Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. His music reverberates with the sounds of the ballroom, the beer garden, and the concert hall.
Guy began playing accordion ca. 1952, after seeing Dick Contino on television. Since that time, he has performed and/or recorded with Laurie Anderson, Bang On a Can, Alan Bern, Boston Pops, Brave Combo, Buffalo Philharmonic, Anthony Braxton, Jason Robert Brown, Charles Busch, Dave Douglas, Bill Frisell, Robin Holcomb, Phillip Johnston, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Estelle Parsons, A.R. Rahman, Relâche, Todd Reynolds, John Williams, and John Zorn; and as a guest on the children’s television show, “Mr. Roger’s Neighborhood” (1988).
He has premiered over 50 solo accordion pieces, including his own, as well as those he has commissioned from Mary Ellen Childs, William Duckworth, Fred Frith, Aaron Jay Kernis, Jerome Kitzke, Stephen Montague, Somei Satoh, Lois V Vierk, and John Zorn.
Performances include the Ten Days on the Island Festival (Tasmania), the Adelaide Festival (Australia), the Berlin Jazz Festival, Serious Fun! at Lincoln Center, Spoleto Festival/USA, BAM Next Wave Festival, Cotati Accordion Festival, San Antonio International Accordion Festival, and Vienna International Accordion Festival.
His group “Accordion Tribe” (1996-2008) toured internationally, released 3 cds, and became the subject of Stefan Schwietert’s documentary film, “Accordion Tribe: Music Travels.”
Klucevsek has released 23 recordings as leader/co-leader, his most recent being “Teetering on the Verge of Normalcy,” on the Starkland label.
He can also be heard on John Williams’s orchestral scores for the Steven Spielberg films, “The Terminal,” “Munich,” “Indiana Jones and the Kingdom of the Crystal Skull,” and “The Adventures of Tin-Tin,” and on A. R. Rahman’s score for “People Like Us.”
He is the recipient of a 2010 United States Artists Collins Fellowship, awarded to “America’s finest artists.”
For a very personal biography which Guy wrote in the mid ’90s, please see his essay, Accordion Misdemeanors: A Musical Reminiscence, on the classical free reed web site.