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Posts posted by StuartEstell


    Perhaps one's perception of what is music is personal ?


    Indeed. Seems I liked his playing better than some of you, though I also liked some parts less than others. I thought it got rather repetitious toward the end, while I do believe he was playing a tune at the beginning. As I once said to Stuart, I think he's done an excellent job of getting the result he wants, even if it doesn't "speak to" me.


    I respect that approach to listening and appraisal, Jim, and completely agree in this case -- Amini is clearly a very capable player so it seems reasonable to assume that he's thought in some depth about what he does and has put a considerable amount of effort into making music in the way he wants to make it.


    Also, I'd much rather people were doing things with the instrument that aren't to my taste than not doing anything at all! I'm no great believer in the idea of "how things should be done" as many of you who have listened to my recordings have no doubt realised. Time will tell whether different styles of playing are adopted or not.

  2. Been a while since I was on cnet. Nice to see an interest in circus arts.

    I was a former circus performer and used my music and the concertina as part of one of my acts. The ICA Magazine did an article not too long ago about me and my circus experience. It has a couple of photos though I have plenty more in boxes at home. Bello & Stein was a musical acrobatic clown act. At one point I actually did a flip off Joe's shoulders while playing the EC to the tune of Stumbling. In hind sight it was crazy!



    I find this sort of thing fascinating -- I'd be terrified of tearing the bellows apart, but then I've never done any kind of "flip". How do you go about rehearsing something like that, Randy?

  3. I agree, the accompaniment is lovely -- I enjoy the way you develop quite robust chordal arrangements on the treble EC.


    My only comment would be regarding the rhythmic feel. For my taste it could flow just a little more while remaining slow and stately. I realise that's a difficult thing to quantify but I think that would really put the icing on the cake.

  4. See my suggestion for a 40 button Anglo type instrument on the "General discussion" section under the "Brian Hayden" section.


    For a 44 button instrument you might add a (c#/Bb) ( ) ( ) button to the bottom LHS row;

    and (c#'/bb) ( ) ( ) (c'/d') (e"'/d#"') buttons to the bottom row on the RHS.


    This gives a comprehensive C/G/D/A instrument. Set a tone lower you get a Bb/F/C/G instrument. two Anglos for the price of one.




    Brian -- a 4-row diatonic wouldn't work with the way I play anglo, but thank you for the thought.

  5. Hello Ross


    Many thanks for your input -- yes, I'm aware of these issues and will be working with a very "highly skilled concertina repair person" on this. :)


    My wish is not to make any changes to the instrument that are not reversible, and where possible not to retune any reeds any more than getting them from old pitch into concert pitch.

  6. Hello all


    I am currently considering the purchase of a rather lovely 44-button Jeffries anglo which I tried out over the Christmas period. At the moment its layout is, shall we say, rather individual.


    In order to work out what is both feasible and sensible from a playing perspective, I have noted its full layout, and have the layout of one other 44-key, which I'm finding of some use in shunting notes around on an Excel spreadsheet.


    My request: given how variable they are, would any other owners of big Jeffries anglos be willing to share their instruments' layouts? It would be of great assistance as I try to work out how best this box might be reconfigured for my purposes without making any irreversible changes to it. Although the instrument I'm considering is a Bb/F, it doesn't matter whether your box is C/G, Bb/F, G/D or anything more exotic -- I'm happy to do the transposition myself!


    Many thanks in advance


  7. I suppose somebody who played a Jeff. duet already must have thought they could "improve" it, but that left hand layout makes even less sense than the standard. I find it really helpful that the F# is normally well out of the way on the LH thumb; on this layout a combination of bass runs and chords would give lots of opportunities for terrible entanglement :lol:

  8. Thanks Don. Yes, I just topped and tailed it -- it was recorded with a Zoom H1 propped up at an appropriate angle on the lectern!


    Yes, it's on Jeffries duet. I use this sort of feel a fair bit, and tend to have a bluegrassy rhythm in mind when doing it. The sort of fingerpicked patterns used on, say, clawhammer banjo don't translate at all idiomatically to duet concertina so this is an attempt at getting the feel without being too literal about it - I keep the notes themselves fairly sustained and use the bellows to accentuate the rhythm.

  9. Yes, it's a pig, and a constant subject of debate among jazzers as to whether it's in B or E flat. (I favour E flat as all the chords leading up to it are chained - albeit modified - II - V - Is) And you're right, maintaining any kind of intelligent melodic line over those chord changes is supremely hard at speed on any instrument -- I used to play it both on piano and on tuba (!) but that was in a former life when I practised difficult things a lot more.


    Some of the other tunes on that LP might be less of a stretch -- Naima, perhaps, or Mr. P.C. for a nice blues?


    And there's always his version of My Favo(u)rite Things...

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