Cotati Accordion Festival is Proud to Announce
2018 Honorary Director
Paul Rogers

Paul Rogers came by his position as unwitting champion of the accordion in a rather roundabout way.

A native of Dearborn, Michigan, he earned a degree in music composition from Ohio Wesleyan in 1975. Heading west to San Francisco, Rogers became immersed in the local pop music scene in the late ’70s and early ’80s. He played keyboard and fronted New Wave bands The Dinks, The Baxter Brothers and The Jimmy Knight Band. He also joined the now-legendary Christmas Jug Band, penning some of the group’s best-known holiday hits (including NPR’s 2002 Christmas Song of the Year, “Santa Lost a Ho”).

Then came the unlikely meeting that turned him into a squeezebox rocker. In 1990, he fell in with an impromptu group calling itself Those Darn Accordions. The ragtag group's frenzied accordion raids attracted media attention in San Francisco and beyond. Soon, TDA was performing throughout the Bay Area and beyond. Rogers assumed the role of TDA musical director in 1992. The band began recording and touring the United States, including an unprecedented 10-year run at Milwaukee's massive Summerfest.

The band’s six releases include many of Rogers’ songs, many of which have shaken the gazebo at the Cotati Accordion Festival. With TDA, he has appeared on numerous television shows, including “The American Music Awards,” “Penn & Teller’s Sin City Spectacular” and “The Donny and Marie Show.”

In 2016, Rogers wrote a song to commemorate the 25th anniversary of the Cotati Accordion Festival. He and the festival headliners performed “We Came to Squeeze” at the Grand Finale that year.

Rogers continues to promote the versatility of the accordion in traditional and popular music. In 2016, he began co-producing an accordion festival in Port Townsend, Washington. The PT Deep Squeeze features TDA, plus many other local and touring accordion players each Labor Day weekend.

Steve Balich: San Francisco’s Polka Tent King
By Sheri Mignano Crawford

Born January 26, 1924 in San Francisco, Steve grew up in the Portola District.[1] It was adjacent to the heavily populated Italian Excelsior district. His love for Italian polkas may have originated with that early influence. His Yugoslavian parents and the Slovenian radio celebrity accordionist Frankie Yankovic nurtured Steve’s love for the accordion. He wanted to play accordion from a very early age but the Depression posed financial hardships on everyone. In 1934 his father was an unemployed stevedore thanks to a west coast longshoremen strike. Nevertheless, he begged for an accordion until his mother intervened. It was unthinkable and unaffordable but sacrifices were made by his parents to make sure that Steve could pursue his dream of playing the accordion.

A 48-bass Wurlitzer accordion was purchased and it arrived with a few free lessons. Eventually, he tapped into North Beach’s Italian accordion manufacturers and teachers.

One of his first teachers was the world renowned Anthony Galla-Rini who was living in San Francisco in the 1930s. He taught Steve for two years; then, Steve studied with the vaudevillian virtuoso Angelo Cagnazzo whose studio on Broadway (next to the Burlesque venues on the Barbary Coast) provided additional instruction. While studying with Cagnazzo, he met the soon-to-be famous accordionist Dick Contino who lived with Cagnazzo.

Just as Steve was perfecting his technique on the accordion, he enlisted in the army as a Private in March 1943 and served until 1945. When Steve returned from the war, he started to play semi-pro baseball in Stockton. He was a “south-paw” pitcher who also played center field. He prided himself in running the 100-yard dash, too. The accordion would have to wait as he explored other possibilities; however, by the summer of 1947 Jennie Gemignani had captured his heart. And even though she “didn’t care much for him at first,” she found that she missed Steve a lot when they weren’t together. They were married July 6, 1947. Contrary to rumors, Steve did not play his own wedding reception gig!

Jennie recalled that they shared a favorite song popular on the car radio at that time. “Oh, What It Seemed To Be” was more than a romantic melody but a touchstone for the Balichs. Even after seven decades together, Jennie always enjoyed going out on gigs with Steve. Their marriage included a lifetime of honesty, kindness, and respect. Their children are testament to that level of devotion. Steve and Jennie celebrated their 70th wedding anniversary on July 6, 2017 just two months before he died. Throughout their marriage, they worked as a team in all their endeavors and contributed much to the accordion world.

In the late 1980s once Steve retired from his furniture business, accordion fever only increased. He bought a Petosa AM1100 which became his exclusive musical instrument of choice. In 1991, he was instrumental in the creation of the Cotati Accordion Festival and the Steve Balich, Sr. Band starred in the first annual festival. In 1996, he started the Accordion Club of the Redwoods in Petaluma. It benefited greatly from his dedication as an officer and member. He served as a founder, president, vice president, board member, band leader, caterer, public relations representative, and liaison to other clubs and to the public and in general.

These voluntary activities were balanced with an active music career. He freely contributed his intimate knowledge of and connections with the accordion world. He offered his musical talents and versatile repertoire to attract festival goers who flocked to hear the ethnic music of a bygone era. Steve’s American style polka blended his love of the Italian with the Slovenian dances. His band played regularly at all the social halls such as Verona’s Little Switzerland, Petaluma’s Herman Sons Hall, and numerous Sons of Italy events.

Writing about Steve Balich’s relationship to the rising popularity of the accordion is a little like trying to describe Thomas Jefferson’s role in the writing of the Declaration of Independence. Simply put, there would be no lively accordion community without Steve Balich having thrown his energy, talent, and efforts into establishing it. His longevity and ever presence built the accordion-loving community in the bay area. He was the heart and soul of the movement to return the accordion to its elevated stature. For that we are thankful. Steve died on October 6, 2017 but his passion for the accordion lives on in those who knew him.

[1] My sources and references derive from unpublished notes from a 2007 oral interview with Steve Balich.


(A memorial service is planned in January 2018 around his birthday.)

Accordion Jazz 101
Workshop presented by Paul Betken

 Held in the SOCIAL HALL behind the Church of the Oaks corner of W. Sierra and Page St.
(about ½ block from the polka tent)
Both Days August 19 & 20, 2017
12:15 PM - 1:30 PM

Paul Betken, as host/instructor conducts an accordion-centric music workshop in the fundamental and practical aspects of jazz accordion performance. As a consummate jazz accordionist, Paul shares his opinions, observations and comments on being a professional jazz accordionist with more than 50 years experience in concert performance.

This workshop has been successfully crafted and delivered on several occasions at other major accordion festivals. The workshop promises to be informative and entertaining for all musical skill levels from the novice to the professional. Non-accordionists will learn more about the role that the accordion plays as an instrument used in the musical genre' called jazz.

This informal presentation of jazz accordion topics covers a wide range of interests, including jazz accordion history, the variety of playing styles and philosophies of outstanding jazz accordionists such as Art Van Damme, Leon Sash, Frank Morocco, Matt Mathews, Tommy Gumina and others. While Paul shares jazz accordion teaching philosophy and sources, he concentrates on the basics needed in jazz performance skills, how-to-practice tips, hand and mind coordination and development, the use of lead sheet music, the art of chord voicing, scales and inversions and his own personal technique of "full chord sound."

Paul offers methods for memorization, guidance on arranging song lists, and suggestions on how to perform jazz accordion with other jazz musicians. A nod to music fundamentals, and harmonic theories of improvisation enhances basic tools needed for the complete jazz performer and enthusiast.

A major segment of the workshop is devoted to jazz accordion performance of several jazz classics. Paul has selected specific songs from the great American Songbook to demonstrate his unique accordion arrangements. These examples and techniques are explained and demonstrated using iPad accompaniment which allows him to be creative and improvisational as well. All of his jazz accordion arrangements (10 songs) are in a booklet format and CD of Paul's stylized demonstrations on how they should be played--the booklet and CD will be available for purchase. In addition, three separate handouts are available to anyone attending the workshop. They cover melodic chord progressions, transposing songs, and a list of 10 brilliant jazz solos and what you can learn from them.

 "Accordion Jazz 101" is offered for the first time on both days during the Cotati Accordion Festival! It's the newest addition to the festival. No need to reserve your seat. This introductory workshop-demonstration serves players wanting to experience the art of playing jazz accordion and wanting to learn the elements of what makes a great jazz accordionist. All attendees are encouraged to ask questions and offer their own insights where appropriate. The major outcomes of attending the workshop include generating greater audience enthusiasm for the accordion, and for the jazz accordionist, these workshops teach you how perform better as a jazz accordionist.