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Corey Ledet & His Zydeco Band

 

coreyledet-ii

Corey Ledet

COREY LEDET KICKS UP HIS GAME WITH “STANDING ON FAITH”

Parks, LA — CPL Records proudly announces the release of Grammy-nominated Zydeco innovator, singer/songwriter/accordion player COREY LEDET & HIS ZYDECO BAND’s “STANDING ON FAITH” (his ninth album) on MARCH 3, 2017. “STANDING ON FAITH” was co-produced by Cecil Green and Jesse Delgizzi and recorded at the Green Room in Ville Platte, LA. Joining Ledet (Accordions/Drums/Vocals/Washboard) in the studio were Delgizzi (Guitar/Bass/Moog/Vocals) and Green (Keyboards).

Ledet injects pop, funk, rhythm-and-blues and reggae on “STANDING ON FAITH”.  In doing so, he continues to work from the genre-splicing template set by such zydeco pioneers as Clifton Chenier and Stanley “Buckwheat” Dural. After opening with the funky, Prince-like “Intro,” “STANDING ON FAITH,” continues with the upbeat zydeco-pop instrumental, “Love Never Felt So Good”; stays positive with the album’s zydeco-pop title song; glides to breezy R&B balladry for “Take Me There”; plots a reggae course with the sunny “A Good Day”; and slips into the sleek, contemporary R&B of “Street Light.”

corey-ledet

Corey Ledet

“I don’t like to stick with something that’s easy, or just the way it’s supposed to be,” Ledet says. “I like to explore and experiment. That makes music fun. It’s like cooking. When you’re cooking a recipe, you say, let me try this with that, let me see if this works.”

During most of his 14 years as a band leader, Ledet based his repertoire on the foundation set by Clifton Chenier and other zydeco pioneers. But now he’s moving beyond the zydeco classics. “I can do that all night long,” Ledet says. “But I can do other things as well. Traditional zydeco, nontraditional, pop. I can go any which way I want. This is my way of creating a sound that fits me.”

Blending styles is challenging for Ledet, but he likes the challenge. But before he became a music mixologist, he learned the zydeco basics. “I did all the studying and research I could do,” he says. ‘It took a long time. There’s a lot to learn about zydeco and Creole music. But it’s important to know your background before you learn anything else. After I finished studying all of that, I learned other stuff that interested me. Pop music, classical music. I even listened to Frank Sinatra. People laughed at me, but I listened to anything that’s got notes.”

On the bandstand, Ledet mixes songs originally recorded by pop and country artists into his show: Bruno Mars, Prince, Michael Jackson, Jason Aldean, Darius Rucker, reggae fountainhead Bob Marley. Again, Chenier served as a model. “He mixed the old French music with rhythm-and-blues,” Ledet says. ”Ray Charles and Etta James and Louis Jordan were of Clifton’s time. That worked for him. I’m applying Cliff’s recipe to modern-day times, my way.”

At 35, Ledet brings 25 years of bandstand experience to the stage. He turned pro at 10, playing drums in his native Houston for Wilbert Thibodeaux and the Zydeco Rascals. Ledet came naturally to the drums, his first instrument. His late grandfather, Buchanan ‘Tbu’ Ledet, worked as drummer for Clifton Chenier. Although Ledet’s grandfather died in 1978, three years before his birth, the grandson idolizes his grandfather. Chenier’s longtime drummer, Robert Peter, followed the drumming example Ledet’s grandfather set in 1940s and ’50s.  “Cliff wanted a drummer who played like my grandfather,” Ledet says. “When you hear Robert, that’s my grandfather’s style.”

For Ledet, working with Thibodeaux and the Zydeco Rascals was like going to zydeco school. The lessons included such essential subjects as keeping the beat and, something less definable, reading audiences. “And whenever other drummers came in the venue, Wilbert called them up to the drums and let me play accordion,” Ledet remembers.

During his decade with Thibodeaux, Ledet organized some gigs on the side for himself as a front man. He officially launched his own band in 2003, after moving to his father’s hometown, Parks, Louisiana.  Many people ask Ledet why he left Houston for Parks, a town that has hundreds, rather than millions, of residents. Ledet already knew Parks well. When he was growing up in Houston, his family visited Parks during summers and for holidays and special occasions. “It was hard to leave to go back to Houston,” he remembers. “I like the city, but I like the country better. Some kind of spiritual connection.” On those family drives from Houston to Parks, the family tuned to a zydeco radio as soon as they got close enough to receive the signal. Once they reached Parks, the zydeco music never stopped. “I like all music,” Ledet says. “But zydeco is the first pick for music for me.”

Ledet paid his dues after he launched his career as a band leader from Parks. “I had to build everything from nothing, make my name, make my rounds, prove myself,” he says. “Playing to chairs and tables, paying my band members 10 bucks or five bucks for the night. For a long time, I didn’t make anything.”  Ledet persevered, building his music career from the muddy southwest Louisiana ground up. Highlights include his 2013 Grammy nomination for “Nothin’ But the Best,” a collaboration with fellow zydeco musicians Anthony Dopsie, Dwayne Dopsie and André Thierry. “Oh, man, when that happened, I was like, ‘Is this for real?’ Because never in a million years did I think I’d be sitting in the same row at Grammys with Taylor Swift. To come from ground zero to that, lets me know I’m doing something right. I’m kicking up my game by making records like ‘Standing On Faith.’ I want to go even further and do bigger and better things.”

Corey Ledet keeps one foot firmly in the tradition while exploring surrounding influences in order to create the best of both worlds, and is able to infuse old and new styles of Zydeco into his own unique sound. “STANDING ON FAITH” presents the best view yet of the Grammy-nominated Ledet’s expansive talent.  Corey Ledet has recently signed an exclusive representation deal with Mitchell & Matt Greenhill’s FLi Artists: fliartists.com/corey-ledet-zydeco-band.

Catch COREY LEDET & HIS ZYDECO BAND (Corey Ledet – Accordion/Vocals, Jesse DeGizzi – Bass/Vocals, Julian Primeaux – Guitar/Vocals, Gerard Delafose – Drums, Statton Doyle – Sax and Nicholas Victorian – Washboard) on tour Spring 2017 in support of his new release.

corey-ledet-iii

http://www.coreyledet.com

CONTACT:    Karen Leipziger/KL Productions

   klpzgr@earthlink.net

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Ami Saraiya & The Outcome

Ami Saraiya II

Ami Saraiya

By Christa T. for Accordion Americana It has long been a challenge to bring the piano accordion to a new generation of Americans. But, by using the instrument more and more, Alternative musicians, or artists who write and perform outside of the present musical mainstream, are giving the accordion  a lot of exposure.  Artists such as Ami Saraiya and her band, The Outcome, are examples of this growing trend of young musicians who seek different ways to express their own unique style in a new age.

The piano accordion is” like having a symphony in your hands” Ami Saraiya says. “I picked it up and I was in love. It’s very rhythmic, and since I grew up playing piano, it came very easy.”  Trained as a classical pianist, Ami was a former music major at Indiana University. “I started playing piano when I was 5, and when I was growing up I was always singing and in choir….but the classical world was not for me. I joined a band when I was 19 and found my niche.”” Ami was the lead vocalist of pop collective Radiant Darling and R&B band Pelvic Delta, and has toured locally and regionally throughout the U.S.

Ami Saraiya

Ami Saraiya

Coming out of the Chicago music scene, the songs of Ami Saraiya reveal a distinct part of that American urban aesthetic, and reveal to us how she experiences her world. With original songwriting and instrumentation, Ami interprets it through a wide range of instruments.  Along with her voice, she performs with  the accordion, guitar, violin,  and xylophone and other instruments, as well. Whether with the roar of any Pop icon or the soft and sultry style of a chanteuse, her live performance is captivating. Amy Saraiya always sings and writes with  deep conviction, while she totally “shreds” on the accordion.

As a songwriter, “I create what I feel. I start with an idea and do lots of work out from there, but it’s just raw perspective — I’m not trying to create something in particular. What I do comes from the heart, and the hard work comes in finishing what you started. Ideas come and they aren’t always understandable, but I manage to find some transcendence.”

 Ami Saraiya and The Outcome received excellent reviews with Saraiya’s first album under her own name entitled, “Archeologist” in 2009. She followed up with an EP entitled “Purging” which critics thought dark, “surrealistic” and “the best tracks she’s ever produced”(Joseph Montes, Loud Loup Press). With her second album, released in 2012, “Soundproof Box,” the singer/songwriter/bandleader “showcases the performer’s creative energy and intensity….vintage cabaret sound is drama in bold relief, swinging from playful to maudlin in a single measure.” (Jessica Hopper, The Chicago Tribune).

 

The Outcome, including Marc Piane (upright bass), Ronnie Kuller (violin), Gary Kalar, (electric guitar), Shirley Caen Rogiers (vocals), and Courtney Glascoe (vocals).

Ami Saraiya & The Outcome

Ami Saraiya & The Outcome

http://www.amisaraiya.com


List of Bands that Feature the Accordion

Punk’s 10 Best Accordion Players: A Tribute to accordion Rockers
Wednesday, December 19, 2012 at 12:18 PM (PST) by connor_maoil

The sound of the accordion is, in my opinion, one of the best, weirdest, and most unique additions to the punk genre. For most it’s easy to see the instrument as nothing more than a novelty but the truth is there are a lot of very talented musicians whose squeezebox skills can’t be overlooked as a gimmick. As an aspiring punk rock accordionist myself, I wanted to spotlight some of the best in the field.

Check out the list here.

10. (Honorary mention): Eugene Hutz (Gogol Bordello)

Things might have ended up differently for the gypsy troubadour Eugene Hutz if he stuck with his attempt at learning the accordion. In a video interview, Hutz jokes about the difficulties he had trying to learn the instrument:

“Learning the accordion was just impossible. Have you ever tried an accordion? It’s insane. It’s f*cking nuts man, it’s like, to play accordion you must have your brain wired differently. I worship people who can play accordion. I tried for 2 years and ended up withminor scoliosis and, anxiety problem. And that’s when I picked up [guitar].

9. Eric Melvin (NOFX)

While the accordion is rarely up front in the ranks of NOFX, founding guitarist Eric Melvin busts out his giant squeezebox to time to time to please the crowds. Wailing minor waltzes about sleepless nights, Melvin really puts a lot of character into the instrument

I, Melvin

8. Katie McConnell (The Mahones)

I’ve gotta admit that I’ve had a crush on this punk for a long time. McConnell really does a great job of bringing the punk style and hardcore energy to the accordion. Her style of playing seems to draw a good deal of inspiration from The Pogues (above). Seeing any performance by her with The Mahones is an awesome experience that I highly recommend to any lover of celtic punk. Watch for them in your town!

“A Great Night On The Lash” (from “The Black Irish,” 2011, True North Records)

7. Marc Orrell (Dropkick Murphys, 2000-2008)

He’s the one who brought you Shipping Up To Boston. Enough said?

6. Tim Brennan (Dropkick Murphys, 2003-present)

The current recording and touring multi-instrumentalist Tim Brennan has continued to make the accordion a more part of the band’s staple sound.

The Hardest Mile (off 2011′s Going Out In Style)

5. James Fearnley (The Pogues)

One of the pioneers of the punk accordion, James Fearnley, the original and current member of The Pogues, was originally a guitar player. According to Fearnley’s memoir, “Here Comes Everybody: The Story Of The Pogues,” founding banjo member Jem Finer, desperately seeking an accordion for his new band, showed up at Fearnley’s flat with an accordion in a laundry bag and persuaded him to try and learn the instrument.

“Turkish Song Of The Damned“ (from “If I Should Fall From Grace Of God,” 1988, Island Records)

4. Seamus O’Flanahan (The Dreadnoughts)

I’ll just let Seamus speak for himself. (Off “Polka’s Not Dead”, 2010)

3. Matt Hensley (Flogging Molly)

Hensley, a former skateboarder, picked up accordion from guitar like so many others on this list. In addition to skillfully adding to the work of Flogging Molly with his accordion, Hensley is also frequently featured on the concertina and more traditional Irish diatonic button accordion. That’s the kind of thing that tends to really impress the geeky accordion junkies.

“Tomorrow Comes A Day Too Soon” (from “Within A Mile Of Home,” 2004, SideOneDummy)

2. Yuri Lemeshev (Gogol Bordello)

Although not a founding member of the New York gypsy punk band, Yuri Lemeshev has been a vital part of the band for over a decade. Hailing from Russia, Lemeshev has to be one of the most technically skilled members of the scene. And not only can he knock down tunes masterfully, he can also move around and have a good ol’ punk time on stage while doing it.

“Supertheory Of Supereverything” (from “Super Taranta!”, 2007, SidOneDummy)

1. Franz Nicolay (World/Inferno Friendship Society)

In addition to that moustache, Franz Nicolay brings in the background of a converted rock piano player (most notably in The Hold Steady) and has spread the use of the accordion all over the genre. Nicolay probably has the most impressive resume of them all; in addition to being a former longtime member of the punk circus collective World/Inferno Friendship Society and his own collective Anti-Social Music, Nicolay has recorded and toured with the likes of Against Me!, Leftover Crack, The Dresden Dolls, The Loved Ones, and Mischief Brew. Check out a complete list of his recording and producer credits over here.

“Your Younger Man” (from “Red Eyed Soul,” 2006)

Had enough yet? If not, check out some up-and-coming bands featuring the accordion.

The First Chairs (ska)

Roughneck Riot (celtic punk)

Larry And His Flask (cow punk)

The Real Mckenzies (celtic punk)

Mad Caddies (ska/swing punk)

The Mighty Regis (celtic punk)

Crash Nomada (gypsy punk)

Joey Briggs (solo from The Briggs)

Ramshackle Glory (folk punk)

Feudalism (folk punk)

Lucero (cow punk)

This is a list of articles describing popular music acts that incorporate the accordion.

Band or musician Accordionist Style
Agalloch  ? Folk metal, doom metal, black metal, neofolk, post-rock
Arcade Fire Régine Chassagne
Richard Reed Parry[1]
Indie rock
The Band Garth Hudson Americana
Beirut Perrin Cloutier Combines elements of Eastern European and folk sounds
Calexico Martin Wenk Rock
Counting Crows Charlie Gillingham Rock
The Decemberists Jenny Conlee Folk rock
Deep Forest Michel Sanchez Combines electronic beats with world music
Del Amitri Andy Alston Rock
Detektivbyrån Anders Flanders Combination of electronica, folk and French pop
DeVotchKa Tom Hagerman Indie rock
The Dropkick Murphys Tim Brennan Celtic punk
The E Street Band Danny Federici
Charles Giordano
Rock
Equilibrium  ? Viking metal, folk metal, symphonic black metal
Finntroll  ? Folk metal, black metal, humppa
Flogging Molly Matt Hensley[2] Celtic punk
Folkearth  ? Viking metal, folk metal, black metal
Gogol Bordello Yuri Lemeshev Gypsy punk
Gotan Project Nini Flores Tango, Electronic
Great Big Sea Bob Hallett Traditional Newfoundland folk and rock
Green Day Tré Cool Punk rock
The Hooters Rob Hyman Rock
Jason Webley Self Combination of traditional music, romani music, punk
John Mellencamp  ? Rock. Has included the accordion in most of his music since 1987’s The Lonesome Jubilee.
Julieta Venegas Self Latin pop
Jump, Little Children Matthew Bivins Combines Irish influences with an alternative rock sound
Katzenjammer  ? Pop
Korpiklaani Juho Kauppinen Folk metal
Lemon Demon Neil Cicierega Indie rock
Mägo de Oz Sergio Cisneros Folk metal, folk rock
MewithoutYou Aaron Weiss Alternative Rock
Moonsorrow Henri Sorvali Folk metal
Motion Trio (Accordion Trio) Collaborations with other artists (such as Bobby McFerrin and Michał Urbaniak)
The Pogues James Fearnley Irish punk, pub music
Skyforger  ? Folk metal, black metal
Silvestre Dangond Juancho De la Espriella Vallentos, Modern and very popular Colombian music
Sound Horizon Revo Combination of many genres, ranging from heavy metal to classical
Stolen Babies Dominique Lenore Persi Avant-garde metal
Styx Dennis DeYoung Hard rock, progressive rock
Svartsot Hans-Jørgen Martinus Hansen Folk metal, Viking metal
That Handsome Devil Jeremy Page and Andy Bauer Alternative rock, alternative hip hop
They Might Be Giants John Linnell Alternative rock
Tiger Lillies Martyn Jacques Brechtian and gypsy cabaret
Tom Waits  ? Jazz, rock, blues, folk, experimental
Tosca Tango Orchestra Glover Gil Nuevo tango, classical music
Turisas Janne Mäkinen Folk metal, Viking metal
The Twilight Sad Andy MacFarlane Scottish folk rock, indie rock
Vitas Vitas (studio), ? (live) Eclectic Russian pop
“Weird Al” Yankovic Self Parody music
Windir Valfar Folk metal, Viking metal, black metal
The World/Inferno Friendship Society Franz Nicolay[3] Cabaret punk

James Felice and The Felice Brothers

 James Felice
By Baron Lane,”Twang Nation”
Sometimes, rarely but sometimes, a concert can really floor you. Just surprise you in ways you had no idea you still could be. I’m glad to say this last Saturday I attended a sold out show at New York’s Bowery Ballroom that did just that. Omaha Nebraska’s McCarthy Trenching opened the show at about 8:15 belting out self-described songs of drinking, killing and horses with workmanlike diligence and little room for flourish.
26-year-old singer-songwriter Justin Townes Earle then hit the stage sporting a throwback look – sequin-trimmed suit and Brylcreemed hair – to match his gloriously throwback sound. Accompanied by mandolin-banjo-harmonica player and stamp-collection enthusiast Cory Younts, Earle served up with his blend of old school honkey-tonk
(Hard Livin, Ain’t Glad I’m Leavin’) and Tennessee backwoods country (Who Am I To Say, The Ghost Of Virginia) and straight up corn-pone fun (Chitlin Cookin Time In Cheetham County, Your Biscuit’s Big Enough For Me.) All the country music history sketches that make up his new release ‘The Good Life” were on show in full force. Earle showed confidence as he stalked the stage, stomped his boots to cue chorus to bridge breaks and hoisted his acoustic guitar rifle-like Johnny Cash-style. The New York crowd whooped and hollered and the girls near the stage stood transfixed with by his rugged Southern charm. Earle left the stage with a song for his Grandpa (Absolute Angels Blues) after almost an hour and left the crowd wanting more but primed the crowd for what was to come.
The most accurate and hilarious description I’ve come across for the Felice Brothers (actually three brothers and friends) is by way of Andrew Leahey over at All Music Guide – “they’re a pack of earth-stained country boys from the wilds of the Catskill Mountains, not Ivy Leaguers who thought ransacking their parents ’60s records would a better career move than grad school.” Dead on description and doubly so live. Cards on the table, I came to the show for Justin Townes Earle and decided to hang for a few songs by these Yankee roots rockers just to see what all the fuss was about. I’m glad I did. It appeared that many under 30-year-olds from the Felice Brothers hometown of the Hudson River Valley and the New York City area, where the Felice boys honed their craft in the subway stations, turned out to welcome them back home. Young girls in cotton dresses shouted the band members names like they had them in home room and their drunk boyfriends sang to every song at the top of their lungs like they could do it in their sleep.The Felice Brothers are often compared to a more punked-out Band, and it’s a pretty fair comparison.
Like The Band The Felice Brothers take country and roots music and turns it in on it’s history to exposes the Celtic, blues and gospel innards. Gothic Americana landscapes drenched with sepia, whiskey (on stage and in verse) and blood. Sometimes it seemed that the band was using their instruments as weapons and songs would veer just out of control just to right itself at the last minute. Tales of broken dreams and dreamers flat broke and staring down narrowing odds (the harrowing Hey Hey Revolver), sin, redemption and Dixieland salvation (Saved (Lieber-Stolle), Mercy) and salacious limo drivers (Cincinnati Queen) and straight up murder ballads that would make Nick Cave take notice (Ruby Mae.) Sometimes the whole affair seemed like a Ken Burns soundtrack mashed up with the Pogues on a particularly heavy bender. Guitarist and lead gravel-throated vocalist Ian, drummer and vocalist Simone and accordionist and bear of a man James Felice along with a guy named Christmas (bass) and Farley (fiddle and washboard) played music dank with tradition and yet crackling with passion and fire. I’ve always said that if you can fake authenticity you can do anything, but if there is any faking until they make it with this band then my well tuned bullshit detector was unable to pick up the trace.There have been some leveling of derision at the Felice Brothers for supposedly cribbing their sound to the Dyan/Band basement tapes. These jibes are usually from critics that see no problem giving a pass to the likes of the Zeppelin/Pixies plagiarism that is the White Stripes. I agree with Picasso that bad artists copy and great artists steal. The Felice Bros. are casing the joint and armed to the teeth.


The Remarkable Garth Hudson of The Band


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Garth Hudson (Photo by Barrie Wenzel)

By Christa T. for Accordion Americana  Garth Hudson and members of The Band were contemporaries of both Elvis Presley and Bob Dylan  and came of age during a magical era in American music. Tired of war and depleted of creative energy, America, after World War II became highly focused on regenerating and moving forward. It was a time of reinvention and rebirth. This new direction was expressed in a type of music that was blues infused, with strong hints of gospel and rooted in rural America. It was, at times, biting, raw and edgy. Garth Hudson, along with The Band, Elvis, Dylan and others, represented the first wave of Post World War musicians and songwriters who produced music deeply etched in the Americana musical memory, and music that will endure long after the magic fades.

Garth Hudson was born in Windsor, Ontario, in 1937. When he was three years old, the Hudson family moved to London, Ontario. His father was an entomologist, and an inspector for the Canadian government. Because he had a strong interest in science when he was young, Garth thought he would work, as his father had, as an agricultural researcher. However, his father was also a musician, and his mother played the accordion and the piano, and even his uncles were in a band. So, it was their family’s tradition that Garth would begin to study music while still quite young. After he had acquired a knowledge base of classical piano and music theory, Garth began to study the accordion as well as other instruments, and majored in music at Western Ontario University. His primary instruments were piano, organ, accordion, and tenor and soprano saxophones.

Any ambition as a classical musician never materialized because Garth always had trouble with memorization. He also didn’t like to practice, so he leaned heavily on improvisation, developing his own method of playing by ear. Garth saw music in shapes and forms, and was encouraged to do so by his high school music teacher, who had a band and asked him to transcribe scores for him. While in school, in 1952, Garth formed his first band, The Three Blisters. The next year, the group called themselves The Four Quarters, with Garth on the accordion. From that experience, another group evolved. He said, “We called ourselves the Silhouettes.We played some shows around town, and then I left with some of those people and went to the Windsor/Detroit area.We hooked up with a young singer, Paul London and the Capers.We worked with Armand Balladian, a promotion man who worked with music distributors and merchants and also promoted records to disc jockeys in the Detroit area. We had two records he promoted, and one was number eight on the local listing. We did teen hops and various other things.”  With the Capers, Garth played the organ and saxophone. There were groups in Detroit that used the organ. “I remember going to the store and trying (a Lowry organ) out and it had certain things that the Hammond wouldn’t do. We bought a Lowry organ,which nobody else was using” From his use of the Lowry organ, Hudson began to develop a unique, gospel style sound, and a very different technique of playing the instrument.

In 1961 Garth Hudson joined an Arkansas rockabilly group, Ronnie Hawkins and The Hawks. Hawkins’ band had deserted him, choosing not to relocate with him to Ontario from the States. Levon Helm, also from Arkansas, decided to remain as the drummer for the group. Vacancies were filled by Canadians, Robbie Robertson, Rick Danko, and Richard Manuel. When Garth Hudson joined the Hawks, he played the saxophone and Hawkins paid him an extra ten dollars per week to teach the other band members to read and write music. By 1963, The Hawks had split from Hawkins, and tried to change the band’s name to Levon and the Hawks, then The Canadian Squires. Eventually, they returned to the name, The Hawks.

In 1966,The Hawks were introduced to Bob Dylan who recruited them to accompany him on a tour of Europe. At the conclusion of the long tour, the band remained on a salary paid by Dylan, and bought and lived in a pink house near Woodstock, N.Y. At that time, Dylan chose to drop out of public life, and began writing and recording with The Hawks.  Recording sessions were sold by bootleggers, and many of the recordings were released, later on as The Basement Tapes. The Hawks became known as The Band and continued to record with Bob Dylan throughout the tumultuous  late 1960’s, as  the Viet Nam War raged and Dylan went electric. The Band released their debut album, Music From Big Pink, in 1968. It was their association with Woodstock, N.Y. and also the fact that Bob Dylan was set to headline that event, that the geographic location was chosen for the site of the festival that would rock the world.

By the 1970’s, the Viet Nam War came to an end and The Band felt a need to go their separate ways. The event was documented by Martin Scorsese in The Last Waltz,  filmed in 1976. It marked the end of an era. Garth Hudson spent the next 16 years living and working in California on film soundtracks and participating in the music scene. In 1978, a fire leveled his home that he shared with his wife, Maud, and the misfortune had a profound impact on them. Eventually, in 1991, the couple moved from California to the same area of New York State where he had resided during the Big Pink era. Garth recorded three more albums with The Band in the early 1990’s. Sadly, of the original five members of The Band, only two are living: Garth Hudson and Robbie Robertson.

Today,Garth is heavily engrossed in experimental forms of music, and released an album entitled, The Sea to the North. Constantly working, Garth Hudson is a much in-demand and respected session musician, recording and performing with a diverse collection of artists, and amassing an enormous catalog of work. In much of that work, he has involved the accordion. Garth Hudson produces, composes, arranges, records and performs with his wife and his eleven piece orchestra and teaches master classes, when time permits. “I don’t care if I never play for a Jazz audience.” He says,”the people I am concerned about approaching are out there, in middle America.”

“You must, after the age of 33, continue to do a certain type of work or else go into the shoe business, forget music or it will turn into hatred, or else reiteration, redundancy and in many cases, death.You have to find a type of work that you make yourself do that is not drug inspired.” Garth Hudson

]

Garth Hudson quotes from The Woodstock Times, Vol. 14, no. 13, March 28, 1985. 

by Ruth Albert Spencer


The Talented Ginny Mac

Ginny Mac

Photo by Ed Steele

By Christa T. for Accordion Americana  I have been playing the accordion for years, and now I am writing about the accordion. I have been listening to those musicians who currently perform as professional accordionists and I am trying to foresee how the accordion will be played in the future and envision who is going to make this instrument important, again. I have not found any accordionist yet who, I believe, may hold the future of the accordion in his or her hands, until I heard Ginny Mac.

Hailing from Fort Worth, Texas, Ginny Mac is a former member of the two-time Grammy Award winning group named Brave Combo, based in Denton, TX.  Brave Combo has been noted for its rabid cult following across the country, a notable fan being David Byrne, who chose them as his wedding band. It was a good vehicle for Ginny Mac to begin her professional career in 2011 because, as Paste Magazine noted, “Brave Combo, is…eclectic and artistically ambitious, with a high degree of musicianship and a strong DIY ethic.” Since 2013, she has performed with her own band, and divides her time between Los Angeles and Texas.

Unlike some bands that feature a keyboard player who may whisper a few well placed right hand chords but never goes near the bass keyboard of the accordion, Ginny Mac is all over the entire instrument. She is unafraid and unapologetic of the fact that she is an excellent musician and a dynamic entertainer.  In recent memory, it’s unusual to see an accordionist play while singing solo, and to do both, well at the same time. Ginny Mac combines both voice and instrument, masterfully, with each complementing and supporting the other. She has a beautiful, sultry voice that lends itself well to the songs that she chooses to perform. In spite of the enormity of her accordion on her small frame, a seriously full sized Scandalli, Ginny Mac is seasoned, comfortable and confident on stage. For her range of proficiency and performance, a smaller accordion would likely be inadequate.

When she is not busy with an active touring schedule, Ginny is writing and arranging new original music for an upcoming album and collaborating on multiple musical projects. With a repertoire that covers vintage country,(‘I Fall to Pieces’) Orbison, (‘ Blue Bayou’) Texas Swing, Jazz, Gypsy Jazz, Parisian style accordion and everything in between, it’s taken for granted that Ginny can play and sing anything.

Ginny Mac has recorded four albums; the newest released in Spring 2014, “On The Street Where You Live,” is a collection of classic tunes and originals, featuring many of her friends and greatest musical influences. The project includes Grammy Award winners Woody Paul and Joey Miskulin (Riders In The Sky), legendary Nashville fiddler Buddy Spicher, the great bassist Bob Moore (Roy Orbison), and several of Nashville’s premier musicians. “It was an unforgettable experience,” she says, “I was fortunate to learn so much and make music with these wonderful people.”When she is not busy with an active touring schedule, Ginny is writing and arranging new original music for an upcoming album and collaborating on multiple musical projects.  Lately, she is concentrating on the music of Queen and her hero, Freddie Mercury, who inspired her to perform (and also to refuse to have her own overbite corrected).

While it’s easy to see the accordion’s place and performance in history, it’s more difficult to determine what the future holds for the accordion in popular American music. Will it grow in popularity as an acoustic instrument, or evolve into a futuristic instrument with a totally different sound, or just fade away? I believe that it is a brand new day for the accordion in American music. In my search, I have found that the accordion is more present than ever in the “people’s music” in America, Country, Pop, Rock & Roll, Jazz, Alternative, and all kinds of ethnic music and even circus music. Ginny Mac is performing in many of these genres.  Whatever direction she decides to take the accordion, or not at all, that is the way the future of the accordion will go, as well. I’m looking forward to seeing her evolve as an entertainer and also seeing the accordion accompany her on her journey.


The Brilliant Rachelle Garniez

rachelle garniez

Bio by rachellegarniezcom.virb.com

Native New Yorker Rachelle Garniez has been described as “a certified free spirit” (The New Yorker) and a “diva with a difference”(Billboard Magazine).

She has produced and released 5 cds on her own label, Real Cool Records, as well as a vinyl single produced by Jack White on his label, Third Man Records. KinderAngst, a collection of punk rock children’s songs, co-written and co-produced by Palmyra Delran, featuring Debby Harry.  Most recently, a compilation album of songs chosen from her catalog of recordings has been released by JARO Records.
In the 1980’s she began busking in parks and subways and performing in clubs, galleries and bars; playing solo and in a wide variety of bands ranging from bar-band roots to club-kid art-funk; samba fierce-showgirl revue to klezmer and old-time jazz, each of which have contributed significantly to her writing style.

Rachelle’s songs have been recorded by Catherine Russell, Karen Elson, and The Flying Neutrinos and can be heard on television soundtracks including the Chris Isaac Show, Real Sex, Anthony Bourdain’s No Reservations, and Sex and the City.

She has performed several times at the TED conference as a featured member of Thomas Dolby’s house band both in Monterey California and in Oxford, UK.

Since spring of 2013, Rachelle has been a member of the acclaimed Roots-World band Hazmat Modine.  She continues to collaborate perform and record with diverse artists including violinist Jenny Scheinman, sonic wizard Sxip Shirey, neo-soul-jazz guitarist Marvin Sewell, glam cabaret troupe The Citizens Band, choreographer Keely Garfied. family music superstar Dan Zanes, and legendary garage band The Friggs.

Over the years, Rachelle has been commissioned to compose music for theater. In 2009 she composed the music for Taylor Mac’s Obie Award winning epic theater piece “The Lily’s Revenge”, which premiered at HERE Arts Center in NYC and was most recently presented by American Repertory Theater at Harvard University.  That same year, The Franklin Stage Company located in Delaware County, NY commissioned and premiered the original musical “American Fairy Tales”, based on little-known stories by L. Frank Baum, for which she wrote all of the songs and music and was cast as the principal character. She has composed and performed music for NYU’s Experimental Theater Wing’s productions of The Merchant of Venice and Romeo and Juliet, and wrote songs for the award-winning Grumbling Gryphons Traveling Children’s Theaters’ production of Purim Spiel. For many years, she served as Musical Director of The Citizens Band, as well as writing and performing many of the troupe’s signature anthems.

http://www.rachellegarniez.com

More about Rachelle Garniez:

http://http://www.rachellegarniez.com/ct_mishmashmagazine.html