A very beautifully shot performance of a beautiful piece of music. Duo Abbas/Thézé bring a bass clarinet and chromatic button accordion together for a super sexy, jazz inflected mazurkas. The dancers are mesmerizing. That guy at the end, his smile … tells a story.
This was originally published in February 2011, in a slightly different form. Reading the front pages of today’s “fake news” rags, I can still see that our world’s understanding of accordion lingo could fairly be described as a dearth. I hope this piece serves as a still-potent paliative
(for the inimitable, and inexplicably quiet, Tom B.)
A friend made a comment a few weeks ago indicating that those who are not Of the Bellows may have difficulty grasping the lingo of the box. “Yeah, yeah,” I thought, “thus is the fate of squeeze-muggles.” Then I read a sentence in another friend’s accordion blog, and it shocked me into sympathy. Describing a sort of uber-box, Andy, at Melodeon Minutes wrote, “It was a Gaillard, 4-voice — yes, 4-voice — in D/G, tuned LM-MM+, with two switches behind the keyboard.”
“Good Lord,” I thought, envious, “That’s quite a thing!” Then I imagined the uninitiated perusing that line (maybe the boys at Homeland Security) wondering, “What kind of thing?”
Then, in my own paean to the Hohner Corso, I found that I’d described the red, pearloid wonder as, “A wet tuned French-sounding box.” Holy Cow! Is that even legal in New England?
So, what does it mean? With apologies to Andy, I’ve decided to use his exemplar sentence to explain some of the naming conventions of accordions.
Further questions, comments, or corrections are welcome.
*This is sarcasm. I love vulgar.
It’s been a dream for me to play music with my kids and I was able last weekend to do that! And I recorded. Here are Brigid and I playing a scottish by by Frédéric Paris and a hanter dro by Sylvain Piron. Also, I sing in French for the first time on video!
I am not a big holiday tune kind of guy, but I’ve been asked twice by people I respect to post something along those lines. I have been playing like mad since acquiring the Mory, but haven’t been gigging, or recording. It’s the woodshed for me. Perhaps, as the sun is reborn, so shall my accordeonaire-ing.
The first waltz is an original by Le Bon Truc member Barbara Truex. She has a talent for writing extraordinary melodies, and this is only the latest. I imagine my harmonies aren’t exactly right to the composition, since Barb wrote it on a mountain dulcimer, which, because of its drones has all sorts of incidental (if not accidental) harmonies.
This is a fast waltz (that’s what they said it was when I played it in Alsace) that I wrote a good many years ago. I don’t actually write many tunes, but this one had legs. Although one of my goals is to show off the sound of the Mory, I seemed to slightly overdrive the mic for this recording. Maybe time to buy new equipement.
Disaster Narrowly Averted
A thing of beauty. A wonder to behold.
|Sure. He looks unassuming. Mostly harmless.|
|Le Bon Truc. We love each other.|
Jack Humphries, a buddy over at mel.net recorded this lovely video of himself playing five mazurkas by guitarist Maarten Decombel. Here’s what Jack has to say, “My favourites by the great Maarten Decombel, a guitarist who writes tunes so good to play on the accordeon: Tuileries, 1/11, Vappu, Ostendaise, Geliefden, Tuileries.”