Peter Laban

I don't know what you mean by 'nasty politics', never seen any of it. As to Jeremy, the site owner, he can shoot from the hip maintaining order on the site and sometimes I would question his reasons for deleting (parts of) posts and his overall decisions but 'abuse' would be a gross overstatement. Moderating a site like that is not an easy job and whatever the decisions, he's the site owner so its his prerogative to do as he sees fit. The site is what it is but if you look at the internet in general, I don't think interactions are, on average, in any way vicious or unpleasant, although they can be robust at times. The quality of tune settings will vary, as it would in a crowd sourced situation and it would be a good idea not to view the notations as by definition authoritative but on the other hand I wouldn't automatically dismiss the whole site and its content either. Like anything online, you weigh contributions on their own merit and after a while you learn which posters you can trust to make sound contributions to the tune database.

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This may help. From an old Steeleye Span songbook. PDF attached also. The King.pdf

It's probably a good idea to post a direct link Daniel. This is how your post appears to me: During previous thread I noticed your links appear in the same way on my phone, which uses some but less heavy handed blocking of trackers etc.

In the hands of well grounded traditional musicians. Surely. A lot of versions on thesession.org wouldn't fall ion that category though so a caveat emptor is appropriate. That said, I wouldn't perhaps lift versions verbatim O'Neill et al either.

He's doing a job on the Rolling Wave there, The Humours of Trim, if you like.

A direct link works Daniel. I think elements of the original post got blocked because of the Facebook trackers in it. The tune is one of the 'pop tunes' this summer. I have come across it numerous times and have it on a 'to do' list. John Dwyer recorded it on his own Cd some years ago. Glór is putting on a bit more traditional music after a bit of a lull. Which is a good thing, it's a nice venue. Tonight has the big Mary MacNamara do : https://glor.ie/events/morglor-award-concert-2019-celebrating-mary-macnamara/

Nothing to see for me but I block trackers and all sort of unwanted stuff rigorously so that would explain it.

The Mrs Crotty CD is long out of print. Your best chance is too look for a second hand one.

When they did their first reunion concert in 2006, it was the twenty third of June, the day before the fair, he said he hadn't played that concertina for some fifteen years and I remember it failing on him at some point (although that may have been on a different occasion, all that stuff is blurring into one at this point).

Playing with Tony Linnane he often uses the Wheatstone he played when they made their recording, to recreate that sound they had (and still have).

Thanks for that. You can listen to it here: https://www.rte.ie/radio1/the-rolling-wave/programmes/2019/1020/1084629-the-rolling-wave-sunday-20-october-2019/#103230349

The full Gradam programs, all of them, are archived and accessible on TG4.tv Gradam ceoil 2014: https://tg4.tv/ga/player/baile/?pid=5663233295001&teideal=Gradam Ceoil TG4 2014&series=Gradam Ceoil TG4&dlft=10324

I can sort of form an image with that, between the Wheatstones, Jeffries and Dippers used by a lot of players players, but "real Irish reeds" once again baffles me.

The gumtree photographs leave no room for doubt:

Just listen to older recordings of Irish musicians playing the German concertinas, they're all double reeded: Mary Ann Carolan, Patrick Flanagan and indeed the instrument under discussion, that of Ella Mae O'Dwyer, all spring to mind but there are plenty of other examples either in recordings or as surviving instruments from the period.

If you want to explore different tutors, and still get a weekend in Clare, just before the Ballyvaughan week, it could be worth looking at the https://concertinacruinniu.ie/

In the interview with Mary Mac on Dan's page she gets asked about the key of C in Clare music. Which also suggests a C/g played on the rows, much like John Naughton's playing. Naughton's music obviously a big influence on her own.

I can't think of it off the top of my head (not for certain anyway, I seem to recall it's a C/g)but I'll look into it (I suppose it's still in Arás Oidreacht an Chlair, I'll have a look) They were common in Ireland at one point and they were also prominent in Zulu music:

The Tripping to the Well CD is still available at Oidreacht an Chlair: http://oac.ie/site/node/2102 Here are a few snaps of the women involved with the project, Mary MacNamara, Ann Kirrane-Droney, Dympna O'Sullivan, Jaqueline McCarthy, Josephine Marsh and Angela Crehan, during the launch of the CD, passing around the Dwyer concertina:

Perhaps, whatever else one thinks of Hill, he is an extremely capable, experienced and insightful teacher. He has an almost immediate insight in a player's strengths and weaknesses and can suggest personalised ways to improve on that. He does have his own way of thinking and strongly pushes for that. You will have to bear in mind though he has things worked out in great detail in order to use the instrument as efficient as possible in a given musical context. I remember a woman, who is possible in the higher regions of my top three of favourite concertinaplayers, that going to him 'opened up the rows' for her and made her a very much better and more flexible player, even if she doesn't follow his system. Take that as a cue to listen, take in what he has to offer and gain insight. And even if you don't follow his way of playing, this may open up ways with the instrument that you haven't thought of yet. If you prefer a shorter, and probably less costly, way of experiencing his teaching, you may want t osign up for classes at perhaps the Willie Clancy week or the Concertina Cruinniú and if you like his teaching go on for a more intensive event.