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Author Topic: Melodeon International  (Read 8304 times)

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Chris Brimley

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Re: Melodeon International
« Reply #20 on: July 20, 2014, 01:30:04 PM »

Clive, I was interested in your category of 'Trad' France, and have recently noticed that my new FR18 includes such a sound.  How does the category it differ from 'Grenoble' or 'Breton', would you say, as a national style?
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Re: Melodeon International
« Reply #21 on: July 20, 2014, 07:03:51 PM »


A number of players have discussed the possibility of repeating this idea for the Melodeon.I could not do this without help and Clive has agreed to point me in various directions. I am really posting this to see your reaction ,if you think this is a good idea,or not .Please remember that there are many fantastic players out there, but to show the versatility of the instrument it requires players with different styles of playing. Your discussion of this idea would be appreciated. I am not looking for recordings at this stage.
Thanks
Alan Day

Alan -

Anglo International was a magnificent collection whose strength was the incredible diversity of music you offered.  Personally, I have ventured in numerous musical directions I never would have tried were it not for AI.  As a relative newbie to melodeon, I would love to see the same eclectic approach on Melodeon International.  Go for it, I'll buy for sure.
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Clive Williams

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Re: Melodeon International
« Reply #22 on: July 20, 2014, 11:21:42 PM »

Clive, I was interested in your category of 'Trad' France, and have recently noticed that my new FR18 includes such a sound.  How does the category it differ from 'Grenoble' or 'Breton', would you say, as a national style?

Well... I'd say Breton is a quite distinct style, with a quite distinct set of dances. Bernard Loffet's one man band shows being an excellent example of the craft. Trad France, I'd say covers the parisian influence of Marc Perrone, and the extensive La Chavannee repertoire of Fred Paris and co, as well as fine players such as Bruno le Tron and Cyril Roche; this is the french bal repertoire we typically hear in French sessions here in the UK. But I would say in recent years, in large part inspired by the workshops/influence of Pignol/Milleret, there's a distinct new breed of player popped up - one with a bluesier edge, and much more open to chordal work and improvisation around the theme - it's pretty glib to pigeonhole players like this, but for the purposes of this exercise, I'd say that the playing of Aurelien Clarenbaux, Cyrille Brotto, and of course Pignol and Milleret themselves sit there. I've named them Grenoble as that's where the Pignol/Milleret music seems to mostly come from; that region of France. I'd say it's quite a distinct style, technically brilliant, and we never seem to hear it in the UK... I believe it takes many years of dedicated study to achieve.

The sound on your FR18 probably refers to a musette sound, that associated with Parisien players of the 30's, rather than current centre France players who usually use a dry tone than a wet musette these days. Which opens up an interesting point; if we're considering the likes of Jimmy Shand and the Wyper brothers, there are similar 30's parisian players, people like Emile Vacher that deserve consideration too.

Cheers,

Clive

Clive Williams

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Re: Melodeon International
« Reply #23 on: July 22, 2014, 09:44:45 AM »

OK, folks can anyone please point me towards seminal recordings (recentish or vintage, but either someone likely to be contactable, or someone so old they're out of copyright), in the following genres:

Brazilian
Cajun
Tex mex
Zydeco (melodeon based though, rather than piano box led)
Italy (apart from Riccardo Tesi!)
Basque (apart from Kepa Junkera!)
Italian Organetto
Australian
Cape Breton
Austro-Slovakian
Bavarian
Swiss
Baltic
Turkish

Not saying we're necessarily going to cover all those styles, but Alan and I need to at least get our knowledge of the genres up so we can pick and choose sensibly...

Chris Brimley

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Re: Melodeon International
« Reply #24 on: July 22, 2014, 09:53:33 AM »

Thanks for the explanation, Clive.
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Theo

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Re: Melodeon International
« Reply #25 on: July 22, 2014, 10:24:34 PM »

Another place to ask about the Organetto tradition would be the Accordion Museum in Castelfidardo.
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Theo Gibb - Gateshead UK

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Alan Day

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Re: Melodeon International
« Reply #26 on: July 22, 2014, 10:29:40 PM »

Phillipe Krumm is very knowledgeable regarding all push pull instruments in Europe.He is based near Paris.
Many thanks for the incredible interest and positive comments.
Al
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derekc

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Re: Melodeon International
« Reply #27 on: July 23, 2014, 06:42:27 AM »

just a thought - would it be possible to include a little contribution from the good people of this forum? IMHO they have done as much as any of the above top players in improving technique and growing the melodeon user base.
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Alan Day

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Re: Melodeon International
« Reply #28 on: July 23, 2014, 01:28:56 PM »

You raise an interesting point DerekC and I can assure you I keep a completely open mind about where the recordings come from ,but it is important that we keep to our aim to provide a set of music which shows the versatility of the instrument.For the Concertina Internationals a number of Concertina.net players recordings were used,some were not,not necessarily for their playing capabilities ,but where styles overlapped with a recording already in the mix.In my opinion it is open to anyone who fancies a go, but please remember you are up against most of the Worlds best players. If however a really interesting style, or music does come up and the playing is not quite to standard we give that player the opportunity to re record.Some many times and over a few months. I have plenty of patience if it is of interest.
These Internationals take time ,at least a couple of years to get in all the recordings select them, sound record and mix them .Do the booklet or accompanying Info,Art work et etc We also need someone to take this big project on.We are waiting on Graham for Duet and this one at the moment.I hope he goes for both.Gauging the flurry of interest on this one I do not expect we shall have difficulties of someone producing this 3 CD collection.
Al
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Theo

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Re: Melodeon International
« Reply #29 on: July 23, 2014, 03:33:38 PM »

just a thought - would it be possible to include a little contribution from the good people of this forum? IMHO they have done as much as any of the above top players in improving technique and growing the melodeon user base.

There are well over 2000 members on this forum and some of them are the top players.  So as Alan says, its completely open.
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george garside

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Re: Melodeon International
« Reply #30 on: July 23, 2014, 05:22:53 PM »

Sir Jimmy Shand springs to mind.  ;D

seconded

particularly his solo stuff on a hohner Erica  and his  ballroom  (as opposed to Scottish) dance music

george
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derekc

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Re: Melodeon International
« Reply #31 on: July 23, 2014, 09:25:46 PM »

I was not thinking of one of the top "you know who" who frequent this group, as they will undoubtedly get included on their own merit  - but more from within the ranks of the regular contributors. Of which there are many who can truly deliver a tune with space and rhythm, whoever was selected would become the representative of this great forum. Perhaps not a great idea.
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Chris Ryall

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Re: Melodeon International
« Reply #32 on: July 23, 2014, 09:54:28 PM »

Well... I'd say Breton is a quite distinct style, with a quite distinct set of dances. Bernard Loffet's one man band shows being an excellent example of the craft.

I would say in recent years, in large part inspired by the workshops/influence of Pignol/Milleret, there's a distinct new breed of player popped up - one with a bluesier edge, and much more open to chordal work and improvisation around the theme - it's pretty glib to pigeonhole players like this, but for the purposes of this exercise, I'd say that the playing of Aurelien Clarenbaux, Cyrille Brotto, and of course Pignol and Milleret themselves sit there. I've named them Grenoble as that's where the Pignol/Milleret music seems to mostly come from; that region of France. I'd say it's quite a distinct style, technically brilliant, and we never seem to hear it in the UK... I believe it takes many years of dedicated study to achieve.

Nice résume (:)

Quote
Trad France, I'd say covers the parisian influence of Marc Perrone, and the extensive La Chavannee repertoire of Fred Paris and co, as well as fine players such as Bruno le Tron and Cyril Roche; this is the french bal repertoire we typically hear in French sessions here in the UK.

Roche is pretty trad, but no longer plays with Bouffard.  le Tron is playing some absolutely over the top stuff with people like Didier Layloy! eg Samurai in 2012?  I was listening to Fréd Paris's old 1988 approx CD in the car last week, and the stuff Chavannée do now has moved on a lot from there. 

Most interesting for me was Fubléne, who are to some extent the Chavan brat pack. Catherine Paris happened to deposit her stuff at the Ch,d'Ars instrument vault when I was on duty and I took opporunity to buy their CD (the nice music had been drifting in through a window). Of course it got on the car system for the long trek home. Fascinating :o definitely Chavan based, but more open in approach. They are harmonising in a much more international way, sus chords and open fourths, I even wondered about a Californian influence at one point. Whereas la Chavannée harmony was  .. pretty square, stacked thirds, no one really played 'out' of the chord triads?

So, apart from perhaps Breton, it's all moving on.
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Cooper

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Re: Melodeon International
« Reply #33 on: July 25, 2014, 12:18:47 AM »

Some food for thought; I was thinking when Alan first asked me what traditions/styles we would/could/should reasonably include (the names listed here are ones I've thought up as examples of genre and are for example only; not in any way indicative of people who would be chosen!)

English (so many to choose from)
Irish (so many to choose from)
Scottish (so many to choose from)
"Trad" France (Fred Paris, Bruno le Tron, Marc Perrone, etc)
Breton (Yann Fanch Perroches, Bernard Loffet, etc)
Grenoble France (Norbert Pignol, Aurelien Claranbaux, Cyrille Brotto)
Italy (Riccardo Tesi, who else?)
Basque (Kepa Junkera, who else?)
Low Countries (=Belgium/Flanders/Holland) (Naragonia, Wim Claes, Hartwin Dhoore)
Cajun (my knowledge of top players here is weak, any suggestions?)
Quebecois (ditto, though Yves Lambert and Pierre Luc Depuis are two of my favourites at the moment)
Brazil (ditto, I don't know this scene very well - any thoughts?)
Scandinavia (Markku Lepisto, Ida Furusæter, Ingunn Bjorgo)
Estonia (ditto, no idea who are leading players here - any thoughts?)

Well... I'd say Breton is a quite distinct style, with a quite distinct set of dances. Bernard Loffet's one man band shows being an excellent example of the craft.

I would say in recent years, in large part inspired by the workshops/influence of Pignol/Milleret, there's a distinct new breed of player popped up - one with a bluesier edge, and much more open to chordal work and improvisation around the theme - it's pretty glib to pigeonhole players like this, but for the purposes of this exercise, I'd say that the playing of Aurelien Clarenbaux, Cyrille Brotto, and of course Pignol and Milleret themselves sit there. I've named them Grenoble as that's where the Pignol/Milleret music seems to mostly come from; that region of France. I'd say it's quite a distinct style, technically brilliant, and we never seem to hear it in the UK... I believe it takes many years of dedicated study to achieve.

Nice résume (:)
I wouldnt put Brotto there. He plays much more regional stuff then the Grenoble-crew. (Gascogne i believe, but at least a completely different vibe then Grenoble)

For Breton i would like to propose Ronan Robert, or Yannick Martin, from the younger crew.

Christian Pacher, and Benoit Guerbigny shouldnt be missed for Poitou

Italy,...there is this young duo of brothers Botasso and ofcourse Ambrogio Sparagna, and Filllipo Gambetta (and maybe Mario Salvi, but he plays more French i think)

for the low countries,...depends on style: The guys you mention are semi-french ;-)
Didier Laloy should be mentioned probably, and Anne Niepold, and Remco Sietsema perhaps, but they dont really represent a region/country.
Frans Tromp is probably the one for real Dutch material. Marinette Bonnet for the Wallonian style perhaps?

for Norway i would go for Tom Willy Rustad
Sweden, Lars Karlson? (and Mats Eden, if he can leave his violin ;-) )
Quebec should probably also mention Philippe Bruneau?
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Chris Ryall

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Re: Melodeon International
« Reply #34 on: July 25, 2014, 07:12:10 AM »

We should surely add Lucas Thébaut to the Poitou list? He is particularly energetic and danceable when on duo with his father, a solid, rhythmic  fiddler. Lucas also teaches Poitou dance.

I surfed into http://www.erwan-diato.fr/liens-accordeon-diatonique.php when googling to check spelling of the family name … has more useful ideas.

As for dutch … "ahem" … does anyone outside the specialist dance groups still play Nederlanse trad? I think the last time I heard kort met stroop on a melodeon was from Tufty Swift in 1979 ::)
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Alan Day

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Re: Melodeon International
« Reply #35 on: July 25, 2014, 08:58:23 AM »

Cooper - I agree with Phillippe Bruneau a must have I would think.
Al
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Clive Williams

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Re: Melodeon International
« Reply #36 on: July 25, 2014, 11:15:37 AM »

Thanks for all that - there's some interesting new names there I must look up!

Alan Day

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Re: Melodeon International
« Reply #37 on: July 25, 2014, 08:37:08 PM »

It would be of great interest if any of you have any old recordings of the players mentioned who are no longer with us.A feature of the Internationals have been these old almost lost recordings and I am being cheeky now to ask if there are any tucked away in your attic that deserves an airing.We have at out disposal a few specialists who can sort out some sound problems . Old 78s .reel to reel, cassette , can be sorted.
Al
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Sebastian

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Re: Melodeon International
« Reply #38 on: July 25, 2014, 09:27:19 PM »

Another regional style I’d love to hear more about is in Newfoundland.

Three random examples:

Fogo Island Accordion Group/ Liddys Lounge
https://www.youtube.com/watch?v=3LQhnIlVgdM

Timmy & Felix Turrett with Robert & Larris Benoit
https://www.youtube.com/watch?v=AgawCE2EWx8


Harry Hibbs At the Caribou 1972:
https://www.youtube.com/watch?v=O6xVhRmD2Qg
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Bob Ellis

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Re: Melodeon International
« Reply #39 on: July 27, 2014, 12:49:37 PM »

Has anybody mentioned the Belgian duo, Naragonia. Both members, Toon van Mierlo and Pascale Rubens, play a mean melodeon, as has been noted in several others threads.

From Sliabh Luachra, I would recommend Jackie Daly or the less well-known Dan Herlihy.

For Zydeco played on a button box rather than a piano accordion, I would suggest Queen Ida or Rockin' Dopsie, if you want the authentic Louisiana/East Texas sound. However, there is our own Rees Wesson and his band Joe le Taxi or the excellent Zydeco Active, who combine zydeco with reggae, funk and hip-hop.

There are so many good Cajun musicians that it is difficult to know who to suggest. Among the more traditional musicians, Aldus Roger and the Lafayette Playboys and Belton Richard are among my personal favourites. Marc Savoy's Back to Basics Savoy Style CD is also worth considering because on most tracks he plays unaccompanied, so his fine Cajun style can be heard in all its purity. For the more modern style that includes some rock and blues influences, you can't go wrong with Steve Riley and the Mamou Playboys, but High Performance are also worth considering, with Steve Riley and the equally good Jason Bergeron taking turns on Cajun accordion. Probably my favourite Cajun album at the moment is the one released in 2011 by The Band Courtbouillon featuring three great Cajun accordionists, Wayne Toups, Steve Riley and Wilson Savoy.
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