Dave Prebble
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Posts posted by Dave Prebble
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The attached photograph shows the bleak weather than can be experienced in Bradfield in August!!The scene is from a Sunday afternoon at a previous Bradfield Traditional Music Weekend.
It was so bleak I had to keep seeking shelter in the barn......where the row of beer barrels were lined up
count me in Mark !
Dave
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Hi Roy,
Have you any recommendations as to type of flux and solder ?
I have used whatever came to hand in the past - with predictably 'mixed results'
Dave
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It is interesting that this topic has re-emerged and I thank everyone who has given me encouragement.
Hi again Nanette,
As you must have guessed, I replied thinking this was a recent thread.
I am so pleased to hear good news of your progres, this has quite brightened my day.
I missed your thread altogether first time round but, having checked the date of your original posting, I feel I have a good alibi.
On that very day last year I was on the operating table having major surgery to re-construct my innards...... the start of my long recovery too .....spooky or what ?
May you continue to improve by the day.
Onwards and upwards
Best wishes
Dave
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Hi Nanette,
So sorry to hear of your problems but I am pleased to see that you have already taken a
huge, huge step to recovery when you picked up the concertina and started playing
again and so soon after your stroke. I congratulate you !
It is great that you are able to focus on the positive and I think you are so lucky to have such an addictive passion as the concertina to spur you on.
When I met up with Chris some while after his stroke, the only thing that came across to me
as being stronger than his intense frustration at not being able to play as he could before, was his absolute determination to find ways to re-learn, to capitalise on what he was able to do and thus to steadily get 'topside' of the problem.
As I am sure he will tell you, his has neither been an easy road, nor a short one, but I am quite sure the effort he has put into the journey has made a major contribution towards the speed and extent of his recovery.
You will have to learn to be patient and forgiving of yourself for the setbacks and shortfalls in progress that you will inevitably encounter, but most importantly, take time to celebrate each and every tiny, but positive, step forward. Take courage from what you have achieved to-date and don't be frightened or discouraged by what is yet to be done.
Luckily my illness did not affect my ability to play as such, though for for several months I was fed industrial strength painkillers in quantities sufficient to stop a charging Rhino in its tracks and this, along with the illness itself, took quite a significant toll in terms of my short term memory.
My ability to play tunes that I already know is totaly unaffected (I still run well on autopilot - trained by years of boozy sessions I suspect) but learning new tunes is a different matter.
I found I could sit for ages working on a new tune only to find that next day I could not recall the tune, never mind what I had learned, and have to start again from scratch.
For far too long, I took the easy option and just played what I was comfortable with but this is no way to move forward.
I have found that tackling the problem head on is best. I have recently made conscious efforts to work mainly on new tunes and on sorting out and endlessly practising quite complex fingering alternatives that I have never used before.
[btw I never cease to be astonished by the amazing levels of patience and tolerance exercised by my good wife... ]
This approach does need a degree of self discipline (something I am not reknowned for ) but I am convinced that it stimulates the brain to do some real hard work and thus to get 'fitter' and to re-establish 'communications' with the fingers.
I do wonder if perhaps trying too soon to play tunes you played before serves in part to increase your current frustration when you hit difficulties as, inevitably you will be mentally comparing what you can do now with how you played before.
As others have suggested to you, set yourself some repetition exercises that will help with common movements and patterns. I have found this most helpful. This policy, along with learning a few new tunes from scratch and completely re-jigging fingering patterns for 'old' tunes has allowed me to make slow but sure progress both on the concertina and with my memory difficulties.
Whilst our problems are not the same, I do hope that the above will give you some encouragementt and perhaps, 'food for though'
Love and best wishes from one who knows, first hand, the enormous value of the friendship and support that the kind folks here are always so happy to give.
Dave
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Dick, what experimental setup did you use for gathering your data? Anything like Dave Prebble's?
Hi Jim
Always have thought this forum would benefit from a 'scuba smilie'
Dave
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Thanks for the info Wes
Certainly explains why pre WW1 Wheatstone Anglos are as rare as hens teeth
Such a shame Old Man Chidley didn't take early retirement
Dave
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Of course this brings around the other perennial topic of "what made Jeffries concertinas special?" The reeds, the reedframes, the reedpan, the materials?
The Player ??
Dave
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I do wonder about these "fake" Jeffries, as mentioned by Peter. I have handled a fairl number of concertinas over the years and I cannot honestly say that I have ever seen a so-called Jeffries that had any evidence of false labelling, but I have heard many stories about them.
Apocryphal???
Anyone with any first hand knowledge?
MC
Hi Malcolm,
I have come across at least two outright fakes and another that I am convinced was a fake but was unable to inspect properly.
With any luck there will be a photo below of a crudely cut 'Jeffries' endplate stamped C Jeffries. It is very obviously not original based on the fretwork alone....that is before we consider the fact that it is made of aluminium
)The ends were , I am sure, not of recent manufacture so I would suggest that such faking is not a new idea. I must confess to a certain sympathy to any attempts to 'ripping off' or hoodwinking a Pawnbroker
This concertina was given to me as a 'bag of bits' a few of which were salvageable but I have kept the ends as curiosities.
I came across a much better fretworked example in Ireland a few years ago. That one was stamped C.Jeffries as well, though this time in the usual position and in a similar style though slightly larger font.The instrument just did not look quite right and I asked to try it... it did not feel or play right either. The owner had recently paid £3000 for it and was absolutely delighted and proud as Punch of his 'bargain'.
In a session that evening, his instrument inhaled a speck of rubbish which jammed a reed. I offered to whip the end off and remedy the same and... lo and Behold.... a radial reedpan full of Wheatstone rivetted reeds....... I simply did not have the heart to break the news to him.
The pint he bought me had a sour taste I can tell you!
The third 'dodgy item bore a full Jeffries Cartouche which seemed accurate but just looked far too crisp. The quality of fretwork was definately lacking and the ends looked 50 years newer than the rest of the instrument. True it is only a gut feeling but those who know me will confirm that I have quite some 'gut' and have handled a very considerable number of Jeffries concertinas over the last 25 or so years. It is a worry though that such a modern day fake punch might well be in use out there and someone somewhere will be taken for an expensive ride.
Like you I have heard many tales of such fakes and a fair proportion of these from folks I know and trust. I suspect there are quite a few dotted round.
As to the question of how many were made I wouldn't like to guess. All I will say is that I am constantly amazed at the number that have appeared from attics and boxrooms as prices have risen over the years. Unscientific I know, but I have seen far, far more Jeffries instruments than top end Wheatstone Anglos in sessions over the years - So how many Wheatstone anglos were made ?
Regards to all
Dave
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Happy Christmas season to all
..... and for me at least, I'm glad to report, a HEALTHY boxing day
All the best for the new year
Dave
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what do you do with old inexpencive Lachenals? Throw them away?
Put 'em all in a shipping container and send 'em to me ... they'll be in safe hands
Dave
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Hi Caj,
A good grade chamois leather was by far the commonest material used.
It is relatively cheap and easier to obtain than split soft skins
It is tough material and pretty forgiving to work with so I would suggest you stick with that.
Just a tip......
when you come to fit the chamois skirt, only glue it initially to the top edge. ie the bit of the bellows frame that butts onto the action board. When this is thoroughly dry you can push the skirt inside the bellows, 'mould' it to the corners, trim to an even depth and trial fit the reed pan.
This way allows you to lift the skirt (beggin' the Ladies' pardon) and pack behind with thin material to get a perfect fit with the pan.
I would also recommend that you use a reversible glue such as liquid hide glue or a good quality gum as this is easily reversible and any mistakes can be easily remedied.
Hope this is of use
Dave
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a I guessed - this old technophobe failed at the first attempt
Ding Ding.....round two
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Hi everyone,
I am putting up a rather nice 20 key C/G Lachenal for sale here.
Provided I have managed to upload the pictures, you will see that this is a little out of the ordinary.
When I got this instrument the ends were damaged beyond restoration but as it had a lovely bright set of steel reeds, I dug out a piece of walnut and indulged myself in a spot of fretwork cutting. You must judge the results for yourself but I can guarantee this is the only Lachenal in existence looking quite like this.
Following minor repairs, the bellows have been completely rebound and new papers fitted to match the originals.
A full overhaul includes new pads, valves, bushings, dampers, springs and retuning from old pitch to A440
The instrument plays quick and well, has a fine bright tone and will provide a great starting point for a new player or as an upgrade for somone more experienced.
No case unfortunately, but this realy deserves better than the old Lachenal wooden cases
Send an email or message me if you might be interested or need any further information.
Additional pictures are available on request
Regards to all
Dave Prebble
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Nice photo of you, Pete, was that taken at 7am, Sunday morning in Grinton Lodge?
I still don't remember playing a huge accordion at the April Gringley session. Mark must have had a bad dream.
I remember it well ........ gave me nightmares for a week !
Dave
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WARNING
Wurlitzer Bellows can seriously damage your health.
Keep mouth shut and tongue in at all times whilst operating this instrument
Dave
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Hi Samantha,
I look forward to broadening your education
Dave
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Hi Samantha,
With fair luck and a following wind, I hope to be attending and will probably travel up with Pete Dickey
Cheers
Dave
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Hi to everyone,
I see Pete Dickey has gone and embarrassed me again....Hmmmm...Time to levy the 'free beer tax', methinks
Thank you everyone for all your greetings, messages and emails....much appreciated and enjoyed!
I think it is true to say that, a few months ago, I was viewing this fast approaching 'halfway point' in life with a good deal of trepidation and certainly, with no great relish.
My recent 'close call' has changed my outlook on life somewhat and I can now say that I am truly joyful to have made it this far and am delighted to report that I feel stronger, healthier and, dare I say 'younger' than I have for some years
I have been pushing at the boundaries a bit just lately and been doing far, far more than is really good for me but against all the odds (and despite a few scares) I seem to be holding together well and getting stronger by the day.
Thanks for your cake Bellowbelle...... i must admit I am a little afraid it might
explode !
Would you mind awfully If I asked you to cut it for me while I hide behind this steel blast door ?
Poor Old Jeff !
I fear it may be your grey cells and not Mark's that are under attack by senility,
You appear to have just replied to his post of the 21st *April*
Still, look on the bright side mate.....the condition does not seem to be affecting your concertina playing abilities and with any luck, you will very soon forget what an accordion is, never mind remembering to bring it to sessions
Thanks again everyone for your kind greetings and I look forward to seeing you all either here or in the flesh very soon
Regards
Dave
PS Jeff, as for the picture in your posting and the 'click to enlarge' button..... I think I shall decline the invitation.... my nerves are not that robust just yet
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Hi Des,
Sorry not to have replied earlier.
The main point I wished to get across in my earlier post is that, whatever the make of the instrument, caution must be exercised in buying 'blind' on ebay.
The need for such caution is, to my mind increased considerably if the instrument has "unusual" features for the make in question or to a practised eye simply just does not 'look right' and of course concerns will increase in direct proportion to the bidding price.
The fact that I have handled a considerable number of Jeffries and Crabb (Or if you prefer Crabb/Jeffries
) Instruments over the last 30 years and not come across one marked only on the left hand side would, from my point of view count as unusual and warrant further inspection. I certainly did not mean this to read as 'if it is only stamped on the LHS then it must be a fake' . It could be that it was the makers original intention to stamp it on the left, who knows? I can certainly visualise the situation that, in Old Charlie's workshop on a friday aftenoon after a quick pint (or perhaps tired and working into the early hours), that the wrong end might be stamped in error. It certainly makes it no less a Jeffries (or is that Crabb?) and would certainly not have warranted discarding the endplate.
If the error was noticed when the punch was still in his hand, then the other endplate, would probably have been stamped too without a second thought.
There clearly are folks out there with sufficient financial clout to take risks with such instruments and thus maintain such prices on ebay. It seems that the Buyer lives in the UK, and were in his shoes, I would have most certainly made a trip to view before committing to bids of that order of magnitude.
The point has also rightly been made that, irrespective of make and whether or not the instrument is genuine, some of these concertinas have seen better days. Some are just so worn out / filed to bits and otherwise abused that a half decent mahogany ended Lachenal would yield better results for a fraction of the price.
As for Owners of Crabbs / Jeffries of this era being frightened by such comments, I would hope not.
There is far too much made of the 'Jeffries' name stamped on an instrument and arguments about who actually made them, while certainly interesting, are of secondary concern to me when buying an instrument. The crux of the matter and the 'decider' for me is how an instrument plays and sounds.
Perhaps this 'name' phenomenon was illustrated recently when an instrument of apparently similar vintage and pedigree but described as a 'Crabb' (though I seem to recall - unstamped) was sold for a mere £2050 despite appearing to be in far better condition.
Were it to prove the case that they both played equally well, is the 'Jeffries' name really so precious as to warrant an extra £1700 or so ?
caveat emptor ..... and happy bidding
Hope to see Steve and yourself at Kilrush in the Summer
Regards
Dave
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I tend to agree with the comments made by Steve .
It may be an unscientific comment but it simply does not 'look right' (and I've seen a few over the years).
I certainly can't recall seeing a jeffries with the name stamped between the buttons on the Left hand side of the concertina.
I would be very wary of bidding on this concertina unless I was in a position to give it a thorough ' once over ' first
Dave
PS
edited
I too have heard similar comments re pawnbrokers and have in my posession a set of crudely stamped ends most likely intended to deceive..... albeit many, many years ago.
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When it was new, my new Dipper smelt of mothballs. Does that help?
Chris
Hi Chris,
Maybe, just maybe, you have hit on the answer as to why we have to be so patient waiting for a Dipper and perhaps one reason they are so good ....
They must all be 'mothballed' to mature for at least three years before release
Dave
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Hi
Perhaps someone should develop a series of aerosol spray cans along the lines of the 'new car smell' cans available to the secondhand car trade
Perhaps a 'New Dipper' and and 'Antique Wheatstone' might be in order. What might these smell like ??
Apologies to Geoff but I can't seem to come up with any ideas for Crabbs
Any ideas or preferences folks - Sensible ideas rejected out of hand
Dave P
(Definately a 'Trent and Mersey Canal Water Smell' ,enthusiast myself
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Hi To all,
A special thanks to Christian for a great show.
I for one, will certainly be tuning in regularly.
Just a quick note about another programme well deserving of a mention.
Resonance FM radio from London.
http://www.resonancefm.com/audio.htm
This is available only as a live stream (up to 128k mp3).
Every Thursday at 2 pm (British Summer Time) they have a 'Traditional Music Hour' hosted by no less a man than Reg Hall.
Reg has been both a prolific field collector and a superb musician for many many years and a large proportion of the material on this programme is from private recordings never before issued on record or Cd.
This week the theme was traditional musicians from Clare and included many such live recordings of superb old time musicians.
Well worth a listen but unfortunately time constrained to the 'slot' by the 'live stream'.
(I note from the listings that, this week at least, the programme is to be repeated on Fri Morning at 7 am.... don't know if this is a regular thing though)
Regards
Dave
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I have sung -- shanties in the tall room, Amazing Grace in the big chapel -- with friends in the Wieliczka salt mine, near Krakow. Amazing resonance!
I didn't have the concertina with me. Maybe just as well. Does salt form vapors in the air?
Hi Jim,
I once took a concertina to work with me and played away a quiet inspection shift down one of the North Staffordshire coal mines at a depth of 4200 feet.
Is this a record I wonder?
It will be for the UK as these were, and still are the deepest workings in the British Isles. The temperature of the rock was some 50 deg centigrade and the humidity was very high but you may rest assured but no concertinas were harmed in this record attempt.
If any of our South African friends have done similar, this depth could be trebled !
Any advance on 4200 feet ??
Dave
Concertinas And Funerals
in General Concertina Discussion
Posted · Edited by Dave Prebble
Hi folks.
I have played at too many wakes for my liking but always find it a relief after
the service to really let go with a few bright tunes.
My father remembered that as a child he went to his uncle's funeral, about 90 years ago.
His Uncle was a Sea Captain, under sail all his life, and the church was filled with a pretty ragged bunch of old shipmates, who 'took over' the service with an impromptu shanty session. This caused a huge stir back in those days and Dad always remembered it with great fondness.
As for playing at funeral services...... not yet but would be happy to do so.
I do, however, fully intend to play at my own funeral, albeit from a recording.
No dirges I might add !!
What would you folks like played to send you off ??
Dave