You probably already have it marked on your calendar, but in case you didn’t, June is Accordion Awareness Month. The “holiday” was established in 1989 by San Franciscan Tom Torriglia to promote and educate people about the accordion, as well as help spread the word about the accordion’s resurgence in popularity. (Tom was also instrumental — pun intended — in getting the accordion named San Francisco’s official instrument in 1990.)

“But how do I celebrate Accordion Awareness Month?” Here are some ideas:

• Attend an event on the Let’s Polka accordion calendar.
• Wear tank tops all month. Explain that you’re showing off the muscles you’ve built through years of squeezing bellows.
• Make a YouTube video of yourself playing the accordion. Become an Internet celebrity overnight.
• Give the gift that keeps on giving: accordion lessons (in person or online).
• Change your ringtone to “Lady of Spain.”

How are you celebrating the best month of the year? Leave a comment and let us know.

Not sure how I missed this, but the April issue of Paste Magazine has a couple features on the accordion. The first, “Squeezebox Redux: The World’s Dorkiest Instrument Earns Hipster Cred”, notes the accordion’s recent rise to prominence in the indie rock world. One label head suggests that “the more bands that use accordions, the more [new] bands will be inspired to try it themselves.” DeVotchKa’s Tom Hagerman also has a good quote:

“The accordion can quickly color a piece of music into a much darker or even grotesque sort of tune… I think in pop music it tends to make things sound a little anachronistic, in a good way.”

Paste also published their “Ultimate Accordion Playlist”. The list is, again, indie rock-centric, and features a number of the bands we’ve covered here (They Might Be Giants, the Decemberists, Gogol Bordello, Arcade Fire, etc.). Any notable omissions?

As someone who comes from a long line of farmers, I’m no stranger to tractors and farm equipment. But I never thought of using their sounds in music, which is why I’m not a famous avant-garde musician like Finnish accordionist Kimmo Pohjonen. He toured four UK farms and recorded the sounds of tractors, milking machines, threshers, and more, so he could tweak, loop, and sample them with his MIDI accordion for his project, “Earth Machine Music.”

“When you amplify and equalise those sounds, and you have a great PA, you can suddenly hear music and rhythms. I’m sure people who come to the concerts will be surprised at what great sounds they have. These are kind of forgotten sounds. Everybody knows them, and everybody knows accordion sounds, too - but not like this.”

Next month, Pohjonen will revisit those farms for a series of concerts in which he’ll perform new music he has composed specifically for each venue. Local farmers will even “play along” with Pohjonen, firing up their tractors and machinery during the performance. There’s even a documentary film in the works. I wonder if it will spawn a whole new genre of agricultural accordionists…

Update: I found a YouTube clip of Pohjonen discussing the project, as well as a piece in the Telegraph.

Sunday’s edition of the Los Angeles Times had an interesting piece on the accordion’s role in classical music and film. It covers the instrument’s history and mechanics before focusing on classical accordionist Nick Ariondo, composer Samuel Zyman, and prolific soundtrack accordionist Frank Marocco. Ariondo explains what makes the accordion so expressive — and difficult to play:

“When you see the piano side of it, complete with white and black notes, you expect to see hammers, not valves. But this is a push-and-pull reed instrument. When you pull out on the accordion, you’re sucking air into it. It sounds like a harmonica. The bellows is like the bow on the violin. It’s very difficult to master.”

I detect a somewhat snooty tone in the article, particularly the emphasis that the “accordion is not just an instrument of the people.” Then again, maybe I’m just hurt because Frank Marocco’s comment — “most of the accordion players never took it much further… they learned to play a little polka, a little waltz, a march, and they’re satisfied” — hits a little too close to home.

Okay, I promise this will be the last Grammy post (at least until next year). No big surprises, but here’s a quick rundown of the accordion-related winners from tonight’s ceremony:

• Best Polka Album: Come Share the Wine by Jimmy Sturr
  Surprise, surprise. This gives Sturr 17 wins in the 23 years that the polka category has existed. Maybe the Grammys need a system like some county fairs I know, where if you win for several years in a row, you’re taken off the ballot and given permanent “hall of fame” status.
• Best Zydeco or Cajun Album: Live! Worldwide by Terrance Simien and the Zydeco Experience
  It’s fitting that the person who campaigned for this category’s creation would win its first-ever award. There were a lot of deserving albums nominated, though, and I’m sorry I didn’t finish my Cajun/Zydeco Grammy preview in time. (I’ll explain why very soon!)
• Best Norteño Album: Detalles Y Emociones by Los Tigres del Norte
  Already recipients of a lifetime achievement award at the Latin Grammys, the Norteño legends collect this particular award for the second year in a row.

Check the full list of winners and let me know if there’s anyone (carrying an accordion) I missed.

With so many Grammy categories, it’s no surprise that what you see on TV is only a tiny fraction of the awards presented (usually about 12 out of 110 total). Most awards are given out during a ceremony before the televised show.

This year, for the first time, you can watch those pre-televised awards — including Best Polka Album and Best Cajun/Zydeco Album — live online at Grammy.com. It starts at 1pm Pacific/4pm Eastern today and, while there are a lot of awards to get through, things move pretty fast.

File this one under “Buskers Gone Bad”: Police in Tromsø, Norway, are cracking down on accordion street musicians after fielding numerous complaints from residents. Police chief Truls Fyhn says:

“The reports we’ve had indicate that people are being driven mad by the tunes coming from the accordions all day long… I have myself stopped to listen, and let me make it clear: The quality of the music is very, very low.”

Ouch, that’s a harsh review. According to the article, it’s now only legal to play accordion music outside in the city’s main central square. I think what this town really needs is some better accordion players; who’s up for a trip?

Gilbert Reyes of Reyes Accordions recently shared some photos of the new diatonic accordions that Hohner will unveil at the NAMM Show later this month. These three new “Xtreme” models have 34 buttons (the standard Corona has 31) and include reed switches — three on the Tex-Mex Corona II Xtreme and five on the norteño and vallenato tuned Corona III Xtremes. They certainly seem designed to compete with Gabbanelli accordions, which have long been popular in the Conjunto/Tejano scene.

Hohner Corona II Xtreme

Continue reading ‘New Hohner Accordions for 2008′ »

Talk about an accordion crime. Police in Costa Mesa, CA, are on the lookout for thieves who stole an antique accordion from a crowded parking lot on Sunday. Gigi Rabe had the accordion in the trunk of her car when she pulled into the Plaza West shopping center. She got out of her car, opened her trunk, and then stepped away to greet some friends who pulled up. When she returned, her accordion was gone.

Rabe is an accomplished accordionist working on a Ph.D. in Ethnomusicology at UCLA, and the accordion — a rare, vintage Dallape — is valued at $10,000. Police think it’s an “opportunist-type crime” and doubt the thieves knew they were stealing an accordion. Keep your eyes peeled; if you see a classic Dallape accordion on Craigslist, eBay, or your local pawn shop’s window display, you might want to give the Costa Mesa police a ring.

The nominations for the 50th annual Grammy Awards were announced this morning and there are plenty of accordions in the mix. (Really!) First, the nominees for Best Polka Album:

• Polka’s Revenge by Brave Combo
• Bulletproof Polkas by John Gora & Gorale
• Polka Freak Out by Bubba Hernandez and Alex Meixner
• Dueling Polkas by Walter Ostanek and Brian Sklar
• Come Share the Wine by Jimmy Sturr and his Orchestra

It’s no surprise to see 16-time winner Jimmy Sturr nominated again, but he’ll face stiff competition from one of the few non-Sturr artists to take home the polka Grammy, Brave Combo.

Meanwhile, this year marks the first time the Best Cajun/Zydeco Album Grammy will be awarded. Here are the nominees:

• Le Cowboy Creole by Geno Delafose & French Rockin’ Boogie
• King Cake by Lisa Haley
• Live: Á La Blue Moon by Lost Bayou Ramblers
• Blues De Musicien by Pine Leaf Boys
• Racines by Racines
• The La Louisianne Sessions by Roddie Romero And The Hub City All-Stars
• Live! Worldwide by Terrance Simien & The Zydeco Experience

Seven great albums and it’s especially fitting that Terrance Simien — who worked so hard to make the Cajun/Zydeco Grammy reality — is one of the inaugural nominees.

In other categories, Tejano accordionist Sunny Sauceda is up for Best Tejano Album, while the legendary Los Tigres Del Norte are nominated for Best Norteño Album again after winning last year. They’ll square off against Intocable, Conjunto Primavera, Pesado, and Los Rieleros del Norte.

Just like last year, we’ll have reviews and clips from each of the nominated albums in the weeks leading up the awards ceremony, which will be held on February 10 in Los Angeles.