I hope everyone noticed they both play an accordion that goes up to high C. (And the keyboard goes down to low F, so it's not your "average" extended keyboard from low E to high C. It's specifically aimed at reaching high C.) They need that high range because they only play in the L register for the most mellow tone.
Indeed.
Frank Marocco was one of the few jazz players who mostly used a 41-key F to A (Victoria) accordion.
The 5-reed ones with a double cassotto. On my 4-reed Morino Artiste D (and the related main instrument of mine), the L register is more mellow (being the only one in a tone chamber) but the M register at least on my main one does a better job at being soft-spoken rather than dull. You have a more direct touch on its sound.
You are right. I should have said a PA Morino (or Gola). Hohner really messed up the Morino Artiste series after the D. And I believe it was deliberate because a friend of mine has a rare (prototype?) Artiste VI S with cassotto. Hohner never announced this model.
It probably was something like Excelsior/Pigini saying "we don't do déclassement but look, we could do better" with Hohner then deciding "what, and reduce our margins and give people wanting a double cassotto less incentive to opt for 5-reed instruments they otherwise don't need?".
This would sound plausible had Hohner not (later) introduced the "Romandie" model which is nothing other than an Artiste VI S with cassotto, just under a different name...
My Colombo/Bugari accordion goes from low E to high C...45 keys total. I don't recall ever using either key in a song. I guess if you have bassoon reeds and wanted to sound like a clarinet you could use the upper keys?
Cassotto is pretty much the "flute" option. Approximating clarinet is actually rather tricky.
From low E to high C is sometimes called an "extended keyboard". These keyboards are rather long and best suited for tall people. When you still want the high C a jazz accordion will start from low G, which shaves off about 4cm from the keyboard length, and that's a significant difference. (The G to C keyboard has only one more key than a standard 41-key F to A keyboard and slightly narrower keys compensate to make the keyboard only just as long.
That is the PERFECT answer!.
Maybe it would have helped to state your intent: it appeared that you wanted to contest my claim that cassotto sound is more like "flute" than "clarinet".
Please clarify...I'm not talking about cassotto. I'm talking about the registers on the accordion, Bassoon, violin, clarinet, flute, oboe, etc not an actual clarinet or flute. So if one has an extended keyboard you could play the high C scale with the bassoon switch and sound like the clarinet register an octave lower which is what I did in the video.
Almost always when a music score asks to use the M register I will play the L register an octave higher, because of the difference in sound. The "bassoon" switch played one octave higher almost never sounds the same as the "clarinet" register an octave lower. This is caused mostly by the resonance chambers inside the reed blocks not being the same, and the "mass" (structural strength) of the reed block not being the same in the position where the notes are. The L and M reeds themselves are exactly the same (looking at the reeds for the same frequency). It simply is where they are and how the sound is "manipulated" by the accordion in that position that causes the difference.
CBA luxury. The score might have been afraid to run out of notes.
