Click On To Title To Link To YouTube's Film Clip Of Beausoliel Doing "Varise".
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
La Danse De La Vie, BeauSoliel, Rhino Records, 1993
Elsewhere in this space I have gone on and on about my love affair with the blues, my admiration for the singers of the folk revival of the 1960’s and my appreciation for the 1950’s pioneers of rock ‘n’ roll. I admit to a late interest in Cajun music sparked, a little at least, by the Dennis Quiad New Orleans-centered film “The Big Easy” from the 1990’s. This modern Cajun-oriented group BeauSoliel became better known and caught my attention in the wake of that interest in things Cajun. The group, as far as I know, had as part of its mission to make this previously somewhat insulated music more accessible to non-Cajun and non-patois speaking audiences. They achieved some success in this endeavor. Witness here some nice fiddle work on the title track “La Danse de la Vie”, “Quelle Belle Vie” and “ La Fille de Quatorze Ans”. Moreover, this is very danceable music. Feet up.
Showing posts with label acadians. Show all posts
Showing posts with label acadians. Show all posts
Saturday, June 13, 2009
*Down In The Bayous In Cajun Country- “The French Blues”, "Acadian Folk Songs"
Click On Title To Link To Arhoolie Records Website, An Excellent Place To Find Rare Cajun Music Items.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Folksongs of The Louisiana Acadians, various artists, Arhoolie Records, 1994
The roots of Cajun music go back a long way, probably as far back as the time of the expulsion of the Acadians from Nova Scotia and the forced trek to Louisiana made famous by Henry Wadsworth Longfellow’s “Evangeline”. This CD tracks those origins and brings the story up to modern times. As always with an Arhoolie product there are copious liner notes to help fill in the story. Unlike other Cajun CDs I have reviewed in this space like those of the Hackberry Ramblers, this one has many early Acadia pieces that are untouched, or barely touched, by other musical influences. These tunes are similar in simplicity to the music of other isolated regions of America like the Appalachian Mountains. Fiddle, a bass, maybe a drum but some just have that pure, lonesome fiddle. Feast on “Mes Souliers Sont Rouges”, “Contredanse Francaise”, ‘Y Avait Boitine Boiteuse”, “Aux Natchitoches” and “Contredanse De Mamou” in the middle of this CD to see what I mean.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Folksongs of The Louisiana Acadians, various artists, Arhoolie Records, 1994
The roots of Cajun music go back a long way, probably as far back as the time of the expulsion of the Acadians from Nova Scotia and the forced trek to Louisiana made famous by Henry Wadsworth Longfellow’s “Evangeline”. This CD tracks those origins and brings the story up to modern times. As always with an Arhoolie product there are copious liner notes to help fill in the story. Unlike other Cajun CDs I have reviewed in this space like those of the Hackberry Ramblers, this one has many early Acadia pieces that are untouched, or barely touched, by other musical influences. These tunes are similar in simplicity to the music of other isolated regions of America like the Appalachian Mountains. Fiddle, a bass, maybe a drum but some just have that pure, lonesome fiddle. Feast on “Mes Souliers Sont Rouges”, “Contredanse Francaise”, ‘Y Avait Boitine Boiteuse”, “Aux Natchitoches” and “Contredanse De Mamou” in the middle of this CD to see what I mean.
*Down In The Bayous In Cajun Country- “The French Blues”, "Abbeville Breakdown"
Click On Title To Link To YouTube's Film Clip Of Clifton Chenier Doing His Thing On The Accordion.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Cajun Volume 1; Abbeville Breakdown 1929-1939, CBS Records, 1990
Certain towns in southwest Louisiana evoke the spirit of Cajun music more than others. I have mentioned elsewhere the importance of Lake Charles and Lafayette. Abbeville is another, especially in the period of the music under review. If a group like accordionist Nathan Abshire and the Pine Grove Boys evoke a certain primitive kind of Cajun sound driven by that old accordion and fiddler Luderin Darbone’s Hackberry Ramblers reflect a mix of Cajun with other influences then the music here is evocative of the deeper Acadian roots of the music. Of course, as in any language, the themes of love, lost love and longing for love get a full workout. As proof listen to “Aimer Et Perdre” (“To Love And Lose”), “Comme Moi Ma Saine” (“I Wonder If You Feel The Way I Do”), Quel Espoire” (“What’s The Use”) and “Apres Jengles A Toi” (“Thinking Of You”). Many of the other songs are along this same vein or are just good old flat out dancing tunes.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Cajun Volume 1; Abbeville Breakdown 1929-1939, CBS Records, 1990
Certain towns in southwest Louisiana evoke the spirit of Cajun music more than others. I have mentioned elsewhere the importance of Lake Charles and Lafayette. Abbeville is another, especially in the period of the music under review. If a group like accordionist Nathan Abshire and the Pine Grove Boys evoke a certain primitive kind of Cajun sound driven by that old accordion and fiddler Luderin Darbone’s Hackberry Ramblers reflect a mix of Cajun with other influences then the music here is evocative of the deeper Acadian roots of the music. Of course, as in any language, the themes of love, lost love and longing for love get a full workout. As proof listen to “Aimer Et Perdre” (“To Love And Lose”), “Comme Moi Ma Saine” (“I Wonder If You Feel The Way I Do”), Quel Espoire” (“What’s The Use”) and “Apres Jengles A Toi” (“Thinking Of You”). Many of the other songs are along this same vein or are just good old flat out dancing tunes.
*Down In The Bayous In Cajun Country- “The French Blues”, Once Again, The Hackberry Ramblers
Click On Title To Link To Hackberry Ramblers Website.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Cajun Boogie: The Hackberry Ramblers, The Hackberry Ramblers, Flying Fish Records, 1993
Back in the early days of Cajun music there was something of a split between the “purists” who insisted that the fiddle was the central driving force behind the music and those who argued that the accordion was that force. I take my stand with those who argue for the accordion but if you want a very strong argument for the fiddle then your stop is at old time player Luderin Darbone’s Hackberry Ramblers. This group was practically a Cajun institution at the Saturday barns dances and other venues in the old days. The composition of the group, and its popularity, changed over time but this was always easy material to listen to. And to get up to dance to, as well. Listen to a virtual title track Cajun anthem “Cajun Boogie’, “Grand Texas”, “Crowley Waltz”, “Turtle Tail” and the Mississippi Sheiks classic “Sitting On Top Of The World” if you want to know the place where Cajun intersected Western Swing and a million other influences that this band incorporated in its repertoire from its inception in 1933.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Cajun Boogie: The Hackberry Ramblers, The Hackberry Ramblers, Flying Fish Records, 1993
Back in the early days of Cajun music there was something of a split between the “purists” who insisted that the fiddle was the central driving force behind the music and those who argued that the accordion was that force. I take my stand with those who argue for the accordion but if you want a very strong argument for the fiddle then your stop is at old time player Luderin Darbone’s Hackberry Ramblers. This group was practically a Cajun institution at the Saturday barns dances and other venues in the old days. The composition of the group, and its popularity, changed over time but this was always easy material to listen to. And to get up to dance to, as well. Listen to a virtual title track Cajun anthem “Cajun Boogie’, “Grand Texas”, “Crowley Waltz”, “Turtle Tail” and the Mississippi Sheiks classic “Sitting On Top Of The World” if you want to know the place where Cajun intersected Western Swing and a million other influences that this band incorporated in its repertoire from its inception in 1933.
*Down In The Bayous In Cajun Country- “The French Blues”, The Hackberry Ramblers
Click On Title To Link To Hackberry Ramblers Website.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
“Jolie Blonde”: The Hackberry Ramblers, The Hackberry Ramblers, Arhoolie Records, 1993
Back in the early days of Cajun music there was something of a split between the “purists” who insisted that the fiddle was the central driving force behind the music and those who argued that the accordion was that force. I take my stand with those who argue for the accordion but if you want a very strong argument for the fiddle then your stop is at old time player Luderin Darbone’s Hackberry Ramblers. This group was practically a Cajun institution at the Saturday barns dances and other venues in the old days. The composition of the group, and its popularity, changed over time by this was always easy material to listen to. And to get up to dance to, as well. Listen to the virtual title track Cajun anthem “Jolie Blonde”, “Grand Texas”, “Colinda”, “Fais Pas” and “Louisiana Waltz” if you want to know the place where Cajun intersected Western Swing and a million other influences that this band incorporated in its repertoire from its inception in 1933.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
“Jolie Blonde”: The Hackberry Ramblers, The Hackberry Ramblers, Arhoolie Records, 1993
Back in the early days of Cajun music there was something of a split between the “purists” who insisted that the fiddle was the central driving force behind the music and those who argued that the accordion was that force. I take my stand with those who argue for the accordion but if you want a very strong argument for the fiddle then your stop is at old time player Luderin Darbone’s Hackberry Ramblers. This group was practically a Cajun institution at the Saturday barns dances and other venues in the old days. The composition of the group, and its popularity, changed over time by this was always easy material to listen to. And to get up to dance to, as well. Listen to the virtual title track Cajun anthem “Jolie Blonde”, “Grand Texas”, “Colinda”, “Fais Pas” and “Louisiana Waltz” if you want to know the place where Cajun intersected Western Swing and a million other influences that this band incorporated in its repertoire from its inception in 1933.
*Down In The Bayous In Cajun Country- “The French Blues”, Once Again, Nathan Abshire
Click On Title To Link To YouTube's Film Clip Of Nathan Abshire And Company Doing "Pine Grove Blues".
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
The Cajun Legend; The Best Of Nathan Abshire, Nathan Abshire and his Pine Grove Boys, Swallow Records, 1991
If you, like me, need to have your Cajun music with accordion then your first stop is to this band under review, Nathan Abshire and his Pine Grove Boys. For pure Saturday night party time down in Cajun country the band with Abshire leading the way with his accordion can’t be beat. Listen up to “Pine Grove Blues” “Musician's Life”, “Sur le Courtableu”, “Belisaire Waltz”, “French Blues” and “Valse de Bayou Teche”. Nice.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
The Cajun Legend; The Best Of Nathan Abshire, Nathan Abshire and his Pine Grove Boys, Swallow Records, 1991
If you, like me, need to have your Cajun music with accordion then your first stop is to this band under review, Nathan Abshire and his Pine Grove Boys. For pure Saturday night party time down in Cajun country the band with Abshire leading the way with his accordion can’t be beat. Listen up to “Pine Grove Blues” “Musician's Life”, “Sur le Courtableu”, “Belisaire Waltz”, “French Blues” and “Valse de Bayou Teche”. Nice.
*Down In The Bayous In Cajun Country- “The French Blues”- Nathan Abshire
Click On Title To Link To YouTube's Film Clip Of Nathan Abshire Doing "French Blues".
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
“French Blues”, Nathan Abshire And His Pine Grove Boys, Arhoolie Records, 1993
If you, like me, need to have your Cajun music with accordion then your first stop is to this band under review, Nathan Abshire and his Pine Grove Boys. For pure Saturday night party time down in Cajun country the band with Abshire leading the way with his accordion can’t be beat. Listen up to “Pine Grove Blues”, the classic title track “French Blues, “The New Jolie Blon”, “Mama Rosin” and a super “Cannon Ball Special”
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know, at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
“French Blues”, Nathan Abshire And His Pine Grove Boys, Arhoolie Records, 1993
If you, like me, need to have your Cajun music with accordion then your first stop is to this band under review, Nathan Abshire and his Pine Grove Boys. For pure Saturday night party time down in Cajun country the band with Abshire leading the way with his accordion can’t be beat. Listen up to “Pine Grove Blues”, the classic title track “French Blues, “The New Jolie Blon”, “Mama Rosin” and a super “Cannon Ball Special”
*Down In The Bayous In Cajun Country- “The French Blues”- Waylon Thibodeaux
Click On Title To Link To YouTube's Film Clip Of Waylon Thibodeaux.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Best Of Cajun; The Traditional Songs Featuring Waylon Thibodeaux, Waylon Thibodeaux and various artists, Mardi Gras Records,
I have pointed out above the good old boy Saturday night barn dance tradition in Cajun country. The central instrument is many times the fiddle when there is no accordion around. Waylon Thibodeaux and his masterful fiddle are featured here on some Cajun classics. I note the virtual Cajun anthem “Jolie Blonde”, “Lake Charles Two Step” (that will get you up and dancing) and another familiar Cajun classic “Grand Mamou”
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Best Of Cajun; The Traditional Songs Featuring Waylon Thibodeaux, Waylon Thibodeaux and various artists, Mardi Gras Records,
I have pointed out above the good old boy Saturday night barn dance tradition in Cajun country. The central instrument is many times the fiddle when there is no accordion around. Waylon Thibodeaux and his masterful fiddle are featured here on some Cajun classics. I note the virtual Cajun anthem “Jolie Blonde”, “Lake Charles Two Step” (that will get you up and dancing) and another familiar Cajun classic “Grand Mamou”
*Down In The Bayous In Cajun Country- “The French Blues”-"Cajun Music-The Essential Collection"
Click On Title To Link To YouTube's Film Clip Of Jo-El Sonnier, Cajun Accordionist.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Cajun Music: The Essential Collection, various artists, Rounder Heritage Series, Rounder Records, 2002
Rounder Records is almost invariably a great source for virtually every form of American roots music and for those who are unfamiliar with Cajun music this is your primer. Moreover Rounder, as usual, provides copious liner notes to give detailed information about the Cajun traditions, the various influences and the genesis of the performers. There are pure instrumentals featuring the ubiquitous fiddle, Creole classics, accordion masterpieces and French patois vocals. I note especially Jo-El Sonnier’s “Pine Grove Blues”, and “Evangeline Express”, Zachary Richard’s virtual Cajun anthem “Jolie blon” and the modern Cajun band BeauSoliel on “Madame Bozo”.
CD REVIEW
The introductory paragraphs in this review have been used to review other Cajun CDs in this space.
Well, it is about time that I started to review some of the work of the good old boys and girls from the bayous down in Cajun country. Places like Lafayette and Lake Charles evoke memories of time and place in Cajun musical history. You know at the edges of the places where the likes of Hank Williams and Jerry Lee Lewis learned their crafts. And places where all kinds of mixes of music and races blended to form unique sounds all their own. Accordions, washboards, fiddles, guitars and what ever came to hand on those whiskey-drenched Saturday nights.
And on those nights come names like Clifton Chenier and Booboo Chavis that form the black-influenced strand of the music. The Hackberry Ramblers and the likes of Waylon Thibodeaux form another, the good old white boys. French Acadian exiles, English “swamp foxes” of undetermined origin, black escaped slaves, “poor white trash”- it is all there mixed in one form or another. For the most part there were no serious conscious attempts to mix the strands but how could the intermixing influences be avoided in that small isolated area of southwest Louisiana. And all under the umbrella of what I call the “French blues”. Get your dancing slippers on.
Cajun Music: The Essential Collection, various artists, Rounder Heritage Series, Rounder Records, 2002
Rounder Records is almost invariably a great source for virtually every form of American roots music and for those who are unfamiliar with Cajun music this is your primer. Moreover Rounder, as usual, provides copious liner notes to give detailed information about the Cajun traditions, the various influences and the genesis of the performers. There are pure instrumentals featuring the ubiquitous fiddle, Creole classics, accordion masterpieces and French patois vocals. I note especially Jo-El Sonnier’s “Pine Grove Blues”, and “Evangeline Express”, Zachary Richard’s virtual Cajun anthem “Jolie blon” and the modern Cajun band BeauSoliel on “Madame Bozo”.
Friday, April 10, 2009
*American Roots Music- From Soup To Nuts-The PBS Documentary
Click on title to link to PBS's website for the "American Roots Music" documentary.
DVD Review
American Roots Music, narrated by Kris Kristofferson, various artists, 2 CD set, PBS Productions, 2001
From soup to nuts, indeed. I have over the past couple of years gone through the back pages of the American songbook to look at old style country music-eastern and western varieties, the blues both country and electric and all the regional variations like the Delta and Texas sounds to name a couple and the quintessential American music –jazz. I have gone back, way back, to the pre-radio, pre-recording days to get the lyrics for songs that dealt with hard times, soft times, soft loving, hard loving and no loving. I have taken musical trips through the bayous of Louisiana to get that Acadian/Cajun sound. I have gone to the hills and hollows of Kentucky to get that old time mountain music. I have goe to the Western caverns to hear the sounds that inspired the Native American traditions. I have looked at the roots of rock and roll backward, forward and sideways from rhythm and blues and gospel to rockabilly.
Frankly, I had wanted to do the project for a long time and I was glad to do it. For those who have just come to an appreciation of roots music or who want the long view though this Public Broadcasting System (PBS) production will give you all you need to know in capsule form, complete with the informative “talking head” commentary with well-known musicians in each genre covered, in a 2 CD four hour series that goes though all the genres mentioned above and some that I have not spend much time on yet, especially Tejano and Carib-derived music.
The producers of this effort have gone back to the old days of barn dances, local radio shows and vaudeville to bring out the various regional musics that form the roots of today’ musical expression. They trace the divergent black and white trends that converge in the post World War II period with the arrival of blacks in great numbers in the urban setting and whites, especially white teenagers hungry for new musical expression- as long as it was not something that their parents liked. Some time is also spent on the importance of the urban folk revival movement of the early 1960s as a central element in helping a whole generation search for those lost roots- all the way from gospel (in the church and in the streets), mountain music (especially the use of the old time musical instruments), Cajun (the whole Acadian exile experience when the bloody British took over in Canada) and the country blues, especially the work of those Mississippi Delta artists who influenced the post-World War II Chicago-based electric blues explosion. The best parts for me though were the Tejano and Carib-derived music sections that I had not previously been as familiar with. But I will get familiar fast. ‘Til then, the roots is the toots
DVD Review
American Roots Music, narrated by Kris Kristofferson, various artists, 2 CD set, PBS Productions, 2001
From soup to nuts, indeed. I have over the past couple of years gone through the back pages of the American songbook to look at old style country music-eastern and western varieties, the blues both country and electric and all the regional variations like the Delta and Texas sounds to name a couple and the quintessential American music –jazz. I have gone back, way back, to the pre-radio, pre-recording days to get the lyrics for songs that dealt with hard times, soft times, soft loving, hard loving and no loving. I have taken musical trips through the bayous of Louisiana to get that Acadian/Cajun sound. I have gone to the hills and hollows of Kentucky to get that old time mountain music. I have goe to the Western caverns to hear the sounds that inspired the Native American traditions. I have looked at the roots of rock and roll backward, forward and sideways from rhythm and blues and gospel to rockabilly.
Frankly, I had wanted to do the project for a long time and I was glad to do it. For those who have just come to an appreciation of roots music or who want the long view though this Public Broadcasting System (PBS) production will give you all you need to know in capsule form, complete with the informative “talking head” commentary with well-known musicians in each genre covered, in a 2 CD four hour series that goes though all the genres mentioned above and some that I have not spend much time on yet, especially Tejano and Carib-derived music.
The producers of this effort have gone back to the old days of barn dances, local radio shows and vaudeville to bring out the various regional musics that form the roots of today’ musical expression. They trace the divergent black and white trends that converge in the post World War II period with the arrival of blacks in great numbers in the urban setting and whites, especially white teenagers hungry for new musical expression- as long as it was not something that their parents liked. Some time is also spent on the importance of the urban folk revival movement of the early 1960s as a central element in helping a whole generation search for those lost roots- all the way from gospel (in the church and in the streets), mountain music (especially the use of the old time musical instruments), Cajun (the whole Acadian exile experience when the bloody British took over in Canada) and the country blues, especially the work of those Mississippi Delta artists who influenced the post-World War II Chicago-based electric blues explosion. The best parts for me though were the Tejano and Carib-derived music sections that I had not previously been as familiar with. But I will get familiar fast. ‘Til then, the roots is the toots
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