New Releases
"Planet Squeezebox," Various Artists Ellipsis Arts...Recording Company The accordian has been part of popular music long before recorded music. Developed in Vienna during the 1820s, its portability, ease of operation, and unique sound quality quickly made it the instrument of choice for itinerant travelers and immigrants. People may think that its heyday in American popular music revolved around the polka craze of the 1940s. But such current popular groups as U2, Paul Simon, The Band, Brave Combo all have incorporated the accordian sound into their rock music.
Recently Jeff Chamo, president of Ellipsis Arts...Recording Company, asked Michael Shapiro to produce an accordian music compilation with music from around the world. Chamo and Shapiro came up with the wonderful 3-CD set entitled "Planet Squeezebox." Featuring torrid tangos, merengues, rollicking polkas, jigs, plus zydeco/cajun two-steps and waltzes, free-form jazz, country laments and hard rock, this compilation is a rare gift. It seeps with virtuosity, energy and just plain fun. With the 56-page booklet - filled with a brief history, tons of pictures and a run-down on each of the performing artists - you'll learn more about the world-music of the accordian than you'll ever imagine (for instance, the difference between a chromatic piano accordian versus a three-row diatonic button accordian). This 52-cut, 3-hour plus compilation presents music from every corner of the world: from Bali to Bulgaria, the Bayous to the Pampas.
Some highlights include Gus Viseur's 1938 jazz and gypsy musette "Jeanette." The subtle tone control, indicative of the most expressive accordian players, is expertly demonstrated by this "Django Reinhardt of the accordian." Mario Salvi plays a dissonant tarantella reflective of the new Italian folk revivalists. Tony MacMahon plays the brilhantly melodic "The Dear Irish Boy" and Steve Riley and the Mamou Playboys the rollicking "Amedee Two-Step." These cuts only hint at the other treasures within.
The real versatility of the accordian lies in the control the performer has over the bellows. Like a harmonica, the harder one blows the more expressive the tone. But unlike the harmonica, the buttons or keys increases the accordian' s range to over three octaves (sometimes even higher). The result is an instrument and sound that is unmatched. This veratility is heard throughout this recording. One truly remarkable exhibition is Alice Hall's jazz-tinged Standard "What Is This Thing Called Love." Recorded live in 1949, Hall plays as though she has 20 fingers, making the listener reel from her lightening fast technique. Pauline Oliveras demonstrates a startling different technique. Her classical excerpt "The Beauty of Sorrow" clearly shows that the accordian is possibly the most expressive of all musical instruments. She makes the instrument weep.
Fred Gregarich's version of the Slovenian style polka "Soldier Boy Polka" is representative of the accordian music I grew up with, plenty of oom-pa. But it was in the playing of the late Argentine master Astor Piazzolla where the the instrument opened my ears to its larger range of music. His tango "Milonga Loca" is exquisite - slow, moving, simply beautiful.
Similarly, the Ivory Coast music of Le Zagazougou clearly demonstates how the accordian is used to express the cultural heritage from virtually any region of the world. This notion is probably most clearly heard in Ihe renown Klezmer Conservatory Band's "A Yor Nokh Mayn Khasene" and the Chinese Mioa artists Yang Zhangping and Wan Jingui's "Huanle de Miaojia."
Given that you'll find recordings here from the 1930s through the 1990s, the production is somewhat spotty. But on the other hand, you won' t find any screaming guitars on this first rate compilation. With the expressive range, power and breadth of the accordian found throughout this remarkable collection, they won't be missed. This recording is a must-have for any popular music afficianado. Seek it out today.
"NoSweat! Live,"Big Dave & the Ultrasonics, Schoolkids' Records This is one hot live CD. The production is great. The material is strong. And the feel propels the listener to dance and wiggle. Slow blues, fast blues, jump blues, rare blues, new blues, this rock-solid collection has them all plus tinges of swing, jazz, and boogie. From this exhibition, there is little argument that this ensemble is still one of the best in town.
There may have been some question about this with the recent re-vamping of the group. Rhythm guitarist David Farzalo and bassist Todd Perkins both left. Farzalo was not replaced, but the rock steady 6-string bass player, Jim Rassmussen, took over without missing a beat. Although the group has a slightly less-full sound without the additional guitarist, it seems that Dave Steele on lead guitar, Dave Morris on harmonica, Ben White on keyboards and Piet Struyk on drums merely stepped things up a notch. The result is great listening.
Especially strong songs are Steele's "No Sweat," label-mate Steve Ferguson's "I Stand Accused," and Eddie "Cleanhead" Vinson's "Hold It Right There." This is not to imply that the other material is somehow weak. On the contrary . You'll find more than a lick or two of exceptional musicianship on any cut. Add this one to your collection!