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The Accordionists Forum An accordion forum open to all Skip to content. This is the forum for baseelli If you are in North America and if you’ve heard of him at all, you’ll probably know him as “Jo Basile”, which was the name he used when he played there for several years.

He was of Italian extraction, and was born as “Giuseppe Baselli” near Douai in the north of France, where Belgian basses are common, and the first clip shows him playing a Cavagnolo with Belgian basses, in the days before they standardised on the current grille pattern.

In the second clip he is Joss Baselli, which is the basslli he finally settled down with, and is playing an instrument made to his own specification, but with standard Stradella basses.

Why or when he changed bass system is unknown to me, but was probably connected to the time when he decided to become an accordion teacher in Paris, where the Belgian bass would not have been a welcome choice for his students. Inalong with Andre Astier, he wrote an accordion method which was a revelation at the time, as it permitted use of the thumb, not just on the first row, but on the second as well!


A virtuoso player, equally at home with classical or popular music popular music paid the bills!

Joss Baselli – Accordéon | Digger’s Digest

He was one of the early exponents of “americain” tuning which can be heard to good effect in the second clip. As French accordion music became more geared towards listening rather than dancing, with music being played more up tempo, some players “broke away” from the traditional three voice musette, which they felt was no longer appropriate for the developing styles of the day.

Some traditional accordionists who played three voice “musette pur”, objected to the new tuning, including the Bazelli player, Jo Privat, who was apparently one of baaselli most vocal on the subject.

However, he ultimately made the switch, regardless, when he found that it suited his later manouche Gypsy style better. All he did was stipulate that the jjoss left a little “vibration” on the sharp flute on his accordions, but it jos a very keen ear to identify that “vibration” at times. Anyway, here are the clips, which illustrate the change of bass system, and may be of use to any C system CBA players who are interested in watching a French player who appears to have taken the best out of the French and Italian playing methods, and combined them.


Last edited by maugein96 on Fri May 11, 1: There are one or two “unexplained” looking bellows pushes there as well, although you’ll see he often does the usual French thing of drawing the bellows right out, then works them back pushing the top of the bass side while the bottom is still very extended.

Once or twice I think he pushes the air button in and slams the bellows shut, and occasionally he makes use of the fact that there are enough buttons pressed in to get the bellows back in quickly without the air button.

I suppose if you have been classically trained what he’s doing may seem unorthodox, and to be honest I’d never really taken much notice of bellows moss before now.

The marks towards the top of his accordion on the edge of the treble side are caused by him tapping out the time for his pupils with a heavy baxelli and damaging the paint.

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