Bruce at Accordion Noir forwarded us a strange Russian news article about a “Monster-Accordion” that will be unveiled at the Kremlin in April. The instrument will be the centerpiece of a celebration of the accordion’s 100th birthday:
“Precise dimensions of giant accordion remain unknown, but according to the art director of the holiday concert the height of the instrument will be several meters. To make the instrument sound two people will draw bellows and several people will push keys of the instrument.”
“Several meters” high? I wonder if this giant accordion is related to this one built by Giancarlo Francenella in Castlefidardo, Italy. That accordion — which is more than 3 meters tall and 2 meters wide — requires two people to play it, one on the keys and another to push the bellows. (Sounds like the punchlinke to a “how many accordionists does it take to screw in a lightbulb” joke…) If you want to see it in action, the accordion was recently transported to the Tate Modern in London for an exhibition and will be there through April 26th.
Recently, we asked readers to send in their questions for Blair Kilpatrick, author of Accordion Dreams: A Journey into Cajun and Creole Music. Thanks to everyone who responded — and congratulations to Mister Anchovy, who won our drawing for a free copy of the book. Today, in her first set of responses, Blair describes how she was drawn to the accordion and the musical life that she and her husband share.
What inspired you to choose the accordion, as opposed to another Cajun instrument?
Good question. But I never did choose the accordion. It chose me.
It came to me in a dream. Literally. A series of recurring dreams, strange and vivid. I was at one with the instrument, almost dancing with it. It felt like the accordion was playing me. I’d wake up in the morning with the sensation still lingering in my hands. This was peculiar, since I wasn’t a musician and had no memory of ever laying my hands on an accordion.
My unlikely passion for Cajun music had begun on a birthday trip to New Orleans, when I heard some recorded music — it was a Beausoleil tape — on a swamp tour. After that, I became consumed with the sound: buying up cassette tapes, listening constantly, going to monthly dances put on by Chicago’s one and only homegrown Cajun band. After nine months of listening, dancing, and dreaming music, I finally gave in: I had to find an accordion.
So it didn’t feel like a choice or decision — it was more like succumbing to a consuming passion. A sensible person would have stuck to Cajun dancing, or maybe picked up the guitar or triangle as a first instrument. (Later on, I did learn to play them both, along with some very basic fiddle.)
After the fact, I’ve tried to analyze what it is about the particular sound of the Cajun accordion that appeals so strongly to me. My first teacher at music camp, a very young Steve Riley, described it this way: loud and crude. It is, in some ways. Cajun accordion also has a very percussive quality, because of the inherent nature of a single row diatonic instrument. It’s like the wild skirl of the bagpipes or the wail of a blues harmonica — it moves you. Or it doesn’t.
More recently, I’ve begun to suspect the accordion resonated so strongly for me because of my Slovenian roots, which were mostly discounted when I was growing up. But that’s another story.
Are you ready to put your squeezebox skills to the test? Texas Folklife is looking for the most amazing young accordion players in Texas and Louisiana for its annual Big Squeeze accordion contest. You could win cash, a trip for two to play in Germany (courtesy of Hohner), and a day of recording at SugarHill Studios in Houston. Finalists will battle it out before a huge crowd on June 6th at the 20th Annual Accordion Kings & Queens festival. Contestants must be age 25 or younger and the entry deadline is March 1st; check the Texas Folklife site for details.
While the headlines around yesterday’s Grammy Awards focused on the artists featured during the CBS telecast, we’re turning the spotlight on those noble, accordion-toting winners who flew under the radar at the pre-telecast ceremony.
It was no surprise that Jimmy Sturr walked away with his 18th Grammy for Best Polka Album. This was Sturr’s fourth consecutive win and, at this point, it’s hard to imagine a scenario where anyone else wins this category. (Per our interview with Jimmy three years ago: “I’ll [step down] when the New York Yankees do.”)
Meanwhile, Beausoleil avec Michael Doucet took home the Grammy for Best Zydeco/Cajun Album. (Initially, we heard that Steve Riley won this award, but it turns out there was some confusion because both albums have the same title.) Unfortunately, I don’t have any clips from their winning album — but I did find one place where you can buy it online:
Conjunto legends Los Tigres del Norte won once again for Best Norteño Album. They’ve already collected numerous Latin Grammys over the years and appear to have extended their dominion over the main awards ceremony as well.
One of our longtime favorites, They Might Be Giants, won their second Grammy, this time for Best Musical Album for Children. The Here Come the 123s album and DVD has been in heavy rotation in our household for months and nothing calms our fussy baby faster.
We’re just starting to explore the vast world of children’s music, but Pint Size Polkas by Uncle Mike and his Polka Band already sounds like a must-have for our collection.
Creator and Wisconsin polka musician Mike Schneider first heard polka music when he was five years old and, even then, the bouncy rhythms made a lasting impression. He recorded Pint Size Polkas “to help children and their families discover the good, clean fun that you will experience with polka music.” With songs like “Alphabet Polka,” “Numbers Schottische,” and “Tiny Bubbles in the Tub,” children will learn about the alphabet, numbers, and even hygiene while dancing to a polka beat.
If you’re in the Midwest, keep an eye on your local news — Mike’s been doing a number of local TV appearances over the past few weeks. If you miss those appearances, you can catch the video for “Jolly Lumberjack Polka” on YouTube.
I ran across this teaser video for “A Few Accordions Short of a Record” — an upcoming documentary on the annual Kimberley International Old-Time Accordion Championships in Kimberley, British Columbia, Canada. It’s one of the largest accordion festivals in the world, drawing thousands for a week full of concerts and competitions. In 2005, attendees set a Guinness world record for the largest accordion ensemble with more than 644 players. (That record was broken a month later at the Newfoundland and Labrador Folk Festival where 989 accordionists participated.) The video suggests the film will be complete by the summer; I’ll keep my eye out for more details.
Today we’re featuring another Grammy-nominated track, this time from the polka side of the aisle. Although she’s been nominated five times for Best Polka Album — and was the first female nominee in that category — LynnMarie’s music stretches far beyond the boundaries of polka. Working with longtime collaborator, guitarist Charlie Kelley, Speechless is an instrumental record incorporating rock, country, Tex-Mex, and Cajun flavors. No matter what the style, though, LynnMarie’s bouncy button accordion is always at the center of the action.
Like so many other great artists in the polka category, she’s been continually thwarted in her Grammy quest by 17-time winner Jimmy Sturr. Will this be the year she breaks through?
Pittsburgh Steelers Polka I don’t really have a rooting interest in Sunday’s game, but Happy Louie’s rendition of the “Pennsylvania Polka” with Steelers-themed lyrics makes me want to break out my Terrible Towel.
Arizona Accordion Club Just so Cardinals fans don’t feel slighted… the Arizona Accordion Club has one of the best accordion club websites we’ve seen and even offers scholarships for young accordionists.
31st Annual Concertina Bowl Every year in Blaine, MN, on the Saturday before the Super Bowl, dozens of chemnitzer concertina players gather for 12 hours of nonstop concertina music. This year’s featured band is Gilly Maus and the Country Polkateers.
Posted January 30th, 2009 in Links, Polka, Sports · Comments off
Can’t think of anything romantic to do for Valentine’s Day? Why not give your main squeeze an accordion serenade? If you lack the bellows to do it yourself and you live in San Francisco, accordionist Tom Torriglia is offering to “Give Your Squeeze a Squeeze” on your behalf. An accordion player wil be dispatched to your loved one’s home, restaurant, office or wherever to play a romantic or fun love song for that special valentine. Each “Squeeze” costs $100 with 20% of that being donated to the San Francisco-based non-profit, Music in Schools Today. Remember, nothing says I love you like the accordion.
I’m always curious to hear what gear “professional” accordion players are carrying around — and it’s even better to hear the stories behind their choices. Franz Nicolay, keyboard/accordion player for The Hold Steady, recently posted on the band’s message board in response to a question asking what kind of accordion he plays. Turns out he currently has three: a red 72-bass Hohner Concerto II, a full-size 120-bass Galanti, and a ladies-size 120-bass Iorio Candido. I liked the bittersweet story behind the Galanti:
“The really good one is a full-size 120-bass Galanti, an Italian beast I bought off a Bulgarian fellow named Sergio in Forest Hills about five years ago. I found him on Yahoo Classifieds; it’s kind of a sad story: he’d emigrated with his brother fifty years earlier, and they’d always lived together, worked together, never married, and after work they’d play accordion duets in the basement. When his brother died, he couldn’t bring himself to play alone. So he gave me an incredible deal, because, he said, ‘I can tell you’re a musician and I want it to go to someone who’ll play it.'”
