This Guy Got me Interested in jazz accordion

[Tom]

I think it's "that sound" that you never heard before -- and these new sounds have a great influence you. Here's a few of mine:
- Lenny on the Hammond -- "Plantation Boogie"
- Art Damn
- The Three Sons
- Joe Vero, at the Euclid Roller Drome (near Cleveland, OH) on his Hammond with his beat to the "Flea Hop"
This is, what, I believe, has the greatest influence on anyone:
What You are, Is What You Where, When.

Modern Jazz Quartet for me as far as jazz goes. Otherwise, yeah, classic rock.

 

[EMan]

Based on some comments here about my post, I do believe that "jazz" musicians have favorite licks and do memorize some or maybe even many licks that they use in their solos. To oversimplify this, there are a couple of licks I have heard pros use more than once; the first being the 1st two bars of "Mary had a little lamb" and the second being the 1st two bars of "London bridge is falling down". Don't laugh; I've heard more than one pro using those licks. I have favorite licks that I use and have memorized, but overall I still hold that jazz musicians "improvise" and when taken literally it means that they don't play the solos EXACTLY as they played them before.

In just talking with Jerry PH , I had mentioned to him one time, that I rarely played the same piece twice exactly the same ( unless it was a concert piece), but I'm talking when I played with my own trio and working a club, wedding or stuff like that.

I can't speak for Van Damme and I do have everyone of his original albums, but that's listening only to one take on each tune, but I suspect that what I have written above is true as much for him as any professional jazz artist.

 

[GeorgeH76]

Based on some comments here about my post, I do believe that "jazz" musicians have favorite licks and do memorize some or maybe even many licks that they use in their solos. To oversimplify this, there are a couple of licks I have heard pros use more than once; the first being the 1st two bars of "Mary had a little lamb" and the second being the 1st two bars of "London bridge is falling down". Don't laugh; I've heard more than one pro using those licks. I have favorite licks that I use and have memorized, but overall I still hold that jazz musicians "improvise" and when taken literally it means that they don't play the solos EXACTLY as they played them before.

In just talking with Jerry PH , I had mentioned to him one time, that I rarely played the same piece twice exactly the same ( unless it was a concert piece), but I'm talking when I played with my own trio and working a club, wedding or stuff like that.

I can't speak for Van Damme and I do have everyone of his original albums, but that's listening only to one take on each tune, but I suspect that what I have written above is true as much for him as any professional jazz artist.

This is true re AVD This version of Laura has differences from the Album I have as well as the Book arrangement

 

[JerryPH]

I think a lot of the more experienced players tend to wander off the "perfectly follow the written note path" and I'd say that I tend to do this even on the classical pieces too, when I feel like it!

 

[kimric]

I was amused when I picked up a jazz accordion book in Russia that was a introduction to western jazz (firs publishing was the late 70's i think) it included a AVD arrangement. The Russian music books are interesting in that there is usually a entire page introducing you to what you will be learning in the book along with some history and context.

 

[JCarl]

. Dissect it… that entire line (ONE measure… lol), uses mostly 2 basic skills… chromatic scales and arpeggios. If you are comfy with that, in THEORY you should be able to play that measure At SOME speed. It looks scary but not if you work on the fingering and chunk it in to 3 or 4 notes at a time, then in to one beat at a time, then link 2 beats, 3 beats and then link the measure together. It’s doable to some degree, perhaps if not at the full speed that AVD did it!

Yes, when I’m looking at Jazz charts like that not only do I dissect the Fast passages, but take a look at the chords. I tend to write above it what the chord actually is and then just play what I wanna play. If we remember that these are solos and improvisations it takes away the pressure of like classical music where you’re trying to play it note for note, I don’t wanna play it note for note, I just wanna learn what chords he was breaking up into those runs, and the chords that he’s playing around them so I can just improvise on my own that has a better result than trying to learn the passage although I think both are very important. Just my two cents on an excellent comment above.

 

[JCarl]

Yes, when I’m looking at Jazz charts like that not only do I dissect the Fast passages, but take a look at the chords. I tend to write above it what the chord actually is and then just play what I wanna play. If we remember that these are solos and improvisations it takes away the pressure of like classical music where you’re trying to play it note for note, I don’t wanna play it note for note, I just wanna learn what chords he was breaking up into those runs, and the chords that he’s playing around them so I can just improvise on my own that has a better result than trying to learn the passage although I think both are very important. Just my two cents on an excellent comment above.

Oops I should’ve read everybody else’s comment before I made mine. I just bit much repeated what all y’all are saying

 

[Tom]

Oops I should’ve read everybody else’s comment before I made mine. I just bit much repeated what all y’all are saying

Don’t worry. I feel you will post some very nice music when you get your accordion.

 

[Ventura]

Yes, when I’m looking at Jazz charts like that not only do I dissect the Fast passages, but take a look at the chords. I tend to write above it what the chord actually is and then just play what I wanna play. If we remember that these are solos and improvisations it takes away the pressure of like classical music where you’re trying to play it note for note, I don’t wanna play it note for note, I just wanna learn what chords he was breaking up into those runs, and the chords that he’s playing around them so I can just improvise on my own that has a better result than trying to learn the passage although I think both are very important. Just my two cents on an excellent comment above.

hey JC.. you found this old thread

well you reveal something key here, about what you like
and how you like to play it and approach it

so a question.. just how much do you also LiKE how Art Van D plays, and his sound ?

and

if the answer is.. a LOT

then buy the 4 rocker Excelsior

it will be as close to his clean tone and key action as you will EVER find at your
first purchase price point

also, one other key difference that Excelsior has.. it is as much an investment
as a purchase.. the other ones you are looking at, at this point, are pretty much
disposable/consumable..

ps: insist LB put fresh bellows gaskets on before they ship it to you

pss: the rocker Excelsiors are price-supressed this century and
generally represent a tremendous value overall in the professional
level accordion category

 

[DougJ]

HI Ventura - I posted in another thread. I got delivery on an Excelsior A2 last night and it was ruined in transport - the shipper did a terrible job of preparing it for shipping and all the chord buttons disappeared, so I have to send it back. I'm still interested in purchasing an Excelsior professional model accordion - the A2 was an exciting option for me. I currently play a Stradavox 7 register LMMH 17.5" accordion and I'm looking to get into a full-sized professional Excelsior at a decent price. I play with the Tulsa Accordion Band. Do you know anyone willing to sell?

 

[DougJ]

Thanks for the playing tips. I'm just getting into playing some jazz on my accordion, and it helps to know what goes on in the minds of other players when they're playing!

 

[colinm]

I like jazz but I like to be able to detect the tune in the jazz, Some of Frank Marocco,s arrangements are playable, and some of Arrigo Tomassi,s are ok, so far that is enough to keep me busy. I cannot play by ear and cannot improvise, but that does not worry me.
I am however struggling to find a jazz accordion, I have a straight tuned Vignoni 37/96 double cassotto with one set of large bass reeds removed, which is just manageable weightwise, 23 lbs
I am surprised to learn that AVD only used the one set of bassoon reeds, does that mean I can get any 41/120 double or single cassotto and remove all the reeds except the bassoon cassotto and sound a little more like AVD, or is there something else to look for in the accordion.

 

[Thomas N]

This is true re AVD This version of Laura has differences from the Album I have as well as the Book arrangement

88 years old here. Amazing!

 

[losthobos]

I am surprised to learn that AVD only used the one set of bassoon reeds, does that mean I can get any 41/120 double or single cassotto and remove all the reeds except the bassoon cassotto and sound a little more like AVD, or is there something else to look for in the accordion.

I'm not sure it'd make you sound like him but the accordion would feel more responsive and expressive if it dropped some weight .... if you're looking for the AVD tonality then get an Excelsior with Cassotto from his era and strip down to just bassoon reeds...