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kevin toner

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About kevin toner

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    Chatty concertinist

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  • Gender
    Male
  • Interests
    concertina use and practice / recordings / repair and maintenence / science / history / etc.
  • Location
    glasgow

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  1. Sorry for not replying until now; I hadn't been checking my posts. Please find these attached as requested. Thanks for your interest Kevin [ps: for the avoidance of doubt the matrix no. for 'A Sunday Parade 'is CAR 1033, which is clearly etched on the shellac surface runout-end (despite reading a blotchy 1088 or 83 on the actual label itself)]
  2. I've had a listen to the wav file and it's definitely much more concertina (and English Concertina sounding too) than any other kind of reed/bellows instrument. Apologies it's so much in the background and of mp3 quality for the time being! [edit: Forget it being my granddad, it seems too rehearsed for the set, but that said there was quite a population of musicians at this time in tune with each other...]
  3. I've had another listen to this and think there is slim likelihood of concertina, unless it's separately background vamping at times. I think I'm imagining this and wonder if I should delete this post - It's probable that it is a rehearsed accordionist or even other button box player in the background if not the main accordionist switching voicing and volume controls etc. If I delete in due course soon - it's because of uncertainty and so on. I believe this particular forum topic should always have concertina at the very least (and I don't think there's enough info to verify here
  4. Services Calling: Tea for Two; etc. (WWII transcription discs) Starting at around 21:29 The harp is leading here, but do I detect a bit of English Concertina in the background, which is neither the billed star accordionist nor harmonicists? The latter does double for drums, but hmm, I wonder who’d be playing the tini in there (?) It adds a real nice sweet touch to augment an already marvellous wee concert I don’t think it’s a different kind of button-box; tho it doesn’t matter – it’s an absolutely lovely piece at a diffic
  5. I think I've identified the 8 songs now. I rocketed forward with gaining knowledge from a recent find, '50 Years of Song' arranged by Aubrey Kennett (for 6 of the possibly 8 songs). The remaining 2 songs being from Will Godwin, Leo Dryden; and Leslie Sarony. Tho still a little mystified because of renditions of titles sounding like each other.
  6. Good question, and I'm not educated enough to give an informed answer, but I think 1 take is highly likely and that's in general to the length of a 78 rpm shellac disc on 1 side (up to 3+ mins for 10" records) especially for a such a skilled salon outfit who could I guess run for much longer (12" & transcription 33 1/3s etc. or even live, for long classical compositions). It wasn't until LPs I think that gave bands a chance to roll out a full 20+ mins side, for example the uninterrupted LP sides during when the ballroom dancing movement took off in parallel with the evolution of LPs etc.
  7. That was my first impressions too. I don't know much about it myself, yet, as I've not listened to it much at a decent volume to help me figure out the instruments. I hope to be back in touch again with this or similar incidental concertina lurking in old recordings. There's quite a lot of concertina on record sleeve graphics all the same, even for early LPs despite the great shortage of it in actual popular recodings of the past - another topic! I think it would be good to have the concertina identified much more from old recordings where it's heard filling in bu
  8. I wonder what kind of concertina it is at points (especially for the last song of side A where it leads).
  9. Please feel free to help identify any of the songs included in the medley Thanks Kevin
  10. https://soundcloud.com/user-525630858-405274758 Enjoy, courtesy of Stuart Eydmann, the author! CD-1 has my grandad Danny with wife Jeanie. CD-2 ditto; plus my uncle Freddie on Banjo, an in-law of my Gran's; and Billy Boyd, my stepdad, on Harmonica.
  11. Yes, I guessed that as per my post, but didn't know the terminology used to explain the difference between extended-mode and otherwise. Great to know that there is the option to have each. I'd presume that it's model 20/20a that has the 'unrelated-to-treble' keyboard My TT has the low F3 one 5th below the middle C on the left side. Fortunately the TT range goes down to C3 on the right. I would need these extra lower notes if I were to play with either swapped keyboard sides and/or row positions. I'm still a bit unclear on how all the models compare, button/layout-position wise,
  12. conzertino, many thanks for the update and new info. The 10a is almost what I need, and not far off a Wheatstone 10b, as I need the 56 keys as a minimum. Also good to be reminded of the model 14 for sale at $6k+, an aeola equivalent of the 10b, which would again be okay indeed. I am kind of hankering for a switch in the layout that puts the middle C on the opposite side, which the 10b probably should be doing to fit within the hexagon (?) I note that the model 14 Aeola for sale has middle C on the same side (left) as my 56 key TT Aeola (model 19):- 1) as a slightly lazier opti
  13. Please let me know if this is still available or similar. I'm on the look out for one of these rare items because low and behold, as I've anticipated for some time, I'm having to sooner or later put some of my repertoire plans on hold until I acquire a model in this range. "I only have eyes for you" has sprung up as an example song from my planned "The Thirties" songbook transcriptions and practice for English Concertina, from piano/vocal sheet music, which I'm comfortably over a 1/4 way through by transcribing/playing both clefs on mainly tenor-treble (56 key). I anticipate that
  14. No construction work today, but the exacerbated noises remain non-conducive to playing/contemplation? I’ve not been practising for a couple of weeks; and I now ask myself why I bear this. The exacerbation of low frequencies can make a modest car engine sound excruciatingly severe and is not good during contemplation. It seems to have gone off upon typing these thoughts already, despite normal traffic going by, for how long I ask. I should have long cottoned on that some entity or whatever it is (let’s call it Hyperacusis) does not want me progressing on concertina. I will make a
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