Don't forget, subscribe to my Patreon for the bumper extended edition of this podcast, PLUS unlock Martin's Melinar tutorial to learn how to play like him! www.patreon.com/melbiggsmusic
@@dancemad1000 you need to sign up to Mel's Angels either at the Chatterbox or Archangel PLUS tier to unlock this content. See the membership tab: www.patreon.com/melbiggsmusic/membership
@@MelBiggsMusic I think I’m already a Mel’s Angel - I pay £12/month? Linda Kay. Looking again, seems I’ve been paying £12 for the Archangel tier rather than £10 …. I’ll have to up it to £12.50 for Archangel Plus.
@@dancemad1000 oh hey Linda! Thanks for already supporting - that's amazing of you! I think maybe you're just on Archangel tier - you'd need to check and upgrade to Archangel PLUS membership to get everything you already get, plus the extended podcast episodes :-)
This was a wonderful interview. I was lucky enough to meet and play with some of the "old boys" that Martin mentioned, it set me up for the rest of my playing career. Thank you so much, Mel and Martin. xxx
Just wanted to say that I’m from Preston and have known Martin in sessions and as a friend ever since I moved back up north in 1978 after learning melodeon at bath uni (it was a French degree with added melodeon in the margins, I’m still not sure which has been more useful). … I’ve always been totally in awe of him . When I finally had enough money to upgrade from a hohner pokerwork to a handmade Eric Martin , I felt totally guilty cos it was like ‘people will think I think I’m a good melodeon player if I do this, but really it should be Martin Ellison getting this upgrade not me!” So I was as happy as anything when Martin played mine and decided to get one like it . Job done . (My prized handmade green melodeon eventually ended up in the hands of Katie Howson who is making VERY good use of it, I needed to part ex it for an English concerta when I started playing klezmer ) Thanks for this fantastic interview that I’ve just started listening to,
I've enjoyed this podcast very much and can relate in many ways. I'm not a melodion player, I play guitar and whistle and several years ago I tried sitting in on occasional sessions and not knowing the tunes I tried asking what each one was. I got snubbed so often and nobody seemed to want to let me into this secret life of sessions. I was put off going again for a long time 😞 However, this last year I've sat in on some slow sessions and during one ordinary session I got up and explained in front of everyone that I really would like to know the name of a tune so I could go home and look it up for learning purposes. A few are still a bit aloof but others have now become far more friendly and encouraging. I do hope more take heed after watching your podcast 😀
When I was first learning the melodeon, I was so grateful when the more proficient players around me made a point of regularly including the two or three tunes that I actually knew, and at a speed that I could manage! It’s always good to feel included.
I didn't make it to the first few ECMWs - you had to be invited, pretty much - but I did get to Broseley (Dave H told me about it) and to quite a few after that. I thought they were wonderful, partly because there was a strong educational element with talks workshops and practical demos in the sessions. I was delighted to be able to hear old fashioned trad players and singers from other parts of the country. I'd heard some of their equivalents in the North East, but after moving South to work it took me quite a time to find out where to go and who to look out for. Rod couldn't be expected to make CDs for everyone, and those of us who didn't receive Rod's cassettes had to learn what we could where we could.
@@GavinAtkin lovely addition, thanks Gavin! I'm not sure by the time I got to Dave H's event that it was quite the same as what you describe but just a big party with delicious food and silly dress up and skits 😂
@MelBiggsMusic Dave's event was more like a party for old friends with lots of fab often large sessions all in one big old house. The original ECMWs were an opportunity for people playing a more authentic style of English country dance music and songs to get together. The issue was that the players doing that stuff rarely met, not least because for much of the summer they would be playing at different festivals and other events. So the ECMWs were an opportunity to learn from each other, hear trad players and singers who were still with us and attend educational sessions - although they were also great social events. Back in those days there were many more pubs, often with smaller rooms, which was wonderful - there could be four or five separate small sessions in different parts of a village or small town. You can probably see why I was so pleased to attend them! I think the ECMWs have often been misunderstood as being melodeon conventions, but once you appreciate their purpose, the focus on English tunes and songs becomes clear. To be fair, it's in the title: 'English Country Music' means tunes and songs. It's also probably worth being aware that in the early days English tunes players at festivals and sessions were often very much in the minority, and that their pleasure in managing to play together was often interrupted by takeovers of people playing more Irish or American material...
@@MelBiggsMusic I hope it all seems a bit clearer now. They were different times! Of course, many of the people involved later became involved in different kinds of music, including French, Swedish, Irish, American and Italian, and melodeon players often developed their style beyond the traditional 'tune and two or three chord trick' to include more complex harmonies and rhythms... You don't often hear him on his own, but Rod's playing for example has a distinctive rhythmic drive that might not be found in the playing of collected performers. And of course within English music melodeonists Tony Hall, Roger Watson, Dave Roberts, Jim Bainbridge, Pete Coe and Martin Ellison (my apols to anyone I've missed out) led the way in terms of harmony and bass lines. And then along came a new new wave including Blowzabella, Andy Cutting etc.
Re: anxiety - (something I used to really suffer from, and now rarely do) - I learnt to manage it to some extent by adopting the title of a book I saw, as a kind of mantra - ‘Feel the fear, and do it anyway’ (and what’s the worst that can happen?).
I can sing to a room full but pick up my Melodeon and the nerves get going but our session is fantastic it was set up as a place to practice so mistakes are fine.
![เป็นไปได้ไหม - WanMai [Teaser] | 05-12-24](http://i.ytimg.com/vi/P5Uto6e453w/mqdefault.jpg)
Don't forget, subscribe to my Patreon for the bumper extended edition of this podcast, PLUS unlock Martin's Melinar tutorial to learn how to play like him!
www.patreon.com/melbiggsmusic
@@MelBiggsMusic I can only see the abridged version on Patreon.
@@dancemad1000 you need to sign up to Mel's Angels either at the Chatterbox or Archangel PLUS tier to unlock this content. See the membership tab:
www.patreon.com/melbiggsmusic/membership
@@MelBiggsMusic I think I’m already a Mel’s Angel - I pay £12/month? Linda Kay. Looking again, seems I’ve been paying £12 for the Archangel tier rather than £10 …. I’ll have to up it to £12.50 for Archangel Plus.
@@dancemad1000 oh hey Linda! Thanks for already supporting - that's amazing of you! I think maybe you're just on Archangel tier - you'd need to check and upgrade to Archangel PLUS membership to get everything you already get, plus the extended podcast episodes :-)
@@MelBiggsMusic What level was my £12/month for? I’m a bit confused!
This was a wonderful interview. I was lucky enough to meet and play with some of the "old boys" that Martin mentioned, it set me up for the rest of my playing career. Thank you so much, Mel and Martin. xxx
@@ReesWesson I can imagine you've got some stories to tell?! 😉
Just wanted to say that I’m from Preston and have known Martin in sessions and as a friend ever since I moved back up north in 1978 after learning melodeon at bath uni (it was a French degree with added melodeon in the margins, I’m still not sure which has been more useful). … I’ve always been totally in awe of him . When I finally had enough money to upgrade from a hohner pokerwork to a handmade Eric Martin , I felt totally guilty cos it was like ‘people will think I think I’m a good melodeon player if I do this, but really it should be Martin Ellison getting this upgrade not me!” So I was as happy as anything when Martin played mine and decided to get one like it . Job done .
(My prized handmade green melodeon eventually ended up in the hands of Katie Howson who is making VERY good use of it, I needed to part ex it for an English concerta when I started playing klezmer )
Thanks for this fantastic interview that I’ve just started listening to,
@@Northernfiona lovely to hear from you Fiona - thanks so much for tuning in! I love this story so much 😍
Ps later when I moved back AGAIN after 17 years in Oxfordshire, i LOVED occasional gigs calling with the Ran Tans. So inventive (and also hilarious).
@Northernfiona I would've LOVED to have danced to them!!! What a sound!
I've enjoyed this podcast very much and can relate in many ways. I'm not a melodion player, I play guitar and whistle and several years ago I tried sitting in on occasional sessions and not knowing the tunes I tried asking what each one was. I got snubbed so often and nobody seemed to want to let me into this secret life of sessions. I was put off going again for a long time 😞 However, this last year I've sat in on some slow sessions and during one ordinary session I got up and explained in front of everyone that I really would like to know the name of a tune so I could go home and look it up for learning purposes. A few are still a bit aloof but others have now become far more friendly and encouraging. I do hope more take heed after watching your podcast 😀
@@lifewiththelightlys2119 I'm sorry to hear this :-( but I'm glad you've found a more friendly and supportive bunch!
When I was first learning the melodeon, I was so grateful when the more proficient players around me made a point of regularly including the two or three tunes that I actually knew, and at a speed that I could manage! It’s always good to feel included.
@@LesleyHanson222 I'm so pleased to hear that! It's the best feeling isn't it and can make all the difference 🥰
I didn't make it to the first few ECMWs - you had to be invited, pretty much - but I did get to Broseley (Dave H told me about it) and to quite a few after that. I thought they were wonderful, partly because there was a strong educational element with talks workshops and practical demos in the sessions. I was delighted to be able to hear old fashioned trad players and singers from other parts of the country. I'd heard some of their equivalents in the North East, but after moving South to work it took me quite a time to find out where to go and who to look out for.
Rod couldn't be expected to make CDs for everyone, and those of us who didn't receive Rod's cassettes had to learn what we could where we could.
@@GavinAtkin lovely addition, thanks Gavin! I'm not sure by the time I got to Dave H's event that it was quite the same as what you describe but just a big party with delicious food and silly dress up and skits 😂
@MelBiggsMusic Dave's event was more like a party for old friends with lots of fab often large sessions all in one big old house.
The original ECMWs were an opportunity for people playing a more authentic style of English country dance music and songs to get together. The issue was that the players doing that stuff rarely met, not least because for much of the summer they would be playing at different festivals and other events. So the ECMWs were an opportunity to learn from each other, hear trad players and singers who were still with us and attend educational sessions - although they were also great social events.
Back in those days there were many more pubs, often with smaller rooms, which was wonderful - there could be four or five separate small sessions in different parts of a village or small town. You can probably see why I was so pleased to attend them!
I think the ECMWs have often been misunderstood as being melodeon conventions, but once you appreciate their purpose, the focus on English tunes and songs becomes clear. To be fair, it's in the title: 'English Country Music' means tunes and songs.
It's also probably worth being aware that in the early days English tunes players at festivals and sessions were often very much in the minority, and that their pleasure in managing to play together was often interrupted by takeovers of people playing more Irish or American material...
I think I've finished thinking of more things to say!
@@GavinAtkin thanks for contributing to the conversation Gavin! Much appreciated ☺️
@@MelBiggsMusic I hope it all seems a bit clearer now. They were different times! Of course, many of the people involved later became involved in different kinds of music, including French, Swedish, Irish, American and Italian, and melodeon players often developed their style beyond the traditional 'tune and two or three chord trick' to include more complex harmonies and rhythms... You don't often hear him on his own, but Rod's playing for example has a distinctive rhythmic drive that might not be found in the playing of collected performers. And of course within English music melodeonists Tony Hall, Roger Watson, Dave Roberts, Jim Bainbridge, Pete Coe and Martin Ellison (my apols to anyone I've missed out) led the way in terms of harmony and bass lines.
And then along came a new new wave including Blowzabella, Andy Cutting etc.
Fabulous interview. Thank you Mel and Martin! Xxx
Thank you for listening Lesley!
He and I are friends on Facebook and he has given me pointers he is brilliant
@@sarahhall738 he's a good egg for sure!
This is wonderful! ❤
@@DavidHenley-m7o Thank you David! I'm so pleased you enjoyed it!
Absolutely loved this - thank you, Mel and Martin. ❤
@@dancemad1000 Thanks so much for listening! 😊
Re: anxiety - (something I used to really suffer from, and now rarely do) - I learnt to manage it to some extent by adopting the title of a book I saw, as a kind of mantra - ‘Feel the fear, and do it anyway’ (and what’s the worst that can happen?).
Great advice, and actually something I've recently adopted owing to my new obsession with a creator I follow called Elyse Myers - "Just Do It Scared"
This was lovely - thanks to both of you 🙂
Luke
@@SirDidymus1979 Thanks for listening! 😊 Can I please ask you to like and subscribe if you haven't already? Many thanks!
Martin, if you make a CD I’ll buy it!
@@LesleyHanson222 Martin Ellison - have you seen this?!
I can sing to a room full but pick up my Melodeon and the nerves get going but our session is fantastic it was set up as a place to practice so mistakes are fine.
@@sarahhall738 it's good to hear you've got a super supportive session to go to! Makes all the difference