Tag: Acordeonistas

Una página más

When I was out walking the other day, this song began to play on the list Spotify had created for me. It’s not a new song, but music is a living, breathing art form that affects the soul, and I suddenly heard the lyrics for the first time. Or, I should say, they impacted me for the first time. It is, I guess, my current theme song. I will post the lyrics and a video below. Yes, of course I’m now learning to play it on the accordion. It’s by Los Cadetes de Linares. I don’t have the energy to translate it for you. I don’t do that when I listen to songs, anyway. Head translation is a difficult hurdle to leap over when conversing in a second language. I can happily say on some level I understand song lyrics I’m familiar with and don’t have to go through the tedious process of translation. Anyway, most people know at least a little Spanish these days. The English-only movement in this nation seems to be dying with the boomers and silents. It was always a stifling stance, albeit one that colonizing nations use to defeat other nations — any language suppression, that is, not just English-only. The Spaniards obviously used this tactic, too, or Latin America wouldn’t speak Spanish. This is because language is an essential part of culture.

I didn’t start this meaning to be so long-winded. I have no moralistic attitude towards colonizing nations; this is simply the history of the world. I have rather more an educative attitude towards it. Speaking multiple languages is a valuable skill; why be so snooty about speaking only one? My own grandparents were like this, despite being otherwise lovely, generous Christian people. I sorely wish I could be a better conversationalist in Spanish, but I often remind myself I’m awkward at having conversations in English, too. That’s all I have to say. The song says everything else. Well, almost everything else. Like so many norteño songs, it’s a lost-love song from the masculine perspective. Ultimately, what matters is the concept of new beginnings, turning over a new leaf — which is the English idiom matching the title and sentiment of the song. Life gives us crossroads at critical junctures — do we remain on the same path, even if it’s grown dark and weedy and impossible to traverse, or do we turn down a new one? In the context of the song, he chooses the new path. I have been so tired lately, and I have found myself halted at the crossroads. That’s the reason I haven’t written anything here. Also, I discovered I hadn’t worked on my book about the delivery-driver detective for over a month, even though he is currently my favorite protagonist, and his face haunts my mind. My life is an empty book. Yours? Is it empty, too? I used to listen to bedtime stories made for insomniacs. Maybe life is closer to these stories than to an empty book: meandering, turning, never ending until death with no heightened climactic moments. I prefer to see life as a library with many completed stories, and fresh, bright empty ones waiting to be filled.

Es inútil que vuelvas
Lo que fue ya no es
Es inútil que quieras
Comenzar otra vez

No interrumpas mi vida
Ya no te puedo amar
Solo sé que tu boca
No la vuelvo a besar

Tengo un libro vacío
Y lo voy a empezar
Tengo sed de caricias
Tengo ganas de amar

Hoy comienza mi vida
Una página más
Hoy me enseña la vida
Que me quiera ella más

Es la historia de siempre
Un amor que se fue
Y yo espero mañana
Comenzar otra vez

Sin rencor ni temores
Quiero vivir en paz
Quiero encontrar mi suerte
Y no dejarla jamás

Es la historia de siempre
Un amor que se fue
Y yo espero mañana
Comenzar otra vez

Sin rencor ni temores
Quiero vivir en paz
Quiero encontrar mi suerte
Y no dejarla jamás

La decisión más importante…

…es, ¿cuál marca de acordeón debería comprar? When I first started playing, the decision seemed obvious. The most common student accordion is the Hohner Panther, and its sound is surprisingly nice for a cheaper instrument. Hohner is a trusty brand of German-made accordions, though I’m guessing the Panther is cheaper because it’s made in China.

As a self-taught musician, I’m no expert on brands. I can only listen and follow what sounds magical to my ears. That was why I chose a Gabbanelli to replace my Hohner. I realized that most of the musicians I enjoy play Gabbanellis. I also listened to numerous videos of people demonstrating the various brands of accordions, and I tended to prefer the Gabbanelli sound.

But now I’m considering buying another accordion, and I’m wondering if I should buy a different brand. I could return to the Hohner brand with an upgrade from the Panther. The Hohner Corona was originally designed with Flaco Jimenez in mind, and as far as I know, he’s always played Hohners. So did Celso Piña when he was alive; they’ve now developed an accordion called the Rebelde after him. The band Los Tigres del Norte also prefer Hohners. Again, the company has an accordion in honor of this legendary band. For the record, I find Los Tigres a little too whiny and brassy for my taste, but I have still loved a good many of their songs over the years. Their repertoire is enormous, and I can’t judge an accordion brand over their whininess.

Then, to confuse me further, the Cantabella is the brand I’ve seen my latest favorite band, Los Dos Carnales, playing. Their songs have a wonderful sound. I would love to hear that sound when I play. Not that it ever works that way precisely. I never sound exactly like other musicians. Some people are good imitators. I’m not. I’m not proud of this because it means I’m deficient at hearing and replicating. By the way, Ramón Ayala also plays Cantabellas. He’s a poster boy for that brand. But he also plays Gabbanellis. His iconic Mexican flag accordion bearing his name is a Gabbanelli. One of them is, anyway. The other is a Cantabella. The Gabbanelli has little fish on it. I will always recognize those iconic little fishes. My Gabbanelli has the little fishes on either side of the brand name. See below this post OR below this paragraph. His little fish are surrounding his name.

The acordeonista for another favorite band, Calibre Cincuenta, plays a Dino Baffetti. Speaking of sound quality, it’s hard to beat this accordion. The creator of the Acordeonísticos site I subscribe to for tutorials plays a Dino Baffetti in recent years and might even be a sales rep for the brand. I’m pretty sure I read that on one of his social media sites. Not being on social media sites (except this one), I don’t pay regular attention to anyone. When I was looking into subscribing, however, I read his other sites. I’m guessing this brand is in the same price range as the Gabbanelli accordions, but it’s hard to tell, as they don’t post prices on their site.

Yes, this post was mostly an excuse to write about accordions, despite that I don’t have an audience that cares or is in the market for one. All of that is immaterial, she said with a snooty wave of her deft, accordion-playing fingers. I want to buy one; I’ve been pinching my pennies to afford another. However, what I thought would be an easy decision is not. I plan to visit the Gabbanelli store this summer (yes, there is only one store in the entire world that sells them). Maybe I will be so overwhelmed by the bling that I will never buy another brand.

Los mejores de los mejores

It’s long past time that I make a list of my favorite acordeonistas. I mean, it’s really not, but I won’t let that stop me. Obviously, I’m coming at this from a different perspective than most. I didn’t grow up with the music I love. I tuned in one day to the Mexican channels because all the other music playing on the radio in Albuquerque bored me to tears. But when I paused on the Mexican channels, it was like magic to my ears. The accordion. The brass. The vocals.

In the early days, I did a lot of exploring, looking up the bands I’d hear on Radio Lobo (the other Mexican channels never lasted long, but Radio Lobo has remained) and buying the CDs. Seriously. I have a giant collection of Norteño CDs somewhere. Out in a box in the garage, probably. I also did what I used to do with my life: research. It’s hard to believe that approach to the world was appealing to me at one time. I wrote essays in both Spanish and English about the history of Tejano and Norteño. I did presentations on the music for my classes at UNM–Southwest History 120 or Spanish 400 or whatever it was. The response to my obsession from professors and students was general bewilderment. That’s nice Jill; you do you. What a dumb way to be. Never again.

I’ve decided recently that I want to be completely braindead. Like, if I were the Scarecrow in Wizard of Oz, I would sing I would while away the hours, talking to the flowers, singing in the rain, if I didn’t have a brain. That is my fantasy right now. Never analyzing anything. Just writing in fragment sentences and having natural reactions to life. How amazing! I WANT TO BE BRAINLESS! I expressed this to my husband the other day, and he said, Good for you! as if I’d managed a major life breakthrough. At least I get support.

All that nonsense about research and being brainless was really meant to give you an idea of why I have experienced many of the classic accordion players that are not played on the current Mexican channels, such as Tony de la Rosa or Narciso Martinez. My mix of greats has a range from different eras, up through young millennial musicians (there’s actually just one millennial on my list, Eden Muñoz of Calibre Cincuenta [who has recently left that band]; the other Muñoz is a gen-Xer). Speaking of the classics, I’m not ever going to forget seeing Flaco Jimenez play live. Because of that–watching him as an old man dance with his Hohner–he’s on the list. Your list might differ. You might not have a list. You might write a top-ten reasons I don’t make lists list. The top reason on my list of why I don’t write lists is owing to my newfound braindead state.

In no particular order, here are my favorite acordeonistas:

  • Flaco Jimenez
  • Ricky Muñoz
  • Paulino Bernal
  • Ramon Ayala
  • Lupe Tijerina
  • Reynaldo Gonzales
  • Eden Muñoz
  • Celso Piña
  • Jesus “Chuy” Garcia

I’m leaving the last spot empty because I can’t decide. The others fit neatly into my braindead state, as they were no-brainer picks. They are the people I can’t stop listening to for style or innovation or general magic, but I could not decide who else should be on the list. If I decide, I’ll fill in the spot. There were a few Tejanos I was considering… I might need to do a binge listen to old CDs.

A few on the list have passed away–Lupe Tijerina, Celso Piña, Paulino Bernal–may God rest their souls; I’ve also seen quite a few of them live. Others I regularly miss (such as Ricky Muñoz of Intocable) because I’m broke when they come round these parts. Or working. Or hugely pregnant. I actually saw Ramon Ayala live when I was two weeks from giving birth. I was sooooo exhausted, my brain wishing it were dead. I had just finished a dissertation in which I translated Sor Juana’s poetry into English. I hadn’t yet bought my first accordion, so I longed instead to write brainless odes to accordion players in my terrible Spanish, which I did right after graduating. I guess you could say Señor Ayala inspired that.

If I ever start studying again, just shoot me. Or give me a lobotomy and wipe up my drool so it doesn’t spill on my accordion.