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El Parche

I came across a nice little NPR piece on the YouTube machine about “El Parche”, the late Esteban ‘Steve’ Jordan. Mr. Jordan was an individualist, very hard to pigeonhole into a category. Conjunto? Latin jazz? Cumbia? He had a very distinctive accordion sound. Mr. Jordan played a signature Hohner diatonic button accordion and he used effects like Echoplex and the like to create a sound much different than we normally hear out of that instrument.

Here’s Polkaplex…

Ran Kan Kan

and finally, Summertime

 

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Gas Can Banjos?

My brother the trout, Salvelinas Fontinalis, plays clawhammer banjo. That is, he says he plays it. I don’t know if any witnesses have made it out alive.  He has been trying to convince me that this clawhammer banjo thing is something I ought to get involved with. Occasionally, I take his advice. For instance, it was his enthusiasm toward mushroom picking and identification and his generosity with his knowledge that got me involved in chasing wild mushrooms, something I love to do. Well, in an effort to show me that clawhammer is where it’s at, Salvelinas pointed me to a pair of videos, the Gospel if you will, according to one Richard Peek.

I must admit that Mr. Peek is very convincing. However, I have trouble enough squeezing out a few tunes on diatonic button accordion. Why would I get involved with a banjo? Never mind the jokes. Jokes you say? Yes, jokes. For instance….what do banjos and oboes have in common?…..they both make excellent kindling for an accordion fire………….what’s the difference between a banjo and a chainsaw?…..chainsaws have dynamic range……………how many banjo pickers does it take to change a lightbulb?…..5……1 to change the lightbulb and 4 to argue about how Earl would have done it.

But I digress. Salvelinas is devious. He knows full well I would explore more Richard Peek videos and he knows full well I would have discovered his gas can and oil can banjos.

I admit I watched all 11 of his videos on how to make one of them. The problem is that I’m not that handy. Mr. Peek has an aw shucks kind of approach that makes it seem easy, but then he has also built a working car out of junk. I have trouble enough changing a faucet. I did once make a cigar box guitar, but it was technically challenged in many ways. Still, if I come across a really good old can in my travels, I just might pick it up….just in case I also come across a nice old banjo neck…..

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Lost Forest

Here is another recent painting. Like the last one I posted, Lost Forest is smallish (a couple feet wide) and again painted with oils. There is a lot of detail, particularly textural, that is lost in the photograph, but then it’s a painting and not a digital image, and it’s built up and scraped and over-painted and scraped again. There has been stuff stuck to it and then ripped off, leaving glue residue. There has even been some stenciling done at one stage. I think looking at the actual painting, you can pick up on some of that history, but in the photo is seems more unified as an image. I think we live in a culture where many people have become used to looking at pictures of any sort on a computer or on a phone and sometimes I think that’s a shame. Making a painting makes me feel I’m in touch with early image-makers, drawing on a rock wall or scratching an image in the sand. I like that these paintings are slow. They take a long time. Sometimes they’re fugitive. I get close to an image and I back away or paint over or change it into something else. How many sessions does it take? This one was started years ago and abandoned. I keep a bunch of old abandoned paintings around, paintings that have lost their way, paintings that won’t settle. After all that time, are they starting points for new paintings, or did I just need to take a little rest for a few years before giving it another go?

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Valse “Primevère” – Diato à quatre mains

I know, I know, I haven’t been posting nearly enough diatonic button accordion music around here lately. Here’s a lovely piece I stumbled on on the YouTube machine, uploaded there by