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maugein96
Guest
They once reckoned this young (to me) Dutch guy from Maastricht was going to be the next Johnny Meijer.
See what you think.
See what you think.
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Ive always liked D. Paats....probably cos we play the same set list...great player but cant say his playing matches the flippant charm of J.Meijers...
Heres another gem...and a fine lesson in chord melody to boot
We must be getting same youtube feeds to John as Gert W turned up on my channel last week too...another mighty fine player
Heres another gem...and a fine lesson in chord melody to boot
We must be getting same youtube feeds to John as Gert W turned up on my channel last week too...another mighty fine player
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maugein96
Guest
losthobos post_id=59786 time=1528181420 user_id=729 said:
Hi Terry,
I think D. Paats eventually decided to go more for Latin type material like the clip I posted. The Dutch press got all excited when he appeared at various venues in his younger days with a big Accordiola, and it seemed that he may have been about to play in a similar vein to JM.
I used to take quite an interest in the Dutch/Belgian scene, as a lot of the players are into swing and lighter jazz and it made a change from musette, although several Dutch players also play that style, but not exclusively.
There is also quite a culture of jazzy type accordion in Denmark, but like most similar music it isnt really promoted outside of its home turf.
There was a Dutch guy, Wim Rijkhoff, who used to play a mixture of French musette and Dutch swing in the Amsterdam cafes. He sometimes used a big Cordovox CBA, which would have blown the windows out of a cathedral, and I wasnt really keen on that sound. Youll find him on You Tube but the sound quality of all the clips I found of him were frankly awful.
In the meantime here is the man JM himself, playing a number called Dinah, which Id never heard before, and making a lot of use of his piccolo reeds (I think). I dont think anybody will ever be able to replace him, as most people who play that type of music these days are part of retro type bands where you may typically get two real enthusiasts for the music, whilst the other band members are only there to make up the numbers. I would reckon they all inspired each other in the old days, but at least there are still recordings to listen to.
yeps...DP ain't quite JM...but he's still hot...but that's one real sweet of Dinah....real sweet
He's playing the gypsy jazz circuit too...and the 3 Latin numbers... Bossa Dorado, For Sephora and Syracruse have all become part of the modern manouche thing...written by the Stochelo's and Rosenburg's of this world i think...but covered also by box whizz Ludovic Beier...evolution...
He's playing the gypsy jazz circuit too...and the 3 Latin numbers... Bossa Dorado, For Sephora and Syracruse have all become part of the modern manouche thing...written by the Stochelo's and Rosenburg's of this world i think...but covered also by box whizz Ludovic Beier...evolution...
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maugein96
Guest
I could never quite get into Ludovic Beier's music, as he often seems to play everything so quickly and mechanically that I often just don't get it at all. He's like a modern day Yvette Horner. She played everything as though she was sitting in her living room looking out the window on a pleasant Sunday morning. Both of them are very accomplished players, but I can't listen to either of them for very long. Somebody posted recently saying it was "playing the gaps" that made music, and that's what neither of those players seems to do.
To be honest I've not listened much to LB at all, and no doubt somebody will provide evidence that my opinion on his playing is all wrong (again).
Gypsy jazz seems to be taking over the world, and I was considering getting into that guitar style for a while. However, battering very light 10 gauge strings on a big acoustic with a pick the size of a shovel was probably something I would need to have learned a long time ago, so I gave it a miss.
To be honest I've not listened much to LB at all, and no doubt somebody will provide evidence that my opinion on his playing is all wrong (again).
Gypsy jazz seems to be taking over the world, and I was considering getting into that guitar style for a while. However, battering very light 10 gauge strings on a big acoustic with a pick the size of a shovel was probably something I would need to have learned a long time ago, so I gave it a miss.
Glad its not just me then Johnny...though I end up playing in gypsy jazz combos its not because I like the pyrotechnics, I find them tedious at best, but I do like the backbone of the original melodies, I never understood the mentality of showing them what I can do over melody...music shouldnt be a circus trick...
Though someone has just passed me a very nice Beier/Angelo Debarre CD titled Paroles de Swing...
As to Yvette Horner...she got what was coming to her...<EMOJI seq=1f609>?</EMOJI>
Though someone has just passed me a very nice Beier/Angelo Debarre CD titled Paroles de Swing...
As to Yvette Horner...she got what was coming to her...<EMOJI seq=1f609>?</EMOJI>
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maugein96
Guest
Never heard her (real name Yvette Hornère) play stuff like that before, and "Boy" she did OK.
She's still on the go, and I remember her once in a video trying to change coupler with all that fancy gear on her right arm and hand. Something caught in the register switch and she ended up playing the next note in the wrong row. That's why I stopped wearing gloves and big costume jewellery rings when playing, as I never wanted to go through that ordeal in front of thousands of my fans.
Jazz solos can be quite entertaining, just so long as they keep them below the 14 minute mark, otherwise I forget which tune they started off playing.
I've recently started trying to play again, and am currently binning most of my old musette "repertoire" to concentrate on chanson and other more sedate stuff. I'm also experimenting with Latin type chords. Don't ask me what they are called, as my ears can't answer me. I just fiddle around until I get the sound I want, with fingering that seems logical in preparation for the next change. If it sounds OK I don't bother whether I'm playing the Jack of spades or the three of diamonds on the basses, as that just about sums up what bass notation means to me, unless the chords are notated as C, Gm etc. If I can get the treble worked out that'll do until I get through the tune, then I start worrying about the bass side, until it sounds OK (to me).
My days of playing in public were never very numerous, and are now non existent.
I reached a stage where I got tired battering out my versions of the old musette standards, mistakes and all, every other day. I needed a change and I think I should be able to continue playing, so long as I'm learning a different type of material. Listening to your playing prompted me to start getting into chordal stuff, and so far it seems to be working out OK. I doubt whether I'll ever get round to posting on the "I did that section", as although I'll probably be OK with the right hand, any keen card players will no doubt suggest I play a spade instead of a heart with my left hand. That happened last time I posted with a simple musette number that turned ut to be a bit of a struggle, with two young kittens doing their best to put me off, which they ultimately did.
She's still on the go, and I remember her once in a video trying to change coupler with all that fancy gear on her right arm and hand. Something caught in the register switch and she ended up playing the next note in the wrong row. That's why I stopped wearing gloves and big costume jewellery rings when playing, as I never wanted to go through that ordeal in front of thousands of my fans.
Jazz solos can be quite entertaining, just so long as they keep them below the 14 minute mark, otherwise I forget which tune they started off playing.
I've recently started trying to play again, and am currently binning most of my old musette "repertoire" to concentrate on chanson and other more sedate stuff. I'm also experimenting with Latin type chords. Don't ask me what they are called, as my ears can't answer me. I just fiddle around until I get the sound I want, with fingering that seems logical in preparation for the next change. If it sounds OK I don't bother whether I'm playing the Jack of spades or the three of diamonds on the basses, as that just about sums up what bass notation means to me, unless the chords are notated as C, Gm etc. If I can get the treble worked out that'll do until I get through the tune, then I start worrying about the bass side, until it sounds OK (to me).
My days of playing in public were never very numerous, and are now non existent.
I reached a stage where I got tired battering out my versions of the old musette standards, mistakes and all, every other day. I needed a change and I think I should be able to continue playing, so long as I'm learning a different type of material. Listening to your playing prompted me to start getting into chordal stuff, and so far it seems to be working out OK. I doubt whether I'll ever get round to posting on the "I did that section", as although I'll probably be OK with the right hand, any keen card players will no doubt suggest I play a spade instead of a heart with my left hand. That happened last time I posted with a simple musette number that turned ut to be a bit of a struggle, with two young kittens doing their best to put me off, which they ultimately did.
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