My new Excelsior symphony Grand, and I don't got a clue..., but I love it!!!
bje...@my-dejanews.com
I have wanted a piano accordion for sometime
now, and located one through a friend in Reading,
Pa.
He is a retired pro musician, and he found me this
wonderful box. But, I don't have a clue where to
get started.
I played piano a little as a kid, and I have a
Japanese tape to watch, but I don't understand how
high to wear the instrument, or how loose or tight
these various straps should be.
If anyone has any suggestions, or advice, please
post or contact me. I work here for NHK
television doing the Sumo broadcasts in English.
Pretty odd combo I guess.
This is a pretty good accordion right? It was made
in the fifties I am guessing, and has a built-in Sano
brand microphone setup too, an add-on
Thanks in advance!
Tq
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
Dan Lavry
<7fu1d0$8ke$1...@nnrp1.dejanews.com>...
> He is a retired pro musician, and he found me this
> wonderful box. But, I don't have a clue where to
> get started.
Hello,
I would say your friend did you very well. I have am Excelsior Symphony
Grand, and it is the most wonderful accordion. I have learned a lot about
accordions in the last few years, but I am far from being an expert. So
when I decided to upgrade to a better instrument, I started asking
questions of those that know a lot about instruments. I asked a collector,
an extremely knowledgeable guy, which one is his favorite and the answer
was Excelsior Symphony Grand, (the made in New York instruments). Also, one
of the most knowledgeable guys on the NG, with an accordion store and huge
amount of experience and know-how approved that choice as one of the best
instruments ever made. I would say you "hit the jackpot".
> This is a pretty good accordion right? It was made
> in the fifties I am guessing, and has a built-in Sano
> brand microphone setup too, an add-on
Yes, it is a lot more then pretty good. It is excellent! Of course, a lot
depends on the shape of the instrument, but when in good shape it is truly
excellent. I believe they were made in the late forties and early fifties,
4 sets of reeds on the right, 6 sets on the left - fantastic bass - I love
it. The reed quality is real fine, and the response to the smallest
variation in air pressure is fantastic. I love the instrument.
Best regards
Dan Lavry
Gary Dahl
You should beable to find a good teacher in Japan...do some
research...don't choose a teacher just because the studio is a short
drive...base your decision on qualifications and past results of this
teacher...also check the accordions world wide site...link below...also
on this site is an article and a photo of an accordion positioned
correctly...go to the "general info" section and click on "articles."
Let us know how your results re. the search and if the article helped.
http://www.accordions.com/garydahl
Gary Dahl
Puyallup, Wa. USA
http://users.aol.com/accrdnmn/
(a site to hear a few recordings...
scroll down to the polka listing first then click on the eiffel tower)
Dan Lavry
> You should beable to find a good teacher in Japan...do some
> research...
Yesterday I just had a couple of visitors form Japan, both from the
music industry. Of course, I played some piano and accordion music for
them. They seemed to enjoy it, but their comments about the accordion were:
The accordion is very rare in Japan. It is associated with traditional
music, which is not popular in Japan. The Japanese music industry is
"driven" by the majority of buyers, which are young (ages 12 - early 20's).
A CD made by Japanese companies costs around $30 (US equivalent). Many buy
from American outlets such as Tower Records, because they get discounts -
$20 or so, but the Japanese companies do not discount.
Young folks spent around $200 a month (average) on CD's and alike, but the
number is going down very fast (with 4 million folks out of work). The
majority of the music is "new stuff", very little classical, a lot less
jazz then I previously thought and so on.
I must say, though, that I was impressed with the "accordion
knowledge" of the 2 visitors. I do not know if such knowledge is typical in
Japan, or if it is unique to the visitors. They knew about the French
musette sound, American country music, Cajon accordions, English
concertinas and so on. These is a lot more awareness then I often find in
"average" US folks.
Best Regards
Dan Lavry
bje...@my-dejanews.com
my experiencing carpal tunnel syndrome in my left hand. don't know if its the
strap or the way I hold my wrist, but this could be a problem.
And, frankly speaking, this accordion is just too good for me. I want to
find a nice older and wetter sounding accordion to practice on and save the
Excelsior for when I am better as a player. I wonder which brands are the
good ones, and which are the bad? I am talking about older full size piano
accordions.
gary blair
Message text written by "Dan Lavry"
>
I would say your friend did you very well. I have am Excelsior Symphony
Grand, and it is the most wonderful accordion. I have learned a lot about
accordions in the last few years, but I am far from being an expert. So
when I decided to upgrade to a better instrument, I started asking
questions of those that know a lot about instruments. I asked a collector,
an extremely knowledgeable guy, which one is his favorite and the answer
was Excelsior Symphony Grand, (the made in New York instruments). Also, one
of the most knowledgeable guys on the NG, with an accordion store and huge
amount of experience and know-how approved that choice as one of the best
instruments ever made. I would say you "hit the jackpot".>>
Well for what its worth, my late father always preferred the US made
Excelsiors
to the Italian made ones. As for the ''guy'' with the store, trust him, he
knows what
he's talking about. Accordion makes that I rate highly ( I am only
commenting on
the makes I have played) are: ( no particular order)
Busilacchio ( my dad swore by them)
Sonola
Ranco antonio
Bugari
Borsini ( very popular in Scotland)
Co-operativa
Settimo Soprani
Guilietti
Excelsior
Zero Sette
Pigini
Vignoni
Beltuna
Sandalli ( especially the Super 6)
Most of these Accordions were of the 50's-70's variety and I have probably
missed a few.
In my humble opinion, they don't make 'em like they used to.
Regards
Gary Blair (scotland)
http://come.to/garyblair
http://www.accordions.com/garyblair
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heather s
specification (and sometime the opportunity to play one). I am familiar with
other Excelsior models. I am also familiar with Busilacchio accordions,
having first owned one when I was nine years old - they are excellent
accordions. The two classic accordions of all time must be the Scandalli
Super VI and the Settimio Soprani Artist VI, which is the model favoured by
Marcosignori for many years. Who can argue with this great accordionist ? I
own an Artist VI which I acquired from Marco in 1960, and of all the
accordions I have owned and played, this one is the 'Rolls Royce' of
accordions. I won many championship titles playing this instrument,
including the British Open Solo Championship and 2nd place in the Junior
World Championship. It's a delight to play !! Regards, Heather Smith.
gary blair wrote in message <199904251837_...@compuserve.com>...
Dan Lavry
<7g07j1$kf$1...@nnrp1.dejanews.com>...
> > I think that I might have a lead on a teacher. But, I am a bit worried
about
> my experiencing carpal tunnel syndrome in my left hand. don't know if
its the
> strap or the way I hold my wrist, but this could be a problem.
>
> And, frankly speaking, this accordion is just too good for me. I want to
> find a nice older and wetter sounding accordion to practice on and save
the
> Excelsior for when I am better as a player. I wonder which brands are
the
> good ones, and which are the bad? I am talking about older full size
piano
> accordions.
>
> Tq
I have little advice regarding a teacher, or wrist pain. T wetter
accordion? its a matter of tuning. I am not sure if I would retune or go
for another instrument. It is a matter of personal choice, expense and
other factors. One thing about the Symphony Grand and comfort level - my
Symphony G. is only 24lb, pretty good for any full size, and even better
when considering 6 sets of reeds on the left. For me, a 24lb is a real plus
comfort wise. Also, while weight is very important, other factors (usually
referred to as well balanced instrument) contribute to comfort. Also, fine
reeds usually take very little air to make sound. All of the above are
important factors, and that is why I like mine. I would certainly recommend
trying out an instrument and comparing before you make a decision.
I am not sure how much you know about accordions (reed quality, tone
chamber, tuning and so on), there are a few places to go (on the net) to
get some quick primer. Accordions Worldwide is a good starting place.
Best Regards
Dan Lavry
Dan Lavry
<199904251837_...@compuserve.com>...
> Well for what its worth, my late father always preferred the US made
> Excelsiors to the Italian made ones. As for the ''guy'' with the store,
trust him, he
> knows what he's talking about.
> Most of these Accordions were of the 50's-70's variety and I have
probably
> missed a few.
> In my humble opinion, they don't make 'em like they used to.
> Regards
> Gary Blair (scotland)
I would have to second that, at least from sound quality stand point. The
thing that real amazes me is how well these mechanical devices last, and
how well they last with proper care. I believe that some real expensive
accordions are still very good and durable, but I often wonder how much
knowledge went by the way side. Couple that with the cost of duplicating
the old style aproch to workmanship, and I too will have to humbly conclud:
they don't make 'em like they used to.
Best
Dan Lavry
Dan Lavry
<7g09bf$61p$1...@newsreader2.core.theplanet.net>...
> I have not played the Excelsior Symphony Grand, but would like to know
the
> specification (and sometime the opportunity to play one). I am familiar
with
> other Excelsior models.
I am not sure what you mean by specs. There is a collector that shows up on
the group that knows a lot about these instruments and has been collecting
much data about the early Excelsior's. I do not know if he wishes to get
involved in the thread, or if he is active right now (I hope he is, and
reading it).
The Symphony Grand had 2 styles. The early years (mid 40's to maybe 50) had
one style grill (2 large semi circles at the ends of the grill). The later
SG's looked a bit more modern (I do not recall exactly). Obviously I have
an early model. The "specs" are 4/6 on the reeds. No tone chamber (I do not
believe they had them then ???), but the sound does seem to need much
improvement. There 41 key on the right, 120 on left. 10 switches + master
on right, 7 switches on left. Specs wise it is pretty ordinary, except the
extra reed set on the left. I believe they were lighter then most (mine is
24 lb.), and very comfortable to play.
Also, mine is dry tuned.
I believe the general specs is not the real story. It is the following:
1. The sound quality is great - probably the reeds and perhaps other
factors (wood? dimensions?)
2. Dynamic response - definatly reeds. If you are into "always the same
volume" you would not care, but if you wish to really control the sound,
the reaction to bellow pressure is dramatic and precise. The thing that I
find remarkable is: wherever you are (high notes, low notes, various
combinations of switch settings and so on), the response to bellow pressure
is really even across the complete range. I played instruments where the
bellow action impacted one part of the instrument much more then the other
(be it some reeds sets, right against left and so on).
The SG is well thought out. It was not just "shleped together". Some folks
with experience and high standards must have worked hard to get some pretty
high goals. Obviously, I love my instrument :-)
I am not an accordion guru, so dont take me too seriously. However, I am
very much into sound quality and that is were I have some expertise.
Best
Dan Lavry
Dennis
Conjunto festival in San Antonio, Texas. I forget their name.
Dan Lavry wrote in message
<01be8f33$9154a420$0b22...@danlavry.halcyon.com>...
SNAV88
Date: Mon, Apr 26, 1999 07:40
Message-id: <01be8f9e$e44b56e0$2422...@danlavry.halcyon.com> >>
wrote;
<< The thing that real amazes me is how well these mechanical devices last, and
how well they last with proper care.
I believe that some real expensive accordions are still very good and durable,
but I often wonder how much knowledge went by the way side. Couple that with
the cost of duplicating the old style aproch to workmanship, and I too will
have to humbly conclud: they don't make 'em like they used to.
>>
Gary Blair (Scotland) stated << In my humble opinion, they don't make 'em like
they used to.>> and that is very true as mass production set in and ruined
handcraftsmanship, because of less time, type of workmanship needed, and type
of materials used. They're being made more and more by machines and all are
getting caught up in this. Over ten-fifteen years ago, I was chatting with a
person from the business side of the industry, who was complaining that the
accordion lasted too long; that repeat sales were almost nil. Couple that
attitude with others and you can see why the decline.
One accordion I designed for Giulietti was a "polka special" of five treble
registers/no bass registers, 4/5 reed sets (LMMM), etc., and the company sent
back same, but with the housing in solid molded plastic. We wanted wood
housing. That's what I've been speaking about over these years. Even handmade
reeds aren't the handmade reeds that were made years ago. Atlantic IV by
Hohner is all metal save for the reed block, and the shoe of that is made with
cardboard. And now, we focus on tuning with grinders and electronic tuners
which were not used back in those "good old days." Face it. We're in the space
age and time is a premium....to some.
The sad part is that the cost to make doesn't change.
May your reeds"speak" well of you
Steve Navoyosky
Steve's Accordion Shop
&
Accordion School
*since 1953*
<repair-rebuild-tune-customize-build>
*new & used accordions*
over 300 in stock
P.O.Box 88, Greenford, Ohio 44422
(by appointment only)
Tel: (330) 332-1111
FAX: (330) 332-5643
eMail: SNAV88 @ AOL.COM
Doug Cumming
Hello:
I'm guessing that the "Japanese" group which is mentioned by Dennis is the band
"Los Gatos de Japon" They are listed to perform at this year's festival [18th
Annual Tejano Conjunto Festival in San Antonio, 11-16 May 1999]:
http://www.ci.sat.tx.us/daca/tcfest.htm
http://www.guadalupeculturalarts.org/music.html
Here is some more information [and some sound files, etc.] on the band:
http://www.ondanet.com/tejano/music.gallery/Los.Gatos/
-- Doug Cumming
gat...@d-and-d.com wrote:
> Really-From: "Dennis" <co...@ix.netcom.com>
>
> There is actually a tex-mex group from Japan that plays every year at the
> Conjunto festival in San Antonio, Texas. I forget their name.
-----------------------------------------------------------------------
Dan Lavry
<01be8fa3$907b6640$2422...@danlavry.halcyon.com>...
> heather s <hea...@accordions.karro.co.uk> wrote in article
> <7g09bf$61p$1...@newsreader2.core.theplanet.net>...
> believe they had them then ???), but the sound does seem to need much
> improvement.
Sorry, I wanted to say: "but the sound does NOT seem to need much
improvement".
Dan Lavry
gary blair
Message text written by SNAV88
>One accordion I designed for Giulietti was a "polka special" of five
treble
registers/no bass registers, 4/5 reed sets (LMMM), etc., and the company
sent
back same, but with the housing in solid molded plastic. We wanted wood
housing. That's what I've been speaking about over these years. Even
handmade
reeds aren't the handmade reeds that were made years ago. Atlantic IV by
Hohner is all metal save for the reed block, and the shoe of that is made
with
cardboard. And now, we focus on tuning with grinders and electronic tuners
which were not used back in those "good old days." Face it. We're in the
space
age and time is a premium....to some.
The sad part is that the cost to make doesn't change.<>
Its time we gave the Accordion factories a mouth full! Charlie Watkins of
W.E.M. Ltd. is often over in Italy giving them a hard time. Wish there were
more doing it.
Regards
Gary Blair (Scotland)
http://come.to/garyblair
http://www.accordions.com/garyblair
gary blair
Message text written by "heather s"
>I have not played the Excelsior Symphony Grand, but would like to know the
specification (and sometime the opportunity to play one). I am familiar
with
having first owned one when I was nine years old - they are excellent
accordions. The two classic accordions of all time must be the Scandalli
Super VI and the Settimio Soprani Artist VI, which is the model favoured by
Marcosignori for many years. Who can argue with this great accordionist ? I
own an Artist VI which I acquired from Marco in 1960, and of all the
accordions I have owned and played, this one is the 'Rolls Royce' of
accordions. I won many championship titles playing this instrument,
including t<>
Well, I recently tried both!
A gentleman who frequents the Renfrew Accordion club has just bought a
Scandalli
super 6 ( actually belonged to Marcosignori) and I also tried a Settimo
Soprani
Artist 6 which is for sale in a shop near me. Both are terrific accordions.
Marco is certainly a superb player and is touring the UK soon. ( you will
know that
already Heather;-)
Eric Root
Cunningham's medley from his Airs and Graces album, which consists of
Jackson's No. 2/Jean's Reel/Moving Cloud, was recorded live at the Kyoto
Accordion and Fiddle Club.
This medley, by the way introduced many Americans to Jean's Reel, very
fun tune to really go to town on, by the late Bobby MacLeod, a Scottish
PA player also credited with writing parts 3 & 4 of High Road to Linton.
Other than that he's usually called "of the Isle of Mull," that's about
all I can find out about him, nor have I found any recordings at any of
my usual N. America sources.
Oops, sorry for the thread drift...
-Eric Root
"If there's anybody here who isn't trying to pick a fight, that's whose
side I'm on."
Dan Lavry
<19990426095508...@ng-cn1.aol.com>...
> One accordion I designed for Giulietti was a "polka special" of five
treble
> registers/no bass registers, 4/5 reed sets (LMMM), etc., and the company
sent
> back same, but with the housing in solid molded plastic. We wanted wood
> housing. That's what I've been speaking about over these years. Even
handmade
> reeds aren't the handmade reeds that were made years ago. Atlantic IV by
> Hohner is all metal save for the reed block, and the shoe of that is made
with
> cardboard. And now, we focus on tuning with grinders and electronic
tuners
> which were not used back in those "good old days." Face it. We're in the
space
> age and time is a premium....to some.
>
Hi Steve,
You make me want to cry. And it is not just the workmanship, it is also the
music itself. Some of that "learn the guitar in 3 easy lessons" stuff goes
hand in hand with such attitude. I can not wait for the "crowds" to get
sick of that stuff, and start demanding quality, sensitivity, subtlety and
so on. I believe it will happen - just wish for it to happen in my life
time...
You are correct, of course. Make them by the millions, make them cheap,
quick, overseas child labor, That is the name of the game for the majority
of products out there. I am so glad that there are still folks out there
that really care, take pride in their work and do their best. The masses
may not appreciate it, by I do, and I am sure that while a member of a tiny
minority, I am not the only one.
Best Regards
Dan Lavry
Michael Berenstein
With all due respect, I have to disagree with some of the statements.
Overall I feel that there is nothing more boring and untrue than some older people
complaint about bad new times, when composite plastics are used instead of good
old redwood, when antibiotics were given for running nose and jews and blacks had
to ride in the back seats of the busses. But the accordion(masonry, jewelry,
storytelling, dances, you name it) was high.
> "Rap" used to be what musicians did when they conversed. Now, it's a
> musical style...a form of monotony with rhythm and words.
It is a style, no matter how much I hate it. Because the reason we (assumingly)
hate it is it's declared war on 'traditional' culture, which is predominantly
white, so to speak. There is something to it, if I can abstract myself from the
being on the opposite side of the front line. It is much deaper than just a form
of monotony with rhythm and words. And more serious and may be, even more
dangerous (to my opinion)
>
> The old-timers on this Ng really love the instrument. We experienced
> it's partial history. We devoted our lives to it;
that is true. If not you this NG would be a bunch of chatting amateurs, not really
knowing what to say.
> Ralph and I don't always see eye to eye, but we still push in the same
> direction. We have a winner in this NG which is why I stay and why Ralph
> stays. I don't mean to just pick him out but he has suffered the blows of
> several and this has not discouraged his efforts to continue with this NG. He
> sees merit as I do.
Now this is very problematic. How many people would be willing to use your
experience if you continuesly setting them against yourself by simply not
respecting them as humans(not saying that humans worth any respect, but...)? I for
one would never buy any of his books, I just can't.
Point no2 is a question: are there only Ralph and you among the proffessionals?
This NG is very small and consist mainly of programmers and people who work with
computers. I don't think it even touched the layer of musicians. It's acheavements
in promoting accordions is miniscule. We are not going to make not only a
difference, but noticed. And that's the beauty of it! We're not pushing into any
direction at all. We just helping ourselves and hope to have good time.
I woul be very careful in describing Ralph's or anybody's on this NG feelings as
"blows" and "suffering". Sittng around coffe table and telling stories of being
rejected by accordion publishing house is nothing but fun. And it's not the
situation that calls for courage.
>
>
> I wish I could have portrayed a better picture of today's manufacturing, Dan.
> As I wrote it, all I could do was nostalgically think back to the time when the
> accordion was alive and craftsmen were striving to develop the very best
> accordion. After 1948, they started to strive for the very best capital.
. Accordion IS alive and is not going away, even if in the US (imagine that!) it
is going to be obsolete. Just relax. If accordion means a lot to you, you are
doing just fine. It has secured a very solid niche everywere, even in Japan(?) it
is accosiated with traditional culture (which is not popular as everywere and at
all times and the statement is untrue by biological reasons). As somebody posted,
there is more accordion CD's than an average folk can afford to buy, and there is
a waiting list for new concertinas and quality made accodions of all kind.
Everytime I practice in the park, there are a couple of kids of every colour
asking me: " Hey, is this an accordion?" So they know.
SNAV88
Date: Tue, Apr 27, 1999 00:10
Message-id: <199904261908_...@compuserve.com> >>
wrote:
<< Its time we gave the Accordion factories a mouth full! Charlie Watkins of
W.E.M. Ltd. is often over in Italy giving them a hard time. Wish there were
more doing it.
Regards
Gary Blair (Scotland) >>
(Might as well forget the "mouth full" because their ears can't contain it,
Gary.)
Well, there was Julio Giulietti, myself, Joe Macerollo, Hugo Noth, and a slew
of many over the years. I had dinner with Macerollo last February, and we
discussed the happenings of a meeting with the manufacturers several years ago,
to standardize the accordion models. In a nutshell, he said they were not
interested in listening to ideas. Funny, because they were the very ones
complaining that there were too many models being constructed by them, and
wanted to know what should be built.
They want to build how they see it, regardless of the fact that most do not
even play the instrument. It's a job, period.
That Bassetti of mine you have on your website was an effort to convince. They
said the reed configuration couldn't be done. I finally said, "You do it my
way, and if it doesn't work, then I can change it here." It's been eleven
years and I haven't had to change two reeds in unison down to that low "E."
After delivery, they told me, "don't ask us to make another." Nice guys, those
at Zero Sette. Hate to be put out, I guess, and learn something.
Hugo Noth ran into the same problem with Pigini. They told him he was "picky".
Doug Cummings remembers this article I imagine in the CASC newsletter.
I mentioned the Giulietti Polka Special that I designed? I gave them the
tuning formula to place on those boxes and when the units arrived, they were
all Italian musette, which is "their" polka sound. They are fixed in their
ways. Charlie Watkins may be doing his bit, but you can see where it's taken
him.
Steve Navoyosky
SNAV88
Date: Tue, Apr 27, 1999 00:47
Message-id: <01be91c0$b2abbb60$9523...@danlavry.halcyon.com> >>
wrote:
<< Some of that "learn the guitar in 3 easy lessons" stuff goes
hand in hand with such attitude. I cannot wait for the "crowds" to get sick of
that stuff, and start demanding quality, sensitivity, subtlety and so on. I
believe it will happen - just wish for it to happen in my life
time...
>>
Keep in mind that as long as there is a steady stream of music propaganda on
today's radio, TV, stage, and recordings, the public, many whom have never
studied music, will accept this as the epitome. It's their musical education
presently, and if they hear this diet of music produced and presented, they
relate to it as the best going. Since it's on the air and recorded, then it
must be the best...to them.
Look at the bad acting on the TV shows...the movies. The standard has dropped.
Ignorance definitely is bliss! If the majority of public studied music in the
past, they would be able to distinguish between good and bad performances, good
and bad music, etc.
Give them Big Macs, and tell them it's steak, is the music philosophy, it
seems. "Rap" used to be what musicians did when they conversed. Now, it's a
musical style...a form of monotony with rhythm and words.
Through the months this NG faced discussions on LOS, contests, and whatever
with Ralph Stricker at the gallant post in a protective role like Prince
Valiant. The old-timers on this Ng really love the instrument. We experienced
it's partial history. We devoted our lives to it; enough to pursue avenues of
elevation to people vowing to destroy it if possible.
This entire NG wants the best for their instrument and that's admirable and
worthy of note. Keep that in mind when things get out of hand as they normally
will. Ralph and I don't always see eye to eye, but we still push in the same
direction. We have a winner in this NG which is why I stay and why Ralph
stays. I don't mean to just pick him out but he has suffered the blows of
several and this has not discouraged his efforts to continue with this NG. He
sees merit as I do.
I dropped all of my other NG's because there's more of a camaraderie here than
anywhere. We all contribute something, and mainly, it's always "food for
thought."
I wish I could have portrayed a better picture of today's manufacturing, Dan.
As I wrote it, all I could do was nostalgically think back to the time when the
accordion was alive and craftsmen were striving to develop the very best
accordion. After 1948, they started to strive for the very best capital.
Steve Navoyosky
Dan Lavry
> << gary blair <GARY...@Compuserve.com>
> Date: Tue, Apr 27, 1999 00:10
> Message-id: <199904261908_...@compuserve.com> >>
> (Might as well forget the "mouth full" because their ears can't contain
it,
> Gary.)
> They want to build how they see it,
In electronics it is called the "NIH factor" - (NIH = not invented here).
Regards
Dan Lavry
Dan Lavry
> << "Dan Lavry" <danl...@halcyon.com>
> Date: Tue, Apr 27, 1999 00:47
> Message-id: <01be91c0$b2abbb60$9523...@danlavry.halcyon.com> >>
>
> Through the months this NG faced discussions on LOS, contests, and
whatever
> with Ralph Stricker at the gallant post in a protective role like Prince
> Valiant. The old-timers on this Ng really love the instrument. We
experienced
> it's partial history. We devoted our lives to it; enough to pursue
avenues of
> elevation to people vowing to destroy it if possible.
I do not know if you consider me an old timer (53 years old). I do not
really feel that old, but either way, I love the instrument. I believe that
my son (18 years old) learned to respect it also, though he does not play
it. He considers me "an oldy", and unfortunately, I see him getting "torn"
between being sucked into the garbage and some real fine exposure to real
art and good taste. You do not have to do much explaining to me about Ralph
Sticker. I have always respected him, and he knows it very well. I never
"crossed swords with him", because I almost always understand where he is
coming from, and agree with a lot of it. I just express it differently.
> This entire NG wants the best for their instrument and that's admirable
and
> worthy of note. Keep that in mind when things get out of hand as they
normally
> will. Ralph and I don't always see eye to eye, but we still push in the
same
> direction. We have a winner in this NG which is why I stay and why Ralph
> stays. I don't mean to just pick him out but he has suffered the blows
of
> several and this has not discouraged his efforts to continue with this
NG. He
> sees merit as I do.
Yes, that is more then clear to me.
> I dropped all of my other NG's because there's more of a camaraderie here
than
> anywhere. We all contribute something, and mainly, it's always "food for
> thought."
Same here. I was subscribed to some audio stuff (my profession), but the
quality and camaraderie here are far better. Also, one can get a lot of
information about electronics and audio many ways. Accordion information is
harder to come by.
> I wish I could have portrayed a better picture of today's manufacturing,
Dan.
> As I wrote it, all I could do was nostalgically think back to the time
when the
> accordion was alive and craftsmen were striving to develop the very best
> accordion. After 1948, they started to strive for the very best capital.
>
> Steve Navoyosky
I am so sorry to hear that, though I have suspected such was the case, for
a while now. I still hope that one day there will be a turn around, even if
it is not going to begin for 100 years, I just have to keep some optimism
going. It may be my foolish part, I admit, but better foolish then
depressed (?)
Thanks
Dan Lavry
bje...@my-dejanews.com
Grande, this one is made in the U-S. I do
understand about culture discussions, we have
them all the time on the "Off-Topic" board at the
Pedal Steel Guitar Forum.
I collect guitars, and I have about forty of the kind
most guitar players really like. But, the accordion
bug has turned me completely around. I hope to
one day play zydoco, but the who enchilada is
really appealling.
In the guitar world, nothing is as good as what was
made in the fifties and early sixties. There is
always a discussion going on about bad wood,
cheap parts, poor quality, etc.
But....., then I pick up this black gorgous
accordion. there is one thing about it that I haven't
mentioned for fear fo offending some one. At
some point, probably in the early sixties, some one
installed a stereo "Sano" pickup setup. There are
five in the box, and the controls have been put on
the front. It is a neat job, but maybe that screwed
up any collectability. I will say this, that when I
plug it int o my 1956 Fender Bassman, I can move
the earth out of its orbit. -LLL-
Gary Dahl
happen. Did you read the "accordion on" article?
You are fortunate to start lessons on a good accordion...the gooder the
better!
no excuses now...get started! You only live once!
Ralph Stricker
"Dan Lavry" <danl...@halcyon.com> wrote:
>SNAV88 <sna...@aol.com> wrote in article
><19990426230403...@ng98.aol.com>...
>> << "Dan Lavry" <danl...@halcyon.com>
>> Date: Tue, Apr 27, 1999 00:47
>> Message-id: <01be91c0$b2abbb60$9523...@danlavry.halcyon.com> >>
>>
>> Through the months this NG faced discussions on LOS, contests, and
>whatever
>> with Ralph Stricker at the gallant post in a protective role like Prince
>> Valiant. The old-timers on this Ng really love the instrument. We
>experienced
>> it's partial history. We devoted our lives to it; enough to pursue
>avenues of
>> elevation to people vowing to destroy it if possible.
>
>I do not know if you consider me an old timer (53 years old). I do not
>really feel that old, but either way, I love the instrument. I believe that
>my son (18 years old) learned to respect it also, though he does not play
>it. He considers me "an oldy", and unfortunately, I see him getting "torn"
>between being sucked into the garbage and some real fine exposure to real
>art and good taste. You do not have to do much explaining to me about Ralph
>Sticker.
STRICKER Ralph Stricker
Seriously I appreciate Steve's comments and yours.
Regards
Ralph Stricker
Macromed5
Tom, welcome to the group here. I hadn't connected the threads until you
mentioned Bob Lee's board. Have you been listening to any particular zydeco
players... anything in particular catch your ear there? How are you practicing,
exploring the instrument...?
Like Michael, I've got to beg off on the "it's going to the dogs" worldview...
there's more *diversity* now than ever before. Mass-production of plastic
accordions doesn't satisfy *your* needs, true, but it makes easy exposure
available to many more people... there's less need to ache for an instrument
now.
To match that we still need craftspeople to be able to make a good living
addressing high-end needs. I'd maintain that, with the net's
interconnectedness, that's much easier to do than at any previous time in
history: if there's a good maker, they can trade with a demanding player more
economically now than ever before.
The 80/20 rule is still in effect, but it's (roughly) easier to get a low-end
box, easier to contract for a high-end box. Any objections to this way of
looking at things...?
Regards,
John Dowdell
Now playing: Olivier Manoury on bandoneon with Enrique Pasqual on piano, on La
Cumparsita and other Tangos, the Silex Musique label. I don't know this disc
well enough to comment on it, but I really admire bandoneon playing.
Michael Berenstein
> playing the accordion is NOT playing tennis...carpal should never
> happen. Did you read the "accordion on" article?
I think it is true. What might happen though - is tightening of your
forarms, resulting from tight shoulders and back muscules. So, get GOOD
shoulder straps with a back strap, play sitting and RELAX YOUR SHOULDERS,
let them sag, fall, separate them from your playing arms.
>
> You are fortunate to start lessons on a good accordion...the gooder the
> better!
> no excuses now...get started! You only live once!
O boy. If only I have listened to this advice!
Dan Lavry
<37253B42...@pixar.com>...
>
> With all due respect, I have to disagree with some of the statements.
> Overall I feel that there is nothing more boring and untrue than some
older people
> complaint about bad new times, when composite plastics are used instead
of good
So you do not see the value of a San Francisco Victorian home when compared
against "track housing"? You can hardly find anyone that can duplicate
it...
> > "Rap" used to be what musicians did when they conversed. Now, it's a
> > musical style...a form of monotony with rhythm and words.
ex con repeating a monotone of obscene stuff. For me it is not a style, it
is the same song with hardly any melody, and some real Crap...
> It is a style, no matter how much I hate it. Because the reason we
(assumingly)
> hate it is it's declared war on 'traditional' culture, which is
predominantly
> white, so to speak.
I disagree, I love all sorts of music. I love authentic African, middle
eastern and so on....
> Now this is very problematic. How many people would be willing to use
your
> experience if you continuesly setting them against yourself by simply not
> respecting them as humans(not saying that humans worth any respect,
but...)? I for
> one would never buy any of his books, I just can't.
> Point no2 is a question: are there only Ralph and you among the
proffessionals?
Myself, I listen to the content of the massage first, then comes the form.
I try to assume that the negative stuff is due to passion which often leads
to venting of frustration. I also wish that Ralph "toned it down" at times,
to reach more folks with his massage. Often, experts at the front of the
pack tend to be very impatient, and expect too much too quickly - too bad
because real good experts are often too short fused to be good mentors.
> > I wish I could have portrayed a better picture of today's
manufacturing, Dan.
> > As I wrote it, all I could do was nostalgically think back to the time
when the
> > accordion was alive and craftsmen were striving to develop the very
best
> > accordion. After 1948, they started to strive for the very best
capital.
>
> . Accordion IS alive and is not going away....
> As somebody posted, there is more accordion CD's than an average folk
can afford to buy, and there > is a waiting list for new concertinas and
quality made accodions of all kind.
> Everytime I practice in the park, there are a couple of kids of every
colour
> asking me: " Hey, is this an accordion?" So they know.
So the standard of an instrument being alive is:
1. more CD's that one can buy (all 200?)
2. couple of kids recognize it visually. I am sure that if they saw a
guitar they would not say "hey this is a guitar right?" which shows the
reverse of "accordion is alive".
Am I missing something?
A lot of what you say is fair, and I did not respond to all of, just the
parts I disagreed with. You certainly are a fair minded person, speaking
your mind. I just dont agree with some of your statements. I think it is a
lot more then a couple of old folks saying so and so. It is about tone
quality, musical expression, art, and other topics. With all due respect,
you are entitled to like rap, and I am entitled to view it as a real
degradation of music to it's lowest art form. The question is, then, why we
have such different views. The young folks only had a chance to be exposed
to "one generation way of doing things". Perhaps the older folks, having
more exposure to different ways, should be listened to with open ears. If
you do not understand me now, you will, in 30 years or so.
Best Regards
Dan Lavry
Toby Hanson
(SNAV88) wrote:
>Well, there was Julio Giulietti, myself, Joe Macerollo, Hugo Noth, and a slew
>of many over the years. I had dinner with Macerollo last February, and we
>discussed the happenings of a meeting with the manufacturers several years ago,
>to standardize the accordion models. In a nutshell, he said they were not
>interested in listening to ideas. Funny, because they were the very ones
>complaining that there were too many models being constructed by them, and
>wanted to know what should be built.
Gary Dahl can likely tell you similar stories about Sonola and the
struggles between Joe Spano and the factory to produce the original
Tonaveri to his exacting standards. Eventually he did get some very good
accordions out of them.
>They want to build how they see it, regardless of the fact that most do not
>even play the instrument. It's a job, period.
>
>That Bassetti of mine you have on your website was an effort to convince. They
>said the reed configuration couldn't be done. I finally said, "You do it my
>way, and if it doesn't work, then I can change it here." It's been eleven
>years and I haven't had to change two reeds in unison down to that low "E."
>
>After delivery, they told me, "don't ask us to make another." Nice guys, those
>at Zero Sette. Hate to be put out, I guess, and learn something.
This reminds me...Gale Evans ordered a new accordion from a prominent
local accordion shop who has their accordions built by Zero Sette. After
waiting two years, in which time she made a trip to the factory to ensure
that her accordion was being built as she ordered it-without bass
switches-it arrived completely and totally wrong. They put a full set of
bass switches on it, they put all the rhinestones in all the wrong places,
they did the grill wrong, etc. When she confronted the shop she was told
that it was her fault for going over to Italy and disturbing the
"manufacturing process" at "their factory." She refused to pay for the
accordion.
>Hugo Noth ran into the same problem with Pigini. They told him he was "picky".
>Doug Cummings remembers this article I imagine in the CASC newsletter.
>
>I mentioned the Giulietti Polka Special that I designed? I gave them the
>tuning formula to place on those boxes and when the units arrived, they were
>all Italian musette, which is "their" polka sound. They are fixed in their
>ways. Charlie Watkins may be doing his bit, but you can see where it's taken
>him.
I have to say that I've been lucky. The factory that built my Spano for
me was actually fairly receptive to my suggestions. It helped that Rick
Spano had just gone over to Italy and met with them. As for whether the
new accordions are better than the old ones, I can't decide. There are
definitely things I like about the old ones. I'd never part w/my
Excelsior even though it's not a NY. I'd also never part w/my Spano. I
like the feel and sound of my new accordion even though the reed response
isn't quite what it is in some of the older accordions. It's like
comparing muscle cars of the 1960s to the 1990s. I'd trade my left kidney
for a 69 GTO but, OTOH, it didn't have jumbo cupholders or airbags like
the new Firebirds.
--
-Toby Hanson
jtha...@aa.net.TREET
http://members.aa.net/~jthanson
"*THERE'S* your contact hitter, Jimmy!"
-Dave Niehaus
Remove ".TREET" (Armour's immitation Spam) to make address edible.
Crs smitty
>but I love it!!!
>From: "Dan Lavry" <danl...@halcyon.com>
>Date: 4/25/99 11:40 PM Pacific Daylight Time
>Message-id: <01be8f9e$e44b56e0$2422...@danlavry.halcyon.com>
>
>gary blair <GARY...@Compuserve.com> wrote in article
><199904251837_...@compuserve.com>...
>> Well for what its worth, my late father always preferred the US made
>> Excelsiors to the Italian made ones. As for the ''guy'' with the store,
>trust him, he
>> knows what he's talking about.
>
>> Most of these Accordions were of the 50's-70's variety and I have
>probably
>> missed a few.
>> Gary Blair (scotland)
>
>I would have to second that, at least from sound quality stand point. The
>thing that real amazes me is how well these mechanical devices last, and
>how well they last with proper care. I believe that some real expensive
>accordions are still very good and durable, but I often wonder how much
>knowledge went by the way side. Couple that with the cost of duplicating
>the old style aproch to workmanship, and I too will have to humbly conclud:
>they don't make 'em like they used to.
>
>
>Dan Lavry
>
>
Been there for years! I like old boxes made by real artisans which I believe
are sadly disappearing. The only thing I will say for the newer boxes is that
keyboards tend to work a little nicer though I have my doubts as to whether
that will withstand the test of time. You can also have actions and keyboards
rebuilt on the older boxes to make them similar to newer accordions.
100 years from now I believe there will still be some of the old boxes around
but those made today ?? Of course this all presumes civilization survives for
another 100 years. Sometimes I wonder about that!!??
Ron Smith, Montana squeezer
dok...@my-dejanews.com
me the name/phone # of the shop near you with one for sale?
Thanks,
Andy
>
> Well, I recently tried both!
> A gentleman who frequents the Renfrew Accordion club has just bought a
> Scandalli
> super 6 ( actually belonged to Marcosignori) and I also tried a Settimo
> Soprani
> Artist 6 which is for sale in a shop near me. Both are terrific accordions.
> Marco is certainly a superb player and is touring the UK soon. ( you will
> know that
> already Heather;-)
> Regards
> Gary Blair (Scotland)
>
> http://come.to/garyblair
> http://www.accordions.com/garyblair
-----------== Posted via Deja News, The Discussion Network ==----------
gary blair
Message text written by Eric Root
>They must have at least somewhat of an accordion scene in Japan. Phil
Cunningham's medley from his Airs and Graces album, which consists of
Jackson's No. 2/Jean's Reel/Moving Cloud, was recorded live at the Kyoto
Accordion and Fiddle Club.
This medley, by the way introduced many Americans to Jean's Reel, very
fun tune to really go to town on, by the late Bobby MacLeod, a Scottish
PA player also credited with writing parts 3 & 4 of High Road to Linton.
Other than that he's usually called "of the Isle of Mull," that's about
all I can find out about him, nor have I found any recordings at any of
my usual N. America sources.
Oops, sorry for the thread drift...>.
I would take the Kyoto club with a large pinch of salt. He also states on
another album ''live at the Mayan Miners welfare, Mexico'' again take it
with the afore mentioned salt. BTW Koos Koos Mcafferty (piano) is none
other
than Mr Phil C.....He's at the wind up.
Bobby was a Chromatic as well as a Piano player. He lived on the island of
Mull
where he had a Hotel ( the Mishnish). He also played the Pipes.
His sons both are musicians (Robert Jnr and Alistair). He was a good guy
and
an excellent player. Infact I have just received a complimentary copy of
Bobby's own
Compositions ( Jean's reel I have been playing for years, but its not in
the book anyway)
cheers
Gary Blair ( still typing when he should have
left for the Lockerbie accordion club)
This last statement is genuine!
ps Bobby has MANY recordings and is on an album with me, entitled
Accordion Bonanza no2.
gary blair
Message text written by SNAV88
not
even play the instrument. It's a job, period.
That Bassetti of mine you have on your website was an effort to convince.
They
said the reed configuration couldn't be done. I finally said, "You do it my
way, and if it doesn't work, then I can change it here." It's been eleven
years and I haven't had to change two reeds in unison down to that low "E."
After delivery, they told me, "don't ask us to make another." Nice guys,
those
at Zero Sette. Hate to be put out, I guess, and learn something.<>
No wonder they are in such a state.
Excelsior still seem to be the largest manufacturer, but they only
employ 30 people. Borsini employ 10, Bellini 1, Fantini 5 and so on.
The one thing I learned recently is that the markets in Germany and
Yugoslavia are poor at the moment ( for obvious reasons) but the
USA is a growth market for Accordions once again ( they didn't say by
how much). I am told there are only 3000 Accordions per year shipped out
of Italy. IN the golden age this would have been 300,000.
Regards
Gary Blair(Scotland)
htttp://come.to/garyblair
http://www.accordions.com/garyblair
Steve Mobia
> new accordions are better than the old ones, I can't decide.
How about quieter bass buttons (a real problem with nearly every older
accordion I've heard)? The new Italian models seem to have licked that
one. The newer ones are also lighter for the same number of reeds.
Steve Mobia
SNAV88
Date: Wed, Apr 28, 1999 14:03
Message-id: <199904281402_...@compuserve.com> >>
wrote:
<< No wonder they are in such a state.
Excelsior still seem to be the largest manufacturer, but they only employ 30
people. Borsini employ 10, Bellini 1, Fantini 5 and so on. The one thing I
learned recently is that the markets in Germany and Yugoslavia are poor at the
moment ( for obvious reasons) but the USA is a growth market for Accordions
once again ( they didn't say by how much). I am told there are only 3000
Accordions per year shipped out of Italy. IN the golden age this would have
been 300,000. >>
Last I heard, 07 had 25 and that Guerrini and SEM were the largest going so
far. What had caused problems for the manufacturers is the ecological standards
set by the government. Woodworkers need dust collection per government
standards and that is costly, etc. So the work is scattered and the
manufacturing company ends up as an assembly of parts. As I've mentioned, it's
all mass production thinking. To assemble, they don't need many people.
3000 keyboard accordions? That would surprise me. It has to be keyboard,
chromatic, diatonic, helikon, irish, concertina, etc. total.
Steve Navoyosky
Doug Cumming
Hello:
In case anyone would like to hear Jackson's No. 2 [& maybe Jean's Reel, I
don't know whether the entire medley is on the site] visit Phil Cunningham at:
http://www.philcunningham.com/
By the way, there are other audio files as well. You can even "email" Phil and
ask about the Kyoto Accordion and Fiddle Club. By the way, I did find that
there are two interesting "free-reed" groups in Japan:
The "All-Japan Accordion League" and the "All-Japan Harmonica Federation". See
the following page:
http://jin.jcic.or.jp/jd/org/006018102.html#006018102008
Speaking of Jean's Reel, there are several MIDI and notated [incl. abc
versions] on the web. Try a "dogpile" search.
For Gary and other Scots, I found this info on Bobby MacLeod. It has to do
more with the "hotel" which Gary mentions in his reply (below). The Mishnish
hotel, in Tobermory, was apparently painted "pink" by Bobby MacLeod's family.
This, according to the article, "caused a flutter of concern in the village.":
http://www.theherald.co.uk/news/archive/26-10-1998-0-33-10.html
Here's some more info on the Japanese group, Los Gatos, which I mentioned a
few days ago:
http://accordions.com/index/squ/en_squ_98_03_13.shtml#i
Here is "Katou's Accordion Room" (Japan):
http://www.whatuseek.com/cgi-bin/redirect.go?url=http://www.ipc.hiroshima-u.ac.jp/~cato/Acco.html
So long.
-- Doug Cumming
Lastly, I wanted to inform Gary
gary blair wrote:
Brian Boyce
feis's. There are a bunch of rockin reels which are truly fulfilling to
play.
A)The Yellow Tinker
B)Moving Cloud
c)Gravel Walk
D)Trip to Durrow
Cliff Bentz
SNAV88 wrote:
>
> << gary blair <GARY...@Compuserve.com>
> Date: Wed, Apr 28, 1999 14:03
> Message-id: <199904281402_...@compuserve.com> >>
>
> wrote:
> once again ( they didn't say by how much). I am told there are only 3000
> Accordions per year shipped out of Italy. IN the golden age this would have
> been 300,000. >>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
I don't know where these wild figures come from. Probably from the same
"reliable sources" that so often create inaccurate news reporting these days.
One has only to dig back into US import records and find that in it's
"heyday", the highest level of accordions imported to the US from all
foreign sources, never exceeded 50,000 annually. The cost of an accordion
in the 30's and 40's was relatively expensive, when you consider the
average wages back then (pre-war) were less than $5,000 per year. An
accordion could cost between 3-5% of one's gross annual wages. This, in an
economic period when most people could only dream of owning a house or a
car, much less a musical instrument.
My first accordion was a 48 bass Wurlitzer in 1938. It cost $125 and was
paid for by both sets of my grandparents. My dad was earning $38 per week
and couldn't afford such luxuries.
If one studied economics at all, the lower income families in those years
made up more than 98% of all families in this country. Remember, the
country was coming out of the worst depression and economic times ever.
Musical instruments were a luxury then.
300,000 accordions annually? Never even came close!
Cliff Bentz
Michael Berenstein
>
> If one studied economics at all, the lower income families in those years
> made up more than 98% of all families in this country. Remember, the
> country was coming out of the worst depression and economic times ever.
> Musical instruments were a luxury then.
>
> 300,000 accordions annually? Never even came close!
>
> Cliff Bentz
I wander what percentage of those were quality instruments and how much of it
was crap?
Speaking of which, how many quality instruments are sold now compare to
accordions "hey" day.
Michael Berenstein
> Cliff Bentz <cbe...@execpc.com> wrote in article
> <7g87aa$n...@newsops.execpc.com>...
> > The cost of an accordion
> > in the 30's and 40's was relatively expensive, when you consider the
> > average wages back then (pre-war) were less than $5,000 per year. An
> > accordion could cost between 3-5% of one's gross annual wages.
>
> Interesting perspective, but I miss one point: If a person is earning
> $100,000 gross income today, then 3-5% is $3000 - $5000. That buys you a
> "pretty mediocre" accordion today,
>
> Dan Lavry
That's speaking of piano accordions. The button boxes for $10 000 don't even
exist.
Though this raises a question: are musicians so well off as to have $10000
instruments? If not, it means majority of professionals play 'mediocre'
instruments? I just wander where the line is.
Are latest Jaguars luxury or just what the doctor prescribed, compare to
'mediocre' Dodge Caravan
or "slightly above it" SAAB?.
Dan Lavry
<7g87aa$n...@newsops.execpc.com>...
> The cost of an accordion
> in the 30's and 40's was relatively expensive, when you consider the
> average wages back then (pre-war) were less than $5,000 per year. An
> accordion could cost between 3-5% of one's gross annual wages.
Interesting perspective, but I miss one point: If a person is earning
$100,000 gross income today, then 3-5% is $3000 - $5000. That buys you a
"pretty mediocre" accordion today, certainly not the "low end", but also
not the "$10,000 and up high end". So percentage wise, there does not seem
to be such a difference between today and then. Am I missing the point?
Best Regards
Dan Lavry
Cliff Bentz
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
The point being missed is, there were never 300,000 accordions imported
annually to the US in the accordion's "golden years". One of major reasons
being, simple economics of the times.
$100,000 wage earners in today's world are not wasting their time or money
on musical instruments, unless they are professional musicians, which are
far and few between. There are too many horror stories of underpaid,
starving musicians, "waiting for the big break". Additionally, how many of
those musicians are buying $10,000 to $25,000 accordions? Mfrs of the very
high end accordions would be hard pressed to prove total sales of more than
1,000 annually, world-wide. The vast majority of accordion sales today are
the new and used under $1,500. Sales of accordions between $1,500 and
$10,000 are still to a privileged few accordionists. There is very little
demand for an accordion costing more than $5,000 today. Potential
customers are not knocking down the doors to purchase those units. That's
a hard, cold fact.
According to the US Dept of Labor, the average US income is in the low
$30,000 range. So an annual income of $5,000 in the 30's and early 40's
should be around $75,000 today. But thanks to inflation, taxes and other
factors, the average wage earner has lost substantial ground over the last
50 years, making an investment in an expensive musical instrument even less
attractive.
Cliff Bentz
gary blair
Message text written by Doug Cumming
>For Gary and other Scots, I found this info on Bobby MacLeod. It has to do
more with the "hotel" which Gary mentions in his reply (below). The
Mishnish
hotel, in Tobermory, was apparently painted "pink" by Bobby MacLeod's
family.
This, according to the article, "caused a flutter of concern in the
village.":<>
Well done again Doug, you have been busy!
I don't know why painting the hotel caused a flutter as every other
house on Tobermory front is a different colour IE Sky Blue, red etc.
Maybe Bobby started it off and it was a case of ''if you can't beat
them..''
The one thing that sticks with me regarding Bobby ( I met him several times
and
played in his Hotel), was the fact that in 1957 on STV's New year show, he
and his
band had to perform in the open air at Glasgow Cross. The rain was coming
down in
buckets and the whole band was looking absolutely miserable. The anchor man
then
stated '' That's the Bobby macleod Scottish Dance band enjoying performing
for
the audience and now back to the studio''.
On returning to the studio, the camera zoomed in on my Fathers band , shirt
sleeved
and full of smiles;-) Guess Bobby pulled the short straw.
Before anyone thinks I was there to witness this event in person, may I
point out
that I wasn't even born, but do have it on Video.
Cheers
Gary Blair (scotland)
http://come.to/garyblair
http://www.accordions.com/garyblair
gary blair
Message text written by INTERNET:Bjco...@worldnet.att.net
Nice choice.
Many players play Jean's reel followed by Moving cloud.
Check out the tongadale reel, glasgow reel, auld fiddler
all great reels also.
Regards
JMMICHAEL
(that many of them can't play or can't play well). They aren't mostly buying
expensive accordians. They are buying grand pianos and other decorative or
prestige items. However, I'd bet that a certain percentage of those fancy
accordians are going to well-off amateurs or well-off people who think they
want to learn someday. That's where some of those second-hand, hardly-played
instruments come from.
Gary Dahl
(remember, it is "ion" at the end of accordion)