Remembering Paul Davis/Davies

It’s been my intention for a while to devote a page to a fellow who I suspect influenced me more than I realised back in the 1970’s. Paul Davis, also known as Paul Davies, was a flute and concertina dealer and restorer in London, and sold me the wooden flute I converted to from Boehm. He was quite the character, and even if you haven’t met him, you may well enjoy hearing him and about him:

http://www.mcgee-flutes.com/Davies.htm

Do have a listen to the sample of his playing. And if you had met him and have stories to contribute, get back to me.

Terry

Thanks for that, Terry. I never had the pleasure of meeting Paul, but enjoyed the Air, and the stories immensely. It puts me in mind of a few of the characters I ran with in those days.

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What happened to Paul Davis’ flute & concertina collection, was it purchased by someone, or were Paul’s instruments sold and dispersed before he passed away? Does anyone know?

I really enjoyed that air, beautiful tone and control.

Just wondered about Paul’s collection as I thought I read somewhere that whoever bought the flutes now and then put one up for auction. Yesterday I bought a Rudall & Rose at the Gorringes auction in Lewes, East Suffolk, which is near Brighton, where I believe Paul lived for a time? it has a crack in the barrel according to the condition report, but is otherwise sound, Patent head it looks like, silver keys, 5000 series, original box, lid separated. I expected the PH to have cracked also, hard to see in the photos, but this hasn’t been verified by Gorringes. The flute went for 1200 sterling. 1554 sterling including buyer’s premium, V.A.T. etc.. which is fine. Where did Paul learn his craft as regards repairing flutes & concertinas, or was he just a very handy autodidact?

A few years ago Paul’s widow, Turid, contacted me. She still has a number of his flutes and is only gradually sorting through these. Currently I am advertising two flutes on her behalf, a 10-key Cabart and 5-key Lamy. From the flutes that I have seen Paul certainly had a keen eye for a good flute, making it all the sadder that I didn’t ever meet him.

Arthur Haswell

I’d particularly love to know what became of the monster flute which was Paul’s favoured own-use one in his later years - a very ornate large-bore Ribas’ Improved, I believe. Good to hear your little story, Arthur. I also wonder what Paul’s son Magnus has done in life - IIRA he was a talented classical clarinettist in his teens.

"I’d particularly love to know what became of the monster flute which was Paul’s favoured own-use one in his later years - a very ornate large-bore Ribas’ Improved, I believe. " Jem

Like this one?
https://sites.google.com/site/ribasmusicos2/flautaribas’simprovedbyscott

I believe Magnus was making walking stick flutes some years ago
https://forums.chiffandfipple.com/t/the-ultimate-busking-accessory/71482/2

Thanks for the name correction for Paul’s son (edited above now), Steampacket! And for the link - don’t recall seeing that before, though Magnus didn’t make the flute Terry posted about - he was just selling it. As for the flute, my recollection is a little hazy, but I think Paul’s flute had a carved (wooden) body - a bit like the Valenza ivory R&R, but maybe slightly less fancy silverware than the linked Ribas. It certainly honked!

A very good flute player Michael Spangfort here in the south of Sweden travelled up to Norway some time in the middle to late 1980’s together with flute player Paddy O’Neill, to buy a flute from Paul. Don’t think it was a Rudall, I wasn’t into flutes then, but I believe he still plays it, but with a modern wooden head joint with a lip plate as on a metal flute. Michael is based in Hong Kong now I believe, still playing. I think I may have seen/heard Paul play in a session at the Cambridge Folk Festival some time back in the '70’s

A few words about Paul Davies from Roger Digby, PeterT & Stephen Chambers, members of Concertina.net

“Paul was involved in an LP,‘Song of the Chanter’, back in 1976 with Pat Daly and Eithne, Brian and Niall Vallely. He plays flutes (misprinted as ‘flues’ on the sleeve!!), harmonica, and two Anglos - one in old pitch. They play in various combinations and there’s no indication on the sleeve when it is Paul playing flute and when it is Brian Vallely. I think he plays two tracks on Anglo and at least one on harmonica.
He gave me a battered old copy; against one track he has pencilled ‘ex Kilroy, now Digby’ and beside Brian Vallely’s name he has added ‘wooden whistle from Steve Chambers, now Peter Carberry’. I imagine Steve, if he reads this, will be able to add more detail.
Best wishes, Roger Digby”

“As an aside, Paul was a skilled craftsman, who paid for and refurbished his Worthing house from the proceeds of his busking. I went down there to “play with the toys”, as Paul used to say. When he knew that I worked for Nestlé (1974-2003), Paul said that he had hung the ceilings in St. George’s House, Croydon, where I was based for most of my time. Paul had two distinct repertoires, his Irish music, and his busking music. When Paul moved up to York, I met up with him when I was down from Scotland (where I was living) and he took me off to an English music session (which I enjoyed), to demonstrate to the other musicians how an Anglo can sound when played in a style different from his.” PeterT.

"I think the truth of the matter is that Paul used both spellings. The LP to which I refer above has ‘Davis’ throughout. It was Paul’s habit to write, even scratch, his name into concertinas that he owned. I’ve just taken the ex-Killroy apart and sure enough it bears ‘Paul Davis’ in red ink on the reed pan and also scratched onto the palm rest. I think he formalised a spelling when he decided he needed business cards and stickers and then opted for the ‘e’. Doubtless at some future time someone will date concertinas by which spelling they bear!
Of course he didn’t always call himself Paul Davi(e)s at all……. "Pedantically yours, Roger Digby

“Yes; I’d forgotten that! He told me that he called himself Mr XXXXXX (my memory’s gone!), and why. I don’t know when, exactly, that Paul died, since I was away from the music scene from 1995 onwards. I presume that he died from a heart attack. I remember Paul telling me that he had suffered two relatively minor attacks which had been very painful. He then told me that the major attack, which “killed him” did not hurt at all. He was obviously resuscitated, and lived for a number of additional years. I first met Paul in 1983; busking in Crawley.” Peter T.

“You have just jogged my memory Peter, that is exactly where I first met him. He played in the gap between Woolworth’s and Littlewood’s in Queens Square.”

“Not forgetting Paul’s precious Rudall & Rose alto flute too! But the harmonica was Paul’s first, and maybe his best instrument, which he learned to play in hospital as a child. He played a Chromatic with the slide pushed in, a technique he got from the late Paddy Bán O’Briain”

“Indeed so, and I remember how he was adamant that his name should be spelled with that ‘e’ for quite a while, before quietly reverting to the previous spelling”

“That’s “Táimse im Choladh”, an air that Paul played a lot on the flute (he was a former Flute - Slow Airs, All Ireland Champion), sometimes at Irish funerals. In fact I got Seamus Tansey to learn the tune and play it at Paul’s funeral - though we played “a good blast of reels” for him, on flute and tambourine, first.”

“He died on 18th January, 2001. Brian and Eithne Vallely came over from Armagh and played pipes and fiddle at his funeral, also Seamus Tansey came and played flute, as well as giving a great eulogy about him and all the wonderful instruments he had put into circulation in Ireland.” Stephen Chambers

Terry, I enjoyed your tribute pages immensely. What a guy! The concertina-as-siren stunt still has me laughing. And the Lament of the Three Marys was gorgeous. It’s funny; I was just trying to work that out on the pipes this weekend, so great reference, too. Thank you so much for doing this!

Has anyone bought a Rudall from Patsy Maloney of Birmingham? I understand he has a collection of Rudall flutes that can occasionally be purchased. Here’s Patsy playing about 5: 54 minutes into the video clip
http://www.youtube.com/watch?v=82kF0BtUUps

I haven’t bought from Patsy Moloney nor seen his collection - I have only kinda “met” him once at a (large) session - we weren’t introduced and didn’t actually speak across a very large table, though we played tunes together. I did acquire some flutes from his late brothor Conor, also a dealer and collector and fine player. (It was at Conor’s “farewell party” when he knew he was terminally ill that I encountered Patsy.) Patsy certainly has a collection of Rudalls - several were photographed by Robert Bigio for inclusion in his wonderful book. I know from Conor that both Moloney brothers were old auction sparring partners of Paul Davies’, sometimes competing, sometimes collaborating. The R&R (my low Bb tenor flute) I acquired from Conor came indirectly from Paul/through Paul’s offices and has repairs done by Paul.

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Hi all

Resurrecting this very old thread as I have a new contribution to it, see the bottom of http://www.mcgee-flutes.com/Davies_Other.htm. My thanks to Andy Hooker for the new insights into this colourful character.

If however you are not familiar with the late Paul, you might prefer to start here, and get to Andy’s contribution later: http://www.mcgee-flutes.com/Davies.htm

Terry

Came across these eight sound recordings by Phillip Whittaker made in Lancaster, 1973, of Paul playing the concertina and tin whistle. Thanks to a member of the thesession.org here are names to the tunes on five of the eight sets of tunes:

https://soundcloud.com/philip-whittaker

6: The Pipe On The Hob (jig)
7: The Old Copperplate; The Five Mile Chase (reels)
12: Paddy Fahy’s; Paddy Fahy’s (reels)
15: Paddy Fahy’s; The House on the Hill (jigs)
18: Bill Harte’s (jig); The Bag of Spuds (reel); The maids of Feakle (reel)

Phillip Whittaker had this to say on the session.org regarding Paul and the recording of these tunes https://thesession.org/discussions/35368#comment750086:

"I sent Terry this email:
Dear Terry,
I recently came across a memorial page for Paul Davis on your site. I wish I had seen this a lot earlier

I knew Paul when he was living In Lancaster in 1973. I probably met him through the folk club, the Lancaster Folk Stir. He was living in a flat with a stunning young woman (I thought).

I was getting interested in Irish music and played a very small number of tunes on tin whistle. He offered to sell me a portable cassette recorder, one of the first generation of battery driven ones. He agreed to record some tunes for me. I have about 26 files of tunes he recorded for me. Mostly on the concertina, but some really nice
playing of slip jigs on whistle. Quite a few set dance tunes which were popular at the time. Nothing by him playing the flute, sadly.

I regret that I lost touch with Paul after I left Lancaster. I was on a one year course at the teacher training college. I have a few clear memories of him. One is of him filling a the crack in a flute head joint with a resin mixed with the dust from a sanded down flute (sorry!). Soon after that he set off on the bus to Heysham where he caught the ferry to Ireland. He had his flutes in a Gladstone/doctors’ bag.

That year he travelled to Birmingham for the Fleadh, the heats for the All Ireland championships. I think he was mostly interested in being there to meet customers. He was persuaded to enter the concertina competition to prevent a player of the English system concertina being an embarrassment by making the final in Ireland by dint of being the only entrant. I can remember the words of the adjudicator who compared his vamping on the lower notes to the use of the regulators on the pipes. You can hear some examples on the files I have rescued from the tape.

He was very helpful to me at a time when it was difficult to find out much at all about traditional Irish music and LPs were few.

If you think other people would be interested in the recordings, please let me know, where they might be hosted? Your website?

Yours,

Philip
……………………………………

Terry suggested that I put them up on Soundcloud. I have started converting the files to mp3 format and uploading them.


Another member of thesession.org, Sheepdip, had this to say about Paul six years ago:
“I first met Paul Davis in the early 1970’s when I was trying to buy my first flute. Complaining that the three I had bought were useless he said he had a great one for me and to meet him next week at a London Fleadh Cheoil competition.
I saw that famous large Gladstone bag full of oiled flutes wrapped in newspaper. I bought an 8-keyed with an obscure (1870’s) musical dealer’s name & London address stamp. Likewise I would come across Paul playing concertina at sessions -discretely, low key.
Years later I found the keys’ under-side were all stamped by (Henry) Wylde, an ex- Ruddall & Rose apprentice and likely one of the many fine flutes he produced for dealers rather than in his own name.
It continues in my legacy - most years were for hymns in church. Being an Improved-Pratten (large-holed/large volume) ideal volume for intros/ harmonies to a large congregation.
I do wonder sometimes what music this flute played during the hundred years before it came into my care….” Sheepdip.

Armagh Piper’s Club - Songs of the chanter can be heard here: https://www.youtube.com/watch?v=m8XdTBnE5pU
With Paul Davis on flute. Are there other recording/tapess of Paul Davis playing flute out there?

Thanks Arthur -

I bought Paul Davies RS Pratten’s Perfected Siccama from you back then.

Little wonder - it remains a stunning favourite flute for its intonation and calibre.

Kind regards

Tonehole, Arthur, and anyone else who might have a flute or flutes handled by Paul Davis/Davies over the years. Can I get you to check under the touch of the upper C key to see if there are any markings. You will probably need to pull the pin to be able to see it. A Rudall & Rose key with the initials PD under the C key touch has just been brought to my attention. What’s interesting about this marking is that it isn’t the usual stamped lettering, it appears to be made by a rotating “engraving burr” in a high-speed handheld rotary tool such as the Dremel.

We know that Paul marked concertinas he handled, so it would be entirely consistent for him to mark flutes. He would want to be able to find the mark easily, but wouldn’t want to deface the instrument. Under the c key touch would fit those criteria.

I’ll try to have a look as I have in hand several flutes I suspect Paul worked on as well as one (my own long-standing R&R #4683) I know for sure he worked on - though I’m pretty sure he didn’t mark it - certainly he didn’t do anything on that like or in the position of the mark on SM’s R&R long C ('twas I who suggested he sent you the photos, though a possible Paul Davies connection didn’t occur to me :poke: ) which triggered your enquiry. However, most long C key touches will have cork covering that location, so it’s going to be hard to be sure without starting to take the cork buffers off!