What can I say, except here's the theme.
Hello there, I'm Peter Sickley, and this is Sickley Mix, a program dedicated to the proposition that all musics are created equal.
Or as Duke Ellington put it, if it sounds good, it is good. And here's a good deal. Our bills are paid by the Corporation for Public Broadcasting and by this super cool radio station,
where I produce weekly, and whence what I produce is strongly distributed by PRI, Public Radio International.
Well, you can't always tell what the consequences of your actions are going to be, as Mrs. O'Leary's cow used to say. I was reading something recently that pointed out that Adolf Sachs,
when he invented the saxophone in the 1840s, couldn't have had the faintest notion of how his instrument would end up being used in the new world.
The music he knew, presumably, was European band music and symphonic music. Little did he know that his instrument would become extremely popular, but not in that kind of music, particularly.
Within less than a century, the instrument bearing his name would be known around the world, but it would be primarily associated with brothels, smoke-filled nightclubs,
and dance halls where who knows what all went on. Now let's consider the ancient instrument. The Chinese instrument, the sheng, which is a free-reed mouth organ.
It has usually 17 vertical bamboo pipes held together in a sort of a cluster with a common air chamber.
A shenger, or would it be a shengist, sort of looks like he's playing a bunch of celery. The instrument goes back at least to the time of Confucius.
It was introduced into Europe in 1777, and the way the reeds are mounted, gave European instrument-makers ideas, resulting ultimately in the invention of the harmonium,
as well as the... Well, I'm getting ahead of myself here. Here's the sheng from a CD called Buddhist Music of Tianjin. The sheng is the organ-like instrument holding long notes in the background.
Now who in his wildest dreams would have thought that that instrument would lead to this instrument?
It's a wonderful, a wonderful life, if you can listen to bands such as that of my fellow North Dakotan, Lawrence Welk. And as a matter of fact, we heard them playing the Dakota polka,
and Myron Florin, he was not only playing the Dakota polka, he was also playing the accordion, which, as luck would have it, is the subject of today's show.
Now, as a reformed bassoonist, I have a certain amount of empathy with, not to mention sympathy for, accordions.
accordionists. I've had to endure my share of bassoon jokes, I mean, aside from the ones I made up myself, but they were as nothing compared to what accordionists have to put up with.
We're talking about the Rodney Dangerfield of musical instruments here. You probably know the definition of a gentleman, right? A gentleman is someone who knows how to play the accordion,
but doesn't. I can hear all of you accordionists out there going, yeah, yeah, very funny, but don't bother to write, okay? Just put your mechanical pencil back in your shirt pocket with that little
plastic protective shield on it. Just kidding. Now, I know you don't have to be a nerd to play
the accordion, but it helps. I'm sorry, I just can't stop myself. Oh, brother. Now, you don't
have to be a nerd. You have to be able not to mind if people think you're a nerd, but you don't have to mind if people think you're a nerd.
be a nerd. At least you don't have to be a nerd in other ways, too. Okay, okay, okay, I'm not even
going to answer that. I'll stop fooling around here, because actually, accordions are used in
all different kinds of music, not just polka bands. They're also used in shottish bands.
All right, okay, all right, all right. Now, that's it, folks. No more kidding, getting around here. When the irrelevancy alarm goes off, that's serious. I've got to toe the line.
I mean, that thing has a little counter on it. I'm serious. You know, like a self-service copier in a copy center, and if I rack up more than a certain amount of alarms a month, I mean, that
thing actually gets read regularly by the same guy who does the gas and electricity meters. Can you believe that? And he reports it directly to the president of the parent company. I'm not just talking about the station manager.
And if there's more than a certain number of hits on that puppy, I'll be in very deep trouble.
They'll probably make me listen to a whole concert of accordion. No, no, I'm not going to say it. No, I did not say it.
Check with a third-bass umpire. I stopped myself in time. No, I really did. Okay, accordionists are not all nerdy.
Or, as Johann Sebastian Bach put it, die accordionisten, sie sind gar nicht nerdisch.
He was defending some accordionists in Leipzig that he knew from the ridicule they received for waiting around to play an instrument that hadn't been invented yet. Okay, I'll tell you what let's
do. Why don't we hit a few of the clubs in town that have accordionists? I'll show you what I mean about the variety of accordion music. And I'm not even including classical music here. We deal with
that on other shows. But even just in three clubs, we'll start at a really ritzy supper club. And
don't worry. I can charge this to the stations. Okay, just between you and me. Okay, we'll start at El Copacordiana and then we'll slip around the corner to a nice little folk music place I know.
And then we'll end up at a very funky bar called The Squeeze where you can dance as close as you
want. Come on, let's go. It'll only take about eight and a half minutes. Okay, we've been
hitting the accordion clubs here. At the first one, we heard Dick Cantino playing the Moonlight Sonata of accordion music, Lady of Spain. And then at that little folk place, The Bellows, we heard
Maria Colignemi and Aldergaes doing something called Loma Civil. They're new to me. I really
like that a lot. And then finally, at The Squeeze, we got there just in time to hear Nathan and the Zydeco Cha-Cha's do Slow Horses and Fast Women.
Great verse there. Man who chases women and a dog who chases cars don't last long. A bit of
Cajun blues in the night. You know, that's ordinarily such a loose place, that bar. I couldn't
believe they carded you. You notice they didn't card me. And no, I don't think it's the bifocals
and the white beard. They know I'm Peter Shickley, host of Shickley Mix from PRI, Public Radio International.
There's an early 20th century American artist named George Bellows. And I've always thought that the proper response to his name would be, he certainly does, and I wish he'd pipe down. But the Bellows we're talking
about today are the ones that provide the air supply for an accordion and its relatives, such as the concertina
and bandoneon. Basically what your accordion is, is a portable organ. And I mean a really portable organ, not like those portable organs we see in music.
medieval or renaissance paintings, which are portable compared to the organs in Radio City Music Hall. I mean, a couple of guys or one angel could lift them and take them to another room and
put them down on a table. But with an accordion, you can actually accompany yourself while you dance if you can't afford aerobics classes. It has an amazingly large range considering its size.
A full-size accordion with a lot of stops, you know, different sounds to choose from, well, it's a bit like a Harley. It's one big hog of an instrument to carry. But even if you don't
want to dance with it on, you can certainly stroll, or at least you'd better be able to if you want to make anything in tips. As I said, a large accordion has a considerable choice of tone
colors, and one of the most familiar of them is produced by having for each note two reeds,
slightly out of tune with each other, producing a sort of a vibrato, a sort of a tang. On the organs,
such stops like the Vox Humana or the Unda Maris tend to be soft, but on the accordion, it's your
straight-ahead basic stop. That's the sound that you associate with your honeymoon in, well, I don't
even have to say the name of the place. As soon as you hear, your mind conjures up the Eiffel Tower,
the Arc de Triomphe, Jerry Lewis, the Louvre, all those experiences that feel as if they just happened yesterday, even though your kids are not there.
You want to go back to Europe, don't you? Well, in the 19th century, a lot of Europeans wanted to
leave Europe, and leave they did, often taking their accordions with them. By the end of the
century, there was hardly a continent in the world that had not been accordionized. It could truly be said, and often was, that the sun never set on the arm-bellowed empire.
Well, I'm feeling a bit of wanderlust myself. Let's take an accordion cruise. Prepare to recline
your deck chair, lie back, and lose yourself in three exotic styles. It's always wise to bring a
sweater. Evenings can be cool. Worried about how things will go in your absence? Relax. Amazingly
enough, considering that its ports of call are on three different continents, this cruise only takes a little over a minute. 9 minutes.
The lovebirds follow the young hermit, and the fingers of the artist. It runs into his skin through the mouth, and the desire to sing is physical.
All his extended being, his breath suspended, it's a true extension of music.
The girl of joy is sad, in the corner of the street over there. Her accordionist, he left alone.
When the war is over, they will take a house. She will be the cashier, and he will be the boss.
That life will be beautiful, they will be real pachas. And every night for her, he will play the java.
She listens to the java, that she does not give up. She sees her accordion again. And the lovebirds follow the young hermit, and the fingers of the artist.
It runs into his skin through the mouth, and the desire to sing is physical.
All his extended being, his breath suspended, it's a true extension of music.
The girl of joy is sad, in the corner of the street over there. The girls of joy are sad, in the corner of the street over there.
Adieu tous les beaux rêves, sa vie, elle est foutue Pourtant ses jambes tristes l'emmènent au boui-boui
Où y'a un autre artiste qui joue toute la nuit
Elle écoute la java, elle entend la java
Elle a fermé les yeux, les doigts secs et nerveux Ça lui rentre dans la peau par-l'avant, par-le-haut Elle a envie de gueuler, c'est physique
Alors qu'oublié, elle s'est mise à danser, à tourner Au son de la musique
Fájete, fájete la música
Cómo te quiero, mujer hermosa
Eres una rosa que ayer brotó
Con tu boquita tan primorosa Un rosito que Dios me dio
Es morenita sus ojos negros Y su boquita sin corazón
Por eso mismo le cuento al mundo
Que yo la quiero con devoción
Yo soy el dueño de los señores
Los cantos y la dulzura de esa mujer
Por eso vivo pensando en ella
Martirizado por su querer Pero les digo que estoy contento
Porque yo siento que me ha de amar
Que yo siento que me ha de amar Pero les digo que me despido
Y que me dispensen por mi cantar
Y que me despiden por mi vida
Cómo te quiero, mujer hermosa
Eres una rosa que ayer brotó Con tu boquita tan primorosa
Fue un amorcito que Dios me dio
Fájete, fájete la música Es morenita sus ojos negros Y su boquita sin corazón
Por eso mismo le cuento al mundo Que yo la quiero con devoción
Anoche de nuevo te vieron mis ojos
Anoche de nuevo te tuve a mi lado Pa' que te habré visto si después de todo Te vi en mi corazón Fue en modo que estarás mirando el pasado
Ni vos sos la misma, ni yo soy el mismo
Los años, la vida, quién sabe lo que De una vez por todas mejor la franqueza Si vos no podemos volver al ayer
Así eres tú La vida es así
Quisimos juntarnos por puro egoísmo
Y el mismo egoísmo nos muestra Dime que no te quiero más que yo
Para qué fingir
Paciencia La vida es así
Ninguno es culpable si es que hay una culpa Por eso la mano que te di en silencio No tembló al partir
Tengo un retrato de aquellos veinte años
Cuando eras del barrio del sol familiar Quiero verte siempre linda como el toque Lo que pasa anoche
Un sueño no hay Bienvenido a casa Y espero que has disfrutado tu viaje en el SS Leaky Bellows Es solo una broma, nunca estuve en ningún peligro
Nuestro primer paro fue París Que es un truco muy bonito para un oceano Donde escuchamos a Edith Piaf Canto La Accordionista Que es francés para el que hace la música No solo a sí mismo
Pero con el ayuda de un acordeón Piaf ¿No suena su R increíble? Puedo escuchar su R todas las noches Y la forma en que se rompe
on that very last phrase. She sounds like Tammy Wynette. Next, we docked in South Texas,
where Valerio Longoria regaled us with Mujer Hermosa, Pretty Woman. Eat your heart out,
Roy Orbison. That's from an Arjuli CD called The Roots of Tejano and Conjunto Music. And our last port of call was Argentina, where Juan de Rienzo and his orchestra performed
Paciencia. That's a tango from the 1940s. Me, I'm from the 1930s, and I'm your captain.
My name is Peter Shickley of the S.S. Shickley Mix from PRI, Public Radio International.
When I taught at the Juilliard School of Music many, many, many years ago, I came in at the end of an era, an era that most people might not have noticed. The people who taught theory
and the history of music in those days were mostly combined. They were mostly combined composers. And composers always need extra money. So what some of them did was they went
out to some music school on Long Island on weekends and taught accordion to kids. These guys weren't accordionists, but they were very musical, musical enough to keep a step
ahead of their students. That was before all the kids snuck out of their houses with their accordions and traded them in for electric guitars. The 1960s ushered in a period of a very different era. The 1960s was a period of a very different
era. It was a period of exile from the mainstream American scene. And only fairly recently has the accordion begun to seep back into our collective conscious. But seep it definitely
has begun to. And you now hear accordion in real, what in New York is called downtown music. All the really hip stuff in the Apple is supposed to happen below 14th Street. Both
my kids live down there, and the clubs they go to and play in are down there. I mean, they're pretty cosmopolitan. They don't get nosebleeds if they go above 14th Street, like some people do. But their
turf is definitely down there in the neighborhoods north and south of Houston. The street, the pronunciation of whose name separates the tourists from the locals in New York. Today's
program is called The Gospel Accordion to Pete. And we are now going to I guess I ought
to get that. Hello? Uh huh. Yeah.
Okay, well look, I'm sure everything you say is true. You probably are the coolest, hippest accordionist ever to strap on the squeeze, as you put it. But I very rarely
have guests on the show. And when I do, I like to, you know, plan quite a bit in advance.
No. I agree. But I think everybody knows I was kidding about the accordion's NQ. Nerd quotient. I mean, you know, most of the stuff we've heard on today's show has been very tasty.
Far from nerdy, so I don't think... Yeah. Okay, look. Mr... what is it? Mr. DeLugg, how far do you live from the station?
Oh, you are, are you? Well, I should hope so. That's one of the reasons there is a receptionist, to keep people from wandering... Oh, all right. Okay, look. I'll tell you what. I hope I don't regret this.
But I'm about to play our last suite. Why don't you come up to the studio, and I'll let you play your hippest of the hip opus. But listen, and you've got to agree to this or the deal's off.
This is not a talk show, so don't come up here expecting to deliver a sermon about how cool the accordion is. I'll introduce you, you'll play, and that's it, okay? Not a word.
All right, you're on. I'll see you in a couple of minutes. And hey, hey. If the on-the-air... If the on-the-air sign is lit up, wait till... Right, okay. Well, nothing ventured, nothing gained. Hey, maybe he's great.
I think, uh, perhaps I feel a little guilty about all the accordion jokes I did at the top of the show, so the idea of having a really classy solo at the end is probably appropriate.
So here's our last suite, which features music by people who have been officially certified as cool by the downtown types. They've got the good loft-keeping... ...seal of approval.
I call this suite downtown accordions. And I'm using the word downtown metaphorically, by the way. I don't mean that all these are New Yorkers.
Yes, Virginia, it is possible to be a card-carrying, copacetic, cool cat, even if you're not in New York City. Four numbers. I'll catch you in 11 minutes.
Her vessel's glory bound.
Maybe we were going somewhere, maybe on sound. Maybe we got one message, maybe I'd get hers. Maybe we'd get there together, maybe we'd disperse.
And lay out our only lives alone. Living our only lives alone.
I'd be here, she'd be there.
I'd go there and she'd come here.
We're never gonna manage face to face, but alone being in the same time in the same place.
It was hard when it was hard, I could never understand why she'd always get so angry.
When I'd be playing it with the band, I'd have to be so... Couldn't play no, if I made no switch, she'd chubba-dubba-dub, she'd chubba-dubba-dub.
And that's why we live our lives alone. Living our only lives. I...
We live our lives.
The bedroom lights go out.
As the neighborhood gets quiet. Everything in heaven and earth is almost right.
There's a wife who's...
Wondering where her husband could be tonight. And when the phone rang only once, she took a dreadful fright.
Little things just seem to undermine her confidence in him.
He was late this time last week. Who can she turn to?
When the chance of coincidence is some? There's the baby, isn't old enough to speak?
It's been a long honeymoon. Thought too late and spoke too soon. There's no money-back guarantee.
Our future happens. There's been a long honeymoon Never sat on a date And our lives in ruins
She never thought her love
Could ever be as strong as this
This and the papers
Future the murders of lonely women There is an invitation
She'll call up her best friend
Why doesn't he come home? Why does her friend's phone keep on ringing?
Maybe she should just pretend There's been a long honeymoon She thought too late And spoke too soon
There's no money back guaranteed On future happiness There's been a long honeymoon
Never sat on a date And our lives in ruins She never thought her love Could ever be as strong as this
Be as strong as this
Be as strong as this Be as strong as this
Be as strong as this Be as strong as this Be as strong as this Be as strong as this Be as strong as this
Downtown Accordions The first one was wielded by Tina Kick, a member of the Polka Dogs, who proved that you don't have to be quiet to be cool. Great cut. Talk about energy.
It sounds like it's about to go up in flames at any minute. Canadian band, apparently. I've never seen them. I only know this album. You heard John Millard, the singer, mention Owen Sound.
That's where my mother was born. Small world, huh? Now, she wasn't Canadian, but I think her mother had relatives there or something. Anyway, number two was Arthur Street.
That's the name of the tune, not the accordionist, whose name is Angelo DiPipo. Good, solid jazz groove there. Then came Elvis Costello's The Long Honeymoon from the Imperial Bedroom album.
You know, he really writes art songs, that guy. I don't know if he would consider that a compliment, but I mean it as one. Songs like that feel to me like later stops on the same line that Schubert was on.
Like Schubert, Costello can use a standard song form, but infuse it with such variety and through composed details that it doesn't sound like a formula. I've come to him late, I'll admit it.
My kids were singing his praises years ago, but I heard a couple of things. I heard a couple of things that didn't do it for me, so I let it slide. My mistake. How uncool can you get? Well, what do you expect?
As I said before, I grew up in the same state as Lawrence Welk did. To me, cool means 20 below zero. So our suite ended with a little waltz called Spacesuit.
That was They Might Be Giants from their Apollo 18 album. Okay, Mr. Milton DeLugg is with us here in the studio. I didn't realize when I invited him,
you know, over the telephone, that he had a whole band with him, but they've managed to set up in here. We had to move my collection of 45s out into the hall, but they're here,
and Milton has promised to show us just how cool an accordion and an accordionist can be. Take it away, Mr. DeLugg.
Oh, yeah.
Uh-huh. Oh, yeah.
Oh, yeah, indeed. Milton DeLugg playing So What's New. Okay, Milton, thanks for squeezing in here, and the rest of you fellas, too.
Now, I'd appreciate it if you'd just hang for a few minutes before you pack up and leave. We'll be killing the mics here pretty soon. As a matter of fact, why don't I just put something on right now
so that you cats can split? Here, this ought to do it. Love me tender. Isn't my favorite song, but it's right here at hand. Thanks again, dudes.
Well, that wasn't love me tender for long, was it? The Crazy Accordion with Joey Miskelin. I'm not sure if I'm saying that name right, but what else is new? Okay, folks.
I mentioned earlier that we deal with classical music for accordion on other shows, but since this show is called The Gospel Accordion to Pete, we really ought to at least give a nod to the classical realm.
We'll go out with another cut from this terrific Rhino CD called Legends of Accordion. I love the fact that there's no the in the title. Not Legends of the Accordion, just...
Here, let me turn this knob here. Legends of Accordion. As if accordion were a place like ancient Greece or Sleepy Hollow.
This album has been the backbone of this show today. About a third of the music we've heard is off... Legends of Accordion.
I even swiped the pun in the title of today's program from the liner notes. Mea culpa, Eddie Gorodetsky. Thank you. Okay, we're going out with an old Fritz Kreisler crowd pleaser, originally for violin.
Here's Liebesfreud, played by Anthony Gallerini.
And that's Sickly Mix for this week. Our program is made possible by... with funds provided by the Corporation for Public Broadcasting and by this radio station and its members.
Our program is distributed by PRI, Public Radio International. We'll tell you in a moment how you can get an official playlist of all the music on today's program with album numbers and everything. Just refer to the program number.
This is program number 157. And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. You're looking good. See you next week.
If you'd like a copy of that playlist I mentioned,
send a stamped self-addressed envelope to Sickly Mix. That's S-C-H-I-C-K-E-L-E, Sickly Mix. Care of Public Radio International,
100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403.
PRI International.