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DDF

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  1. Hi Richard,I would like to say the magpie had great taste but the truth is I think it was lonely and was maybe attracted by either the music,thelarge wild garden,the need for food or just human company.I have mentioned a bit about it a couple of posts back.Regards David.
  2. Hi Peter,They sound like twins.I bought mine via an ad in Cecil Sharp House from a seller in the midlands.Colin Dipper had given it a refurbishment during the mid seventies.But by the new millenium it was time for some more attention.Andrew Norman at this point gave it a lovely new set of (black) bellows and a few other minor tweeks.When I bought mine I was earning £37/ week and it was a big commitment at £300.One that I am always very happy I made.Regards David. Hi David, Looking at the photograph of your instrument, I can confirm that they look identical except that mine does not have a baffle, or magpie attached to the left hand end! How on earth did you manage that? I was in the Cotswolds, and managed to attract a horse with my playing - it seemed to appreciate the music more than the people I was with. I've looked at the Wheatstone ledgers; your instrument is dated 1917. Mine came from a batch of 6, yours from a batch of 4. They are to the same specification. Regards, Peter. Hi Peter,I must have misread the ledgers when I looked at them.I saw the 1917 at the top of the page and then the 1918 in the margin which I assumed was the dispatch date.When I've got time I must try again to interpret what I was looking at. Regards,David. PS The magpie was one of those magical happenings.I was sat in the garden playing to my usual audience(Dorset Wildlife) and the magpie just flew in.After about half an hour it got more confident and ended up where you see it.The next few days it became even more friendly and we had a lot of fun testing out the various magpie cliches.From the start it was pretty obviously hand reared and probably missed.I was fortunate to be able to return it to its home.I found out since that it now says quite a few words maybe some of them are "hey don't peck the buttons","you do anything other than sit on my head". PPS, Sorry this has wondered off topic.
  3. Regards David. Hi Peter,They sound like twins.I bought mine via an ad in Cecil Sharp House from a seller in the midlands.Colin Dipper had given it a refurbishment during the mid seventies.But by the new millenium it was time for some more attention.Andrew Norman at this point gave it a lovely new set of (black) bellows and a few other minor tweeks.When I bought mine I was earning £37/ week and it was a big commitment at £300.One that I am always very happy I made.Regards David.
  4. Hi Peter,Just out of curiosity do you have any pictures of your " instrument of torture".I also have a 36 button 1918 Linota (27489).Mine sounds as if it is pretty similar to yours, very loud very fast.It would be interesting to make a visual comparison.Iv'e had mine 26years and still love it as much as the first time I held it. I only noticed the serial number two years ago and was interested to find it should come from such an historic year.Regards David.
  5. Iwasn't sure how to insert this picture so I think it is attatched.I've found some birds also find the concertina attractive.Although I'm sure someone will have a humourous caption for this picture.I found it difficult to think of one that was PC.
  6. Jim, That was what I was getting at .I was thinking maybe this was a model made for a short period or maybe a special run.I also wondered whether Jones had maybe re furbishedor revamped this concertina.But I can see that is unlikely in light of the similarty of yours and the other one just come on ebay.The button shifting (eh) thing.Well Ive always wondered why Jones seemed to maked a lot of anglos with the right hand accidental row(c#/d#) button in a slightly different position to most other makers. I'll crawl back under my rock now,and peep rather than post.
  7. I agree this is an attractive looking concertina. I was wondering if the ends are the originals as they are not the typical Jones fret.Another thing is that quite a few of the Jones anglos I have seen have the right hand accidental row staggered(one position to the right ) and this one does not.It is not possible to look for alteration to the button positions as the exposed end is the left hand. These are just observations that I would like to hear the experts views on and are in no way meant to be a critisism of what appears to be a nice box.
  8. Just for the record I have an E.Myers,27 Walworth Road, London se.It is arosewood ended 34 metal b anglo broadish reeds and still in its original cg tuning.Very pretty and almost without doubt a rebadged Jones.
  9. I was surprised how little response this thread received so I thought I better get my two fingers into motion. This is from english author Alison Uttley Born 1884, Whilst living at Castle Top Farm Derbyshire. The book is.Country Hoard. Our music making was as simple asother recreations on the farm.We had hymn tunes, and folk songs remembered from long ago, and tunes the servant lad heard at the station andbought back as the latest thing.There wereairs we picked up from brass bands and from merry-go-rounds at the wakes.There were songs of servant girls,and songs the irishmen sang when they were harvesting, and plenty of carols at christmas. My father had a good ear and memory,and he picked out his favourite tunes on the pianoni the parlour,or the ivory keys of his concertina when he sat by himself onthe seat overlooking the orchard and the river valley. There he amused himself,and we crept to listen in delight.He went smoothlyfrom one tune to another for an hour,and we sat entranced by his melodies.When strangers appeared he refused to perform.His untaught music was for us alone,and even we had to stalk him silently,for like a shy bird he stopped his sweet airs when he was aware of too much attention. He would play to the Irishmen,who were not strangers to us.They had worked at the farm every summer for generations,father,son and grandson.Theycame for my grandfather before Victoria came to the throne.Only the Great War broke hte link inthe strong chain that held us together in freindship,inservitude and comradeship.They came with songs in their hearts and merry jigs in their heels. We welcomed them as folk in the Middle Ages must have welcomed the travelling singers and poets of their day. WE hung round the door of the Irishmen's place and listened to their speech,their songs,their whistling and there pipingThey gave a great performance,a star turn on the last night when the harvestwas gathered.It was an ancient custom,and other generations of childeren must have sat listening to the fathers ofour Irishmen in the same cobbled yard. The great door of the cart shed was taken off its hinges,and carried out to the level front of the house.Itwas tested byeach one jigging a few steps and wedged to make it firm.Wesat round,my father and mother,my brother and I and the servant girl and man.We were excited as if we were at the grandest london concert.The Irishmen sang songs and ballads of many verses,each performer standing on the oak door,and the others grouped round squatting on their haunches with their eyes keenly watching the man in the centre.We were seated on the low stone wall,the stalls of many a country theatre.The applauase after each item was uproarious.We clapped and the Irishmen shouted Bravo! During the dances there was a continuous hum of approval from them.They danced intricate country jigs, one at a time taking the floor board,or two facing one another,and the music was supplied by a pipe, and by "diddling". Dominick wsa a splendid "Diddler".His tounge waslike quicksilver as he sang"Diddle, diddle,diddle, diddle,diddle, diddle",and the dancer kept step.Sometimes one had a mouth organ, and always their whistling was clear as a bird's. It was an enchanting scene,out there in the twilight,with the stars just begining to peep and the swallows darting overhead and crying as they wentto the cart shed.The birds were aware there wsa something going on down below,for they made a great twittering and warbling on these harvest nights.Then my father was persuaded to bring out his concertina to play while the men rested We were proud that he could addto the entertainment,and the Irish praised him and encored till his eyes sparkled with pleasure.He had played to the older men when they were young, and they recalled those hard early years. I hope this gives you a flavour of this charming and evocotive chapter in this lovely little book. I certainly had a lot of fun trying to find having last read it twentyfive years ago. DDF
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