Vincent Peirani is an accordionist and composer who, earlier this month, won Album of the Year in the prestigious Victoires du Jazz, an annual awards
Vincent Peirani is an accordionist and composer who, earlier this month, won Album of the Year in the prestigious Victoires du Jazz, an annual awards ceremony in France. On this edition of My Music, we’ll join Peirani on a listening tour of his winning album, Living Being II – Night Walker (ACT Music).
Like the Grammys, the Victoires du Jazz are determined by a large body of voting members in the music industry. Peirani has now won three of these awards in his career, including one in the category of “Instrumental Revelation,” in 2014.
As that phrase implies, one thing that makes Peirani unique, and also distinctly French, is the instrument he plays. The accordion has a firm place in the history of French popular culture, specifically with genres like chanson — but the instrument isn’t typically associated with jazz. In modern times, it has often been characterized as gauche.
As we’ll hear in the episode, Peirani amusingly addresses these obstacles, admitting that he didn’t have much say in his musical fate. His accordion-infatuated father demanded he play the instrument, despite Peirani often feeling like the laughingstock of his peers.
Through his focus and his fearlessness, often charging the stage at Parisian jam sessions, Peirani began winning audiences over. He eventually received invitations to play in a hodgepodge of musical settings — with African griot masters, thrash metal rockers, flamenco serenaders, and everything in between.
Peirani’s true passion for rock, classical music, and, of course jazz, are delicately woven together on his Living Being II – Night Walker. He is currently on tour in Europe; see his website for details.
By Michael Stevenson
On June 29, I was among the lucky 7000 concert-goers gathered in Theater Antiques to behold piano man Chilly Gonzales perform at the 2019 Vienne Jazz Festival. Jazz à Vienne has been celebrating the world of jazz since 1981. The festival has a variety of concerts and different stages – the grandest being the Roman theater, built in 1 AD.
As the show started, most of us sitting shoulder-to-shoulder in the arena were fanning ourselves with our programs, as the temps rose over 110 degrees before the sun went down. Chilly, it was not. But the performer nicknamed “Gonzo” cooled the audience with his humor, original songs and an impressive array of piano styles – not strictly jazz, but also blues, classical and his own uniquely “Gonzo” flavorings.
Between songs, Gonzo joked with the audience in both french and english. His french dialect has a Montreal flavor (he was born there). And I detected a slight Brooklynese present in his English – especially when he commanded the audience of clap-a-longs to follow the beat by watching “my fucking foot!” The sweaty crowd in the ancient arena laughed and sang, and most of of us stayed on the beat of his bouncing bedroom slipper.
Gonzales, whose (birth name is Jason Charles Beck, has collaborated with artists Jarvis Cocker, Feist, Peaches, Drake and Daft Punk.
In 2018, Gonzales launched his own music school. According to his Wikipedia entry, “musicians from around the world joined him to study at The Gonzervatory, an 8-day all-expenses-paid residential music performance workshop in Paris. The workshop included coaching sessions with Gonzo, followed by masterclasses from Gonzales’ friends and collaborators.” Cool!
I actually came to see Gozo in Vienne quite by accident. I had purchased tickets to see Camille perform in the “Up Above My Head” collaboration, which was actually the previous night in Vienne, but I had confused dates (as I often do when on a lengthy European vacation.) So while I was quite depressed about screwing-up and missing my favorite French chanteuse Camille, Gonzo pulled me out of my funk with his wonderful show. It’s always great to see someone completely new in concert and to become an immediate fan. C’est moi!
I’d also like to note how helpful the Vienne Tourist office was, as well as the Jazz à Vienne ticket manager, who granted my wife and I free replacement tickets to see the Chilly Gonzales show after I explained how we confused our dates. As has consistently been our experience, the French people were gracious and accommodating to we stumbling and fumbling travelers.
Merci beaucoup, Vienne and Gonzo.
Complete with the dust and scratches, this is a beautiful LP recording from Michel Legrand.