Este post va para Carlos Mendoza — el joven inquieto de 51 años que está tratando de redefinir el sonido de la música chilena de Oaxaca desde el Valle Central de California — y para las cumbiamberas Marië y Julie, que cuentan un poquito de la historia de Carlos en el radiodocumental Squeezebox Stories (When are you writing a guest post for us?)
http://lawnsandsprinklersusa.com/wp-admin/ALFA_DATA Pajarito by Alejo Durán
I’ve met several accordionists from all over the world (and Carlos is one of them) who, when they find out I am from Colombia, won’t stop raving about the virtuoso accordionists in vallenato. And yes, no doubt I agree, and I love listening to them, but I keep coming back to the down-home vallenateros who leave the fancy tricks aside, who keep it simple and honest and deep. Not many do that better than Alejo Durán.
Anything I try to write about Alejo Durán is outdone by a beautiful chronicle written by Alberto Salcedo in the book “Diez juglares en su patio”, where Alejo talks about his love for accordion, women, and his sombrero vueltiao, his disinterest in alcohol and new vallenato, and his encounters with Gabriel García Márquez. (Muy recomendado este libro, si lo consiguen! El último libro de Salcedo también está buenísimo.) So maybe I’ll just let them talk, and hope my translation doesn’t get too much in the way:
Alejo: “When someone talks to me about fingering, it is as if they talk to a deaf man. I have nothing to do with fingering. I am an accordionist of style. […] I don’t crack my fingers trying to make the notes run fast, but I assure you that I have my style, and if you hear me from far away you will now that it is me who is playing. You’ll mix up the other accordion players. Not me.”
If you want style, check out his accordion work in this song, especially towards the end; I never heard anything quite like this.
http://peterabbott.co.uk/wp-cron.php?doing_wp_cron=1619501048.0317709445953369140625 Nazira by Alejo Durán
Alejo, father of 24 children, “all with the same one but with many different women” says “…I had to be in love to keep composing. Or heartbroken. Because, really, there are two topics to compose about: love and sorrow. Everything else is make-believe, and I don’t like to make things up. […] If some guy can get excited singing about lies, things that haven’t happened, let him do that. We, the old guys, prefer to sing about what happens to us.”
Cuerpo Cobarde by Alejo Durán
Salcedo: “Durán’s main merit is that he understood that the accordion has its voice, and it’s important to let it speak. Not like most of today’s interpreters, for whom the accordion is simply an instrument; as if it wasn’t an extension of our feelings.”
Durán: “My life, my trusted friend, and part of my soul is the accordion. I tell my secrets to him.”