Bio courtesy of Rachelbellmusic.com Rachel Bell is an accordion player, tunesmith, and music teacher from the wilds of Pennsylvania. She is in demand throughout the United States and beyond for concerts, contra dances, English country dances, French dances, and workshops.
Over a decade of musical travel has landed her smack-dab in the middle of some of her most exciting projects ever. A vibrant and versatile collaboration with Karen Axelrod, exquisite violin and viola sounds from Eric Martin, a rich and energetic contra dance band called Seaglass, and a slew of French-focused music and dance adventures with Susan Kevra are just the tip of the iceberg. A recent addition has been a joyful musical partnership with Becky Tracy, and other combinations often round out the mix.
Rachel Bell grew up playing the piano and spent her college years studying music education and classical piano. As a college freshman, she surprised even herself when she picked up a piano accordion and “accidentally” fell in love with it. Rachel now enjoys a busy gig schedule playing concerts, contra dances, English country dances, French dances, and festivals.
Rachel’s bands include Alchemy, Peregrine Road, Old World Charm School, Seaglass, Eloise & Co. and a slew of other combinations. She plays tunes from France, New England, Scotland, Ireland, England, Quebec, and beyond, as well as songs, original compositions, and even crazy roots-rock arrangements. Recently, Rachel has been collaborating with Susan Kevra to compose new tune/choreography combinations to send out into the English country dance repertoire.
The past few years have been bursting with big changes, big travel, and exciting new musical collaborations. After six years as a public school music teacher, Rachel finally let go of that last shred of normalcy and launched into full-time freelance musicianhood. Her obsession with French music and dance led to three music-focused overseas trips, and her obsession with finding the perfect instrument led to the purchase of an incredible tone-chambered Beltuna that sounds exquisite. During June 2016, in the midst of playing piles of camps, gigs, and festivals, Rachel released her debut solo album, Tone Chamber. This recording highlights the versatility of the accordion and boasts and impressive cast of guest musicians.
Rachel’s playing is infused with a contagious enthusiasm for her instrument and a deep love for the musical traditions she carries. Her passion is to share with others the delight she finds when immersed in this music, ushering them into a place where their toes can’t help tapping and their ears are dunked in strawberry jam.
Whenever she’s not playing accordion or chasing after waterfalls, Rachel is busy instilling the joy of music in children of all ages. Through her Crab Apple Jam Music Studio, Rachel offers everything from mommy-n-me musical playgroups for toddlers to piano lessons to dulcimer clubs. Rachel’s upbeat, engaging teaching style is grounded in 9+ years of public school teaching experience and 2 years of Montessori School teaching experience. Every Crab Apple Jam Music Class is packed to the brim with hands-on, creative experiences that build musical skills as well as essential life skills. Children are captivated by the rich array of puppets, ribbons, songs, dances, dulcimers, boomwhackers, bells, drums, and more.
By Christa T. for Accordion Americana If Cory Pesaturo has a “mission statement”, it likely states that this American jazz performer intends to take on the world using, as his arsenal, the piano accordion. With his “mad scientist as musician” persona along with his startling talent, Cory Pesaturo is one of the most amazing piano accordionists in the world, and has earned the credentials to prove it. In fact, Cory Pesaturo is probably, to date, the most brilliant accordionist that America has ever produced.
Born in Rhode Island, Cory Pesaturo was a prodigy who began studying the instrument at the age of 9, and promptly was performing as a professional by the age of eleven. At the New England Conservatory of Music, Cory was accepted as a candidate to major in, and then graduate with a degree in accordion, the first to be awarded at the prestigious conservatory in Boston. He didn’t waste any time after graduation, and competed in successive accordion competitions around the world. It is unusual for an American accordionist to win a European championship, but to do so with material that is totally improvisational is unheard of, at that level. Also astounding is the fact that Cory Pesaturo is the only accordionist in the world to win all three top World Championships for acoustic accordion, digital accordion, and jazz Accordion. Since then, he has recorded, performed and toured with renowned jazz musicians such as Wynton Marsallis, George Garzone and Mike Renzi among many others.
One of the ways that Cory Pesaturo sets himself apart from other accordionists is his “visionary thinking of how the accordion should be used, played, and presented in the modern music world.” Cory created the first vinyl skinned Accordion with a connected lighting system, and the one which airport security would not allow on the plane he boarded to compete in the Digital World Championship in Finland. He managed to find a loaner, and win the competition. He is known in the accordion world as an outspoken rebel and tries to present a somewhat counterculture image for players of the instrument, by inventing the stage name “CPez” and an image more related to those in his own generation. Cory Pesaturo understands, challenges and successfully defies conventional notions about the piano accordion in America. These notions, more than fifty years out of date, are constantly reinforced and have been proven counterproductive for the popularity of, and respect for the instrument. He is determined to reinvent everything about the piano accordion, including the instrument, itself.
Cory Pesaturo has performed for President and Mrs. Clinton at the White House on 4 different occasions. The first time at the age of twelve, he was the youngest person ever to perform at a White House State Dinner. He has had such a close, working relationship with the Clintons that he was featured in Mrs. Clinton’s book, “An Invitation to the White House”. Cory has since performed at seven other events for Bill and Hillary Clinton and continues to keep in touch with the couple, as shown by fourteen letters he has received from them. It’s evident that they have been “impressed and inspired by his talent” since he was twelve years old, as is stated in one of their letters.
With a highly competitive,”Type A” personality, Cory is intensely interested in competition sports and, in particular, auto racing. Because his interest is so well known in the auto racing world, Cory was asked to perform at both the Italian Grand Prix as well as the German Grand Prix. His music is regularly featured on Formula One broadcasts on the SPEED and FOX channels and Cory also has an ongoing musical relationship with the radio station, 98.5, The Sports Hub in Boston. Cory Pesaturo has composed the music for “The Flying Lap” for his friend, auto racing legend Peter Windsor, and is currently working on a book about Formula One auto racing that he hopes will change the way people look upon the history of the sport and its champions.
Because artists and musicians are curious and inventive, some have abilities on many levels and may dabble in other areas and go on to develop other expertise. Cory is just such an individual and is very interested in statistics and meteorology. In addition to being a wonk about sports statistics, he is also an “armchair” weatherman. So serious about his hobby is he, that jazz columnist James Worsley noted, “Cory…has taught himself to forecast weather….he keeps records of weather events that weathermen rely on…..”. It’s clear that he looks to the weather for inspiration for his music, with albums entitled, “Crosswinds”, and “Change in the Weather”. With the revolutionary Cory Pesaturo in our midst , we will certainly experience a welcome change of climate for the piano accordion in America.
By Christa T. for Accordion Americana Whether you are a new student of the accordion or you are again getting back to playing it, here are some thoughts as we “advance the cause” of reintroducing the accordion to America. (Please note that I am not creating a list of ‘rules’, but, rather, ‘talking points’. Use what you can, but it’s expected that there may be some point that you don’t agree with, or have found that it works differently for you. This article is protected by copyright and can only be used with my permission.)
1) Safeguard your instrument.
- It is expensive and not a toy.
- It is your property so don’t allow anyone to touch it, put it on and try to play it without your permission.
- Set your boundaries and stick to them.
- Treat your accordion like it’s your best friend, your child, or your pet by not leaving it outside in the rain, in a hot car, or alone.
- On a gig, carry it with you when you take a break.
- Remember that you are responsible if anything happens to your instrument.
2) Stand up when you perform so that the audience can see you.
- You are more likely to interact with them, move more freely, play more expressively, make eye contact and be more entertaining. Seated accordionists have a tendency to look down and away from the audience, which makes the performer seem remote and aloof, and your audience could feel shut out. Your intention should be to ‘engage’ the audience in your performance and establish an emotional connection.
- If you are unable to stand, perhaps your piano accordion is too heavy for you. You could exercise to build strength or get a smaller or lighter accordion. Accordions built today with new age materials, weigh substantially less than in the past. A disproportionately large accordion can be distracting. It should fit your body, be comfortable and have enough bass keys for you.
- Perhaps getting more thickly padded shoulder straps for your instrument may help to distribute the weight and may also help If you have shoulder strap slippage.
- A back strap will keep straps from slipping off of your shoulders, but if you need assistance or must go through some gymnastics to secure it, then it may look like you are having a problem with it. Having someone help you with your back strap, backstage, will mean that you will be walking onto the stage with your accordion already on. You may not be able to see equipment and electrical lying around and could trip and fall. And that may be a problem.
- If you ask yourself, “What do other musicians do?”, the answer is: they walk confidently onto the stage, put their instrument on, perform while standing, then easily remove their instrument and leave the stage when finished. Just as any professional musician would do with any instrument, you should strive to do the same with your accordion, without any problem.
Jenny Conlee of The Decemberists
3) Practice with a purpose. There is much to be said about how to practice.
- Practice systematically every day for an hour.
- No matter what type of instrument you have, practice the bass section of your accordion. Other musicians don’t ignore half of their instrument! Knowing the bass is essential to give your music dimension and depth, so, know them and don’t be afraid to use them.
- Practice your bellows action so it is as smooth as possible. Work with your accordion teacher on phrasing, or when to inhale, and exhale (much like a singer does) with the bellows.
- Have a list of songs, about 6 at a time. Systematically play each, one after the other, every day for a week. At the end of the week, the best one drops off (assuming you know the piece well enough) and is put on a different list of songs that you already know. At some point, perhaps once per week you will revisit those songs and refresh your memory. Another song that you plan to learn is placed on your practice list, to replace the song that you removed from the list. This system will guarantee that you are always working on new songs, yet not forgetting the songs that you took time to learn. Or come up with your own system. It’s all about managing your time and effort, and you shouldn’t waste either.
- Work with a metronome to check that your speed and timing are consistent.
- Practice your performance by beginning with a quick introduction, getting into the piece quickly, taking your time with it to play it well, then end it smoothly. Why do you need an introduction? So you can settle into the song and draw the listener in. It gives you a chance to get the right tempo and reminds you if you are in the right key.
- The piece should be arranged and appropriate for the accordion, for you and for the setting.
- Do not just “wing it”. Put a great deal of thought and care into how you present yourself. Dress to fit the setting and for your performance. Strive to perform each piece from memory, not sheet music or an Ipad. As a musician, you are not just playing music, you are interpreting it and giving a performance.
- Time each piece so you know how long you will need for your performance. Really great performers spend copious amounts of time on preparation, so that it is second nature after awhile.
4) Choose music that is special. Song choice is important to your audience and affects their perception of you.
- Don’t feel you have to “play everything”, then perform passably or even badly; or comply with requests to “play a polka” if you are unwilling to learn to play them well–they are a very demanding genre.
- Choose a musical genre that you love, dedicate yourself to those songs, and get proficient at playing that type of music. Develop a clearly thought out vision with goals and objectives and decide what you are trying to accomplish, as a musician. Depending on that vision, selecting from multiple genres might be a good objective. Whatever you decide to do is up to you.
- If you can’t find any songs you care about, compose your own music. Take time to arrange and practice your songs so you can perform them well and subject them to the same care and high standards as you would had they been written by a well-known composer.
5) Be sensitive to how the accordion is presented to others.
- By not being well presented, any musical instrument can be annoying. Getting together with fifteen other accordionists (or fifteen of any one instrument, for that matter) is fine if you have a club and want to share ideas. But, please recognize that more than two at a time in public, especially in unison, is too intense for most audiences. To those maniacs that think it is fun, as a group, to use accordions to assault diners with obnoxious performances, I am sure that these events are counterproductive. This approach does not teach people to care about the accordion. In fact, it’s easy to predict that a negative impression of this instrument will be formed or reinforced by such shenanigans.
- Referring to it as a “squeezebox” is inaccurate because the accordion is a musical instrument, not a silly noisemaker.
- By using the accordion as a prop or as a lame joke, the image of the accordion is seriously diminished.
Substitute ‘guitar’ for ‘accordion’, and suddenly it’s not funny.
- This doesn’t imply you can’t strive to be humorous and entertaining. But, take the accordion or whatever instrument you play, seriously, and have some respect for your time and effort. Think of it this way: if you owned a business and produced a product for sale, it would be a bad business strategy to teach people that your product was a joke. People will not buy your product. If you are a musician/singer/songwriter, you want your audience to “buy” into your music, support you and respect you. They won’t if you treat yourself and your instrument as though it is a joke. If you are making fun of the accordion, you are not promoting it, effectively. Perception begins with you because you are the one in control at that moment. Reach higher, and set grander goals for yourself as an artist. Sell your audience on the concept that you are special and have something special to show them on an instrument that is special. But, before you can accomplish that objective, you have to believe it, yourself.
- Know who you are and who your audience will be. The more you understand, the better you can anticipate and plan your performance.
•By showing pride in yourself, your performance and your instrument of choice, your audience will respect you and recognize that you care about them.
Tink Lloyd of the Grand Slambovian’s Circus of Dreams
6) Try to mainstream the accordion by starting a band where the accordion isn’t the usual instrument and you are the only accordionist in the group.
- It can be an unexpected delight to both the audience and to the other musicians in the group.
- By treating the accordion as though it’s just like any other instrument, ironically, enhances how special and how cool it is. This, more than anything else, promotes the accordion.
- Here is an exquisite song, Silver Line by Americana Singer/Songwriter Ray Tarantino, accompanied, beautifully, by Joe First, Accordionist:
- To be a good accordionist, you don’t have to be the fastest or the loudest player, although that may be a part of what you do. But, keep in mind that music is not an athletic event, and musicians are artists.
- A good musician is one who is sensitive and knows when to alternate between using restraint and showmanship, when to blend in and when to stand out.
- A musician is always attempting to emotionally connect with the listener and also to make any artistic judgement as to what the music needs at that moment.
7) Find your voice!
- Sing with the accordion, and learn harmony. Singing with the accordion is seen more now than in the recent past. Sheryl Crow gave a fantastic performance accompanying herself with the accordion, when she sang her hit song, “Strong Enough”.
Although she does nothing with the bass section of her instrument, what I particularly love about Sheryl Crowe’s method of playing is that she is a ‘partner’ with her accordion, harmonizing with it and giving it equal time to be heard along with her voice. She could have simply left the accordion in the background, blandly structuring chords to support her voice. Instead, she chose to use a more dynamic approach, which gives her song fullness and warmth and it allows the accordion to have a real presence in her music.
Aaron Weiss of Mewithoutyou
8) Be visible.
- Leave your comfort zone and go out and busk! “Busking” is giving a live performance in a public place. You should check with your city about any ordinances that prohibit busking and where it is permitted. If you get out of your comfort zone you will become more comfortable, confident and perform better each time.
- Live performance is a great way to “test market” your sound, your songs, your image and your ability to relate to an audience. It gives you a chance to assess their reaction to you and what you do. It also helps you to get over your apprehension about appearing in front of others. After a very short while, you are “over it”. You realize that nothing bad will happen to you. People may laugh….but, guess what? You haven’t melted and run away.
- To those that try to heckle you with their demands because they think they can, just smile, and ignore them (or if they cross your boundaries, either call the police or call it a day.) Performing helps you “build a backbone”, develop patience and character and helps you to learn who you are as a creative individual. Joey Cook busked with her accordion for quite some time before trying out for American Idol in 2015, as a vocalist, rising to be one the top seven finalists! Good for you, Joey!
- Look for opportunities to perform in front of others. Some hospitals and nursing facilities look for live performers to entertain their patients. Seniors at your local Senior Center may enjoy a performance from you.
- Join a musical “meet up” group where there are people who play a variety of musical instruments.
- Take advantage of “open mic” nights that are locally held at restaurants, coffee shops and theatres in your area.
- Listen to others as well as perform. Look for those who are positive, empowering and who enjoy being creative with their music and performance. Good people generate good energy and they can get everyone excited about being there.
- Don’t be afraid to reach out to others for inspiration or collaboration. Also, competition can be interesting. When two collaborate on a song, one can challenge the other to solo to see what you both can create, individually.
- If available, there is nothing better than an old-fashioned talent contest that will require one to focus and rise to the challenge.
- In addition to hiring an accordion teacher, take a class about performance to enhance your professionalism.
- Even if you don’t become a professional entertainer or musician, what you learn by being visible is “portable” and can be transferred to other pursuits in your life. It can make you a stronger person and less likely to feel intimidated by uncertainty or by others.
9) Never give up.
- If something does not work for you on the accordion, revisit and find out what or how it can work on this instrument. It may be the smallest of details that you haven’t considered that might be bogging you down.
- Ask your accordion teacher or other musicians for their opinion about your song choice and delivery and how you may improve on your instrument.
- Listen to others that are more experienced than you are.
- Model yourself after someone you admire. Your idol doesn’t need to be an accordion player. Art Van Damme, the great Jazz accordionist, admired Benny Goodman, the big band leader and clarinetist. Art successfully learned Goodman’s techniques and applied them to the accordion.
- Do not listen to anyone who recommends that you change to another instrument. They are not well-intended and do not have your interests at heart.
10) Pass on your knowledge to other people.
- Try to engage their interest by showing them a different kind of music than has been associated with this instrument. The accordion was removed from mainstream American music at a critical time in pop music history. Someone decided that the accordion should not be involved with American music , when it really could have been. As a result, it was left out of the music scene for decades.
- For performing accordionists that seek publicity, keep in mind that information control is everything. What is said or written about you and your efforts instantly forms an image and an opinion in the minds of the public. It can get people motivated to come out and hear you play. That’s the point of publicity. Or it can completely turn them off, so that they simply stay home.You can do yourself and other accordionists an enormous favor if you do NOT allow the typically mentioned image tarnishing words and phrases to be embodied in your write ups: any reference to accordion humor, any mention of a certain big band leader who was an accordion player from long ago , the word “polka” unless they are what you do, or any language that is detrimental to you or your instrument of choice. Move the writer forward and away from the stupid accordion jokes, and the distant past of the accordion. All of these are a waste of your time and a ‘road to nowhere’ for you and your instrument. Mention it to the writer, at first contact, and provide a bio that outlines interesting facts that will help them find an angle for your write up. Insist that they focus on your music, your tour and you as an artist. You deserve the best publicity that you can get, so be involved and be prepared to established the ground rules. If you aren’t sure, write your own promotional material.
If you are living in America, doesn’t it make sense to promote the music that is rooted in America, and not just play the music of the rest of the world? By the way, those folks perform their own music, brilliantly. Like us, their music represents who they are as a people and has evolved from their shared experience. It is their identity. They have lived it, and they own it. But, after four hundred years, America has developed its own identity, and surrounding us is music that reflects that fact.
People in the U.S. don’t seem to realize that the accordion is not new to American music. It has been a part of our pioneer experience and has been in America since the mid 1800’s. It has been played, not only in the mountains and the bayous, but by folks in the city and in the country, on the prairie and in the desert, for a long, long time. It was used in American churches and schools, in taverns, at dances and social gatherings for over 150 years. Because it was portable, the accordion was used when pianos and organs were too heavy or delicate to transport. Accordions continued to participate throughout the 20th Century, along with pianos and organs, fiddles and guitars. It was used in the early Blues, the Boogie Woogie, Gospel and every American genre of music. The accordion is a critical piece of our music history and we should be proud of that connection, celebrate it and hold the accordion in high regard because of it.
- But, the accordion must participate in current music to survive. It has to, or it will die out. So, please, take your accordion–whatever type you prefer– go and find your audience, and make the most out of any opportunity!
I have sad news to share about the great Dick Contino. We are sorry to learn that he has passed away, April 19, 2017. In honor of his memory, I am sending you this post that I wrote previously Rest in peace, Soldier.
By Christa T. for Accordion Americana Memorial Day is a day of remembering and honoring, not only the fallen soldiers, but also those who have served America. Among the ranks of musicians, one of our own, Dick Contino, stands out as a veteran of the Korean War and as a brilliant accordionist and entertainer.
Born in Fresno, California in 1930, Dick Contino was a precocious child with parents dedicated to his success, from the beginning. The Continos (his father was an accomplished accordionist), recognized their son’s talent from an early age and for years, drove him 180 miles each week for accordion lessons in San Francisco. His first break in show business came in 1946, a year before Dick graduated from High School. He won the prestigious Horace Heidt/Philip Morris talent competition in Fresno which was broadcast on national radio.
Dick also won first place in talent contests in Los Angeles, Omaha, Des Moines, Youngstown, Cleveland, Pittsburgh, Harrisburg and New York City. When he graduated from high school in 1947, he enrolled at Fresno State College. Always feeling the pressure of his intense ambition and drive to be a successful entertainer, Dick chose to leave college and dedicate himself to a career as an accordionist. Dick Contino was successful…. very successful. He toured with the Horace Heidt Orchestra and was billed as”The World’s Greatest Accordionist”. Barely out of high school, Contino reported earnings of four thousand dollars per week, an enormous sum for a musician, just before his career was interrupted by military service.
Because he was quite handsome, when he returned from his tour of duty, Dick Contino gained entry into the film industry in Hollywood. He starred in some acting roles, without his accordion. But it was his accordion playing that kept him as a returning star, appearing on the Ed Sullivan Show for a record of forty-eight appearances.
Dick Contino continuex to perform regularly throughout the United States. His repertoire was eclectic, ranging from Italian songs such as “Come Back to Sorrento” and “Arrivederci Roma” to his signature song, “Lady of Spain” and standards like “Swinging on a Star”.
On the accordion, following in the footsteps of his legendary father, is son Pete Contino and his blues band, The Pete Contino Band. Growing up, Pete never aspired to a career in music. But when his Mother passed away (actress Leigh Snowden), he went on the road with his father to learn the music business. It was therapeutic and it kept his mind busy. Through his involvement with his father’s band, he discovered a love for music and for the accordion. Now that he is a professional with his own band, Pete has observed, in an interview with Michael Limnios, “To use an old cliché, (my Dad’s) are very big shoes to fill. His fans are hardcore, and rightfully so. My father made a huge niche with the accordion. The expectations are sometimes high, but I never try to compete with my father’s reputation.” He states, ” A lot of his fans were funny and interesting and very devoted. Sometimes a fan would be uncomfortable to go up to my dad and they would start asking me questions about him. I would finally grab whoever it was and drag them over to meet him. He’s very friendly, my dad, very approachable.”