Naked Concertina Cd

[Theodore Kloba]

Since I first read about Jody Kruskal's Naked Concertina CD here, I've found myself going back to the samples on CD Baby often; I just ordered it a while ago.

 

I'm sure I'll enjoy listening to it, but I'm also hoping to gain some inspiration for my own style of playing. Here's what I mean:

 

First of all, the selections are more accesible to me that much of what I've heard on Anglo before. Also, the "harmonic" style of playing as it's been termed is close to how most Chemnitzer players use their instruments. But we've lost something in playing our LSGCs* that hasn't been lost on Anglo: The large size of the chemnitzer and its keyboard layout let us play with a relatively smooth bellows motion, only changing direction when we change chords; we've largely forgotten that we can use the bellows for articulation when we want to! This has led to the oompah left hand style and grinding melody that you'll hear from dozens of average players.

 

I may actually try playing along with some of the Naked tunes on the smallest 'box I have, a little student model 44-button bandonion, ca. 1905 that I've partially restored.

 

Incidentally, relating to the tablature discussion that's been going on elsewhere, I've found that chemnitzer players who learn only the tablature notation for left hand (as is common) end up playing their left hand like an accordion: chords turn into fixed forms and no harmony beyond the application of those forms is ever understood. I'm fortunate to have learned an instrument as rational as the Piano before I started playing these weird little beasts.

 

*LSGC: Large Square German Concertina

[Jim Besser]

I may actually try playing along with some of the Naked tunes on the smallest 'box I have, a little student model 44-button bandonion, ca. 1905 that I've partially restored.

 

If you do that, could you do some quick and dirty recordings and post them -- and maybe not in RealAudio? I have had nothing but trouble when I install RA on my computer.

 

I'd be very curious how tunes I know sound on the chemnitzer. My experience with these beasts is limited to the polka tent at the Smithsonian folklife festival a few years bacl. I thought the woman playing the concertina was going to dislocate her shoulders, the bellows were so huge.

Edited March 17, 2006 by Jim Besser

[Theodore Kloba]

I'd be very curious how tunes I know sound on the chemnitzer. My experience with these beasts is limited to the polka tent at the Smithsonian folklife festival a few years back. I thought the woman playing the concertina was going to dislocate her shoulders, the bellows were so huge.

Could that have been the 1998 Folklife festival? I just did a quick search, to find the programs and noticed that the 1998 festival featured Wisconsin musicians. There's no clear photo there of a woman playing, but there's mention of Norm Dombrowski and the Happy Notes:

That band includes Marie Kubowski on concertina:

I would have liked to attend that festival for the feature on the Baltics:

and the Croatian Tambrurica band, Vatra:

which included a former coworker of mine.

Edited March 17, 2006 by Theodore Kloba

[Jim Besser]

Could that have been the 1998 Folklife festival? I just did a quick search, to find the programs and noticed that the featured Wisconsin musicians. There's no clear photo there of a woman playing, but there's mention of That band includes Marie Kubowski on concertina:

 

That's the one! We spent a lot of time in the dance tent dancing and listening to that gigantic concertina. I was also intrigued by the bass player: an upright string bass, but with frets.

 

Around here, the only polka venue is Blob's Park, and i've never seen a chemnitzer there.

[Jody Kruskal]

 

I may actually try playing along with some of the Naked tunes on the smallest 'box I have, a little student model 44-button bandonion, ca. 1905 that I've partially restored.

 

If you do that, could you do some quick and dirty recordings and post them --

 

Theodore, I'll second that. Do work a few up and let us/me hear what you make of them.

 

It's hard for me to imagine playing without the articulation of changing bellows direction. As I have said in the past, my model for Anglo playing is the fiddle. Fiddle is king in the contra dance world. All other instruments are expendable but you could play a dance with fiddle alone. The bow gives the rhythm and that's what the bellows does on the Anglo.

 

Jody

[Daniel Hersh]

I'd be very interested in hearing them too if you're willing to do it.

 

Daniel

 

Ted--

 

 

I may actually try playing along with some of the Naked tunes on the smallest 'box I have, a little student model 44-button bandonion, ca. 1905 that I've partially restored.

 

If you do that, could you do some quick and dirty recordings and post them --

 

Theodore, I'll second that. Do work a few up and let us/me hear what you make of them.

 

It's hard for me to imagine playing without the articulation of changing bellows direction. As I have said in the past, my model for Anglo playing is the fiddle. Fiddle is king in the contra dance world. All other instruments are expendable but you could play a dance with fiddle alone. The bow gives the rhythm and that's what the bellows does on the Anglo.

 

Jody

Edited March 18, 2006 by Daniel Hersh

[nils]

Theo, there are some players in Germany who are working on similar ideas (they play mainly the 20 button german concertina, but anglo, bandonion or 3 row concertina as well). Personally I know Jürgen Leo and Rainer Schwarz, Rainer Prüss is also well known.

 

Nils

[Theodore Kloba]

I may actually try playing along with some of the Naked tunes on the smallest 'box I have, a little student model 44-button bandonion, ca. 1905 that I've partially restored.

That instrument turned out to be less than ideal for many of the songs, since the right hand range bottoms out on the D above middle C. Bandonions and Chemnitzers don't do nearly as well as Anglos for crossing over to the left, since the tone is verry different from one side to the other.

If you do that, could you do some quick and dirty recordings and post them -- and maybe not in RealAudio? I have had nothing but trouble when I install RA on my computer.

Theodore, I'll second that. Do work a few up and let us/me hear what you make of them.

I started with "Gone Fishing", since it took very little adaptation; it comes out like a Mazurka. Of course, as soon as I click "record", it becomes suddenly difficult. When I get a clean take, I'll post it here.

[ragtimer]

Since I first read about Jody Kruskal's Naked Concertina CD here, I've found myself going back to the samples on CD Baby often; I just ordered it a while ago.

 

I'm sure I'll enjoy listening to it, but I'm also hoping to gain some inspiration for my own style of playing. Here's what I mean:

You'll love the CD. Very smooth playing, where it should be smooth, but well articulated.

If you read music, do yourself a big favor and buy Jody's tune book "Feet in the Clouds." It has every tune on the CD, plus many more, with chord symbols. Consider it a set of graded exercises -- some tunes are easy, some still have me working after a year in my heavily marked-up copy. Some will have you using all the odd "black" notes on your box.

First of all, the selections are more accesible to me that much of what I've heard on Anglo before. Also, the "harmonic" style of playing as it's been termed is close to how most Chemnitzer players use their instruments. But we've lost something in playing our LSGCs* that hasn't been lost on Anglo: The large size of the chemnitzer and its keyboard layout let us play with a relatively smooth bellows motion, only changing direction when we change chords; we've largely forgotten that we can use the bellows for articulation when we want to! This has led to the oompah left hand style and grinding melody that you'll hear from dozens of average players.

Yes, Jody's tunes are mostly melodic and original, with good harmonies too (though I often add a few of my own).

 

You make two comments very relevant to us Duet players (I play Hayden) -- the use of bellows changes to repeat held notes for a unique articulation effect (as taught by Maccann Duet guru David Cornell), and the need to avoid falling into boom-chick LH playing and neglecting to learn individual notes on that side. The temptation is never-ending. Especially when playing "Gone Fishing", which sounds really fine in accordion style, but wait till you hear Jody's version.

Incidentally, relating to the tablature discussion that's been going on elsewhere, I've found that chemnitzer players who learn only the tablature notation for left hand (as is common) end up playing their left hand like an accordion: chords turn into fixed forms and no harmony beyond the application of those forms is ever understood. I'm fortunate to have learned an instrument as rational as the Piano before I started playing these weird little beasts.

Yep, that's the Duet player's temptation. I'm glad I played the piano for years too -- it helpd me figure out chords in a hurry, but reminds me of what else is possible.

 

FWIW, I'm fascinated by the Bandoneon/Chemnitzer instruments -- amazing what the Argentines do on them. I didn't know that the two sides sound so different -- is that due to the extra reeds per note on the RH?

And please do make some recordings, though I know all about "mike fright" -- been trying to make some short sampels of my Hayden playing and post myself. --Mike K.

Edited April 19, 2006 by ragtimer

[RobKitt]

I must echo everyone's praise of Jody Kruskal's Naked Concertina CD. I recently got it after reading the many positive comments on this board. Hey, I am a fan ! I am amazed at his playing.

[JimLucas]

...like an accordion: chords turn into fixed forms and no harmony beyond the application of those forms is ever understood.

Sounds to me as if you haven't heard the right kind of accordion players.

[Theodore Kloba]

If you read music, do yourself a big favor and buy Jody's tune book "Feet in the Clouds."

I did get a copy of Feet in the Clouds; since it's in lead-sheet format, it leaves a lot to the imagination.

Some will have you using all the odd "black" notes on your box.

Since he did the whole album ona G/D anglo, this hasn't been the case so much, but I've only tried a couple songs so far.

FWIW, I'm fascinated by the Bandoneon/Chemnitzer instruments -- amazing what the Argentines do on them. I didn't know that the two sides sound so different -- is that due to the extra reeds per note on the RH?

On Chemnitzers, it is often a different voicing left and right; on Bandoneons and some older chemnitzers, the left side is constructed differently (much more closed) to soften the tone. On both instruments, the reed blocks can be very different from left to right as well.

[Theodore Kloba]

If you do that, could you do some quick and dirty recordings and post them -- and maybe not in RealAudio?

Theodore, I'll second that. Do work a few up and let us/me hear what you make of them.

A recording of "Gone Fishing" is here. To start with, I played it "straight" from Feet in the Clouds, i.e. the way I would ordinarily play something from a lead sheet. I have yet to go back to the recording from Naked Concertina and study the phrasing. The first time through I played on only the middle reeds (on the r.h.); the second time, I added in the low reed.

 

This was played on my Star "Old-Timer" quadruple and recorded with a pair of Shure 98H gooseneck condensers. The only post-processing was to balance the channels.

[m3838]

Nice piece, Theodore.

Thanks.

[Daniel Hersh]

Agreed! To boldly go where no Chemnitzer has gone before...

 

Daniel

 

Nice piece, Theodore.

Thanks.

[JimLucas]

Nice piece, Theodore.

To boldly go where no Chemnitzer has gone before...

Truly enterprising!

[Theodore Kloba]

A recording of "Gone Fishing" is here.

If you'd rather stream, try here.