This Chicago guitarist is a faithful sidekick compared to that rare breed referred to as jazz accordion players because the years prior to the Second World War, when old-timers remember his music to be something of the balm in troubled times. And in the first years of the brand new millennium, right now there he was, still gracefully comping swinging chords between your jazz accordion of Mike Alongi. The second option accordion swinger was basically thrilled to become using Rundquist, because to adobe flash back to days gone by once again, the guitarist spent a number of evenings in business of 1 of the best jazz accordion players of most, Art Vehicle Damme. In 1945, Vehicle Damme shaped what will be considered a vintage quintet with Charlie Calzaretta on vibes, Lou Skalinder on bass, drummer Utmost Mariash, and Rundquist. This group performed live mainly in the Midwest but accomplished fame on the national scale due to some recordings for Columbia in the ’50s and early ’60s. The majority of those albums founded a link between consuming cocktails and playing jazz that continuing to provide Rundquist well in to the past due ’90s when he was booked in the posh vacation resort lounges of Hilton Mind. Some critics possess called this sort of music “lite jazz,” linking it to alcoholic beverages of a very much lesser power than within a cocktail. Liner records to some of the Van Damme produces in fact brag that “there is certainly nothing at all cerebral in this sort of music,” however in reality it really is jazz of very much complexity, filled with a knowledge of harmony, which has powered many aspiring guitarists to review at Rundquist’s ft. It was already well established just how many accordion players he offers hanging around. Actually, he appears to be treated as virtually an honorary accordion participant, his every move recorded in the publication Accordion Information, which is released in something similar to a dozen dialects. Getting started in the later ’30s skillfully, Rundquist proved helpful at a number of historical Chicago jazz night clubs like the Review Lounge on Randolph, the Capitol Lounge on Condition, as well as the Brass Rail on Dearborn. It had been an interval when clubs had been crowded, as viewers enthusiastically resulted in to listen to what move would be made following in the change from golf swing to bop. By keeping the lower level of ensemble dictated by getting the accordion being a business lead instrument, Rundquist preserved some sort of dignity in his audio and subtlety in his improvisations. In the ’60s, he was involved with studio periods for the fantastic soul vocalist Esther Phillips.