Book Review
Europe In The Seventeenth Century, Second Edition, D.H. Pennington, Longman,
London, 1970
No question when I think of 17th century European history I am drawn immediately to think about the English bourgeois revolution of the mid-century. That event put paid to the notion that a ruler could rule by divine right and that through various twists and turns, not all of them historically progressive by any means, some rough semblance of democratic rule would work best. Work best then in tandem with an emerging capitalist order (of course the process stretched out for some two centuries but the shell was established then) as the means of creating a stable society.
Aside from kings and queens having to worry, worry to death, about their pretty little necks (ask Charles I and Louis XVI, among others) and having rough-hewn, warts and all, rulers like Oliver Cromwell enter the scene many other things were going on in Europe in the 17th century that would contribute as well to what we would recognize as a modern Europe. What those events were, and their importance, was why when I was first seriously looking at the English Revolution back in the late 1970s I picked up Professor Pennington’s nice little survey (well maybe not so little at six hundred plus pages). And a recent re-reading only confirms (with the obvious acknowledgement of a need for some updating given the immense increase in scholarship in this area since then) its worth as a primer.
Perhaps the most dramatic social change of the 17th century was the long term (very long term globally as it is still working its way through the whole planet) trend toward more efficient agriculture leading to the lessening need for farmer workers (and large farm families as well) freeing up a surplus population to head to the bright lights of the city (maybe) and availability to work in the newly emerging industries that were just beginning to be formed in a way that we would recognize. The old feudal lord-serf relations were beginning to become attenuated, very attenuated with this movement away from the land and its seemingly eternal fixed relationships. Starting with textiles and working through to almost every possible commodity it became easier to buy machine-made products, and usually, except in times of not infrequent economic duress, cheaper.
That little spurt into what we would now call the industrial revolution changed many other aspects of the European outlook as well. Science became a more pressing social concern as the need to understand the physical work and its laws became more pressing. Religion which drove conflicts of the previous century, while still important to the plebeian masses, was lessening its grip on a more urbanized population. And, of course with that change, without becoming enthralled with a “Whig” onward and upward progressive interpretation of history came a dramatic increase in more secular interest for the arts, education, thinking of new ways of governing beyond the old time divine right of kings theories, other more radical political ideas about the family and other social relationships, and the extremely important fact that the a “right to rebellion” if not in official dogma then in practice became a legitimate form of plebeian expression.
Needless to say, as with every century, wars, wars for possession, succession, or just plain hubris, highlighted by the Thirty Years War, get plenty of attention. And, at the governmental level, that way to resolve conflicts not unexpectedly takes up much of the book. But the real importance of Professor Pennington’s survey is that it gives the “losers” in that century, places like Spain, Portugal, Sweden and Denmark their “fifteen minutes of fame,” information that when I first read the book I was not award of since many presentations, including general surveys, are front-loaded toward looking at the “winners” in various periods. England and France get plenty of attention, especially at the end of the book (and the end of the century setting up the big rivalries of the next couple of centuries. I will admit though that trying to keep up with the various partitions, dissections, intersections, and the like would drive me mad-if I was a cartographer. If your grasp of 17th century European history could use a little brushing up this survey is just fine. Then you can use the extensive bibliography and end notes (over one hundred pages between them) and move on to get the inside story of places, people and events that interest you.
Showing posts with label French and Indian War. Show all posts
Showing posts with label French and Indian War. Show all posts
Wednesday, November 30, 2011
Saturday, June 13, 2009
*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 A Version Of The Cajun "National Anthem", "Jolie Blon".
CD REVIEW
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”.
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”
“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”
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.
“Jolie Blonde”: The Hackberry Ramblers, The Hackberry Ramblers, Arhoolie Records, 1993
Back in the early days of Cajun music there was something of s 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.
Cajun Boogie: The Hackberry Ramblers, The Hackberry Ramblers, Flying Fish Records, 1993
Back in the early days of Cajun music there was something of s 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.
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.
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.
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.
"Jolie Blonde" lyrics
The words and translations to the Cajun recordings of Jole Blon, Jole Blonde, Jole Blond, Jolie Blon, Jolie Blonde and Jolie Blond. (The early Louisiana Cajun music recordings)
This is being compiled by Clarence, the webmaster for the "Cajun and Zydeco Radio Guide".
This is located at www.cajunradio.org/earlysongs.html
Jole Blonde
about the song, words in French, words in English
Jole Blonde is often referred to as the Cajun national athem due to widespread popularity and due to the historical nature of the song.
The original 1928 Jolie Blonde version by Amadie, Ophy, Cleoma Breaux
The first recording of the song Jolie Blon "Ma Blonde Est Partie" (Jolie Blonde) was made in 1928 by Amadie Breaux (born 09/07/1900), his brother Ophy Breaux and his sister Cleoma Breaux. It was recorded on the Old-Timey Records label. The vinal record is titled "Louisiana Cajun Music Vol. 5 - The Early Years 1928-1938". (Old-Timey Records 114)
I have a copy of the vinal record, but I don't know if it is still available or if it has been put on cassette or CD. I would suggest calling "Floyd's Record Shop" in Ville Platte, Louisiana to find out if it is available. (If you find out anything about availability, please email me and let me know). Floyd's is the expert - they were the recording label for a lot of French music in Louisiana. You can link to Floyd's from the "music retailers" section of the Cajun and Zydeco Radio Guide.
To get this original version of the song on CD, I suggest getting the CD called "Cajun Dance Party: Fais Do-Do" on the Columbia label # CK-46784. It has the original Jole Blonde 1928 version. You can listen to a part of it by selecting "Ma Blonde Est Partie" after you click Listen.
Please listen to Clarence's Cajun radio programs in Baton Rouge.
Saturdays 7pm-8pm on WBRH 90.3 FM
Sundays noon-2pm on KBRH 1260 AM
View Clarence's Baton Rouge Cajun and Zydeco Schedule. Clarence needs your help - read a message from Clarence here.
The 1935 Jole Blon version by Leo Soileau and the Hackberry Ramblers
Leo Soileau and his band the Hackberry Ramblers recorded a string band version of the song and called it La Valse De Guedan in 1935. Leo Soileau's version of Jolie Blonde is also recorded on the Old-Timey Records label. The vinal record is titled "Louisiana Cajun Music Vol. 3 - The String Bands of the 1930's. (Old-Timey Records 110). Leo Soileau also recorded under the name of Soileau & Robin on Louisiana Cajun Music Vol. 5 - The Early Years 1928-1938. (Old-Timey Records 114).
The 1946 Jole Blonde version by Harry Choates Listen
Harry Choates made 3 variations of the Jole Blonde recording. His most famous version was called "Jole Blon" and it was recorded in 1946. It was considered a big hit at the time. Harry Choates is the musician that was known for making Jole Blon as popular as it is today. (I have included a lot of info about Harry Choates further down this page.) Harry Choates version is on the Arhoolie label CD # 331 and Cassette # 331 that is titled "J'ai Été Au Bal, Vol. 1" (I Went to the Dance, Vol. 1).
Harry Choates also recorded two lesser known variations of the song called Jole Brun and Mari Jole Blon. They are on the Arhoolie label CD # 380
The original 1928 Jolie Blonde version by Amadie, Ophy, Cleoma Breaux
In French:
Jolie blonde, regardez donc quoi t'as fait,
Tu m'as quitte pour t'en aller,
Pour T'en aller avec un autre, oui, que moi,
Quel espoir et quel avenir, mais, moi, je vais avoir?
Jolie blonde, tu m'as laisse, moi tout seul,
Pour t'en aller chez ta famille.
Si t'aurais pas ecoute tos les conseils de les autres
tu serait ici-t-avec moi aujourd 'hui
Jolie blonde, tu croyais il y avait just toi,
Il y a pas just toi dans le pays pour moi aimer.
Je peux trouver just une autre jolie blonde,
Bon Dieu sait, moi, j'ai un tas.
In English
Pretty blond, look at what you've done,
You left me to go away,
to go away with another, yes, than me,
What hope and what future am I going to have?
Pretty blond, you've left me all alone
To go back to your family.
If you had not listened to all the advice of the others
You would be here with me today.
Pretty blond, you thought there as just you,
There is not just you in the land to love me.
I can find another pretty blond,
Good God knows, I have a lot.
Since the Cajun musician Harry Choates was responsible for making the song as popular as it is today, I am including info about Harry below:
Cajun musician Harry Choates's version
(by Craig Harris) Born Dec 26, 1922 in Rayne, LA. Died Jul 17, 1951 in Austin, TX. Harry Choates was not only one of the most influential musicians in the history of cajun music but one of its most tragic figures. A wild, imaginitive, fiddler, Choates wrote such classic tunes as the cajun national anthem, "Jole Blon" and popularized such songs as "Allons A Lafayette." Recording for Gold Star, DeLuxe, D.O.T., Alklied, cajun Classics, Macy's and Humming Bird, Choates introduced western swing, blues, jazz and country music to the two-steps and waltzes of southwest Louisiana's bayous, influencing nearly every cajun musician who followed in his footsteps.
Born in either Rayne or New Iberia, Louisiana, Choates moved to Port Arthur, Texas, with his mother in the 1930s. Rather than going to school, Choates spent much of his childhood in bars and tavers, listening to honky tonk and blues records on the jukebox. By the age of twelve, Choates was playing fiddle in barbershops for tips.
Launching his professional music career in cajun bands led by Leo Soileau and Leroy "Happy Fats" LeBlanc, Choates formed his own group, The Melody Boys, in 1946. The same year, he rewrote the classic cajun tune, "Jolie Blone," for his daughter, Linda, and recorded it for the Gold Star label. Although the tune became a country hit when covered by Aubrey "Moon" Mulligan, Choates had given up all rights to the song and received no further compensation for his composition. Choates and The Melody Boys continued to record at a prolific rate, releasing more than two dozen songs for Gold Star in 1946 and 1947. Adapting the western swing of Bob Wills And His Texas Playboys to cajun music, Choates became known as "the fiddle king of cajun swing".
Although he performed with Jesse James And His Gang on radio station, KTBC, after the disbanding of the Melody Boys in 1951, Choates suffering ended a few months later. His grave was left unmarked until 1980 when money was raised for a gravestone with the bi-lingual inscription, "Purrain De La Musique cajun - The Godfather of cajun Music"
In the mid-1960s, cajun musician Rufus Thibodeaux was one of the first to pay homage to Choates' influence when he recorded an album of Choates' songs, A Tribute to Harry Choates.
CD REVIEW
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”.
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”
“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”
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.
“Jolie Blonde”: The Hackberry Ramblers, The Hackberry Ramblers, Arhoolie Records, 1993
Back in the early days of Cajun music there was something of s 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.
Cajun Boogie: The Hackberry Ramblers, The Hackberry Ramblers, Flying Fish Records, 1993
Back in the early days of Cajun music there was something of s 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.
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.
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.
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.
"Jolie Blonde" lyrics
The words and translations to the Cajun recordings of Jole Blon, Jole Blonde, Jole Blond, Jolie Blon, Jolie Blonde and Jolie Blond. (The early Louisiana Cajun music recordings)
This is being compiled by Clarence, the webmaster for the "Cajun and Zydeco Radio Guide".
This is located at www.cajunradio.org/earlysongs.html
Jole Blonde
about the song, words in French, words in English
Jole Blonde is often referred to as the Cajun national athem due to widespread popularity and due to the historical nature of the song.
The original 1928 Jolie Blonde version by Amadie, Ophy, Cleoma Breaux
The first recording of the song Jolie Blon "Ma Blonde Est Partie" (Jolie Blonde) was made in 1928 by Amadie Breaux (born 09/07/1900), his brother Ophy Breaux and his sister Cleoma Breaux. It was recorded on the Old-Timey Records label. The vinal record is titled "Louisiana Cajun Music Vol. 5 - The Early Years 1928-1938". (Old-Timey Records 114)
I have a copy of the vinal record, but I don't know if it is still available or if it has been put on cassette or CD. I would suggest calling "Floyd's Record Shop" in Ville Platte, Louisiana to find out if it is available. (If you find out anything about availability, please email me and let me know). Floyd's is the expert - they were the recording label for a lot of French music in Louisiana. You can link to Floyd's from the "music retailers" section of the Cajun and Zydeco Radio Guide.
To get this original version of the song on CD, I suggest getting the CD called "Cajun Dance Party: Fais Do-Do" on the Columbia label # CK-46784. It has the original Jole Blonde 1928 version. You can listen to a part of it by selecting "Ma Blonde Est Partie" after you click Listen.
Please listen to Clarence's Cajun radio programs in Baton Rouge.
Saturdays 7pm-8pm on WBRH 90.3 FM
Sundays noon-2pm on KBRH 1260 AM
View Clarence's Baton Rouge Cajun and Zydeco Schedule. Clarence needs your help - read a message from Clarence here.
The 1935 Jole Blon version by Leo Soileau and the Hackberry Ramblers
Leo Soileau and his band the Hackberry Ramblers recorded a string band version of the song and called it La Valse De Guedan in 1935. Leo Soileau's version of Jolie Blonde is also recorded on the Old-Timey Records label. The vinal record is titled "Louisiana Cajun Music Vol. 3 - The String Bands of the 1930's. (Old-Timey Records 110). Leo Soileau also recorded under the name of Soileau & Robin on Louisiana Cajun Music Vol. 5 - The Early Years 1928-1938. (Old-Timey Records 114).
The 1946 Jole Blonde version by Harry Choates Listen
Harry Choates made 3 variations of the Jole Blonde recording. His most famous version was called "Jole Blon" and it was recorded in 1946. It was considered a big hit at the time. Harry Choates is the musician that was known for making Jole Blon as popular as it is today. (I have included a lot of info about Harry Choates further down this page.) Harry Choates version is on the Arhoolie label CD # 331 and Cassette # 331 that is titled "J'ai Été Au Bal, Vol. 1" (I Went to the Dance, Vol. 1).
Harry Choates also recorded two lesser known variations of the song called Jole Brun and Mari Jole Blon. They are on the Arhoolie label CD # 380
The original 1928 Jolie Blonde version by Amadie, Ophy, Cleoma Breaux
In French:
Jolie blonde, regardez donc quoi t'as fait,
Tu m'as quitte pour t'en aller,
Pour T'en aller avec un autre, oui, que moi,
Quel espoir et quel avenir, mais, moi, je vais avoir?
Jolie blonde, tu m'as laisse, moi tout seul,
Pour t'en aller chez ta famille.
Si t'aurais pas ecoute tos les conseils de les autres
tu serait ici-t-avec moi aujourd 'hui
Jolie blonde, tu croyais il y avait just toi,
Il y a pas just toi dans le pays pour moi aimer.
Je peux trouver just une autre jolie blonde,
Bon Dieu sait, moi, j'ai un tas.
In English
Pretty blond, look at what you've done,
You left me to go away,
to go away with another, yes, than me,
What hope and what future am I going to have?
Pretty blond, you've left me all alone
To go back to your family.
If you had not listened to all the advice of the others
You would be here with me today.
Pretty blond, you thought there as just you,
There is not just you in the land to love me.
I can find another pretty blond,
Good God knows, I have a lot.
Since the Cajun musician Harry Choates was responsible for making the song as popular as it is today, I am including info about Harry below:
Cajun musician Harry Choates's version
(by Craig Harris) Born Dec 26, 1922 in Rayne, LA. Died Jul 17, 1951 in Austin, TX. Harry Choates was not only one of the most influential musicians in the history of cajun music but one of its most tragic figures. A wild, imaginitive, fiddler, Choates wrote such classic tunes as the cajun national anthem, "Jole Blon" and popularized such songs as "Allons A Lafayette." Recording for Gold Star, DeLuxe, D.O.T., Alklied, cajun Classics, Macy's and Humming Bird, Choates introduced western swing, blues, jazz and country music to the two-steps and waltzes of southwest Louisiana's bayous, influencing nearly every cajun musician who followed in his footsteps.
Born in either Rayne or New Iberia, Louisiana, Choates moved to Port Arthur, Texas, with his mother in the 1930s. Rather than going to school, Choates spent much of his childhood in bars and tavers, listening to honky tonk and blues records on the jukebox. By the age of twelve, Choates was playing fiddle in barbershops for tips.
Launching his professional music career in cajun bands led by Leo Soileau and Leroy "Happy Fats" LeBlanc, Choates formed his own group, The Melody Boys, in 1946. The same year, he rewrote the classic cajun tune, "Jolie Blone," for his daughter, Linda, and recorded it for the Gold Star label. Although the tune became a country hit when covered by Aubrey "Moon" Mulligan, Choates had given up all rights to the song and received no further compensation for his composition. Choates and The Melody Boys continued to record at a prolific rate, releasing more than two dozen songs for Gold Star in 1946 and 1947. Adapting the western swing of Bob Wills And His Texas Playboys to cajun music, Choates became known as "the fiddle king of cajun swing".
Although he performed with Jesse James And His Gang on radio station, KTBC, after the disbanding of the Melody Boys in 1951, Choates suffering ended a few months later. His grave was left unmarked until 1980 when money was raised for a gravestone with the bi-lingual inscription, "Purrain De La Musique cajun - The Godfather of cajun Music"
In the mid-1960s, cajun musician Rufus Thibodeaux was one of the first to pay homage to Choates' influence when he recorded an album of Choates' songs, A Tribute to Harry Choates.
*Down In The Bayous In Cajun Country- “The French Blues”, Modern Cajun- BeauSoliel
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.
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.
*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”.
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