As obscure subgenres go, accordion swing is pretty close to the top of the list. Accordionist Richard Galliano tackles that methodically and animatedly on his latest album, Sentimentale. He’s celebrating the release with a four-night stand leading a quintet at the Jazz Standard,Oct 23-26, with sets at 7:30 and 9:30; cover is $25, $30 on the weekend, Galliano is known for his ability to effortlessly leapfrog between idioms, from the baroque to tango to Romany jazz without missing a beat. This time out, he leads a pretty straight-ahead jazz session with Tamir Hendelman (the Clayton-Hamilton Jazz Orchestra pianist, who wrote most of the arrangements), guitarist Anthony Wilson, bassist Carlos del Puerto and drummer Mauricio Zotarrelli.
Much of it is a 21st century update on how French and Belgian musicians were mashing up American jazz with their own vaudeville and barroom folk sounds back in the 20s and 30s, notably the opening track, Chick Corea’s Armando’s Rumba, which puts a continental spin on a song that was already a bit outside the Afro-Cuban tradition. The group immediately brings it down from there, adding an organic touch to Dave Grusin and Lee Ritenour’s Canto Invierno, then tackling Ellington’s In a Sentimental Mood with a lilting rhythm yet also with a similarly distant pensiveness – the accordion is one of the alltime wistful/bittersweet instruments, and Galliano owns that feeling when he chooses to go there.
Galliano’s take of Horace Silver’s The Jody Grind draws less on the original than Dee Dee Bridgewater’s boisterous version; likewise, the Broadway ballad Why Did I Choose You follows Bill Evans’ coloristic reharmonizations. There are two originals here, the jazz waltz Balade Pour Marion and the closing cut, Lili, a tender ballad dedicted to Galliano’s granddaughter and done as a guitar-accordion duo. Hendelman’s arrangements are remarkably contiguous, more than just a platform for soloing, which there isn’t a lot of here.
The group gently bounce their way through The Island and Verbos de Amor, adding some bulk to the songs’ tropical balminess, then pair hard-charging swing with more pensiveness on Plus Fort Que Nous. They do the Coltrane classic Naima as surprisingly weird psychedelia with a guitar sitar (?!?), then go back to the tropics with Mantiqueira. All this is a good indication of what the band will sound like here, maybe allowing for a little more guitar, which won’t be a bad idea since Peter Bernstein will be filling that spot. And you’ll have to go to the show to hear it since the album isn’t anywhere to be found on the web.