The story about Frank Marocco could have a sub-title: "Or how many careers are there for one man with an accordion?" He shows the versatility of the instrument by playing jazz, pop, classical, and ethnic music.

Frank started taking accordion lessons at age seven, and like other successful professional accordionists, received an excellent classical education before turning to jazz.  He formed a quartet and traveled all over the country playing in hotels and supper clubs.

A year-long engagement at the Ambassador Hotel brought him to Los Angeles, and he decided it was a "good place to settle down and raise a family.  I started doing some work in the studios, as well as some teaching."

Marocco still had some traveling to do--with the Les Brown orchestra, the Bob Hope show, and Love Boat cruises.  In the past ten years, however, he has done most of the studio work for the accordion in the Los Angeles area.  Included are jingles (advertising), films and many of the familiar TV shows: Carson, Griffin, and Douglas, for instance.  In fact, almost every time you hear an accordion on television and in the movies, it's probably Frank Marocco.  He has been voted the number one studio accordionist for the past three years by the members of the National Association of Recording Artists (NARAS).

In the classical field, Marocco has played with the Los Angeles Philharmonic Orchestra, the Los Angeles Chamber Orchestra and the Roger Wagner Chorale.  Last June he recorded a Hindemith chamber music piece with the Chamber Orchestra.

But, "Jazz is truly the field I love" he revealed, "and I have recorded five jazz albums in the past five years." Also, the last two summers, Marocco toured Scandinavia giving jazz concerts and appearing on television and radio.  He plans to return to Europe again this summer.

When interviewed by Sandra Martin (Martin Music Center) a few years ago, Marocco had the following to say about working in the studios: "Studio work is re-creation; jazz is creation.  In the studio they tell you, 'Play this, play that, sound like a Russian classical player, or a French cafe player, or play a pizza commercial.' You have to be able to read anything.  Two weeks ago, I played some classical Russian music written by Kathleen McDonald that was very difficult, as difficult as any music I've had to play.  But usually it's not that difficult, it's mainly second guessing what they want."

His advice to young artists: "Make sure it's what you want.  It's not easy.  There are an awful lot of good players and not enough work.  Be able to read anything; to think on your feet.  When the red light goes on, you have to play perfectly."

Frank feels that the image of the accordion in the United States would improve if young players would take the accordion in another direction.  "We need young guys (or girls) that have something different to say on the instrument.  That's what I've tried to do."