In the language of an admirer who is himself a versatile musician, “his staccato style is a marvel of dexterity, as it entails an expenditure of muscular energy beyond ordinary manual effort. His tipping and tripling are admirable, and his manipulation of the regulators may well, in these degenerate days of piping, be regarded as an innovation in the art. In playing dance music, which he prefers, his chords, save at the end of the strain, are never sustained beyond the duration of a crochet, so that the bars of his accompaniment in reels and hornpipes are regularly filled with four crochets each, and not infrequently varying to the same number of quavers with equivalent rest intervals alternating.” Much
more from the pen of a friendly biographer might be added, but believing it would be injudieions to eater unduly to personalities, especially in the case of a musician still in the land of the living, we must forego the pleasure it would afford us to be more generous with space under different circumstances