Welcome to Jazz Accordion's Home on the Web. This site is dedicated to some of the greatest musicians in jazz. The one thing they have in common is their instrument....piano accordion. I hope to shed some light, dispel some myths, and acquaint you with some musicians that you may not be too familiar with, all the while helping to keep jazz and in particular Jazz Accordion alive. I am presenting some very brief biographical sketches below to peak your interest in these men. Feel free to contact me if you have any questions at info@jazzaccordion.com. This site will be updated on a regular basis..

The accordion is still a much maligned instrument. Much of that problem can be traced directly to accordion players themselves, as I have routinely encountered some pretty terrible players to say the least. Unlike other venues where mediocrity can be covered up either by socially excepted standards (garage bands), electronic augmentation, or other devices, the accordion is left like a man on an oasis, isolated and sticking out. Sadly, the music world seems ignorant to the potentials of the accordion. Whether they complain about the musicians ability (or lack there of) or of the sound of the instrument, the one thing that happens is that very serious, outstanding musicians often get overlooked. And the public gets cheated out of incredible talents. It will be hard for the accordion to garner any future support as the outlets just aren't there currently. There's no bullpen, so to speak for future stars to warm-up in, and no place in the pitching rotation for established virtuosos. I just want to share my love for the box with all of you by exposing some of these men in my simple way to a broader audience.

While I in no way belong on this page other than as a webmaster, my background in jazz started as a drummer and my studies on the accordion began in Cleveland under the sensational classical accordionist Ed Cifani. He taught me basic accordion skills for the brief time I studied with him, but in my heart I was a drummer and I was jazz. It wasn't until a few years later that I heard my first jazz accordionist in the flesh....Ronnie Moon. Suddenly I knew that what was in my head could be transformed onto the accordion. Through my studies with Ronnie, I learned all about harmony, block chords, bellow control, etc. He opened the world of jazz and classical accordion to me by introducing me to the sounds of Russ Messina, Angelo DiPippo, Vince Geraci, Dom Frontiere, Frank Marocco, and most importantly Jerry Cigler. Once I actually met and heard Jerry play, you could say I had a religious experience. He was and still is to this day, the greatest musician I have ever heard. I moved to Chicago to study with Jerry and I am ashamed to say that I have let him down as many times as I could! I just don't have what it takes to prosper from our relationship musically, but his influence has helped me in every facet of my life. Along the way I've been helped by Dick Contino, Angelo DiPippo, and Sam Incopero. So blame them and not me.

Quite simply, Jerry Cigler is perhaps the finest jazz musician I have ever heard. In music, much comes down to taste, as technique can be found amongst all the top players. Jerry's abilities transcend those of anyone else alive. His ability to perform 5 part blocks using just his right hand on the piano accordion, coupled with his unparalleled use of the free bass in a jazz context, enable him to render sounds impossible by any other player alive today. His use of substitute chords, open harmony, counter-point, blistering fast single note runs, complex chordal structures on the left hand (including using his thumb), and sophisticated arrangements, make him stand out amongst the crowd.

Jerry was born in Cleveland, Ohio and studied with a few teachers before meeting the great Johnny Sulin. Sulin was quite famous in Cleveland and was an amazing talent. Johnny is remembered for his unrivalled technique and incredible arrangements, many improvised on the spot. Jerry's repertoire included classical as well as popular standards and by his late teen years, he was established as a professional musician performing at many local places. Jerry then began tutelage under  the amazing Leon Sash of Chicago, where Jerry eventually moved. Under Leon, Jerry began his deep study of jazz as it relates to the accordion. Some of his accomplishments included both 5-part blocks and open harmony inversions (major6, minor7, minor9, dominant7, dominant9, diminished, half-diminished) inversions in all 12 keys at a staggering 400 BPM. Jerry went on to record with Leon as well as releasing his own album in the 70's.

Our Day Will Come  mp3 (3.6 megs)

With Jerry, music takes on a different tone. His second-to-none technique enables him to stretch the boundaries of what many consider possible on the Piano Accordion, and he is one of the few players that is a jazz musician playing the accordion, as opposed to an accordion player playing jazz. I mean that not as an insult to anyone, rather as an indication that Jerry has gone beyond accordion jazz, swing, etc. to study and play with some of the jazz world's top names, and to "think outside the box" when it comes to improvisation. He's studied Schillenger, as well as composition, theory, and arranging. I am proud and honored to call him friend and teacher.

Angelo DiPippo is a native of Connecticut, but moved to New York at an early age to further his studies with famed accordionist/teacher Joe Biviano. Angelo has also received a Master's degree in music from Holy Cross. He has appeared in the Godfather, as well as doing arranging and conducting for a whole host of musicians, and singers. Frankly, when it comes to single note technique, I find Angelo unsurpassed in the piano accordion world. His ability to play jazz, classical, polkas, ethnic music such as French and Italian with such amazing authenticity, leads me to label him as the world's most versatile accordionist. His jazz is frenetic and his virtuosity is always evident. His writing skills are top-notch, as is evidenced by some of his tracks on his "Arthur Street" release.

Angelo recorded an amazing album in the 60's entitled, "World's Greatest Accordionist." While Angelo is certainly not an egotist by any stretch (he's one of the most humble, and sincere men I have ever met), the title is apt. It features great classical pieces as well as "light jazz" and showcases his versatility quite well. Subsequently, he's released many recordings of ethnic flavor, each one a masterpiece of music. I anxiously await any news of him releasing more in the jazz realm, as the music scene will be much richer for it. 

Another outstanding student of Joe Biviano, Dominic Frontiere ventured to Hollywood and became a successful composer, conductor, and recording artist. He made several accordion related recordings in the 50's that embodied a west coast, lighter jazz feel to them. A consummate musician, Dominic is especially at home in the classical realm as well as on the piano. He, along with all the men on this page, has influenced me tremendously. One of my first transcriptions I did was of his recording of Tenderly, from his Jazz in Hollywood series. He has written scores for both television as well as movies. I only wish he would record again on the accordion in any realm he would choose.  

What can be said about Tommy Gumina that hasn't already been said? A Milwaukee native, Tommy studied with the legendary Andy Rizzo in Chicago. His ability to play classical music on par with anyone else in the industry, separated him from many other jazz accordionists of his time. His ability and creativity was clearly evident at an early age. He worked with many top names including Harry James. He recorded several times in the 50's and eventually ended up teaming with clarinet virtuoso Buddy DeFranco to record landmark bebop sessions. Tommy's deep understanding of polytonality reached epic heights, and his technique was always of the highest caliber. He may have been the first famed accordionist to use an electronic accordion exclusively. He eventually founded Polytone Amps, where he has achieved great success.

In the 70's he recorded an album with Art Pepper that featured his polychorus accordion. The album clearly display his breathtaking technique and jazz understandings. He followed that up with more recordings with Joe Pass, as well as Buddy DeFranco. When you talk jazz accordion, you have to talk Tommy Gumina.

Sam Incopero is a native of Chicago. He has been fortunate enough to have studied with some of the finest accordion teachers on the planet. Men like Andy Rizzo, Art Van Damme, Vince Geraci, Tommy Gumina, and Leon Sash. Sam was a pioneer in the electronic bass for the left hand, creating an authentic walking bass sound. He is particularly known for his blazing technique, which seriously must be heard to be believed.

Sam played many local Chicago spots as well as working cruise ships. He's appeared with the Three Suns. Sadly, Sam has never recorded. His knowledge of jazz is top-notch and his ability to perform is as good as it gets. With so many influences, Sam has a unique sound and is always playing with great verve and emotion.

Don Komar was a student of legendary teacher Andy Rizzo. He is a resident of Chicago. Don's ability goes beyond accordion, as he is a well respected teacher as well as keyboardist. Like many of Andy's students, Don excelled at classical as well as jazz music. He is deep rooted in theory and of course has chops from hell. He has recorded material and may I say that it is an outstanding collection of jazz arrangements. Always energetic in his music, he plays with taste and with cutting-edge ideas. Clearly one of the greatest accordionists of all time.

Perhaps the most recorded accordionist alive, Frank Marocco is the first name among contemporary jazz accordionists. A native of Chicagoland, Frank studied with George Stefani. Eventually settling on the west coast, Frank firmly became entrenched in studio work, recording literally thousands of sessions and working in every field imaginable. His ability with the Stradella bass system is unrivaled in the world. His knowledge is such that he has broken beyond the established molds and has taken the accordion to new heights, by traveling the world performing concerts.

Equally comfortable in either an ensemble or solo setting, Frank can create moods that are simply breathtaking. To top it off, he is also an incredibly fine gentleman and his love for the accordion makes him the premiere ambassador in the world.

A Cleveland native, Ronnie Moon studied with such luminaries as Johnny Sulin and Leon Sash. He traveled with the Three Suns as their main accordionist as well as playing jobs in both Cleveland as well as Chicago.

Ronnie has a command of harmony that isn't approached by many in the jazz accordion field. His deep understanding of theory propels him to create arrangements for the Stradella system that are unique, as well as technically challenging. He has, along with Angelo DiPippo, a   flair for the ethnic music of France and Italy, as well as excelling in the polka field. His ability as a teacher is in my opinion, world class. An amazing player, educator, and friend, Ronnie Moon is a jazz accordionist of the highest realm.

Without question, Art Van Damme is the most famous jazz accordionist in history. He was more than a pioneer, he was an ambassador as well. A former student of Andy Rizzo, Art leapt out in the late 40's, firmly establishing the accordion as a force in the jazz field.

Art was influenced by Benny Goodman, and it is in the "swing" environment where Art excels. Still performing today, Art's sound is unmistaken  as well as enjoyable. He is the legend of jazz accordion, and the man by whom most are judged.

There are many more names that will be added as time permits. Legends such as Ernie Felice, Russ Messina, Pete Jolly, Tony Dannon, Tommy Ippolito, Dom Tremarkie, modern standouts like Renzo Ruggieri, Eddie Monteiro, Gil Goldstein, Pete Selvaggio, and others. It is imperative for all fans of accordion to try to get exposure for these men in the main stream as much as possible, before jazz accordion ceases to exist.

The following are some Windows Media Audio (WMA) files of me playing jazz on a MIDI accordion. I did the all of the arranging and recording on the CD. I laid down the background chords, then played over top of them. The bass track is using my left hand.

How High the Moon (898 Kb)

Secret Love (1.48 megs)

Lady of Spain (1.52 megs)

Cherokee (1.19 megs)