An accordionist's blog on music, art & life

An Arrangement for Accordion by Elsie M. Bennett

1/21/2016

An arrangement by Elsie M. Bennett (nee Blum) from the publication "Hebrew and Jewish Songs and Dances - Volume One," published by Pietro Deiro Publications in New York City. All of the selections in this music book have been compiled and arranged by Elsie Bennett, a very talented accordionist and music teacher. Elsie held degrees from Columbia University Teachers College in New York and Wayne University in Detroit, and also managed her own studio and music shop in Brooklyn for many years. Elsie was a champion of sponsoring new music and Classical pieces for the accordion and a tireless promoter of accordion artistry. Performed upon my vintage 1950's Hohner Tango II M accordion, a 3/5 reed instrument in LMM configuration. Hohner produced this model between 1953 and 1961.

I love all of Elsie Bennett's arrangements for accordion in the volume entitled "Hebrew and Jewish Songs and Dances - Volume One," published by Pietro Deiro in NYC. I have not been able to find a copy of Volume Two, and it appears these are long out of print. Henry Lefkowitch of Metro Music Company and Harry Coopersmith of the Jewish Education Committee of New York assisted Elsie in the selection of these marvelous compositions. Esther Youlous and Esther Golbert helped to edit the text, according to the Publishers. Elsie's arrangements are the best I have found for their accessibility and ease of play for many students of the accordion. This particular volume contains many well-loved traditional hymns, folk songs, popular tunes and folk dances. My friend Jerry Sleger helped to tune this vintage Hohner and partially restore the instrument with new wax and leathers. I find that vintage instruments possess the acoustic sounds I am looking for in music of this variety, far more than modern instruments of recent manufacture. And there is always the unique satisfaction gained by holding in your hands a marvelously put-together instrument which allows the music to blossom and sing according to the spirit of the composition.

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From Lofty Heights to Shadow-Filled Canyons

8/14/2015

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This improvisation was inspired by listening to the great pipe organs built by Aristide Cavaille-Coll (1811-1899), one of the most visionary and influential figures in the history of music. Other influences include the music of Cesar Franck (1822-1890), Frederic Chopin (1810-1849), and Franz Liszt (1811-1886). Performed upon my vintage 1950's Iorio accordion, a 4/5 reed instrument in LMMH configuration.

The impressionistic character of this music reflects back upon a wilderness hiking trip I enjoyed many years ago in the State of Arizona. With some friends I traveled just north of Tortilla Flat and found a remarkable canyon which allowed a steep descent to the rocky floor below. We clambered down the angular incline and found a series of huge boulders amid the cool desert scenery. There were pools of stagnant water left behind after a recent spate of rain, and the canyon walls became orange reflections in the deep blue-green waters. A small stream fed manifold patches of brilliant green lichen and colorful moss. The air was clear and breathtaking as we looked up at the high canyon walls, perhaps as high as 400 to 500 feet. Everywhere we walked there echoed an immense and satisfying silence, except for the buzz of busy insects and curious flying birds. We came upon a perfectly flat rock in the middle of the canyon and stopped to have lunch and admire the beauty of this exotic place. When we had traversed the entire length of the canyon, we started to hike back up to the road, being careful not to disturb the cactus or other flowering plants. It was a breathtaking climb but a glorious sight to look down upon the entire length of wilderness we had just traveled through.

At the bottom of the canyon, my friend Mike Davault surveys the unique character of this scene.

Looking through the maze of stones and boulders, seeing light at the end of a tunnel.

Appreciating the greenery accumulated on the floor of the canyon amidst the rocks.

The human figure is dwarfed by the enormous size of the boulders and rocks strewn about.

The camera captures a small pool of water which reflects the orange walls of rock above the canyon floor.

The canyon and surrounding territory as seen from up above on the heights.

My friend Mike examining the length and breadth of this fascinating landscape.

Another view of the canyon as seen from the heights above. The canyon floor is eerily quiet down below, except for the sounds of birds, the wind and a small stream of water.

Surrounded by rocks, standing on a firm foundation, and captivated by the picturesque qualities of this rugged landscape.

This assortment of photographs gives a fairly representative selection of the views and scenery which can be seen at this location. The area is approximately 1.5 miles north of Tortilla Flat, on the east side of the road with minimal space for parking a vehicle. You can spend quite a long time in the canyon and surrounding territory, so it is best to start early on your hike, wear comfortable shoes and appropriate clothing, pack a good lunch or nutritious snack, bring plenty of water and travel with at least one experienced companion. The steep climb down the canyon provides a breathtaking view of the enormous size of this remarkable landscape. As you travel along the corridor of the canyon floor, you look up and see the incredible heights above glowing in shades of orange, tan, grey or pastel green. Sometimes the canyon looks like a blue and purple sunken temple of rocks and palatial boulders. Toward the southern end the views open up considerably and you can again appreciate the expansive panoramas afforded by an ambitious day-hike in Arizona. In musical terms, I am often reminded of "The Sunken Cathedral" by French composer Claude Debussy or even Joseph Jongen's "Symphonie Concertante" from 1926, a brilliant work for organ and orchestra. My own improvisation offers a more lyrical reflection upon this remarkable landscape, hence the title "Lyric Poem for Vintage Iorio Accordion." I hope to tour other geographical areas in Arizona to gain further artistic and musical perspectives from this rather fascinating State.

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Footprints From the Forests of My Youth

8/9/2015

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This is Part III of the recently posted series of improvisations entitled "Baltusrol Impressions." In this impressionistic piece, I am remembering some of the childhood experiences I enjoyed between 1955-1965 at the west end of Baltusrol Avenue while visiting my cousins in Springfield, New Jersey. This area is now completely urbanized, no longer featuring the extensive forest, stream, waterfalls and rocks which once stood where Route 24 presently stands. Traces of this kind of natural environment may still be seen at Briant Park to the northwest, Meisel Avenue Park to the south, or throughout South Mountain Reservation just outside of Millburn and South Orange. Watchung Reservation also exhibits similar characteristics.

Part III continues the exploration of the Baltusrol Avenue environment, focusing upon the majesty of Winter, the icy splendor of the forest, the dance and swirl of snowflakes, and moments which I would call a seasonal symphony of grace. I remember the grand ice sculptures we once encountered, where the normally flowing waterfalls had frozen over in dozens of spectacular forms and shapes, like pieces of modern art strewn about on dazzling display. There also was a small pond which froze over and seemed hidden away in the rustic confines of the woods. Thousands of trees marked this area, signposts of a natural majesty which at times could take your breath away.

The piece begins with a choral introduction at 00:10, celebrating our initiation of adventures within the forest realm. At 00:20 there is a song of prayer, an affirmation of life and a spirit of thankfulness. At 00:49 variations introduce us into the halls of this natural environment. At 1:56 there is an intimation of the grey, wintry majesty of the forest with the celestial sky above. At 02:16 there are hallmarks of children's games. A minor key section occurs at 02:54, where wistful remembrances paint a somber portrait. At 03:34 a dance enters the scene, reflective of the disparity between urban life and the natural environment. The conclusion of this dance occurs between 05:38 and 05:45, where there is a shift from the minor key back to the major. At 05:49 the triumphant theme returns, a hymn of praise in which I quote briefly from memory a small refrain from the great hymn "All Creatures of Our God and King." The return of joy occurs at 06:50, with dreams and a sense of happiness. At 07:24, a development of the noble theme transpires, with the grandeur of physical and spiritual sight and the fullness of expression taking form at 07:42. The last chordal section develops at 08:15, with the fundamental bass notes carrying the end of the day.

Performed on my vintage 1950's Iorio accordion, an instrument with unique tonal capabilities, at times resembling the sonorities of a large pipe organ. As I play these improvisations, I can hear the sound of Cavaille-Coll in my mind, heart and spirit.

My cousins Sharon and Kerry invited me to spend a week in Springfield, New Jersey at their spacious home along Baltusrol Avenue, a wonderful invitation back in the 1950's or 1960's. This was the beautiful home of my Aunt Lill and Uncle Dell, a place our family visited often for birthdays, anniversaries, outdoor picnics or Holidays like Christmas and New Year's Day. Sharon and Kerry asked if I had ever seen the forest and rocks and waterfalls at the end of the street where the trees became too numerous to count. I answered that I had never seen that area, whereupon they quickly gave me the grand tour and introduced me to the beauty of the forest. I think that this first impression must have occurred somewhere around 1955 when I was 8 years old. Many times we went there to disappear into the verdant vastness, imagining that the rocks were our forest fortress or lyrical, tree-lined palace. A gentle stream meandered through the woods, at times becoming a petite pond after churning through an incredible array of rocky formations. You could hold your hand in the water to feel the power and strength of the stream's consistent current. In the winter months, the snow and ice would cover the ground and almost bury the sound and active flow of the stream. Yet you could hear the water beneath the ice and sometimes spot areas where the water again surfaced from the icy crust above. It was a kind of paradise for us, a place where the seasons could be measured in textures, colors, sounds and earthy fragrance.

My cousins invited me to attend Springfield's "Strawberry Festival" in the warmer months, held at the spacious grounds of Jonathan Dayton High School. When we had occasion to visit the forest again, the impressions struck the senses with renewed impact. My father helped to remodel my aunt and uncle's house by converting the old kitchen into a dining room and extending the kitchen into a newly constructed room at the back of the house. I helped to lay the tile in the dining room, and felt completely at home in this attractive and well-appointed residence. In the winter months we enjoyed the fireplace, in the summer months we loved the backyard and the gathering of relatives.

If my cousins had not invited me to see the forest, I never would have known it was there. To them I owe a debt of gratitude. The word "vicarious" comes into play: "Felt or undergone as if one were taking part in the experience or feelings of another." My cousins drew me to a place which they found to be enormously beautiful. I quickly agreed with them and acknowledged their willingness to share such a delightful natural treasure. The joy of others can profoundly impact the drift of our lives and re-arrange the pattern of our experience. What once was obscure or unknown to me became a place of refuge and a signpost of my youth.

It would of course be a great blessing to hear this improvisation on a large pipe organ, but the accordion is all I have. So I have tried to make the best use of it, recorded on a Canon SD 1000 digital camera. Currently I am using a better camera, a Sony DSC RX100. The last time I saw the forest was probably in 1965, but I remember this place so distinctly and with great detail. I remember my dad telling me in the late 1950's or early 1960's that the highway system possibly would be expanded and the forest removed along with the waterfalls and rocks. Some of us thought that surely something would be preserved, but that was not possible apparently. Today you would not know that anything like a forest was ever there. But through the gift of music, I can still visit that woodsy landscape and take delight in the pleasures of a now forgotten forest.

Aerial view from Google Maps which shows present day Baltusrol Avenue in Springfield, New Jersey. The yellow marker shows where my aunt and uncle's house stood, and the area in the central portion of the photo shows where the forest once stood. From a Joni Mitchell song: "You don't know what you've got till it's gone!"

Another Google Maps image showing present day Baltusrol Avenue in Springfield, New Jersey. As Baltusrol extends westward, this is the area where the forest once stood, even extending down to where highway 78 now exists. Highway 24 now has overtaken this area. From Joni Mitchell: "They paved paradise and put up a parking lot!" I believe that construction took place around 1970 or thereafter. I don't think that Baltusrol Way or Woodcrest Circle were there in the Fifties or Sixties, and I don't remember Troy Drive or Stonehill Road being there either. Of course, my memory could be mistaken.

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Good King Wenceslas on the Hohner Musette Accordion

12/18/2014

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A traditional Seasonal favorite performed upon my Hohner musette accordion. The sheet music is from "Hymns for Accordion," published by Empire Music Publishers in British Columbia, Canada. The arrangement is by Karl Olson.

This tune appears briefly in the Robert Zemeckis 2004 animated motion picture "The Polar Express." For just a few seconds you can hear this song being played by the Hobo atop one of the snow-covered railroad coaches on the train. As the Hero Boy comes face to face with the extraordinary presence of the Hobo sitting before a campfire, you can hear a brief snippet of the song played upon a Hurdy-Gurdy. But the momentary refrain is so short that one could easily miss it and not notice the identity of the song.

I have held the adjacent bass notes down in couplet fashion in order to simulate the sound of the Hurdy-Gurdy, an unusual sound rendered even more pronounced via the distinctive tuning of this musette accordion. The Hohner is a 4/5 reed instrument in LMMM configuration featuring "wet" musette tuning, very different from the piccolo tuning or "dry" tuning of an LMMH "concert-tuned" instrument.

Back in the 1950's this song appeared on the popular Mantovani LP album entitled "Christmas Carols" issued by Decca Records. That album quickly became a favorite in our household and still remains a favorite as re-issued on CD a few years ago on another label. The original Mantovani album was recorded at Kingsway Hall in London in 1953, but another release was issued in Stereo in 1958. What a beautiful sound from 28 strings, comprised of 18 violins, 4 cellos, 4 violas and 2 double-basses blended with woodwind, brass and percussion. The original release also featured the atmospheric organ at Kingsway Hall, adding a measure of nobility and stateliness to the overall score of these warmly remembered Carols.

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A Folk Song arranged by Elsie M. Bennett

10/9/2014

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This Israeli Folk Chant is arranged by the esteemed scholar and accordion teacher Elsie M. Bennett and published by Pietro Deiro Publications. The collection of songs is entitled "Hebrew and Jewish Songs and Dances - Volume I." Elsie Bennett (nee Blum) received a Master of Arts degree from Columbia University Teachers College in New York, also receiving a Music Bachelors degree from Wayne University in Detroit (majoring in theory and composition).

Performed upon my vintage Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration, with a date of manufacture originating in 1938.

I love the sound of these vintage Hohner reeds. Most of today's accordions simply do not sound like this. The strong wooden frame must add a lot of dimensional integrity to the projection of both treble and bass voices. There are only two treble settings, one lighter dry musette register and then the full master register with all voices sounding. Remarkably, the external appearance of this accordion shows almost no signs of wear or missing decorative trim, despite its 76 year lifespan. When we find instruments like this, we treasure them. When I bought the accordion, I asked the seller about the history behind this instrument. He told me that it once belonged to someone's grandfather who cherished it. When the grandfather passed away, the grandson decided to part with it rather than to keep it for sentimental reasons. You really have to see this instrument in person in order to fully appreciate the decorative qualities of the ornamental grill and precise details of its artistic design. There are sparkling jewels set into the grill which flash iridescent colors when struck with light. The carving of the grill area shows extraordinary attention to precise shape and artistic pattern. The black decorative trim and lettering add measures of enchantment to the overall ivory/ cream color scheme on the exterior. This Hohner is a relatively lightweight instrument with a rather petite 16.5 inch keyboard. Yet it is the sound which still attracts me and belies its diminutive but charming size.

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An Improvisation Upon the Vintage Hohner Regina VI

10/1/2014

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An improvisation upon the theme of hiking in Arizona while exploring a canyon north of Tortilla Flat. Many years ago a friend revealed this site to me as we traversed the entire length and breadth of this natural corridor along the desert landscape. I would guess that the entire length of the canyon is several thousand feet, bordered by sheer walls which must ascend up to 400 or 500 feet. It had rained days before we made our journey and we discovered small rivulets of cool water which could barely be called a stream, lined with yellow-green lichen and moss, meandering through the floor of the canyon. There were pools of dark water which reflected the brilliant orange sunlight from above, giant boulders which you had to jump across, and an impression of ancient permanence in the majesty of this place. I recalled the mysterious beauty of Claude Debussy's "The Sunken Cathedral" as we hiked along the vast corridor stretched out before us. The area toward the south of the canyon opens up and allows a more spacious view of the surrounding desert landscape. When you climb back up toward the roadway above and then look down to see where you have been, you almost cannot believe the extraordinary depth and size of this area. It is truly a breathtaking journey well worth the time and effort it takes to fully explore this magnificent environment.

Performed upon my vintage 1930's Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration. Two previous videos have featured improvisations which explore impressionistic themes associated with this canyon. "Lyric Poem for Accordion" posted 2/6/2014 with my vintage Iorio (video length 8:34) and "Fanfares & Reveries for Vintage Hohner" posted 9/13/2011 (video length 5:08)

This video provides another example of what I call "painting with reeds" or imagining space, form, line, rhythm and color via the impressionistic music of a vintage accordion. Arizona is a special place for outdoor adventures including hiking, sightseeing and day-trips. Years ago I was brought face to face with an extraordinary canyon just north of Tortilla Flat, Arizona. A friend who once worked as a Forest Ranger showed me this location and we spent the entire day exploring the majesty of the Arizona landscape. Improvisation gives the musician an opportunity to record feelings and impressions which may otherwise be inexpressible or unsearchable. In this music I am recording both the majesty and the wonder of this remarkable area, utilizing the reeds of the instrument as my orchestra. There is often a pulse or breath of life which animates the scenery and vistas of a particular location, a sense of Divine handiwork which captures our imagination and may hold our interest for hours or days afterwards. In this case, I am remembering the vast perspectives and colorful details as seen from both below and above the canyon's corridors, as if the entire picture could be displayed via the textures and phrases of music. Manufactured in 1938, the Hohner Regina VI features a unique sonic signature which often reminds me of the power and characteristic versatility of a large pipe organ. I owe a debt of gratitude to my friend Jerry who tuned and restored this instrument, replacing worn parts and adjusting the inner mechanism to achieve remarkable results. Here is a 76 year old instrument which still speaks in a rather poetic and artistic manner, allowing the musician to "paint" via a set of extraordinary German reeds, providing a picture which remains indelibly etched in one's visual, tactile and sonic memory.

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A Memorial Tribute to President Abraham Lincoln (1865)

9/22/2014

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This American song is a memorial tribute to President Abraham Lincoln (1809-1865), with words written by Edwin S. Babbitt and music composed by L. B. Miller. Originally published in 1865 by Root & Cady in Chicago and marked "Quartette," for mixed voices (4 parts) with piano. The sheet music I am using is published by Hal Leonard under the title "A Treasury of Civil War Songs: 25 Songs of the Union and the Confederacy," collected, edited and arranged by folksinger Tom Glazer. Performed upon my vintage 1930's Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration.

Folksinger Tom Glazer (1914-2003) collected many Civil War era songs and published them under the title "A Treasury of Civil War Songs: 25 Songs of the Union and the Confederacy," issued in 1996 through Hal Leonard. From this collection I found the haunting hymn-like tune entitled "The President's Grave," with words by Edwin S. Babbitt and music by L. B. Miller. I love vintage accordions and find that they often impart a culturally rich resonance to songs of a bygone era, helping modern ears to hear anew historical treasures which may have inherently special character. This tune is written in the key of E flat major, with some chords in G minor and F diminished, under the notation to play the song "Solemnly." The reeds on this particular Hohner sound very much at home in this key, lending a sense of noble purpose and reflective solemnity as the music draws us closer to the heroic life and tragic death of President Lincoln. There are certain sounds and tonalities heard on a vintage accordion which seem to accentuate the resonances of the music as it is written and received, especially when the subject matter is as historically powerful and significant as this truly remarkable song.

The hat I'm wearing is a reproduction of a Union Officer's kepi with the military rank of either Captain or Major, made of dark blue wool and lined with cotton and leather. The gold stripes and overall form of the hat's shape are derived from the French pattern, often seen in the French Army and the French Foreign Legion. This particular kepi was procured via eBay from a store called "Under the Southern Cross," maintained by owner/ proprietor Finandel.

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A German Folksong on the Vintage Hohner Regina VI (1938)

9/13/2014

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A German folksong performed upon my vintage 1938 Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration. The sheet music is published by Edition Melodie in a songbook entitled "Das Grosse Akkordeon-Buch - Volume Three" (Le Grand Album pour l'Accordeon), Anton Peterer Music & Books, Zurich, Switzerland. All of the songs in this collection have been arranged by Herwig Peychaer.

This 1930's vintage Hohner accordion features some very distinctive treble sounds and possesses quite a powerful bass section, even though it is a relatively small instrument with a petite 16 inch keyboard. Internally the accordion displays a very strong wooden frame with good workmanship on the reed-blocks and those remarkable German reeds. My friend Jerry tuned the instrument, provided new wax and leathers, and adjusted the bass mechanism as well as the treble keyboard. Without Jerry's help this instrument would not have been playable. European folk-songs often sound so completely at home on a good vintage accordion such as this one. The external appearance of this instrument is still in remarkably fine condition, featuring a beautiful ivory/cream color, ornate black lettering and decorative details, exhibiting an extraordinary mother-of-pearl keyboard and suffering almost no scratches or missing pieces of exterior trim. The grill section above the keyboard is embedded with sparkling accents of various exotic hues and features superlative carving of the materials used in manufacture at that time. In many respects I prefer the sound of the 1930's accordions to the more modern instruments which came later. One professional accordionist once described such vintage instruments as sounding more like a large harmonica than a typical accordion. That's true, for the timbres sound so alive and thrilling that one might temporarily believe the musician is indeed playing...."a glorified harmonica!"

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A Traditional Irish Folk Song on the Vintage Scandalli

9/13/2014

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This traditional Irish folk song is also known as "Cockles & Mussels," or under the title "In Dublin's Fair City." It was first published in 1883 at Cambridge, Massachusetts, but the song may be of earlier origin. This song is featured on the soundtrack for the notable film "A Tree Grows In Brooklyn," directed by Elia Kazan and released in 1945, also known as "Lazos Humanos." In that film, James Dunn plays Johnny Nolan who sings and plays the piano in a touching and memorable scene. As Johnny sings for Francie (Peggy Ann Garner) and Katie (Dorothy McGuire) and Neeley, one can feel the passion of the artist who offers up portions of his soul as he shares his talent with others.

Performed on my vintage Scandalli accordion, an instrument from the 1950's still capable of touching hearts and influencing modern minds.

This Scandalli is one of my favorite accordions, sounding good on folk music, Classical compositions, popular tunes and improvisation. The reeds are of very high quality, probably handmade and mounted on beautiful reed-blocks which exhibit great Italian craftsmanship. This tune appears in Elia Kazan's film "A Tree Grows in Brooklyn" as Johnny Nolan walks to and from his apartment in turn-of-the-Century urban America (circa 1900). James Dunn won an Academy Award for his sensitive portrayal of the life and relationships of Johnny Nolan, and Peggy Ann Garner won an Academy Juvenile Award for her dramatic portrayal of Johnny's beautiful daughter Francie.

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Annie Laurie on the Vintage Hohner Tango II M Accordion

8/27/2014

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A traditional folksong played upon my vintage Hohner Tango II M accordion, a 3/5 reed instrument in LMM configuration. Words and music by William Douglas and Lady John Douglas Scott, written in 1685. The sheet music is from the Folksong Fake Book published by Hal Leonard. This song appears in the 1945 film "A Tree Grows in Brooklyn" (Lazos Humanos), directed by Elia Kazan. James Dunn (as Johnny Nolan) sings this song and plays an upright piano for Dorothy McGuire (as Katie Nolan), while Peggy Ann Garner (as Francie) and Ted Donaldson (as Neeley Nolan) look on. Other notable players in this film include Joan Blondell as Aunt Sissy, Lloyd Nolan as Officer McShane, and James Gleason as McGarrity. The story takes place in Brooklyn in the year 1900 and is superbly directed and photographed with superlative performances by the entire cast.

Hohner produced the Tango model between 1953 and 1961. It has a very strong wooden frame and distinctive German reeds. It is lightweight enough to allow the player to stroll with the instrument, especially at a restaurant or wedding or public gathering. This design features 34 treble keys and 96 bass buttons, somewhat smaller than the typical 41/ 120 treble key and bass button configuration.

This Hohner features a rather sweet sound on traditional folk music and is versatile enough to play just about any genre of music from contemporary to Classical. The scene where Johnny Nolan sings this song to Katie Nolan (James Dunn and Dorothy McGuire in "A Tree Grows in Brooklyn") remains one of the most dramatically moving moments in this 1945 Elia Kazan film. All of the players in this film offer superlative performances, especially James Dunn who won an Oscar for his memorable portrayal of an imaginative artist and loving husband struggling to provide for his family. Equally impressive in their respective roles are Dorothy McGuire and Peggy Ann Garner as well as the rest of the cast. One feels the anguish of the artist's soul as Johnny pours out the poetry of his spirit in "Annie Laurie," reaching for the beauty and release of the gift of music in a moment etched in time.

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<<Previous

An Arrangement for Accordion by Elsie M. Bennett

From Lofty Heights to Shadow-Filled Canyons

Footprints From the Forests of My Youth

Good King Wenceslas on the Hohner Musette Accordion

A Folk Song arranged by Elsie M. Bennett

An Improvisation Upon the Vintage Hohner Regina VI

A Memorial Tribute to President Abraham Lincoln (1865)

A German Folksong on the Vintage Hohner Regina VI (1938)

A Traditional Irish Folk Song on the Vintage Scandalli

Annie Laurie on the Vintage Hohner Tango II M Accordion

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Glenn Tompkins

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Glenn Tompkins