The trikitixa is a two-row Basque diatonic button accordion that was likely introduced to that region by Italian immigrants or railway workers coming from the Alps in the 19th century, or perhaps it was introduced to Basque Country through the port of Bilbao. As it became popular at local festivities, young people danced to its tunes even though the Catholic Church dubbed it "hell's bellows" and warned that its lively music could lead Basque youths into temptation. In more recent decades, accordionists like Kepa Junkera and Joseba Tapia developed unprecedented ways of playing trikitixa. Today, there is support for both traditional and modern trikiti music, and Xabi Aburruzaga is another renowned player who is charting his own course with the instrument typically played in a swift, highly-ornamented way, occasionally emphasizing staccato triplets. With a great, cohesive band of instrumentalists and singers, Aurrez Aurre documents Aburruzaga’s original music at a live concert. Frequently, you can hear the audience clapping along enthusiastically to the toe-tapping music.

Born in 1978, Xabi Aburruzaga began studying music when he was just seven years old. It wasn’t long before he was winning awards, publishing books and releasing albums, about a half dozen since his first in 1999. He also organized and runs a Trikitixa school (Trikileku) for students who wish to improve their playing of the diatonic accordion.   

The Biscayan accordionist (Trikitilari) and composer defines his own personality as a professional, young, urban musician, yet he also pays tribute and is grateful for the musical legacy of his elders. In the past, Aburruzaga has documented, published scores, and released albums of the region’s traditional music. Since 2009, he has concentrated more on his own compositions and songs that invoke stylistic personal elements of folk, Celtic and jazz music. After opening with a couple rousing instrumentals, “Mekoleta” is a song sung by the group’s three male vocalists. “Maltraer” features an a cappella trio of women singers, Tanxuguerias. On Aurrez Aurre, the poignant songs “Soinu gorria,” “Meigas” and “Non da Palenstina?” document his collaborations with lyricist Iñaki Aurrekoetxea. Some of the songs may have been commissioned for Portugalete festivities.

Feeling a sincere admiration for Celtic music, Aburruzaga has toured and performed at festivals in all of the Celtic countries. “Laster arte” has the radiance of a glorious Celtic air. “Maestro Zubeldia” and “Reel Quebecois” clearly have the attitude and personality of up-tempo dance tunes, while “Breakfast in Belfast” is a moving jig in 6/8-time. Aburruzaga’s self-penned “Waltz for Velilla” reminds me more of a French Gypsyjazz tune. In more of a traditional vein, the crowd comes alive when vocalist Miren de Miguel is featured on “Abardino San Blasetan” to just the accompaniment of accordion and tambourine.

On “Atxarre,” listen closely for some understated sounds of the Basque alboka, a woodwind instrument consisting of a single reed, two small melody pipes with finger holes, and a bell traditionally made from animal horn. Similarly, a rollicking “Hauspoaren infernutik” introduces the sound of txistu, a three-holed flute that became a symbol for the Basque folk revival.

Aurrez Aurre is an excellent introduction to the music of Aburruzaga because the live concert 20-year anniversary retrospective presents some works with new arrangements, but it also features a stellar and well-rehearsed big band of instrumentalists, vocalists and no doubt dancers. (Joe Ross, Roots Music Report)