a beautiful day. and there's one thing in common and I really must say, We're all happy when the sun shines and it's a beautiful day. There's dog walkers, feet? talkers, gold buyers and old flyers ice sellers, and nice fellers?, tug boaters, smug? bolters?, roast? chanters?, ? chanters? city slickers and guitar pickers dizzy worriers and busy furriers and men who hang around all day long and don't do much all There's faith healers and safe stealers, bar tenders and car benders pawn brokers and pot smokers, red haters and head waiters beer drinkers and clear thinkers ?? and lowly rollers rock and rollers and save your soulers and men who stuff hard boiled eggs into their mouths to get their name in the guiness book or records now there's straw? linters?, shaw? shooters, patent? twirlers?, batten? furlers?, moneylenders and funny spenders, ??ing meters and pigeon feeders, pop singers and club singers, vandalizers, scanalizers, aristotleists and whiskey bottleists, and men who try to play the squeezebox with strange sounding songs on this tape

Here's my perspective on Tradition vs Innovation from Indiana, not an area that is known for a strong Irish music tradition. I'm only throwing out these thoughts because I'm so impressed that this thread has not turned harsh. Really folks, kudos to all. I'm the informal leader of a fairly new 'Irish' session at a local pub here in central Indana. I've come from years of playing for contra dances, where live music is the rule. When it comes to choosing tunes, sets and arrangements, well, the dance rules. If it doesn't fit the dance, it gets the boot, if it makes the dancers clap and whoop and stop and flirt, it stays. Period. We've tossed hundreds of tunes that we loved, after we saw it takes the wind out of the dancer's sails. It means you can play straight up traditional Irish tunes, Old Timey American tunes, or, as we did once, theme songs to old television shows, Christmas carols, or Klezmer tunes, as long as it generates smiles and sweat. Here at our little session, we orbit around a bright distant star that keeps us warm, and sheds some light for us. The light is traditional Irish music. We're grateful for the generations of folks that keep that fire burning, and we pray our our ability to truly appreciate it grows every time we attempt to play. We also know we're too far away, to ever really get there. We're lucky to have two sessions in town. The other session is a first class traditional session at one of the oldest Irish pubs in town. Ours is a motley crew of guitars, a few filddles, me on English concertina, 2 bodrhans, an upright bass, an occasional cello, a ukelele, a tenor banjo, 2 mandolins, 2 flutes, (and some of those whistles made out of PVC pipe) and probably anything else that might walk through the door. I don't really care. We also don't call ourselves traditional anything, or if we do, we mean it in the sense that . We're musically and emotionally and skill wise too far from the mothership not to be influenced by absolutely everything nearby. What I can say however, is that we all figuratively turn our chairs toward Ireland and bend our ears to the tradition, warm our feet by the fire. This doesn't stop us discovering that we could play the Liberty Bell March and make Monty Python jokes between attempts at Lady Ann Montgomery or Jackie Coleman's. Probably 1/3 of our tunes would be considered 'standard' American fiddle tunes like Whiskey Before Breakfast, St. Annes Reel etc. We play them because the people that come through the door with an instrument know them, and smile like kids when they get to play them in a group, and it turns out our hostess is happy to give us a few free rounds to keep up the racket. If it 'works' we keep doing it. If I want things to be really traditional, then I tell 80% of the musicians to stay home. So, I'm feeling like my place is at the front door, or possibly out on the street, making sure passers by feel welcome, holding the door open, helping them find a chair, feed their curiosity and desire to learn more, and make sure they understand enough that someday when they hear some of the exceptional traditional musicians out there, that they really do 'get' it. Oh, and make sure everyone keeps their foot tapping. I guess what I'm saying is that I'm glad there folks with strong feelings on both sides, but there are folks like us that are far enough away to just enjoy the light :-)

Hi All, I think the mixup on some of the links may be my doing. While I did scan the liner notes, I had to manually create each link and match them to the sound files, since as you know, the analog tape doesn't have any metadata like a CD does. I'd say we should just correct the text as much as possible so it works, and just provide scans of the original liner notes for the historical record. ed

Don't mind a bit, it would be great if the ICA kept copies! Actually, does the ICA have a physical archive, and would you be interested in the originals? As far as copying them, well, all the ones that were already on 8x11 paper I just photocopied and then scanned the photocopies. I didn't want to try to run originals through my cheapie scanner. About 1/2 of them were on the larger format paper, I guess it's standard paper for orchestral music. These I took to the local office supply box store, with a $10 photocopying coupon I had, and reduced them to 8x11, all the while being entertained by a curious gentleman in bicycling gear who was photocopying model airplane wing patterns to send to someone who was going to build a model racing plane...but I digress... The only magic was that some pages had writing on them from the very top to the very bottom, and were too big to copy and reduce in one pass. So I copied them in two passes, scanned both pages, and used the photomerge tool in Adobe Photoshop Essentials to assemble a single image. Enjoy! ed

Hi everyone, I just finished scanning a collection of music I had recieved years ago when I purchased my concertina. You can see the images on my Picasa web album Here's the description I put with it. "Many years ago I purchased an English Concertina, and along with the squeeze box came a stack of music. I had not paid any attention to it over the years, until just recently. You can learn more about Boris and the Matusewitch family in this online essay: http://www.ksanti.net/free-reed/essays/matusewitch.html. I recently contacted his son Eric who graciously gave permission to distribute this material. Since I don't really read music well, I have not been able to play much of this music. Though it certainly is great incentive to! I would be most interested for others who can read music to share and enjoy this collection!" And it would be fabulous of someone could record it and let me hear what it sounds like! cheers, Ed

I've gone ahead and listed my concertina on eBay. Cheers! ed

Hey everyone, I'm also selling my accordion and I thought this group my be interested. If you know of any other place it would make sense to advertise this box, please let me know! Saltarelle Nuage B/C box Ed

Hello everytone, Ok, my concertina is officially for sale. You can find all the particulars here I would like offer it directly to Cnet users first and avoid eBay if I can, but will list it there if everyone here has all the concertinas they need. Minimum offer is $2200 US. Please email me directly for more information or to make an offer. I'll take offers until end of day Sunday March 8th. I can accept money orders or paypal. Buyer to pay shipping and insurance and paypal fees if we go that route. I would prefer not to have to ship overseas, but I'm open to negotiation on the topic. cheers ed

Eeek! I had just finished reading a long article about concertinas and had Tenor Treble on the brain. Sorry! It's an Extended Treble. thanks for the clarification! ed

Oh no, I've played English concertina since I was 17, when I got an old Lachenal from a buddy in high school (The one before Ken's) who didn't know what it was and need $10 for a bagpipe chanter. Despite my herculean efforts to get good on the Irish B/C box, I'll never be that good on anything but the concertina. This concertina model is the "Aeola", tenor treble. That is, the range extends up to the high end. ed

I will be selling my 56 Key Wheatstone English Concertina sometime in the coming months and wanted to give c-net readers a first look in case you need time to buy something especially nice for your spouse before you buy yourself yet another concertina. More information, pics and sound If you have questions either post them here or email me at the address on the web page cheers! ed

Sorry folks, my ISP (Insight) managed to set the file protection on all my files so I could no longer edit/delete files. So their solution? DELETE EVERYTHING. Brilliant. Anyhow, I'm putting the Reader's Tapes back up, you should be able to access them at http://home.insightbb.com/~otter256/c_and_s/ cheers, ed

Thanks to Daniel Hersh for sending me the liner notes for the Original Reader's Tape! I have updated the link to include this missing information. http://home.insightbb.com/~otter256/c_and_s/index.htm Ed

There are still problems on the Son Of... tracks, the first set of tracks are either cut incorrectly, or the liner notes are incorrect. I know the first track is the first on my tape, but it's not Mississippi Blues, the second track is. Any help identifying from the audio which tracks are which would be appreciated. I think start with track 12 and on we're ok. regards, ed

Hi All, I think I fixed the duplicated links on SonOfReadersTape tracks 15,16, and 17. Give it a go. I have a lead on the liner notes for the OriginalReadersTape- thanks! ed

I did check with George Salley who indicated no problem with making them available. I plan to leave them up until I hear otherwise. Enjoy! ed

Hi, In the process of trying to rescue my old cassette tape collection, I ran accross my set of C&S Readers Tapes, so I threw them into the pile and got them digitized. I put them up on a web page for you listening pleasure. If I can find the server space, I'll post the tapes as zip files, but for now, each track is separate. Have fun! ed