Frank L. Marocco (January 2, 1931 – March 3, 2012) was an American piano-accordionist, arranger and composer. He was recognized as one of the most recorded accordionists in the world and can be heard on hundreds of movie soundtracks, recordings, musical theatre, TV shows, commercials, video games and theme park music. He worked with dozens of composers, including Henry Mancini, John Williams, Quincy Jones, Elmer Bernstein and Michel Legrand.
Frank L. Marocco was born Jan. 2, 1931, in Joliet, Ill., Growing
up in the town of Waukegan, he began to take accordion lessons at age 7. He
later added piano, clarinet, music theory and composition to his interests. At
the age of seven years, his parents enrolled him in a six-week beginner class
for learning to play the accordion. His first teacher was George Stefani, who
supervised the young accordionist for nine years. Although they began studying
classical music, Stefani soon encouraged young Frank to explore other musical
genres. In addition to the accordion, Frank studied piano and clarinet, as well
as music theory, harmony, and composition. Later on, he studied with Andy
Rizzo, a well-known American concert accordionist and teacher.
At the age of 17, Frank Marocco won the first prize in
the 1948 Chicago Musicland festival, and was rewarded with a guest performance
with the Chicago Pops Orchestra playing Chopin's Fantasie Impromptu. His
success encouraged him to embark on a professional music career. He established
a trio, which toured in the Midwestern states. After he met his wife, Anne, in South
Bend Indiana, the couple moved to Los Angeles, California, in the early 1950s.
In 1959, the couple moved to Los Angeles, where Marocco
formed another band which toured hotels and clubs in Las Vegas, Lake Tahoe, and
Palm Springs. Later on, he began working in Hollywood, where television studios
and movie production companies provided him a successful career.
Here’s “Frank’s Tune” from above LP
In the 1960s, Frank Marocco recorded a solo album
released by Verve, a legendary jazz record label. In 1966, he worked together
with Brian Wilson and the Beach Boys, and performed on the world-famous album
Pet Sounds. He had become well established by the mid 60’s
as a studio player and was also valued for his
technique, as well as his versatility. The range of his hundreds of film score appearances reaches from such assignments as playing one of the two accordion parts in Maurice Jarre’s 1965 orchestral score for “Dr. Zhivago” to the more recent “Pirates of the Caribbean” pictures, for which he played accordion, bass accordion and musette.
technique, as well as his versatility. The range of his hundreds of film score appearances reaches from such assignments as playing one of the two accordion parts in Maurice Jarre’s 1965 orchestral score for “Dr. Zhivago” to the more recent “Pirates of the Caribbean” pictures, for which he played accordion, bass accordion and musette.
Marocco was also a busy composer, publishing study books
for the accordion, as well as collections of his own diverse songs and
compositions. Gifted with a wry sense of humour, he often gave whimsical titles
to his own works, among them “Bossame Mucho,” “Road to Marocco,” “I Got
Rh-Rh-Rhythm” and “Samba de Van Nuys.”
Marocco performed on a USO tour in Japan, South Korea,
Vietnam, Thailand, Philippines, Guam, and other countries in the Pacific,
appearing onstage with Bob Hope. He also played in the Les Brown big band, during
six Love Boat cruises. Marocco performed in collaboration with hundreds of
world-famous artists and conductors during his career, both on stage as well as
in studio.
As a musician, he contributed to hundreds of movie soundtracks, television shows and TV-series. The National Academy of Recording Arts and Sciences nominated him as the most valuable player eight years in a row.
As a musician, he contributed to hundreds of movie soundtracks, television shows and TV-series. The National Academy of Recording Arts and Sciences nominated him as the most valuable player eight years in a row.
In addition to his career as a musician, Marocco wrote
and arranged music for solo, duet, and orchestra in a wide variety of musical
styles, including jazz, popular standards, international, Latin, religious, and
classical. He was the musical director and conductor of an annual "music
camp", the Frank Marocco Accordion Event, which is held in Mesa, Arizona
in January.
The event brings together over 50 accordionists from around the U.S. and Canada, who, after three full days of instruction, rehearsal, and recreational activities, present a full concert of accordion music.
The event brings together over 50 accordionists from around the U.S. and Canada, who, after three full days of instruction, rehearsal, and recreational activities, present a full concert of accordion music.
Frank Marocco also played with some of the best Jazz
Musicians in America and Europe. The Frank Marocco Accordion Event, directed by
Marocco, was held annually in Mesa, Ariz., bringing together accordionists from
across the U.S. and Canada for three days of accordion-related seminars,
rehearsals and performance.
He received a Lifetime Achievement Award from the
American Accordionists’ Assn. in 2006. He was nominated eight years in a row
for the Recording Academy’s Most Valuable Player Award, receiving the Award in
1985 and 1986. And he was inducted into the Accordion Hall of Fame in Vicenza,
Italy, in 2000.
Marocco died on March 3, 2012 at his home in California’s
San Fernando Valley. He had been hospitalized earlier at Cedars-Sinai Medical Centre
in Los Angeles for complications following hip replacement surgery. He was 81
years old. (Edited from Wikipedia &
LA Times)
FOR “LIKE FRANK MAROCCO + DIAMONDS CUFFLINKS & MINK (2 LP ON 1 CD)” GO HERE:
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01. Southern Fried (Jordan-Leonard-Ross-Culliver) 3:01
02. Frank's Tune (Frank Marocco) 3:29
03. Tiny’s Blues (Kahn-Cohn) 4:06
04. It Could Happen to You (Burke-Van Heusen) 2:40
05. Road to Morocco (Gordon Lofgren) 2:00
06. Lunham Bridges (Lunham-Marocco) 2:27
07. Fascinating Rhythm (G. & I. Gershwin) 3:46
08. Umbrella Man (Cavanaugh-Stock-Rose) 5:12
09. Anything Goes (Cole Porter) 3:55
10. Take the “A” Train (Billy Strayhorn) 4:20
11. Night in Morocco (Frank Marocco) 6:08
12. Yours Is My Heart Alone (Franz Lehar) 4:55
13. Happy Samba (Frank Marocco) 6:22
14. Wind and Rain in Her Hair (Lawrence-Edwards) 7:26
15. Body and Soul (Johnny Green) 5:00
16. Dobre Drums (John Tirabasso) 5:10
17. Southbound Express (Vince Wallace) 3:43
Sources:
Tracks #1-10, from the album “Like Frank Marocco” (Verve MG V6-2135)
Tracks #11-17, from the album “John Tirabasso - Diamond Cufflinks and Mink”
(Dobre DR 1022)
Personnel on #1-10:
Frank Marocco, accordion; Victor Feldman, vibes; Al Hendrickson, guitar; Lloyd Lunham, bass; Milt Holland, drums.
Recorded at Radio Recorders, Hollywood, California, January 19 (#1-4 & 10), and February 23 (#1 & 5-9), 1960
Personnel on #11-17:
Gary Foster, alto and tenor sax (out on #15 & 17); Dave Koonse, guitar; Frank Marocco, accordion (out on #15 & 17); Putter Smith, bass; John Tirabasso, drums.
Recorded at Gold Star Studios, Hollywood, California, on December 2, 1977
The accordion, at one time a much neglected instrument, became after World War II an important element of the American musical scene. By the mid Fifties it may not have been as widely used as other instruments, but at least it was no longer considered a stranger to jazz. However, because black musicians never took to the instrument, it can t be said that the accordion was ever totally in the mainstream of jazz.
Frank Marocco, a member of the Hollywood studio brigade, was one of the world s most versatile performers on the instrument. At home with any style or school of playing, he was happiest, in the stimulating area of modern jazz. So for his first jazz album Like Frank Marocco, recorded in 1960 he led a quintet that featured Victor Feldman on vibes and Al Hendrickson on guitar. After several years focused in the more lucrative path of the studio musician, Frank decided to devote more time to playing jazz, and in 1977 he appeared again on a record with a group of friends; a quintet with Gary Foster, sax, Dave Koonse, guitar, and Putter Smith, bass, under the leadership of drummer John Tirabasso. All solos are of consistent interest, with Marocco displaying worthwhile concern for the melodic lines, considerable facility and modern conception.
An excellent technician, as a jazzman Marocco rarely exhibited a tendency toward wildness or experimentation, but he knew where his roots grew: the lines he developed were logical, and his use of chording effective and exciting. These two fine but long-forgotten albums featuring accomplished musicians from the West Coast jazz scene give us the chance to rediscover Frank Marocco, a player who made the accordion no longer a right hand only instrument.
(Fresh Sound Record notes)
Many thanks! Bob
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