Information/Write-up
Gordie Fleming: Master of the Jazz Accordion
Gordie Fleming (1931–2002) was one of Canada’s most accomplished and versatile musicians, celebrated internationally as a pioneering jazz accordionist. Born Gordon Kenneth Fleming in Winnipeg, Manitoba on August 3, 1931, he was a child prodigy whose career began on the Manitoba vaudeville circuit at age five. By the early 1940s, he was performing at Army camps across Western Canada and appearing regularly on CBC and private radio networks. In the years that followed, he would become a fixture on the nightclub scenes of Winnipeg and later Montréal, where he moved in 1949.
A gifted accordionist, pianist, arranger, and composer, Fleming's repertoire spanned jazz, folk, classical, world music, and popular standards. He was featured at leading Montréal venues including the Bellevue Casino, The Downbeat, El Morocco, and the Penthouse, and performed across Quebec, the Eastern U.S., and France. He gained early acclaim as a member of the Canadian All Stars, who opened for Charlie Parker at the Chez Paree in 1953. With the All Stars, he recorded for Discovery Records and topped the Canadian Jazz Poll from 1952 to 1955. In 1955, he placed second to Art Van Damme in the Metronome U.S. Jazz Poll.
Fleming’s dynamic playing style combined technical mastery with expressive flair. Ira Gitler called him "the top modern jazzman on his instrument," and he was praised by peers like Michel Donato, Guido Basso, and Jim Galloway as the greatest bebop accordionist of his era. He was a regular on radio and television in the 1960s and 1970s, contributing to programs such as CBC's Funny You Should Say That, Radio-Canada's Les Joyeux Troubadours, Jazz en Liberté, and Jazz Canadiana.
In addition to his jazz work, Fleming collaborated with prominent artists across genres, including Edith Piaf, Ginette Reno, Pauline Julien, Felix Leclerc, and Willie Lamothe (with whom he hosted a daily CKVL radio show). He composed and arranged for the National Film Board of Canada (including Catuor, 60 Cycles, and Where Eagles Fly) and wrote music for television series produced by Columbia/Screen Gems.
He also explored folk and world music, performing and recording with Ti-Jean Carignan, the McGarrigles, Cat Stevens, and Alan Mills, with whom he recorded several albums for Folkways. His interest in international styles led him to publish a "fake book" of global melodies, compiling music from over 100 countries.
In 1977, Fleming joined Buddy DeFranco on the jazz album Waterbed (Choice Records), a critically regarded session with Michel Donato, Pete Magadini, and Al Baculis. He later relocated to Toronto, where he remained active, playing at Bourbon Street and George's Spaghetti House alongside artists like Phil Antonacci and Gary Benson.
Fleming gave a well-received performance at the 1985 Montréal International Jazz Festival and appeared at the Montmagny Accordion Festival. Despite suffering a debilitating stroke in 2000, he continued to play with one hand until his passing on August 31, 2002.
He was married to singer Joanne Lalonde for 47 years and was the father of seven children. His daughter Heidi Fleming, a JUNO-nominated producer, compiled According to Gordie: Gordon Fleming Anthology 1948–1990, released by Just a Memory Records in 2004. The compilation preserves his legacy through rare recordings, including performances with the Canadian All Stars, CBC radio broadcasts, and concert collaborations with Buddy DeFranco.
His archives are housed at Concordia University in Montréal. In recognition of his extraordinary talent, Fleming is widely cited as the greatest jazz accordionist to emerge from North America. As Christian Marcon wrote, "Gordie is possibly the most accomplished jazz accordionist to come from North America... he easily measures up to the Scandinavian masters."
-Robert Williston
Gordie Fleming, one of Canada’s finest musicians, was a native of Winnipeg. He performed on the vaudeville Army circuit in the 30’s and 40’s, and later, in Montreal in the ‘50’s, opened for such visiting artists as Charlie Parker, the King Cole Trio, Lena Horne, Dizzy Gillespie, and Cab Calloway. He was active in the vibrant jazz and studio worlds of both Toronto and Montreal from 1949 to 1990, and he died in 2002. Over the course of those decades, this virtuoso accordionist evolved in the company of some of music’s most respected and illustrious jazz and popular music personalities, from Edith Piaf to Hank Snow. He performed with most of the great Canadians in jazz at one time or another including Oscar Peterson and Maynard Ferguson. The material on this recording, part of Justin Time’s acclaimed Just A Memory series, were culled mostly from CBC radio shows, and happily, several broadcasts that featured Gordie Fleming have survived. This delightful album features a historical performance of Gordie Fleming and company opening for Charlie Parker as part of the poll-winning group The Canadian All Stars, at Montreal’s Chez Paree on Feb. 7, 1953. Three cuts from the All-Stars’ Discovery LP (Savoy) are included, as well as one from Waterbed, the Buddy DeFranco recording that featured Gordie Fleming on the Choice/Candid label. The compilation was compiled by a JUNO-nominated producer Heidi Fleming, Gordie’s daughter.
1. Parisian Thoroughfare 1:54 | Earl Bud Powell, EMI/Longitude Music. SOURCE Buck Lacombe collection, 1958, Lover Canada Swings, CBC.
MUSICIANS Gordie Fleming-accordion, Buck Lacombe-guitar, Brian McCarthy-bass, Donat Gariépy-drums.
2. East Of The Sun 1:59 | Brooks Bowman, Anne-Rachel Music Corporation, Warner/Chappell Music Inc. SOURCE From a 1950 Audition Craft recording, Bob Fleming collection.
MUSICIANS Quartones, Gerry Macdonald-clarinet, Frank Quinn-guitar, Gordie Fleming-accordion, Leo Poulin-bass.
3. I May Be Wrong 2:36 | H. Ruskin/H. Sullivan, Advanced Music Corp/Warners Bros Inc. SOURCE From a 1950 Audition Craft recording, Bob Fleming collection.
MUSICIANS Quartones, Gerry Macdonald-clarinet, Frank Quinn-guitar, Gordie Fleming-accordion, Leo Poulin-bass.
4. According To Gordie 2:37 | Buck Lacombe (SOCAN). SOURCE From a 1953 recording.
MUSICIANS Buck Lacombe Jazz Sextet, Buck Lacombe-guitar, Al Baculis-clarinet, Gordie Fleming-accordion, Yvan Landry-vibes, Pete Gravel-bass, Billy Graham-drums.
5. Gravel Road 2:29 | Al Baculis, Craymaste Music. SOURCE A 1953 CBC recording, from a Toronto collector.
MUSICIANS Buck Lacombe Jazz Sextet, Buck Lacombe-guitar, Al Baculis-clarinet, Gordie Fleming-accordion, Yvan Landry-vibes, Pete Gravel-bass, Billy Graham-drums.
6. Strike Up The Band 2:56 | George Gershwin, Warner Bros Music Corp./Warner Bros Inc. SOURCE From a bootleg tape made February 7, 1953 at Chez Paree, Montréal where the band opened for Charlie Parker.
MUSICIANS Canadian All Stars, Al Baculis-clarinet, Gordie Fleming-accordion, Yvan Landry-vibes, Hal Gaylor-bass, Billy Graham-drums.
7. Hello Young Lovers 3:05 | Richard Rodgers, Williamson Music Co. SOURCE Canadian All Stars, 1955, Discovery DL3025/Savoy.
MUSICIANS Canadian All Stars, Al Baculis-clarinet, Gordie Fleming-accordion, Yvan Landry-piano, Hal Gaylor-bass, Billy Graham-drums.
8. Taking A Chance On Love 3:06 | Duke/Fetter/Latouche, EMI Miller Catalog Inc./EMI April Music Inc./The Songwriters Guild. SOURCE Canadian All Stars, 1955 recording, Discovery DL3025/Savoy.
MUSICIANS Canadian All Stars, Al Baculis-clarinet, Gordie Fleming-accordion, Yvan Landry-piano, Hal Gaylor-bass, Billy Graham-drums.
9. The Things We Did Last Summer 2:31 | Cahn/Styne, Cahn Music Company/Cherry Lane Music Publishing. SOURCE Discovery DL3025/Savoy.
MUSICIANS Canadian All Stars, Al Baculis-clarinet, Gordie Fleming-accordion, Yvan Landry-piano, Hal Gaylor-bass, Billy Graham-drums.
10. I Love You 3:40 | Cole Porter, Chappell & Co. Inc./Warner Chappell Music Inc. SOURCE Gordon Fleming collection, date unknown. Throughout the 50s Gordie played a Serenelli accordion, switching later to an Excelsior.
MUSICIANS Gordie Fleming-accordion, Tony Romandini-guitar; bass, drums believed to be Johnny Lanza and Paul Lafortune.
11. You Stepped Out Of A Dream 2:42 | Nacio Herb Brown/Gus Kahn, EMI Feist Catalog Inc./EMI April Music Inc. SOURCE Gordon Fleming collection, date unknown.
MUSICIANS Gordie Fleming Group, Gordie Fleming-accordion, Herbie Spanier-trumpet; bass, drums believed to be Fred McHugh and Ron Page.
12. Scrapple From The Apple 1:56 | Charlie Parker, Atlantic Music Corporation. SOURCE Gordon Fleming collection, date unknown.
MUSICIANS Gordie Fleming Group, Gordie Fleming-accordion, Herbie Spanier-trumpet; bass, drums believed to be Fred McHugh and Ron Page.
13. Now’s The Time 1:11 | Charlie Parker, Atlantic Music Corporation. SOURCE Jazz from Canada, CBC RM 81, 1962, Gordon Fleming collection.
MUSICIANS Gordon Fleming Group, Gordie Fleming-accordion, Herbie Spanier-trumpet, Fred McHugh-bass, Ron Page-drums.
14. Close Your Eyes 3:35 | Bernice Petkere, Bernice Petkere Music Company/Thomas J. Rochefort. SOURCE Jazz from Canada, CBC RM 81, 1962, Gordon Fleming collection.
MUSICIANS Gordon Fleming Group, Gordie Fleming-accordion, Herbie Spanier-trumpet, Fred McHugh-bass, Ron Page-drums.
15. Lover Man 2:33 | Davis/Ramirez/Sherman, Universal MCA Music Publishing/Div. of Universal Studios Inc. SOURCE 1958, Lover Canada Swings, CBC recording, Buck Lacombe collection.
MUSICIANS Gordie Fleming Group, Buck Lacombe-guitar, Brian McCarthy-bass, Donat Gariépy-drums.
16. Avila And Tequila 3:20 | Hank Mobley/EMI Unart Catalog Inc. SOURCE 1966, CBC LM 20 recording, Michel Donato-feldt collection.
MUSICIANS Gordie Fleming Septet, Gordie Fleming-piano, Jack Rider-tenor sax, Herbie Spanier-trumpet, Buck Lacombe-guitar, John Lanza-bass, Paul Lafortune-drums, Joe Christie Jr.-flute.
17. Catour 3:56 | Gordie Fleming/SOCAN/Max Music. SOURCE From the film Catour, 1970, National Film Board of Canada.
MUSICIANS Gordie Fleming-piano, Herbie Spanier-trumpet, Michel Donato-bass, Eric MacDonald-drums.
18. Critics’ Choice 4:01 | Oliver Nelson, Noslen Music Co. LLC.
SOURCE CBC Radio, Jazz Canadiana, June 25, 1972.
MUSICIANS Gordie Fleming Septet, Gordie Fleming–piano and organ, Al Penfold–trumpet, Nick Ayoub–alto sax, Colin Biggin–baritone sax, Al deVito–trombone, Don Habib–bass, Richard Provençal–drums.
19. Sunnyside Beach 4:08 | Rob Adams/Al Baculis, Craymaster Music.
SOURCE From recording “Buddy DeFranco featuring Gordie Fleming: Waterbed,” 1977, Choice/Candid.
MUSICIANS Buddy DeFranco–clarinet, Gordie Fleming–accordion, Michel Donato–bass, Pete Magadini–drums.
20. Impressions 4:51 | John Coltrane, Jowcol Music/BMI 15607307.
SOURCE December 17, 1972, Jazz en Liberté, Radio–Canada.
MUSICIANS Gordie Fleming Quintet, Gordie Fleming–piano, Al Penfold–trumpet, Colin Biggin–baritone sax, Don Habib–bass, Buddy Hampton–drums.
21. Labrador 4:42 | Gary Benson (SOCAN).
SOURCE From a 1990 Toronto demo recording by Gerry Hoelke.
MUSICIANS Canadian Jazz Quartet, Gary Benson–guitar, Gordie Fleming–accordion, Gerry Hoelke–bass, Don Vickery–drums.
22. The Song Is Ended (But The Melody Lingers On) 2:33 | Irving Berlin, Irving Berlin Music Co./Williamson Music Co.
SOURCE Unknown, Gordon Fleming collection.
MUSICIANS Gordie Fleming–accordion, piano; Tony Romandini–guitar; bass, drums believed to be Johnny Lanza and Paul Lafortune.
23. Caravan 1:23 | Edward Kennedy Ellington and Juan Tizol, EMI/Belwin Mills Publishing Corp.
SOURCE Widely believed to be the first Latin Jazz tune. Recorded on CJOB radio in Winnipeg, Manitoba, June 1948 for “At Home With The Lowes.” Bill and Ethel ran Lowe’s Accordion School and Gordie was often featured. Gordon Fleming collection.
MUSICIANS Gordie Fleming–accordion, Ethel Lowe–organ.
24. Caravan (Version 2) 0:22 | Edward Kennedy Ellington and Juan Tizol, EMI/Belwin Mills Publishing Corp.
SOURCE Recorded for the TransCanada Network in the early 50s. Rob Adams collection.
MUSICIANS Rob Adams Trio, Rob Adams–bass, Gordie Fleming–accordion; Phil Parizeau–guitar. Gordie kept this version throughout his life.
25. A Man With A Million Dollars 2:14 | Cavanagh/Cunningham/Wood, Bertha Music Co. / Broadway Music Co.
SOURCE Rob Adams Collection. From the repertoire of blind accordionist/singer Joe Mooney.
MUSICIANS Rob Adams Trio, Rob Adams–bass and vocals, Gordie Fleming–accordion and vocals; Phil Parizeau–guitar.
Compilation producer: Heidi Fleming, www.famgroup.ca
Mastering engineer: Jim Rabchuk, Audiobec, www.audiobec.com
Restoration engineer: Graham Newton, Digital Audio Restoration, www.audio-restoration.com
Supervising producer: Laval Côté
Design: Vizou, www.vizou.com
On the morning of August 31, 2002,
I awoke to learn that vibraphonist Lionel Hampton had died earlier that day. Shortly thereafter the phone rang and it was Heidi Fleming to tell me that her dad, accordionist Gordie Fleming, had also died that morning in Toronto.
The first live jazz I ever heard by Montréal-based musicians was on Saturday, November 11, 1950. It was at the first meeting of the Montréal chapter of the New Jazz Society and took place in the YMCA on (then) Dorchester Blvd. at Stanley Street. The invited musicians that day were Butch Watanabe, trombone; Sadik Hakim, piano; Bob Rudd, bass and Jack Orchard, drums. It was a time when vibes and accordion, along with the violin, were relegated to the “Miscellaneous Instrument” categories in the jazz polls. It wasn’t long after that event that I discovered Montréal had three world-class musicians who fit into that category: vibraphonist Yvan Landry, violinist Willy Girard and Fleming, by far the greatest bebop accordionist I have heard.
Seventy-one at the time of his death, he was born Gordon Kenneth Fleming in Winnipeg, Manitoba, Canada on August 3, 1931. Somewhat of a child prodigy, he toured the Manitoba vaudeville circuit from the age of five. From 1941 through to 1945, the end of World War II, he was in demand for tours of Army camps in Western Canada and began making radio appearances on both CBC and privately owned stations, something he did throughout his musical life. Nightclub work at Winnipeg spots like the Don Carlos Casino, The Flame and Copacabana followed.
Shortly after an accordion was lost in a fire, he moved to Montréal. The year was 1949 and, although also adept as a pianist and organist, he worked primarily on accordion beginning with a most musical group called The Quartones, with Gerry Macdonald on clarinet (who would, in 1977, record Gordie with Buddy DeFranco, Michel Donato and Pete Magadini in Ste-Agathe for his Choice label), Frank Quinn on guitar and Leo Poulin on drums. In late 1950, Fleming and drummer Billy Graham, also from Winnipeg, formed a combo and three years later Fleming found himself playing with a jazz quintet on a Greek liner, The S.S. Columbia, crossing the Atlantic and playing gigs with Rob Adams in Cannes at The New Yorker and in Juan-les-Pins before returning to Montréal on the same liner. Later that year and into the fall of 1954, he and Adams worked at Chalet Cochand in Ste-Marguerite in the mountains north of Montréal, hosting jam sessions there as well as appearing on CJAD with Rob’s vocal group that also included Bob Hahn. Then, it was closer to Montréal for a gig with Adams and Quinn at the Thorncliffe in Rosemere through the summer of 1955 when they returned to Chalet Cochand. That year Fleming also won the Grand Prize on Opportunity Knocks, a talent program on CBC Radio. During this period he worked with the Rob Quinn trio at the posh Bellevue Casino and at the Chez Paree and the Downbeat, a coffee house where Jerry Lewis worked prior to hooking up with Dean Martin. Gordie also worked at the (not-so-posh) Clover Café on Ste-Catherine Street, just east of the Forum. I remember going there often and hearing him playing not only standards and the bebop tunes of the day, but also outrageous mood reels — it was at this spot that he made more money recording country tunes with artists like Hank Snow and Willie Lamothe than he ever did playing jazz.
The Canadian All Stars was a group that gave Fleming a taste of international recognition, a quintet made up of Fleming, Al Baculis, clarinet; Yvan Landry, vibes and piano; Hal Gaylor, bass and again drummer Billy Graham. On Saturday, February 7, 1953 at two p.m. at the Chez Paree, that group opened a Jazz Workshop concert (one that headlined Charlie Parker) playing a set including “Jumping With Symphony Sid”, “Lover Come Back To Me” and the version of “Strike Up The Band” included here. Harold Labinsky, who had connections in the record industry, took an interest in the group and recorded them in 1955 that he was successful in selling to New York-based Discovery Records, with Landry switching to piano for the recording. “Hello Young Lovers” and “Taking A Chance On Love” (included here) were among the tracks released on a 10” LP.
The latter part of Fleming’s stay in Montréal (he moved to Toronto in 1977) found him working with bassist Tony Chappell and the Johnny Holmes Orchestra and doing jazz gigs with people like Jackson Rider, Johnny Lanza, Fred McHugh, Ronnie Page and Billy Graham. In Toronto he was heard with regularity at spots like Spaghetti House and Bourbon Street. He returned to Montréal in 1985 to perform at that year’s Montréal International Jazz Festival with a group that included another Canadian jazz icon, trumpeter Herbie Spanier. The latter part of Gordie’s life was plagued with ill health and he had been hospitalized since suffering a stroke in July 2000 — his daughter Heidi, one of seven children, says he continued playing the piano with one hand almost to the end.
Shortly after her father’s death Heidi and I discussed the idea of this anthology and producer Jim West was also enthusiastic. He was relentless in her search and we have all been rewarded as you will no doubt agree after you’ve heard the material herein. Besides being, in my estimation, the greatest bebop accordionist, you’ll discover his versatility. You’ll find examples of the Canadian All Stars (both the studio New York date with Yvan Landry on piano and live with the latter on vibes); this recording from the historic Charlie Parker Chez Paree concert of 1953). What else: there’s a sixteen year-old Fleming on a short Caravan recorded in Winnipeg with organist Ethel Lowe (dedicated to his “mom and dad”) as well as another snippet of the same tune and “A Man With A Million Dollars” (one associated with Joe Mooney) by the wonderful little trio led by bassist Rob Adams, a group I remember best from a radio show called Time, Space and Echoing Themes. There’s also a medley of the Quartones (Frank Quinn, Gerry Macdonald, Gordie and Leo Poulin) and a cut from Gerry Macdonald’s Choice label 1977 recording title Waterbed: Buddy DeFranco featuring Gordie Fleming (my photo of Gordie below left was taken at Montréal’s Plateau Hall prior to a concert with DeFranco). Many of the names you’ve read about in articles concerning the jazz scene from the 50s on in Montréal and Toronto can also be heard here: Herbie Spanier, Gerry Macdonald, Al Baculis (senior), Billy Graham, Hal Gaylor, Fred McHugh, Ronnie Page, Jackson Rider, John Lanza (Donato’s mentor), Paul Lafortune, Nick Ayoub, Al Penfold, Joe Christie Jr., Colin Biggin, Buddy Hampton, Buck Lacombe, Tony Romandini and Don Habib among them. It all begins with that radio clip from 1948 and ends with a 1990 item called “Labrador” by a quartet led by guitarist Gary Benson featuring Gerry Hoelke on bass and Don Vickery on drums. A lot of memories — not to mention great playing — here, and again thanks to Heidi for her uncompromising search which turned over a treasure trove of Canadian jazz history!
Besides the recordings included here, Fleming did a number of other sessions under his own name as well as appearing as a sideman with musicians like Johnny Holmes and with Time Machine (on Galt MacDermot’s Kilmarnock label), plus others with Bix Hoover, Rudy Pontano, Rob Adams and Paul Léger. In other fields there was work with Edith Piaf, Pauline Julien and Ginette Réno. There were also performances in honour of Pierre Elliott Trudeau and Fidel Castro and recordings with Cat Stevens, the McGarrigles, Alan Mills and Ti-Jean Carignan.
He is survived by his children and his wife of 47 years, singer Joanne Lalonde. There was a visitation in Toronto and a funeral took place at Église Ste-Anne de Bellevue, on the western tip of the Island of Montréal, one which I and many other broadcasters and musicians attended.
Michel Donato called him, “the greatest — nobody compares”; Jim Galloway, “absolutely the best in the world on jazz accordion — a master”; Guido Basso stated, “I have nothing but reverence for the man and his genius”; and as I said earlier, he was the world’s greatest bebop accordionist.
Gordie, thank you for all the wonderful memories on and off the bandstand and to Heidi for the patience in culling this material.
-Len Dobbin, Friend to Jazz
Montréal, Canada
“Fleming demonstrates again what can be done on an instrument that has been, for the most part, lightly regarded in jazz circles. Gordie not only knows how to swing on it, but he produces an exceptionally rich tone.”
— IRA GITLER
“Gordie was a good friend and great player. He could play many styles but his jazz playing was great and should be heard by any accordionist that’s interested in jazz. A must!”
— ART VAN DAMME
featuring · avec
Al Baculis, Buddy DeFranco, Michel Donato, Hal Gaylor, Billy Graham, Buck Lacombe, Yvan Landry, Tony Romandini, Herbie Spanier...
© & ℗ 2004 FamGroup. Licensed to and marketed by Just In Time Records Inc., 5455 rue de Parc, Suite 101, Montréal (Québec) Canada H2V 4G9
Notes
Felix nomination Anthology Compilation of the Year.
Intro music: Close your eyes, Jazz from Canada (CBC Radio) 1963
Background: All the things you are, WJL Recording Studio by Walt Lipiec, Dearborn Michigan, November 1992 with Christian Mormet(piano-Fr), Fabien(bass-Fr), Ken Everets (drum-USA).
Research : Who’s who of Jazz in Montréal by John Gilmore (Véhicule Press; Gordie: An Informal music biography of Gordon K. Fleming, compiled by Paul Baran (PB Publications limited editon); Cool Blues: Charlie Parker in Canada 1953 by Mark Miller (Nightwood Editions).
Archive to be kept by Concordia University.
Thanks / Merci – Len Dobbin, Joanne Fleming, John Drew Munro, Paul Baran*, Jim West, Laval Côté, Jadranka Subic, Reid Morris and Justin Time, Barbara Brown* & the CBC, Richard Greene* and the National Library of Canada, Daniel Vachon* & Radio Canada, Graham Newton, Jim Rabchuk, Rob Adams*, Buck Lacombe*, Dana Whittle, Al Penfold, Larry Cassini, Gary Cristall, Nancy Marelli, Bob & Arlene Fleming*, the Fleming children, André & Keith White*, National Film Board of Canada*, Dan Marks*, Alan Bates, Michael Melford, Kinsey Posen, Warren Chiasson, Michel Godin*, Canadian* and Quebec National Archives, Jack Litchfield*, Lyman Potts, Michel Donato, Tony Romandini, Phil Antonaci Jr.*, François Bourassa, Andrew Homzy, Johnny Lanza, Paul Lafortune, Al Baculis, Yvan Landry, Hal Gaylor, Bob Roby*, Sabine Assuied, Sang Hee Park, Janet McClelland, Zeina H. Saleh, Mrs. Gerry MacDonald, Mark Miller, Plateau Musik, Gilles Garand, Babs Pitt, Jeff Healey, Walter Lipiec*, Peter Soave, Harold Smith, Ira Gitler, Art VanDamme, Christian Marcon, Reynald Ouellet, Richard Ring, Marin Nasturica, Bob Sunenblick, SOCAN, Canada Council for the Arts, Jack Fortin, Joaquin Diaz, Glen Sarty, Simon Pressey, Edouard Dumoulin, Owen Clark, Lyman Potts, Dave Lennick*, Jimmy Amaro, Johnny Maloney, Barry Graham, Sheila Graham*, Graham Henderson, Neil Chotem, Crayne Spanier, Addie & Marie Schiavo, Gary Benson, Leslie Mitchell Clarke, Robert Guérin, Christiane Girard, Gaye Hardiman, Fred Grenon and in memoriam, Billy Graham, Gerry Hoelke* and Paul Grosney, ainsi que tous les musiciens qui se son déjà rendus à leur ”gig” ultime- and most of all, Gordie.
More Quotes / Citations
“Fleming demonstrates again what can be done on an instrument that has been, for the most part, lightly regarded in jazz circles. Gordie not only knows how to swing on it, but he produces an exceptionally rich tone.” Ira Gitler
“a good friend and a great player. He could play many styles but his jazz playing was great and should be heard…a must!” Art Van Damme
“Gordie’s the greatest, there ain’t nobody compares” Michel Donato
“Absolutely best in the world on jazz accordion – a master” Jim Galloway, Toronto Downtown Jazz Festival
“I have nothing but reverence for the man and his genius” Guido Basso, Grammy winner with the Boss Brass
“…the world’s greatest bebop jazz accordionist” Len Dobbin
“I had forgotten what a great musician he was” Oliver Jones
“…an interesting story of a legendary performer who was extremely active…he made the accordion an instrument to be reckoned with…”
Fresh Air, CBC Radio
“a wonderful musician…” Jan Klinkewicz, PhillyJazz.org
” Fleming especially is an interesting player and one not heard often enough in this context” Mark Miller, Globe & Mail review of live show w. Buddy deFranco
“…breathtaking accordion passages…” Wilder Penfield III, Toronto Sun
“Fleming’s sparkling solos are full of bitonal arpeggios and ridiculously fast runs… ” Contemporary Keyboard
“slung over the shoulders of a player like Gordie Fleming, it can wail as mean and dirty as the late Charlie Parker’s alto or as cool and blue as Miles Davis’ trumpet when it’s on” Vancouver Sun
“I am absolutely in awe of Gordie’s talent. …you should do everything possible to get some CD’s out of his fabulous artistic legacy…natural ability…so beautifully rendered…(he is) on a par with Tommy Gumina. His crisp, rhythmic comping, his versatility, natural technical fluency and melodic creativity defies imitation” Joe Macerolla, celebrated classical accordionist
“the best I ever heard” (on accordion) Gene Lees
“What Gordie Fleming has in common with the great American accordionists is his speed and inventiveness…but his playing, as much in the touch as in the nimble fingering, has much in common with the style currently in vogue in Northern Europe – he easily measures up to the Scandinavian masters. Thus the unexpected crossbreeding from the Gulf of Mexico to the Baltic Sea: Gordie is possibly the most accomplished jazz accordionist to come from North America”. Christian Marcon, producer of a jazz accordion archive of the world’s greatest players from 1943-2003
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