INTERNATIONAL CONCERTINA ASSOCIATION

Membership Secretary Events Secretary Martin Williams, Marian Janes 3 Frinton House 15 Crescent Road Rushcroft Road London N8 SAL London SW2 01 348 5563 01 737 7987 President Rev Kenneth Loveless VRD FSA FSA Scot Hon RNR Treasurer Editor John Entract Alan Dyer 16 Mandeville Rd 29 Horton Avenue Saffron Watden Thame Essex Oxon

************************************************************************************************ No 341 Nov/Dec '86 A Christmass Message from the President On the 29th November the following appeared in "The Times" under the heading "Busking Out": 'American actor, Stephen Hanan, presently starring in "Les Miserables" recently received a standing ovation in Covent Garden - because his audience had no seats. Hanan was entertaining a West End street audience with a selection of Italian arias, accomanying himself on a concertina. He tells me he did it for fun and was quite pleased to nip back into the Palace Theatre for a matinee show £15 richer." Truly the wheel has come almost full circle, and our instrument is rapidly attaining to the popularity it received in Victorian times.

I am delighted with the way in which our association is forging ahead. We have an excellent newsletter and are developing regionally - something which 1 have long been advocating. When I joined some thirty years ago there were no Anglo concertinas, excepting mine! Now, they flourish, as does folk music - and so our membership increases. It is a very healthy situation and long may it continue and improve.

We have, alas, lost two of our most stalwart supporters during the year - Tom Jukes and Tom Prince, may their souls rest in peace. They gave us much that we shall remember.

I have written these things because it is right that, at the turn of the year, we should take stock. Christmass is almost upon us - and queuing up is now an inevitable part of the festive season, as shoppers all over the country throng into our towns and cities in search of food, drink and those ever-elusive Christmass presents. In Britain the queues are for turkeys and tinsel, mince pies and marzipan, Christmass treats and executive toys. In Africa, starving people queue for maize and milk-powder - and for another bite at life.

In Britain, Christmass shopping can seem like a scrum which only the fittest survive. In Africa it's only the fittest who make it to the relief queues in the first place. Despite the gains of short-term relief aid and longer-term development work, and the startling success of national fund raising efforts, like Sport- Aid, three million people are still starving in Sudan alone. As in countries throughout Africa, the factors of poverty have taken their crippling toll over the year. 1 I ask you all, during your Christmass festivities, to remember these things and to continue to help financially, according to your moans, as I am sure you have done during the past year. Your own happiness will be the more complete when you know you have done what you could for others - for that is what the festival is about - goodwill to all men.

And so, as Tiny Tim observed in Charles Dickens' immortal "Christmas Carol" - "God bless us - every one".

Fr. Kenneth Loveless.

MEMBERSHIP MATTERS

New Members R.K.Henrywood Richard Harrison 12 Pollards Fields Greenways Ferrybridge Miss Leonie Install LTCL School Lyne 10 Park Place W.Yorks Broughton WF11 8TD Wembley Stockbridge Middlesex Hants HA9 8DB S020 8BZ Steve Goodyear 16 Woodlands Road Worcester

Address Changes

Chris and Judy Whiting Alan L Goodman now 93 Irving Road now 1 Eagles' Circle Southbourne Chadds Ford Bournemouth PA 19317 BH6 5BH USA

Jenny Cox S.K.Simpson now 26 Hill Grove now Skarpskyttevagen 20c Henleaze S- 222 42 Lund Bristol Sweden BS9 4RJ

Subscriptions Received with thanks

R A McLeod, D GLover, C M Strachan, P E Morley, P C Taylor, J Fiacre, A Bardiaux, J D Finlay, J Beckett, L Laieski, C Corradi, A.L Goodman, T Helenburgh, D J Hall C A Sawbridge. J Bibby-Cox, B Goodyear, D H Murray.

Subscriptions Due November 1986

M Howson, G J Coyne, S Eydmann, A Maclean, P Wallace, F R Gomm, H F Cheers,

Subscriptions Due December 1986

W L Rawson, B Leach, W Blakeman, E Jevons.

2 AGM AGM AGM 21st February, 1987 The Annual General Meeting of the International Concertana Association will be held at 2.30pm at Bloomsbury Community Hail, St. George's Churchyard, Bloomsbury Way, London WC1.

I.C.A. Festival 9th May 1987 To be held in Victoria Methodist Hall, Westmorland Terrace, London SWl. Full details of classes, test pieces etc. will be published in the January Newsletter.

From Brian Bibby DAVE TOWNSEND'S ENGLISH CONCERTINA WORKSHOP

This workshop was held in the hall of the Drama Department of the Henry Box School in Witney. Well, eventually it was. It took us half an hour to find the caretaker, but fortunately the weather was warm and sunny, and we finished half an hour later in the evening to make up.

Dave circulated the music for the workshop about a fortnight prior. There was a fair variety of it, ranging from Elgar's Nimrod (arranged by Frank Butler) to a syncopated American version of Soldier's Joy that bore almost no relation to the tune we all know and hate. The music was arranged in from three to five parts of varying (marked) difficulty. Some parts were in the bass clef which I transcribed into treble clef beforehand for playing on a baritone. In general I found the music fairly hard to read, perhaps because I was not usually reading the melody line.

There was one folk piece in each key from F to D, but the Mozart "Contretanz" was in B flat, which I think most people had a little trouble with, and the Nimrod was in E flat, which would have been beyond me if the piece had not been so slow. Difficult, but not im­ possible, and probably to be expected at a workshop which is not after all just a play-around.

Over lunch Dave took each player aside for five or so minutes for individual comments on their style and faults. Even so short a time was of use to many, leaving them to rectify matters on their own. (For those requiring it, Dave does give private lessons.) So, while the rest of us relaxed in the pub, Dave was working.

The tea and biscuits in the morning and afternoon added to the socia­ bility and provided a needed break. Certainly, I resolve to practise the music more before the next meeting, but I think all fourteen of us thought the day very worth while.

3 From John Beckett, now residing in Southampton, who writes: I am spurred on to write to you as a result of the ICA October 86 Newsletter, in particular Martin Williams's query about concertinas in N. Ireland. I lived there for forty years until about ten years ago, and can state that, up to then, there was little or no concertina playing. There are certainly no Orange Bands playing concertinas. The principal instruments are either piano accordions, two-row C/C# button-keyed accordions, or, more likely, flute bands.

I picked up a secondhand concertina in Belfast in the late 1960s, but it was not till ten or more years later that I discovered it was a Lachenal "Duet" and that there was also an "English" keyboard. I played a cheap anglo in a folk group in the early 1960s, gaduating from a C/C# accordion. In all the years concertina playing (around twelve) I only ever met another local player. He was Robin Morton, who joined "Boys of the Lough" later on. To sum up, there is not any concertina playing indigenous to N. Ireland. I believe there is an "anglo" tradition in the West of Ireland, but have not actually experienced it. Some Liverpool friends did mention that there are concertina Orange Bands on Merseyside, but again I have never seen any. Even now duet players are a rarity, yet the instrument seems more versatile than the "English". Does anyone agree?

Apartado 48 Alfoz del Pi Alicante, Spain Re requests for contributions to concertina music, many names have been mentioned in the Newsletter. But as a boy, which was a long time ago, there was one man playing on the halls who was considered to be a "wizard", but I have never seen his name mentioned. It was Percy Honri. Some of our older members must remember him, and I would be very interested to read something about his playing and the sort of music he played, as he was before my time and I only know what other people have told me. But they all "raved".

Vic Davies See "Working the Halls" by Peter Honri

Suggestions for a name for a classical group might include 'The Regondi....' (Giulio Regondi 1822 - 1872 - pioneer concertina player). But I believe you are thinking of a less formal group.

John Entract, Saffron Walden 4 Concertina Day at the Taunton and Somerset Music and Drama Festival 15th November 1986

1. Formal Report - Who played and who won what section

This part of the Festival was held in the music room at Queen's College, Taunton, an imposing but not too intimidating background for competitors to provide us with a feast of concertina music. Dave Townsend again proved an extremely able and sympathetic adjudicator, from the moment he ensured a bit of peace from latecomers for the first nervous entrant in the Elementary class, to the last choice between five very different bands in the last section. Each class was judged as soon as it had finished, with Dave adding a great deal of impromptu advice applicable to more than the individual entrants, and providing positive and helpful comments to each.

The day started with the Elementary class, which was contested by Ruth Dennett (taught by Kate Powell), and Sarah Davies, Kirsty Coombe, Rachel Jordan, Laura Oliver, Edward Dixon, Emily Watson, Nicola Lewis, Janet Wingrove and Claire Reeson from Mangotsfleld Primary School near Bristol, taught by Jenny Cox. The standard was high, with several particularly good performances; there was very little rushing or stumbling over difficult passages, and a great deal of good phrasing and expression. Their quiet confidence was pretty impressive, too. The class was won by Rachel Jordan, playing the Skye Boat Song, the Ghost of Tom, and When Johnny comes Marching Home.

The next class, Intermediate Classical, was contested by Hilde Senior, Violet Fordham, Penny Ward, Barbara Goodyear, Pat Robson, Martin Williams, Steve Goodyear, John Glasson and Brian Bibby. The class was won by Brian Bibby, with the Prelude from Bach's first Cello Suite played on a Bass Edeophone.

The Intermediate Folk class was contested by Penny Ward, John Glasson, Brian Bibby, Annick Bardiaux, Sam Powers, Pat Robson and Babs Goodyear - a more international representation than the previous classes. Penny and Brian tied for first place; Penny played the Nimrod Hornpipe, Ballydesmond Polka and Rosline Castle, and Brian played Boiled Parsnips, American Boot Dance, and The London Troop.

The Advanced Classical section had four entrants, playing very different pieces - John Hutcherson with Forget me Not by Alan Macbeth, Gerry Mogg with a suite of dances by Praetorius, Jenny Cox played a Clementi piano Sonatina which she'd arranged for solo English, and Bob Senior played an Air with Variations by Regondi on an 1890's single-action clarinet concertina. Bob Senior was the undisputed winner with a very enjoyable performance.

The Advanced Folk class that followed must have provided by far the most difficult task for the adjudicator, with a very wide variety of pieces and styles. Dave commented on the assurance and ability of players who were used to playing for an audience; certainly it was a pleasure to watch and listen to people who could present their music in such a professional way. The contestants were Peter Trimming, Kate Powell, Steve Goodyear, Gerry Mogg, Robin Madge, Iris Bishop, Maggy St. George and Jean Megly; Iris Bishop won with Archie's Fancy, Irish Lullaby and Tomcat Blues.

The next class illustrated some of the other pitfalls open to participants, notably the difficulty of playing together. As Dave pointed out, it was very easy to distinguish those who regularly played together from the groups or duos who had got together to work at one piece for the

5 competition. The class was won by Iris Bishop and Charlotte Oliver, who played an arrangement of Childgrove, and a piece called 'Do it Yourself'.

The final class was the long-awaited Concertina Band section, in which there were five entries. This time there was a set piece - Dave Townsend's arrangement of Noel's Galliard - and an 'own choice' section, with marks apportioned equally. Mangotsfield Primary School went first, with an able performance of the set piece; they even managed dynamics and phrasing on top of an excellent ability to keep together (with assistance from Jenny Cox who taught them and talked them into this in the first place). Their second piece was Frank Butler's arrangement of 'My Bonnie' - a convincing demonstration of the wisdom of picking something simple that you can play well and put over to the audience as music.

Other entrants in this section included the Bloomsbury Concertina Band, with strictly choreographed concertina swinging; Butleigh Concertina band who proved that you can play Mozart symphonies on several concertinas; the Dodgy Button Band who obviously enjoyed themselves and set the audience's feet tapping; and the Exmoor Fringe band entered into the spirit of the day and arrived in costume to give a very polished performance.

One thing several people commented on was the general rise in standards; perhaps competitions are a good thing after all in encouraging us to practise and work at one or two pieces to play them really well. The atmosphere couldn't have been more genial and supportive of those on stage at any time; no cut throat competition here. Thanks to the Taunton Festival for including concertinas; most of all, thanks to Jenny Cox for indefatigable services to concertina players in organising the day.

2. Informal Report: the happy memories

It was the atmosphere and the inspiration that amazed me; the conviviality and musical inspiration exceeded all my expectations. A week later the event stays in the mind as a series of happy moments - Friday night at the Carew Arms, the session where Peter Trimming responded to requests for local traditional tunes with Drink up thee Zider and Yellow Submarine; Maggy St. George's musical dog who not only sings to Davy Davy Knick Knack, but actually recognises Soldier's Joy as the one that precedes it. Saturday morning - taking a circuitous route to the Queen's College and finding on the way an Aeola church tower with an Aeola clock (though they may just have built it as an octagonal one, as it predates concertinas by a few hundred years); the competition itself, so much good music well played - the children's delight in their playing, listening to Maggy and Alan enjoying playing their duet (no sheet music, just tunes); hearing a musical solo on the largest concertina in the world.

Another thing - names familiar from the newsletter actually materialised and made music before your very eyes - I remember Bob Senior playing Regondi on an 1890's clarinet concertina with a beautiful tone; Pat Robson's square box with lovely mellow sound; John Hutcherson's playing on the Sunday afternoon; Jean Megly being a set of Swedish fiddles; Jenny Cox's Clementi sonatina - was it really written for piano? Sounded just right on concertina. The Salvation Army Band from Plymouth, showing us how it's done while praising the competitors own enthusiasm and joy in playing. Iris Bishop's Tomcat Blues - worth learning Duet to emulate. Robin Madge and Peter Trimming's Anglo playing showing us another facet of the instrument. Dave Townsend concluding with Bach and Monti's Czardas (played separately). Just for once,

6 the system you play was irrelevant; it was the music alone that mattered.

The session in the skittle alley on Saturday night - shades of Kipling (If you can keep your head when all around you are changing keys, with crazy rhythms too ); Dave, Jean, Peter and Robin all doing different things with the same tune that was still in there, somewhere. Jean Megly's mid-Channel harmonies. The mixture of concertinas and singing and food and drink, and very very tired people not wanting to go. Sunday - breakfast of bacon, eggs, and bandoneon keyboard layout; then Halsway and technique, phrasing, harmony and accompaniment, not to mention the dinner gong interrupting for much needed refreshment for cluttered minds and parched throats. Rosline Castle in two parts for 30 concertinas, and it sounded good; hearing Lea Nicholson the day after I'd discovered his record; not quite enough time to collar people you hadn't heard before to get then to play something else (Iris and Charlotte, where can I hear the Dodgy Button Band again? Lea, come back and entertain the concertina world occasionally; Maggy and Alan, come and play north of the Thames..)

End of incoherent appreciation. It's a good weekend; competitions are probably Good for You and certainly they seem to do a lot for concertina playing; well done Jenny and WCCP for getting it all off the ground again.

invite you to their 4th Annual Halsway_Manor Weekend 20th - 22nd March 1987 led by Mick and Pat Terns, Tim Laycock and others. We plan workshops on playing for dance, song accompaniment, music hall, classical band, ear playing, duet delights and difficulties etc etc. Cost £47.50 including all food, fees and accommodation. Book early to Jenny Cox, 26 Hill Grove, Henleaze, Bristol, BS9 4RJ (0272) 629931

Please indicate which system concertina you play, and whether you consider yourself to be beginner, improving, intermediate or experienced. This will help us plan.

For Sale: Lachenal English 48 button. Metal ended treble concertina. Recently had new pads and valves and new set of six­ fold bellows (by Wheatstones). With box. Must sell to afford an Aeola! £400.00 Ring Malcolm, 0908 674005 Evenings ---ooooooooooooOOOooooooooooooOOOoooooooooooo---

ALISTAIR ANDERSON - 'Concertina Workshop: Traditional Tunes on the English Concertina'

This LP was issued along with a book of the same name. The book is now out of print and I wonder if any ICA members have an old copy which they would sell me (or even a short-term loan would be appreciated). I have managed to learn a couple of tunes from the LP by ear but on a lot of them the maestro is really motoring and it's not easy to reproduce every note or phrase as it should sound. A copy of the music, in the shape of this book, would make things much easier. If you can help, please contact: GILL WALTON 180B Sovereign Road Tel. (0203-713256) Earlsdon, Coventry, CV5 6UY

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DUMBO DEPARTMENT

After only a few months' membership of ICA, it strikes me from the newsletters what an exceedingly knowledgeable bunch you are. I wonder how many others are as ignorant as I am of musical matters, but play on regardless...

I bought my Wheatstone English to play Irish music, and so mainly I'm just playing a simple melody line, which is suitable for this kind of music. However, it would be nice to be able to be able to indulge in some of the ritzy stuff that seems commonplace among the rest of you. Such words as "dynamics, variation, harmonies, counter-melodies" are strewn across the newsletters. Such terms are, alas, all Greek to me. It would be nice, of course, to have a pet tutor who would Reveal All to me - including where exactly to put my fingers to get these wizard effects. Presumably you all had to learn somehow, and a few case histories would be interesting, particularly from those who considered themselves in the Dumbo Department. How about it guys/girls? And if any of you know of some really ace publications that will do instead of the pet tutor (one has to allow for the possibility that Mrs. Anderson might object), please point me in the right direction.

I know that this little Wheatstone could sound as full as a church organ if only I knew how to make it. Let's hear from you....please?

Gill Walton (Coventry)

8 BUTTONHOLES November 1986 A seasonal chrysanthemum for Alistair Anderson from Maggy St. George.

One of the original reasons for this series was that, being active on the folk scene, I could talk about concertina players who may be relatively unfamiliar to many ICA members. Into this neat and generalised division of musical aspirations, Alistair Anderson patently does not fit, as he is equally popular with either audience, as well as a wider general public.

Having turned professional in 1971, Alistair's universal appeal makes him one of the foremost ambassadors for the concertina world­ wide. He has just returned from the USA for the twenty-third time, and in January he will delight Australians for the fourth time at the Melbourne Arts Festival. He has run Rothbury Traditional Music Festival for the past ten years and, in addition to all his current tours, has just directed Folkworks for Northern Arts in company with Boys of the Lough and the leaders of the Clann na Gael Irish Dance Team. After a year running the South Bank Summer Folk with Simon Rattle, he enjoyed a further two with John Williams. Certainly he would discount any "contrast" in the fact that he has also done a film part in Germany on the life and music of Handel.

He never stops creating music because he has so much fun doing it. His stage presentation, whether in the Purcell Room or your local folk club, is unfailingly relaxed, informal, and contagiously smiling. Steeped in the great Northumbrian tradition, he is adept in its communication with buttons, bellows or chanter - he is also a delightful Northumbrian Smallpipes player - and from the late Billy Pigg he passes on his musical inspiration which must also have touched the gorgeous playing of the latest light from that part of the world, Kathryn Tickell, who piped a dazzling "Herd on the Hill" at Farnham recently to my intense pleasure. This was the first tune I learned from Alistair's Concertina Workshop, acquired immediately after hearing him play for the first, time some six years ago.

No piece on Alistair's contribution to music can pass without reference to Steel Skies (Topic 12TS 427 and Flying Fish FF 288), undoubtedly his greatest achievement to date. My personal regret is that my own appreciation was immature at the time I reviewed it for what was then Southern Rag: my first attempts were so over- effusive that I curbed my enthusiasm and tried to be intellectual about it, with an end result that sounded rather pompous.

There's nothing of that about Alistair's music. Hear it at the ICA in December, and try to catch some of the other flavours he uses for a folk club set, which were directly responsible for my decision as to how I wanted to play, some day. Recordings Alistair Anderson plays English Concertina. Trailer LER 2074 Concertina Workshop (Tutor book also available) Topic 12TSFR 501 Traditional Tunes. Front Hall Records FHR08 Corby Crag. Topic 12TS 371 Dookin for Apples. Front Hall FHR 020 & Topic 12TS 402 Steel Skies. Topic 12TS 427 and Flying Fish FF288 9 When Vi Fordham telephoned me I rememberd the article she had written... I'd intended to use it in the September Newsletter and include it now with my apologies. In general I will try to use reports of events fairly close to the date they happen and 'general' items as and when space permits. Sidmouth Folk Festival 1986 In spite of indifferent weather Sidmouth again attracted the crowds to the annual Folk Festival. The West Country Concertina Players organized sessions each morning from Monday to Friday at the Christian Alliance Centre, All Saints Road, and a total of 67 people attended, the average each day being 30 - 40 players. We were delighted to welcome a number of experts who gave their time to entertain and help us, including spots from John Kirkpatrick (Anglo), Brian Peters (Anglo), Gavin Atkin (Jeffries Duet), John Vernon (Jeffries). Kit and Boodle band produced a rather different sound, and their combination of instruments which included three concertinas was warmly applauded. Tony Rose was our Wednesday visitor, delighting us with his songs, which he accompanies on the English Concertina. On this day we also welcomed a visit from Harry Minting, long a member of ICA. Ralph Jordan entertained us on Thursday, playing a McCann Duet. Ralph worked in the group "Eric" with Nigel Chippindale).

Throughout the week Peter Trimming organised Anglo workshops, and we are grateful to him for his help. Gladys Thorp was helpful to Elementary English Players, Bob Hayes to Elementary Anglo folk, also he presided over the morning coffee break, a very necessary part of the sessions. Our thanks to Brian Bibby for leading some of the numbers and providing our music. And last, but by no means least, we are greatly indebted to Jenny and Peter Cox for all their hard work and organisation, without them it would not have been the success it undoubtedly was.

10 Arthur Clements entertained the Northampton Musical Appreciation Society on November 24th.

The first part was Concertina solos of different arrangers.

Composer Arranger The Heavens are telling Haydn Geo. Case Nocturne W. Vincent Wallace Giulio Regondi Ave Maria Gounod Henry Stanley Luci di Vienna Not known Tom Prince Till I Wake Amy Woodford Findem Arthur Clements Air with Variations Schubert Sonata Schubert Frank Butler The Long Day Closes A. Sullivan Walter Pearce Time did not permit arrangements by Howard Shackleton, Fred Read and Alf Edwards.

The audience were given slips to record their choise, and Ave Maria was selected.

The second part was used to illustrate how music for other instruments can be adapted.

Composer Arranged from Sonata No 4 A Dvorak Piano/Violin Impromptu F Schubert Piano Sonatina in B flat Tarne Clarinet/Piano Holy City Stephen Adams Song OSZ (Autumn) Lisznyai Gabor Cello/Piano

All concertina arrangements by Arthur Clements.

11 I thought the title appropriate for this time of year. DIARY December 1986

Sat 13th MUSICIANS' WORKSHOP led by Roger and Beryl Marriott at Duncombe Drive Social Centre, Leighton Buzzard- All instruments, several concertina players will be there. Details from Delia Porter, 1 Melfort Drive, Leighton Buzzard, Beds, Tel. 0525 374614, or Alan Dyer, Tel. 084421 2702.

Mon 15th - Fri 19th Tim Laycock with Dave Townsend and the rest of the Mellstock Band will be presenting 'Christmas at Mellstock', a dramatised presentation following the musicians and singers of Hardy's Mellstock through the music and activities of a Dorset village Christmas long ago. Mon 15th - The Maltings, Farnham, Surrey Weds 17th - Three Horseshoes, Towersey, Oxon Fri 19th - Dorset County Museum, Dorchester, Dorset. Details from Dave Townsend, 109 Corn St, Witney, Oxon, 0X8 7DL. Tel 0993 5702

January 1987

Sun 4th WCCP NEW YEAR PARTY at Butlelgh Court, Glastonbury, Somerset. From 11am. Bring some food.

February 1987

Sat 7th MUSICIANS' WORKSHOP at Duncombe Drive Social Centre, Leighton Buzzard, Beds. Details as above.

Sun 15th WCCP Meeting at Freshford

Sat 21st ICA MEETING (and AGM at 2.30pm) 1.00pm - 7.00pm. Bloomsbury Community Hall, St George's Churchyard, Bloomsbury Way, London WC1. Harry Minting, who was unfortunately indisposed and unable to attend the September meeting, will be coming to this meeting instead, when he will talk about his work as Wheatstones' Sales Manager and play some of his favourite music

March 1987

7th WORKSHOP IN NOTTINGHAM - contact Angela Bell for details at 26, Larkfield Rd, Nuthall, Nottingham, or phone 0602 384779.

20th - 22nd HALSWAY MANOR WEEKEND Workshops led by Calennig, Tim Laycock and others. Workshops on song accompaniment, music hall, playing for dance, ear playing, duets. £47.50 includes all food, fees and accommodation. Contact Jenny Cox, 26 Hill Grove, Henleaze, Bristol. BS9 4RJ. 0272 629931.

13 March 1987 cont'd

25th THE M25 FOLK DAY is cancelled.

May 1987

Sat 9th ICA FESTIVAL at Victoria Methodist Hall, Westmorland Terrace, London SW1 - same place as last time. Details in December or January newsletter.

Sun 17th WCCP AGM and playing at Butleigh 11am.

July 1987

Sun 5th WCCP at Freshford 12 - 6pm. South Wales Concertina Players meet on the last Monday of every month at Marcus Music, Newport, Gwent.

All West Country Concertina Players' Freshford meetings are 12 - 6pm. Tea and Coffee will be available, but bring your own food. For full details of all WCCP events, phone Jenny Cox on 0272 48796.

For full details of all ICA London events phone Marian Janes on 01 348 5563.

If you know of an event which would interest concertina players, let me have details for inclusion in the Diary.

14 I'M OFF TO CHARLESTOWN

no 15 repeat I'M OFF TO CHARLESTON - CONT

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