Not to say Didier Laloy, Wim Claeys, Bruno LeTron, and Frédéric Malempré are Belgian — maybe they are, maybe they aren’t — but this musical movement, with the Handry 18 Castagnaries surrounding you, coming right at you … (the grillwork! the grillwork!) … feels Belgian. En Flanders, as Frédéric Paris might say. So, this is Tref! Enjoy!
Category: Didier Laloy
Didier Laloy Lundi
Didier Laloy is one of the great “Belgian-Handry-18” players — along with Francois Heim and Bruno LeTron — playing with a sensitivity that can be striking. He’s also a wildly and theatrically physical player, though you won’t see that in this piece. Enjoy.
Bruno Le Tron and François Heim
Intersection (Compagnie Balagan) is an excellent example of the genre that has been co-created by Le Tron, Heim, Didier Laloy, Wim Claeys, and their compatriots in Accordion Samurai. Two accordéons accompanying each other. Interweaving melodies and counter melodies. Extended harmonies. Virtuosic performance. Very rhythmic with much syncopation. A fascination for odd meters, sevens and fives. It sounds like it’s French, at times rural, at times Parisian … with some Hot Jazz happening. Yes, that’s swing. It sounds like it’s Balkan, with those wonderful meters and scales and melodies. For some reason it’s associated strongly with Belgium. An intersection? A crossroads? Pan-European? This isn’t “more-eclectic-than-thou” post-modernism. Out of this many, come one voice from two men. Heim and Le Tron are very good at this.
Listen to two excerpts performed below.
And another.
Andy Cutting Interview Part 2: Gear Talk
Part One is Here.
Andy Cutting does NOT have an accordéon collection. Listening to Andy Cutting, one is entranced, of course, by his playing, but one also marvels — perhaps with a modicum of jealousy — at the sound of his instruments. I asked Cutting about his instruments. Is he a gear hound? Does he have a collection?
I wouldn’t say I was a gear hound at all. I’m primarily driven by playing music on a machine and have the instruments I feel I can best do that. I don’t really have a collection, as such. Although my wife would say otherwise! For those who are interested, the boxes I have are:
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| with the beloved Mory |
- Hohner Pokerwork D/G (my first box which I still play at home)
- Hohner one row four stop G
- Hohner Club 3 D/G
- One of those Chinese one rows
- A small two row CBA thing that John Tams got in the Crimea when he was filming Sharp,
- Castagnari Mignon Gish,
- Two Castagnari Max, one in D and one in A
- Castagnari Lilly D/G (bought by mistake!)
- Castagnari Handry 18 G/C
- Oakwood (I’ve no idea what model. It was made for me), two row 21 button, 8 bass with stop for the thirds, G/C Bandoneon (octave) tuned,
- Two Castagnari Mory C/F and, finally,
- Castagnari Mory D/G (my most used and favorite box)
I also have on long term loan a Marcel Messervier Melodeon in D. So as I said, not really a collection.
How has he come by them? How did he first move beyond the Pokerwork?
I have over the years tried and played just about all the makes of boxes I’ve heard of. Some fabulous and a few dreadful. When I had been playing a few months I had the opportunity to play a Castagnari and it was just so much better than the Hohner I was playing. So after a lot of persuasive discussion and an approaching 18th birthday, I somehow convinced my parents that I needed a better box. We had been to Bromyard Folk Festival and I had been given a copy of the Castagnari catalogue by Rees Wesson (a fine one row maker). I sat down with my dad with a mind to get a Nik (two voice, two row, eight bass but with hand made reeds). My dad said that from all that I’d been saying, it sounded like I wanted something much more like … and he pointed to the Mory. I wasn’t going to say no, and so, with a bit of translation it was ordered. Several months later (!!) it arrived … and I hated it! It was so much bigger and heavier than my Pokerwork and I could barely reach the inside row of bass buttons, let alone the stops. I thought about it and knew that I would have to change the way I played. After a few days and a lot of work I totally fell in love with it.
Some items on that list are very intriguing! Two Maxes? Why two one rows?
When I started playing with Chris Wood it was primarily to play some of the Quebecois repertoire. The only one row I had was in G and not super so I got the Max in D. Later I got the A one so that Chris could play in A. Fiddle players like A. Now I mostly use them in my Solo concerts and a bit with Martin Simpson.
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| With Chris Wood |
And why is the Mory his favorite? Not that this is a hard question … why wouldn’t it be his favorite? But he’s got a Handry 18, G/C, the classic big box played by the likes of Bruno LeTron, Didier Laloy, and other Samurai. Why isn’t the HANDRY his favorite?
I bought the Handry 18 about fifteen years ago. I really like it but it’s just not me. It is in many ways too capable and as I’ve said before, I love the limitations of the instrument. With the big box it feels a little like cheating. I know it’s not, but the challenges that box brings aren’t the ones I’m so interested in.
It’s interesting that the box is G/C and the rest are D/Gs. Switching between the two can be difficult for some (okay, me) as the center of the instrument seems to shift from the knee end of the box to the chin. What’s the method behind Cutting’s key choices?
I play in D/G tuning because that is where most of the music I play is pitched. It is the standard in England. I have always tried to play in both octaves. So, I’ve never thought the difference [between D/G and G/C] too great. When teaching in England I try to get people playing in the top octave and when in Europe I get them to play in the bottom. It’s great practice and after a while you stop going eeak, the fingerings different! and just get on with it.
Most people I work with are amazingly accommodating. I got the C/F box so it was easier to play in D & G minor with the pipes and hurdy-gurdy. If someone wants me to play and it’s in a daft key for the box. All it usually takes is a bit of explanation and nine times out of ten they’ll shift the key. The singers I work with have mostly been more than happy to move key’s.
In general, what does Cutting look for in an accordéon?
When trying out boxes it has to have a great action, an even tone across both ends and most importantly for me, have a very good response from very quiet to reasonably loud. I’m not into the bullworker melodeon, loudest is right thing at all. Volume is easy. Subtlety is not. But that of course depends on what you’re trying to achieve.
For me Castagnari seem to fit the way I play, or rather, I have learnt to play the way they work, better than any other make I’ve tried. That is just my personal taste. I would like a Melodie box and would dearly love to try a Bergflodt.
And, as an aside, what about the electronics?
For miking up the box I use an Audio Technica ATM 350 pro and for the left had I use the element off a PZM (Pressure Zone Mic) made by Realistic (or rather, no longer made by Realistic) mounted on the outside of the base plate with the mic looking through a sound hole. This is wired internally to a jack socket. Of the many mic systems I’ve tried this works best for me.
Neil Postman and Accordion Technopoly
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| Neil Postman: Not an Accordionist |
Over on the Music and Melodeons blog, Owen is crafting a series of posts on the perennial query, “What is Folk Music?” At Melodeon Minutes, home of friend Andy from Vermont, the new Castagnari on-line catalogue is being gone over with the loving eye of a critical friend. Meanwhile, another friend’s blog, God and the Machine, has a piece on the late Neil Postman, not an accordion player, but a hero of mine.
Postman, in his books Amusing Ourselves to Death and Technopoly, argued that technologies have ideologies. In other words, a new technology encourages some possibilities (values) and discourages others (devalues). The automobile, for example, values mobility and individualism, while devaluing stasis and communitarianism — to paint with criminally bold strokes.
It struck me that this applies to accordions, as well.
Discussing the Castagnari family of boxes over on melodeon.net, one member recommended the evolving 18-bass system, in general, as “amazingly liberating,” and pointed to its prevalence in the current wave of tradFrench players who rarely “play it straight.” And he’s right, of course. A three-row, 18-bass instrument can play in any key, and can produce the extended harmonies required for “jazzing up” the old tunes. It allows for an enormous amount of freedom.
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| Bruno LeTron, 3-rows, 18-basses, and the Truth |
Postman would say that the existence of such technology does more than allow for the possibility of, say, extended harmonies on the accordion. Rather, the existence of the technology is an ideological argument for such extended play. We know this, he would say, because of the value judgements we make. Diatonic accordion playing that moves through a variety of keys or introduces chromaticism is seen as more virtuosic. It tends to be more valued. Players who can perform in such a way — players of the Mustradem collective, for example — are the stars of the genre and shape what defines “good” tradFrench playing.
(Before getting to the next paragraph, I want to make it absolutely clear that I love the music of Bruno LeTron, Didier Laloy, Norbert Pignol, Stéphane Milleret, et al. I am merely making an observation about how available technology impacts values. I understand that I am over-egging the esoteric pudding. It’s a good time for me. Are we clear?)
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| The Handry 18: Maybe this is the last accordion I will ever buy? |
When I bought my Castagnari Nik (the last accordion I’ll ever buy?) I made the conscious decision to eschew the expansive ideology, opting instead for the two-row, eight bass ideology that does play the old tunes relatively straight. Perhaps it’s a recognition of my own limitations, but an over-abundance of choice is, to me, the definition of chaos. Is this luddite-ism? Is it cranky-old-fart-ism? Is it a deep, abiding, jealousy? Or is it just me making a choice about what boundaries I’ll choose for my music-making life. Ideologies are boundaries, after all. There’s still so much to learn from Jean Blanchard! The technology I’ve chosen has an ideology that allows me to focus on some things while setting aside others. It ties me in to a tradition and repertoire I love, and in its particulars greatly improves my quality of life. Color me content — at least until I can get my hands on a three-row, 18 bass ideologue.
