Kokra- The Other Brown Wood

[Jon C.]

I have seen a few antiques flutes dated from 1805 to early 20th century, the wood was always described as Cocuswood, but I have found that the wood, though being brown to almost black, and tight grained, was unstable. Also the smell of the wood when being cut was different then Cuban Cocuswood (Brya ebenus). So looking into imports into England in the middle 19th century, I came across the "other brown wood"...
So I think I found the missing link with the antique flute woods. The wood is called Kokra, it was imported from West Bengal, as a alternative to the Cuban Cocuswood.
Here is where it is referenced in "Journal of botany, British and foreign, Volume 41"

With regard to the use of Liquidambar styraciflua which has been dubbed American red gum for the purpose of the wood paver though its capabilities would seem not to equal jarrah or karri it is probable that much of the wood used in the experimental trials was either unsound or badly seasoned If the West Indian green ebony (Brya ebenus) is correctly identified as seems practically certain with the Cocus wood of the flutemakers it is scarcely enough to say (p 103) that it is considered well fitted for this purpose. It is if we are not mistaken the very best wood for wind instruments after proper seasoning exposure to air dry heat and wrapping in flannels soaked in linseed oil its resonance is very marked In connection with this wood it is interesting to note at (p 196) under Ebony American Green Jamaica or West Indian the names Cocus or Kokra of Jamaica This latter is a Bengalese name for Aporosa dioica of which Dr Watt in his Dictionary of the Economic Products of India writes This has by botanists been identified as the tree which yields in the West Indies the coco wood of commerce The Indian plant should be carefully examined to ascertain if the wood obtained from it is of equally good quality with that obtained from the West Indies The question then arises Are there two cocus or kokra woods one from a leguminous and the other from a euphorbiaceous plant

Sounds like this stuff was quite prevalent in flute building. I have not found many antique flutes made from Cocus (Brya ebenus), but rather Kokra (Liquidambar styraciflua). Not to say that the former hasn't had it's share of cracks, but the cracks usually stay closed, once they are properly repaired. There seems to have been more American flutes made from the Cuban variety, pre-Castro, I imagine there was a lot of trade going on, back then...

[an seanduine]

To add to the stew: I cannot recall where I read this, but there was said to have been several groves of 'American Ebony' in Florida. Said to be the same wood as the tree as found in Cuba, which would make it Brya Ebenus. And of course to add to the confusion there was at least one other wood commonly called 'American Ebony', but not at all like what we call cocuswood.
Jon, I would guess that if we are ever allowed unfettered trade with Cuba, it may happen that there are still harvestable trees of Brya Ebenis in Cuba. A friend, a Botanist, has also suggested that if the tree is found on Jamaica and Cuba, it could also be found in small pockets all around the Caribbean, even possibly in the Yucatan.

Bob

[Jon C.]

There probably was several woods used to substitute the real cocuswood, Brya Ebenus. This Kokra was so common, that it is given in some definitions for cocuswood, over the Jamaican variety. Some other woods were different forms of ebony, like Madagascar ebony. My original Meyers flute is made from Madagascar Rosewood, so at least the Germans were importing form Madagascar. that would be nice to find a grove of old growth cocuswood...
When I spoke with one of my wood suppliers, he mentioned that it is illegal to cut the Brya Ebenus in cuba, but a marine brought back a log from Gitmo. When a tree is blown over after a storm, it is exported.

[an seanduine]

Same story with true Pernambuco wood. Surprisingly enough it grows in the State of Pernambuco in the Northwest of Brazil.
This area is under Martial Law, and not only is trade in Pernambuco controlled under CITES, but is protected under pain of capital punishment under Brazilian Law. However, it grows over the border into Venezuela as well, and there is a very small trade in it to the violin bowmakers. . .
Thirty-five years ago I bought 'exotic' woods from a family that had been in the business since the early 1900's and many strange and wonderful stories come out of the world of wood suppliers. . .

Bob

[Paul Groff]

I have not found many antique flutes made from Cocus (Brya ebenus), but rather Kokra (Liquidambar styraciflua). Not to say that the former hasn't had it's share of cracks, but the cracks usually stay closed, once they are properly repaired. There seems to have been more American flutes made from the Cuban variety, pre-Castro, I imagine there was a lot of trade going on, back then...

Hi Jon,

The way I read the passage you quoted, the common name "Kokra" is being applied to wood from Aporosa, not to wood from Liquidambar.

PG

[LorenzoFlute]

Is Kokra the secret behind the Cochran flutes?

[Jon C.]

I have not found many antique flutes made from Cocus (Brya ebenus), but rather Kokra (Liquidambar styraciflua). Not to say that the former hasn't had it's share of cracks, but the cracks usually stay closed, once they are properly repaired. There seems to have been more American flutes made from the Cuban variety, pre-Castro, I imagine there was a lot of trade going on, back then...

Hi Jon,

The way I read the passage you quoted, the common name "Kokra" is being applied to wood from Aporosa, not to wood from Liquidambar.

PG

You are right, I got them mixed up...

[Jon C.]

Is Kokra the secret behind the Cochran flutes?

No, I only use the finest Brya Ebenus!

[an seanduine]

Jon, given that many of our favorite woods have identifiable aromas when we turn them. . .particularly when we 'lean into the tool'. One of the more intriguing aromas was when I turned Brazilian Tulipwood. I wonder if you have encountered any old flutes made of cocobolo. As it ages it can go quite dark, and could certainly explain why some flute players had lip reactons to some wooden flutes 'in the day'. The 'fresh' cocobolo I have turned gave an aroma that reminded me of roasting coffee. And of course, to complicate the matter, I am told that cocobolo is one of the woods that manifest as 'male' and 'female' and so showing a slight differentiation of wood. It certainly could have passed for another 'brown wood' with excellent turning character.

Bob

[Jon C.]

Jon, given that many of our favorite woods have identifiable aromas when we turn them. . .particularly when we 'lean into the tool'. One of the more intriguing aromas was when I turned Brazilian Tulipwood. I wonder if you have encountered any old flutes made of cocobolo. As it ages it can go quite dark, and could certainly explain why some flute players had lip reactons to some wooden flutes 'in the day'. The 'fresh' cocobolo I have turned gave an aroma that reminded me of roasting coffee. And of course, to complicate the matter, I am told that cocobolo is one of the woods that manifest as 'male' and 'female' and so showing a slight differentiation of wood. It certainly could have passed for another 'brown wood' with excellent turning character.

Bob

I did some research on Cocobolo, it is mentioned as a good turning wood from the West Indies. I would know if the wood is cocobolo, as I have a violent reaction to the wood. I did love the smell of it! I think the most aromatic wood is Madgascar Rosewood, it is bright purple and smells like cinnamon.
As far as British import woods, I would think the America's may have got cut off after the revolutionary war. India was a more popular export then the Americas. Australia's wood got a bad rap, as it was exported before it was seasoned properly.

[LorenzoFlute]

Is Kokra the secret behind the Cochran flutes?

No, I only use the finest Brya Ebenus!

Of course Jon, I was kidding on the sounds of the names that are very similar