We’ve discussed this before, but it was recently brought clearly to home. Assuming all other elements equal, there is something to be said for that bond or fit between player and whistle. There are whistles that I can acknowledge as fine whistles but that I just don’t bond with.
A prime example, is the Humphrey wide bore that I recently sold. It’s a fine whistle but we never quite hit it off. Dowling starts to play it and I’m friggin’ astounded - it was beautiful and sounded like it never sounded to me before - an instant bond. We’re mired in different types of tunes right now, him mostly on airs and marches and me on jigs and reels - so I don’t know whether that has any effect. But even on common tunes, the difference was amazing to my ears; it was also immediately evident Tom was just making that particular whistle sing in a way I’d never do with that particular whistle.
Have any of you noted this, or am I just plain delusional (well, those are probably not mutually exclusive)?
I think you are right on the money. There are several whistles that I have played that I just can’t get used to. One of them is the Clarke original. I do not like it at all. I am not real fond of an Oak. I do love a Clare and a Feadog. My Humphreys narrow bore is exactly what I like in a whistle. My Alba Q1 is my favorite for certain kinds of tunes. I played an Overton low D and a Kerry low D and much preferred the Kerry. However it was a sample of one each. Personal taste is a big factor.
Yes, that can be-you will play a certain instrument like it was your own when you pick it up, if all the chacteristics are right, and then, there are people who could make a toilet paper roll sound like a silver whistle-it’s in the genes!
I’ve bought whistles that I’d heard played by someone and loved the tone, and then have found it just doesn’t sound the same when I do it!
But, you don’t know until you try it yourself, whatever it is.
Definitely-- most recent example for me was a Thin Weasel Bb I bought last summer from Glenn’s family after Glenn’s funeral. I originally thought I wanted a low G and tried a couple of those. They were excellent, but none of them talked to me. I also tried several A’s and then this Bb came along. INSTANTLY I knew that this whistle had been made just for me. It was like Glennwhispering in my ear “Oh yeah, try this one. Arrr..”
I couldn’t agree with you more, Phil. I really don’t have a good explaination , but I tend to just “bond” with certain whistles. I have been blessed to have aquired quite a few high quality whistles. Each is wonderful , in it’s own right , but there are certain “go to” whistles that I can really make sing. Lord willing , I’ll be around long enough to make them all sound terrific ! As it stands , most of my whistles are capable of far better than I can give them !!
At the Gathering there were great examples of this. For myself there wher a couple for Flutes the two Flutes which I played that I really liked and would purchase if I had the offer and the Money would be Paul’s Shultz Flute and Walt’s Williams Flute weird how they were noth made by now deceased makers. For Whistle it was Tyg’s Abell that I really liked.
I have noticed something, and maybe this has something to do with our perception of this, is that a whistle (or any instrument for that matter most likely). There is a different sound from behind the instrument than from when I am listening to the same instrument as an spectator.
Philo, you are too kind by far!! If I was not aware of your exceedingly good grasp on reality, I would opt for the ‘delusional’ option you offer in your post!!
All kidding aside, it was a joy to me that we were able to ‘play hookey’ and butcher some tunes last week, and I am enjoying the Humphrey D whistle a lot. By the way, did the MP3’s of your fine playing get to you?
I wrote to Gary Humphrey to tell him my opinion of the D, and he pointed out that that particular wide bore head will stand up to one of his C bodies just fine, and I have one on order. To be sure, a man deserves more than one good C whistle, and while I am blessed with a fine John Sindt C, having another good C in the old whistle rack will be a comfort.
There are only 51 Celtic entries on this site, but the many varieties of other music, including American Roots Music to be found there more than make up for that particular lack. Now I know, for example, where Jim Kweskin and the Jug Band got many of their great tunes that I became aware of only in the 1960’s. Hearing the recordings from the late 1920’s and early 30’s is real humbling. Fritz Richmond, the washtub base and jug player in the Kweskin band passed awy recently, and I will make mention of that in a separate post, though that might border on OT.
I am real glad I stumbled onto this website and into the pennywhistle a few years back. The fellowship is as important as the music. Indeed, they make each other possible.
Tom & PhilO: It grieves me full sore that we have not have had a recent get-together. But here I am, midnight on a Friday at work and no bloody end in sight.
Mrs. D and I would be honored if you could grace our home with your presence this coming Monday or Tuesday evening, along with Philo and anyone else you can rustle up. If this coming week is not convenient, then either of those two nights of the week after work for me as well. Another fine player, who asserts that ‘he is not Irish’ but admits to knowing you, might also be able to join us, given some prior notice.
If it is the week after, I will be better able to plan for and prepare some of that hearty vegetarian fare that has kept the Bloomfield lineage so keen witted, musically adept and gazelle-like in stature lo’ these many generations.
Oh, I’m a fat slob, am I? I can read between the line as well as the next paranoid neurotic. Well, my shape is neither here nor there, I guess (it’s everywhere, I know, I know).
Tuesday sound vaguely doable. Let’s touch base on Monday night or thereabouts.
Actually sounds like the the A part is the first four bars of Maid Behind the Bar, and the B part is exactly the B part of Merry Blacksmith as Fairport Convention plays it. Weird.
Actually sounds like the the A part is the first four bars of Maid Behind the Bar, and the B part is exactly the B part of Merry Blacksmith as Fairport Convention plays it. Weird.
Thank you for that. That sure would would explain the variance of the mando version of the second part from the sheet music I found on JC’s ABC Tune Finder!!
May I add another element to the discussion? Ease of play and feel are part of the picture, but different whistles have different sounds. And sometimes a particular sound is a match to the personality of the player. I have some fine whistles that I play and that do a great job for me when I want to play in public. But if I really want to express something it works best on my Mellow Dog. That whistle just always says musically what I can’t say in words. It feels right for my personality. It’s not my best whistle, but it’s my favorite. Definitely a bond.
I’ll cast one more thought in here… Certain whistles, for me anyway, sometimes get laid aside . Perhaps (in the case of my Overton low D for example), we get a new one that has that “fit” that we’re discussing here.
Interestingly, I go back to the other whistle, after a length of time, and realize it’s good points all over again, and wonder why I don’t play it more.
Thus, WHOA keeps it’s bony claws firmly lodged in my spinal column, and prevents past additions from leaving the herd.
sorry, couldn’t resist.