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Corey Ledet & His Zydeco Band

 

coreyledet-ii

Corey Ledet

COREY LEDET KICKS UP HIS GAME WITH “STANDING ON FAITH”

Parks, LA — CPL Records proudly announces the release of Grammy-nominated Zydeco innovator, singer/songwriter/accordion player COREY LEDET & HIS ZYDECO BAND’s “STANDING ON FAITH” (his ninth album) on MARCH 3, 2017. “STANDING ON FAITH” was co-produced by Cecil Green and Jesse Delgizzi and recorded at the Green Room in Ville Platte, LA. Joining Ledet (Accordions/Drums/Vocals/Washboard) in the studio were Delgizzi (Guitar/Bass/Moog/Vocals) and Green (Keyboards).

Ledet injects pop, funk, rhythm-and-blues and reggae on “STANDING ON FAITH”.  In doing so, he continues to work from the genre-splicing template set by such zydeco pioneers as Clifton Chenier and Stanley “Buckwheat” Dural. After opening with the funky, Prince-like “Intro,” “STANDING ON FAITH,” continues with the upbeat zydeco-pop instrumental, “Love Never Felt So Good”; stays positive with the album’s zydeco-pop title song; glides to breezy R&B balladry for “Take Me There”; plots a reggae course with the sunny “A Good Day”; and slips into the sleek, contemporary R&B of “Street Light.”

corey-ledet

Corey Ledet

“I don’t like to stick with something that’s easy, or just the way it’s supposed to be,” Ledet says. “I like to explore and experiment. That makes music fun. It’s like cooking. When you’re cooking a recipe, you say, let me try this with that, let me see if this works.”

During most of his 14 years as a band leader, Ledet based his repertoire on the foundation set by Clifton Chenier and other zydeco pioneers. But now he’s moving beyond the zydeco classics. “I can do that all night long,” Ledet says. “But I can do other things as well. Traditional zydeco, nontraditional, pop. I can go any which way I want. This is my way of creating a sound that fits me.”

Blending styles is challenging for Ledet, but he likes the challenge. But before he became a music mixologist, he learned the zydeco basics. “I did all the studying and research I could do,” he says. ‘It took a long time. There’s a lot to learn about zydeco and Creole music. But it’s important to know your background before you learn anything else. After I finished studying all of that, I learned other stuff that interested me. Pop music, classical music. I even listened to Frank Sinatra. People laughed at me, but I listened to anything that’s got notes.”

On the bandstand, Ledet mixes songs originally recorded by pop and country artists into his show: Bruno Mars, Prince, Michael Jackson, Jason Aldean, Darius Rucker, reggae fountainhead Bob Marley. Again, Chenier served as a model. “He mixed the old French music with rhythm-and-blues,” Ledet says. ”Ray Charles and Etta James and Louis Jordan were of Clifton’s time. That worked for him. I’m applying Cliff’s recipe to modern-day times, my way.”

At 35, Ledet brings 25 years of bandstand experience to the stage. He turned pro at 10, playing drums in his native Houston for Wilbert Thibodeaux and the Zydeco Rascals. Ledet came naturally to the drums, his first instrument. His late grandfather, Buchanan ‘Tbu’ Ledet, worked as drummer for Clifton Chenier. Although Ledet’s grandfather died in 1978, three years before his birth, the grandson idolizes his grandfather. Chenier’s longtime drummer, Robert Peter, followed the drumming example Ledet’s grandfather set in 1940s and ’50s.  “Cliff wanted a drummer who played like my grandfather,” Ledet says. “When you hear Robert, that’s my grandfather’s style.”

For Ledet, working with Thibodeaux and the Zydeco Rascals was like going to zydeco school. The lessons included such essential subjects as keeping the beat and, something less definable, reading audiences. “And whenever other drummers came in the venue, Wilbert called them up to the drums and let me play accordion,” Ledet remembers.

During his decade with Thibodeaux, Ledet organized some gigs on the side for himself as a front man. He officially launched his own band in 2003, after moving to his father’s hometown, Parks, Louisiana.  Many people ask Ledet why he left Houston for Parks, a town that has hundreds, rather than millions, of residents. Ledet already knew Parks well. When he was growing up in Houston, his family visited Parks during summers and for holidays and special occasions. “It was hard to leave to go back to Houston,” he remembers. “I like the city, but I like the country better. Some kind of spiritual connection.” On those family drives from Houston to Parks, the family tuned to a zydeco radio as soon as they got close enough to receive the signal. Once they reached Parks, the zydeco music never stopped. “I like all music,” Ledet says. “But zydeco is the first pick for music for me.”

Ledet paid his dues after he launched his career as a band leader from Parks. “I had to build everything from nothing, make my name, make my rounds, prove myself,” he says. “Playing to chairs and tables, paying my band members 10 bucks or five bucks for the night. For a long time, I didn’t make anything.”  Ledet persevered, building his music career from the muddy southwest Louisiana ground up. Highlights include his 2013 Grammy nomination for “Nothin’ But the Best,” a collaboration with fellow zydeco musicians Anthony Dopsie, Dwayne Dopsie and André Thierry. “Oh, man, when that happened, I was like, ‘Is this for real?’ Because never in a million years did I think I’d be sitting in the same row at Grammys with Taylor Swift. To come from ground zero to that, lets me know I’m doing something right. I’m kicking up my game by making records like ‘Standing On Faith.’ I want to go even further and do bigger and better things.”

Corey Ledet keeps one foot firmly in the tradition while exploring surrounding influences in order to create the best of both worlds, and is able to infuse old and new styles of Zydeco into his own unique sound. “STANDING ON FAITH” presents the best view yet of the Grammy-nominated Ledet’s expansive talent.  Corey Ledet has recently signed an exclusive representation deal with Mitchell & Matt Greenhill’s FLi Artists: fliartists.com/corey-ledet-zydeco-band.

Catch COREY LEDET & HIS ZYDECO BAND (Corey Ledet – Accordion/Vocals, Jesse DeGizzi – Bass/Vocals, Julian Primeaux – Guitar/Vocals, Gerard Delafose – Drums, Statton Doyle – Sax and Nicholas Victorian – Washboard) on tour Spring 2017 in support of his new release.

corey-ledet-iii

http://www.coreyledet.com

CONTACT:    Karen Leipziger/KL Productions

   klpzgr@earthlink.net

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List of Bands that Feature the Accordion

Punk’s 10 Best Accordion Players: A Tribute to accordion Rockers
Wednesday, December 19, 2012 at 12:18 PM (PST) by connor_maoil

The sound of the accordion is, in my opinion, one of the best, weirdest, and most unique additions to the punk genre. For most it’s easy to see the instrument as nothing more than a novelty but the truth is there are a lot of very talented musicians whose squeezebox skills can’t be overlooked as a gimmick. As an aspiring punk rock accordionist myself, I wanted to spotlight some of the best in the field.

Check out the list here.

10. (Honorary mention): Eugene Hutz (Gogol Bordello)

Things might have ended up differently for the gypsy troubadour Eugene Hutz if he stuck with his attempt at learning the accordion. In a video interview, Hutz jokes about the difficulties he had trying to learn the instrument:

“Learning the accordion was just impossible. Have you ever tried an accordion? It’s insane. It’s f*cking nuts man, it’s like, to play accordion you must have your brain wired differently. I worship people who can play accordion. I tried for 2 years and ended up withminor scoliosis and, anxiety problem. And that’s when I picked up [guitar].

9. Eric Melvin (NOFX)

While the accordion is rarely up front in the ranks of NOFX, founding guitarist Eric Melvin busts out his giant squeezebox to time to time to please the crowds. Wailing minor waltzes about sleepless nights, Melvin really puts a lot of character into the instrument

I, Melvin

8. Katie McConnell (The Mahones)

I’ve gotta admit that I’ve had a crush on this punk for a long time. McConnell really does a great job of bringing the punk style and hardcore energy to the accordion. Her style of playing seems to draw a good deal of inspiration from The Pogues (above). Seeing any performance by her with The Mahones is an awesome experience that I highly recommend to any lover of celtic punk. Watch for them in your town!

“A Great Night On The Lash” (from “The Black Irish,” 2011, True North Records)

7. Marc Orrell (Dropkick Murphys, 2000-2008)

He’s the one who brought you Shipping Up To Boston. Enough said?

6. Tim Brennan (Dropkick Murphys, 2003-present)

The current recording and touring multi-instrumentalist Tim Brennan has continued to make the accordion a more part of the band’s staple sound.

The Hardest Mile (off 2011′s Going Out In Style)

5. James Fearnley (The Pogues)

One of the pioneers of the punk accordion, James Fearnley, the original and current member of The Pogues, was originally a guitar player. According to Fearnley’s memoir, “Here Comes Everybody: The Story Of The Pogues,” founding banjo member Jem Finer, desperately seeking an accordion for his new band, showed up at Fearnley’s flat with an accordion in a laundry bag and persuaded him to try and learn the instrument.

“Turkish Song Of The Damned“ (from “If I Should Fall From Grace Of God,” 1988, Island Records)

4. Seamus O’Flanahan (The Dreadnoughts)

I’ll just let Seamus speak for himself. (Off “Polka’s Not Dead”, 2010)

3. Matt Hensley (Flogging Molly)

Hensley, a former skateboarder, picked up accordion from guitar like so many others on this list. In addition to skillfully adding to the work of Flogging Molly with his accordion, Hensley is also frequently featured on the concertina and more traditional Irish diatonic button accordion. That’s the kind of thing that tends to really impress the geeky accordion junkies.

“Tomorrow Comes A Day Too Soon” (from “Within A Mile Of Home,” 2004, SideOneDummy)

2. Yuri Lemeshev (Gogol Bordello)

Although not a founding member of the New York gypsy punk band, Yuri Lemeshev has been a vital part of the band for over a decade. Hailing from Russia, Lemeshev has to be one of the most technically skilled members of the scene. And not only can he knock down tunes masterfully, he can also move around and have a good ol’ punk time on stage while doing it.

“Supertheory Of Supereverything” (from “Super Taranta!”, 2007, SidOneDummy)

1. Franz Nicolay (World/Inferno Friendship Society)

In addition to that moustache, Franz Nicolay brings in the background of a converted rock piano player (most notably in The Hold Steady) and has spread the use of the accordion all over the genre. Nicolay probably has the most impressive resume of them all; in addition to being a former longtime member of the punk circus collective World/Inferno Friendship Society and his own collective Anti-Social Music, Nicolay has recorded and toured with the likes of Against Me!, Leftover Crack, The Dresden Dolls, The Loved Ones, and Mischief Brew. Check out a complete list of his recording and producer credits over here.

“Your Younger Man” (from “Red Eyed Soul,” 2006)

Had enough yet? If not, check out some up-and-coming bands featuring the accordion.

The First Chairs (ska)

Roughneck Riot (celtic punk)

Larry And His Flask (cow punk)

The Real Mckenzies (celtic punk)

Mad Caddies (ska/swing punk)

The Mighty Regis (celtic punk)

Crash Nomada (gypsy punk)

Joey Briggs (solo from The Briggs)

Ramshackle Glory (folk punk)

Feudalism (folk punk)

Lucero (cow punk)

This is a list of articles describing popular music acts that incorporate the accordion.

Band or musician Accordionist Style
Agalloch  ? Folk metal, doom metal, black metal, neofolk, post-rock
Arcade Fire Régine Chassagne
Richard Reed Parry[1]
Indie rock
The Band Garth Hudson Americana
Beirut Perrin Cloutier Combines elements of Eastern European and folk sounds
Calexico Martin Wenk Rock
Counting Crows Charlie Gillingham Rock
The Decemberists Jenny Conlee Folk rock
Deep Forest Michel Sanchez Combines electronic beats with world music
Del Amitri Andy Alston Rock
Detektivbyrån Anders Flanders Combination of electronica, folk and French pop
DeVotchKa Tom Hagerman Indie rock
The Dropkick Murphys Tim Brennan Celtic punk
The E Street Band Danny Federici
Charles Giordano
Rock
Equilibrium  ? Viking metal, folk metal, symphonic black metal
Finntroll  ? Folk metal, black metal, humppa
Flogging Molly Matt Hensley[2] Celtic punk
Folkearth  ? Viking metal, folk metal, black metal
Gogol Bordello Yuri Lemeshev Gypsy punk
Gotan Project Nini Flores Tango, Electronic
Great Big Sea Bob Hallett Traditional Newfoundland folk and rock
Green Day Tré Cool Punk rock
The Hooters Rob Hyman Rock
Jason Webley Self Combination of traditional music, romani music, punk
John Mellencamp  ? Rock. Has included the accordion in most of his music since 1987’s The Lonesome Jubilee.
Julieta Venegas Self Latin pop
Jump, Little Children Matthew Bivins Combines Irish influences with an alternative rock sound
Katzenjammer  ? Pop
Korpiklaani Juho Kauppinen Folk metal
Lemon Demon Neil Cicierega Indie rock
Mägo de Oz Sergio Cisneros Folk metal, folk rock
MewithoutYou Aaron Weiss Alternative Rock
Moonsorrow Henri Sorvali Folk metal
Motion Trio (Accordion Trio) Collaborations with other artists (such as Bobby McFerrin and Michał Urbaniak)
The Pogues James Fearnley Irish punk, pub music
Skyforger  ? Folk metal, black metal
Silvestre Dangond Juancho De la Espriella Vallentos, Modern and very popular Colombian music
Sound Horizon Revo Combination of many genres, ranging from heavy metal to classical
Stolen Babies Dominique Lenore Persi Avant-garde metal
Styx Dennis DeYoung Hard rock, progressive rock
Svartsot Hans-Jørgen Martinus Hansen Folk metal, Viking metal
That Handsome Devil Jeremy Page and Andy Bauer Alternative rock, alternative hip hop
They Might Be Giants John Linnell Alternative rock
Tiger Lillies Martyn Jacques Brechtian and gypsy cabaret
Tom Waits  ? Jazz, rock, blues, folk, experimental
Tosca Tango Orchestra Glover Gil Nuevo tango, classical music
Turisas Janne Mäkinen Folk metal, Viking metal
The Twilight Sad Andy MacFarlane Scottish folk rock, indie rock
Vitas Vitas (studio), ? (live) Eclectic Russian pop
“Weird Al” Yankovic Self Parody music
Windir Valfar Folk metal, Viking metal, black metal
The World/Inferno Friendship Society Franz Nicolay[3] Cabaret punk

James Felice and The Felice Brothers

 James Felice
By Baron Lane,”Twang Nation”
Sometimes, rarely but sometimes, a concert can really floor you. Just surprise you in ways you had no idea you still could be. I’m glad to say this last Saturday I attended a sold out show at New York’s Bowery Ballroom that did just that. Omaha Nebraska’s McCarthy Trenching opened the show at about 8:15 belting out self-described songs of drinking, killing and horses with workmanlike diligence and little room for flourish.
26-year-old singer-songwriter Justin Townes Earle then hit the stage sporting a throwback look – sequin-trimmed suit and Brylcreemed hair – to match his gloriously throwback sound. Accompanied by mandolin-banjo-harmonica player and stamp-collection enthusiast Cory Younts, Earle served up with his blend of old school honkey-tonk
(Hard Livin, Ain’t Glad I’m Leavin’) and Tennessee backwoods country (Who Am I To Say, The Ghost Of Virginia) and straight up corn-pone fun (Chitlin Cookin Time In Cheetham County, Your Biscuit’s Big Enough For Me.) All the country music history sketches that make up his new release ‘The Good Life” were on show in full force. Earle showed confidence as he stalked the stage, stomped his boots to cue chorus to bridge breaks and hoisted his acoustic guitar rifle-like Johnny Cash-style. The New York crowd whooped and hollered and the girls near the stage stood transfixed with by his rugged Southern charm. Earle left the stage with a song for his Grandpa (Absolute Angels Blues) after almost an hour and left the crowd wanting more but primed the crowd for what was to come.
The most accurate and hilarious description I’ve come across for the Felice Brothers (actually three brothers and friends) is by way of Andrew Leahey over at All Music Guide – “they’re a pack of earth-stained country boys from the wilds of the Catskill Mountains, not Ivy Leaguers who thought ransacking their parents ’60s records would a better career move than grad school.” Dead on description and doubly so live. Cards on the table, I came to the show for Justin Townes Earle and decided to hang for a few songs by these Yankee roots rockers just to see what all the fuss was about. I’m glad I did. It appeared that many under 30-year-olds from the Felice Brothers hometown of the Hudson River Valley and the New York City area, where the Felice boys honed their craft in the subway stations, turned out to welcome them back home. Young girls in cotton dresses shouted the band members names like they had them in home room and their drunk boyfriends sang to every song at the top of their lungs like they could do it in their sleep.The Felice Brothers are often compared to a more punked-out Band, and it’s a pretty fair comparison.
Like The Band The Felice Brothers take country and roots music and turns it in on it’s history to exposes the Celtic, blues and gospel innards. Gothic Americana landscapes drenched with sepia, whiskey (on stage and in verse) and blood. Sometimes it seemed that the band was using their instruments as weapons and songs would veer just out of control just to right itself at the last minute. Tales of broken dreams and dreamers flat broke and staring down narrowing odds (the harrowing Hey Hey Revolver), sin, redemption and Dixieland salvation (Saved (Lieber-Stolle), Mercy) and salacious limo drivers (Cincinnati Queen) and straight up murder ballads that would make Nick Cave take notice (Ruby Mae.) Sometimes the whole affair seemed like a Ken Burns soundtrack mashed up with the Pogues on a particularly heavy bender. Guitarist and lead gravel-throated vocalist Ian, drummer and vocalist Simone and accordionist and bear of a man James Felice along with a guy named Christmas (bass) and Farley (fiddle and washboard) played music dank with tradition and yet crackling with passion and fire. I’ve always said that if you can fake authenticity you can do anything, but if there is any faking until they make it with this band then my well tuned bullshit detector was unable to pick up the trace.There have been some leveling of derision at the Felice Brothers for supposedly cribbing their sound to the Dyan/Band basement tapes. These jibes are usually from critics that see no problem giving a pass to the likes of the Zeppelin/Pixies plagiarism that is the White Stripes. I agree with Picasso that bad artists copy and great artists steal. The Felice Bros. are casing the joint and armed to the teeth.


Ten Best Accordion Rock and Roll songs

http://ultimateclassicrock.com/accordion-songs/


A History of Blues Accordion

ACCORDION

By Edward M. Komara The accordion reached its peak popularity with African American musicians between the end of Reconstruction (1865-1877) and the early twentieth century. Clarence Tross, a West Virginian musician, reported that it was ”mostly the colored man” playing accordions in that period, and a contemporary from coastal Virginia remembered that accordions were ”the only kind of music we had back then.” In Mississippi, some of the earliest ensembles playing blues used accordions, and one accordionist, Walter ”Pat” Rhodes, was among the earliest Delta blues singers to make records.
As the first mass-produced instrument marketed to rural blacks, the accordion served as the precursor to the mass marketing of guitars that fueled the growth of rural blues. Even so, few early blues musicians played accordions and by the mid-1930s a number of factors combined to bring about the demise of its use in almost any popular black music. With the emergence of zydeco—the blues-influenced music of the French-speaking African American population of southwest Louisiana—in the late 1950s a new bluesy accordion sound emerged. Zydeco showcased accordion virtuosity the way blues bands featured the electric guitar. In the hands of master accordionist Clifton Chenier, the accordion achieved unprecedented credibility as a blues instrument.
Types of Accordions
Two types of accordions concern us here: the diatonic button accordion and the piano accordion. All accordions are two rectangular boxes connected by a bellows with the melody notes on the right side and the accompaniment chords on the left side. As the name implies, the button accordion has buttons for both melody and accompaniment. The diatonic scale is the same scale found on the single-key harmonicas (such as the Marine Band) commonly played by blues harpists. Like the slots on those harmonicas, each button on the accordion produces a different tone depending on whether the bellows are pushed or pulled. The original design was for a single row in a single key, but later models featured two and three rows in related keys allowing the accordionist to play in multiple keys. The accompaniment may have as few as two buttons or up to twenty-four in various configurations. This single-row design is the model still popular with the Cajuns of southwest Louisiana.
Diatonic accordions dominated sales to the general populace from the 1840s to 1925 when sales of the piano accordion began to dominate. This instrument offered several immediate advantages over the button accordion. First, the piano keyboard offered a full chromatic scale that sounded the same note regardless of the bellows direction. secondly, the accompaniment provided up to 128 buttons arranged in bass-chord combinations to allow playing of almost any chord progression. The button accordion was reduced to a niche instrument while the piano accordion became wildly popular in America and remained so until the advent of rock ‘n’ roll.
Pre-Blues Usage
One of the earliest photographic images of an American accordionist is a daguerreotype from 1850 of a black man from a southeast Louisiana plantation playing a button accordion. The slave narratives collected by the works Progress Administration in the 1930s contain recollections of accordions being played as accompaniment for dancing. The largest concentration of accordion players occurred in the post-Civil War period, a time referred to as Reconstruction (1865-1877). The newly emancipated slaves purchased instruments with their own earnings and they seem to have bought accordions in significant numbers. Accordions were cheap, lightweight, durable, loud, and provided built-in accompaniment.
Mississippi Blues
In Mississippi, older relatives of Big Joe Williams, K. C. Douglas, Jim Brewer, Eli Owens, and Henry Townsend all played accordion. Two of the most important Mississippi accordionists were Homer Lewis and Walter ”Pat” Rhodes. Lewis performed with blues guitarist Charley Patton at Dockery’s plantation in the early part of the twentieth century in an ensemble made up of one or two guitarists, Lewis, and a fiddler. It was likely a popular sound—Rhodes, a street singer from nearby Cleveland, regularly played in an ensemble with similar instrumentation. In 1927 he became the first Sunflower County musician to record. His recording of ”Crowing Rooster Blues” accompanied by Richard ”Hacksaw” and Mylon Harney on guitars precedes Patton’s own more famous recording of ”Banty Rooster Blues” by two years. This record, backed with ”Leaving Home Blues,” is the only commercial blues recording in English that used the accordion until the emergence of zydeco. Folklorist John Lomax did record another Mississippi accordionist in 1937 for the Library of Congress. Blind Jesse Harris sang ballads and reels for the most part, but did perform a memorable version of the popular blues tune ”Sun Gonna Shine in My Door Someday.”
Both the Harris and Rhodes recordings show how hard it is to play blues on the diatonic button accordion. The instrument is incapable of playing many of the slides, glissandos, and flatted notes that are dominant features of blues music. Both men stop playing while they sing and play simple melodic lines using only bellows shakes to emulate the vocal line. These shortcomings made it easy for a number of musicians who started on the accordion to decide to switch to guitar as soon as one became available. Some of those young musicians included Big Joe Williams, Blind Willie McTell, and McKinley Morganfield, aka Muddy Waters. Huddie Ledbetter or ”Leadbelly” was born in 1885 in the far northwest corner of Louisiana where he learned to play the button accordion for the local dances called ”Sukey Jumps” with the older musicians in the area. As a young adult he switched to the twelve-string guitar, but continued to play the accordion, eventually recording four tunes on it for various small New York record companies in the early 1940s.
Amede Ardoin and Creole Blues
A unique blues accordion tradition, unrelated to the northwest Louisiana style played by Leadbelly, developed in southwest Louisiana among the French-speaking people of African descent. Their music synthesized elements of the French Caribbean, Cajun, American Indian, French, and African (Wolof and Bambara) cultures. The music of English-speaking African Americans made a relatively late entrance into this mix. For example, accordionist Sidney Babineaux recalled first hearing the blues on a Bessie Smith record in the late 1920s. Blues were considered risque and crude and were banned from Creole dances. Still the most influential musician of the period, Amede Ardoin, recorded a handful of ”blues” songs. These did not follow the chord structure common to the twelve-bar format, but instead followed the harmonic pattern caused by the left-hand accompaniment of the accordion. Ardoin played his blues in the ”cross position” that blues harmonica players commonly use and this caused the instrument’s standard accompaniment to be reversed. Accordionists cannot play the critical fifth chord; they can merely imply it, leaving the blues with an unresolved feel.
Ardoin’s blues conceded structure to this harmonic reality, but not to the spirit ofthe blues. His vocals are blues inflected, full of flatted thirds and sevenths and the slurs and glissandos associated with the best Delta blues singing. His most distinct blues records include ”Blues de Basile,” ”Les Blues de Voyage,” and ”Les Blues de Crowley.” Ardoin’s playing career ended in late 1930s when he was beat up by a group of white patrons at a dance, run over, and left for dead. The incident caused Ardoin to lose his mind and led to his eventual commitment to a Louisiana asylum for the insane where he eventually died. His two steps and waltzes are still performed by both Cajuns and Creoles, but it is his blues in particular that influenced zydeco pioneer Clifton Chenier.
Zydeco
Ardoin’s final recordings made in December 1934 were the last by a Creole musician until 1954. During this undocumented period, musical influences from the greater English-speaking African American culture became more important in Creole music. Blues, which had often been taboo even in Ardoin’s time, became an integral part of the repertoire of younger Creoles. The ”rub board” or ”frattoir” became the standard for accompaniment of the accordion and accordionists began to favor multiple-row accordions. In 1954 a Lake Charles appliance dealer named Eddie Shuler recorded one of these younger accordionists, Boozoo Chavis. Shuler recruited Houston-based bandleader Classie Ballou to accompany Chavis and the resulting record, ”Paper in My Shoe,” became a huge regional hit. Chavis’s success gave a visibility to this new music outside of the French-speaking community. The success of Paper in My shoe” was partially responsible for getting Clifton Chenier signed by Specialty Records in 1955.
Clifton Chenier
Clifton Chenier has the distinction of being the first Creole musician to master the piano accordion. With a full four-octave piano keyboard, Chenier could emulate the licks of any blues pianist, but the bellows-driven free reeds created a much more nuanced, vocal quality similar to that of blues harpists. Chenier also used the full 128 accompaniment buttons to approximate the left hand of boogie-woogie and blues pianists. His recordings for Specialty Records such as ”Boppin’ the Rock” and ”All the Things I Did for You” display the masterful blues playing that garnered him a large regional audience throughout the Gulf Coast.
While other Creole musicians remained local or, like Chavis, retired, Chenier embarked on endless touring, both nationally and internationally, and slowly developed a following for his style, which was now labeled zydeco. The name derived from the title of a traditional Creole dance Les Haricots Sont Pas Sale” ( The Snap Beans Are Not Salty”) cut to a phonetic spelling of the Creole pronunciation of haricots (snap beans). Chenier, billed as the ”King of Zydeco,” scored his largest regional hits with his blues tunes: Louisiana Blues,” Black Gal,” and Black Snake Blues.” As a national presence, he performed at venues that commonly presented blues performers, which created a large crossover audience for zydeco. For Americans he presented a completely new image of the accordion as a soulful instrument that contrasted greatly with their preconceptions of saccharine sweet accordion music that were drawn from Lawrence Welk’s popular TV show.
Chenier’s talent combined with tireless touring and consistent recordings brought zydeco a national popularity that allowed other zydeco performers to follow on the path that he had blazed. This included Chavis, who returned from retirement to have enormous success with his own more rural version of the music. Still Chenier remained the King until his death in 1987. His legacy is heard in the playing of his son, C. J. Chenier; Stanley Dural, aka Buckwheat Zydeco,” his former organist; and Nathan Williams. All play piano accordion in a blues style that owes greatly to Chenier. The success of zydeco and quality of Chenier’s blues performances have inspired many to pick up the accordion and will continue to inspire more.
Bibliography
Savoy, Ann Allen. Cajun Music: A Reflection of a People. Vol. 1. Eunice, LA: Bluebird Press, 1984.
Snyder, Jared. ”Boozoo Chavis, His Own Kind of Zydeco Man.” Sing Out! 44, no. 1 (Fall 1999): 3441.
___. ”Breeze in the Carolinas: The African American Accordionists of the Upper South.” The Free-Reed Journal 3 (Fall 2001): 19-45.
___.”Leadbelly and His Windjammer: Examining the African American Button Accordion Tradition.” American Music 12 (1994): 148-166.
___. ”The Legacy of the Afro-Mississippi Accordionists.” Black Music Research Journal 17, no. 1 (Spring 1997): 37-58.
Tisserand, Michael. The Kingdom of Zydeco. New York: Arcade Press, 1998.
Discography
Virginia Traditions: Non-Blues Secular Music (1978, Blue Ridge Institute BRI 001). (This recording includes non-blues accordion by Isaac ”Boo” Curry and Clarence Waddy.)
Ardoin, Amede
Amede Ardoin: Pioneer of Louisiana French Blues 1930-1934 (1995, Arhoolie Folklyric 7007).
Chavis, Boozoo
Refer to The Kingdom of Zydeco and Boozoo Chavis, His Own Kind of Zydeco Man for a more complete discography. The Lake Charles Atomic Bomb (1990, Rounder 2097). (Contains some of his earliest hits.)
Chenier, Clifton
Refer to Cajun Music: A Reflection of a People for a more complete discography. Some of his earliest recordings and greatest hits include the following: Bayou Blues (1970, Specialty Records SPCD-2139-2). Zydeco, Volume One: The Early Years (1989, Arhoolie Folklyric CD-307).
60 Minutes with the King of Zydeco (1994, Arhoolie Folk-lyric CD-301).
Harris, Blind Jesse
”Sun Gonna Shine in My Door Some Day.” LC-1331-A-1. Reissued on Field Recordings, Volume 4, Mississippi & Alabama 1934-1942 (1998, Document DOCD-5578).
Leadbelly
Each of Leadbelly’s accordion pieces are on different records:
A Leadbelly Memorial Volume, Volume II (1963, Stinson Records SLP 19).
Take This Hammer (1968, Folkways FTS 31019).
Global Accordion: Early Recordings (2001, Wergo SM 1623).
Rhodes, Walter “Pat”
“The Crowing Rooster” (Columbia 14289-D). Leaving Home Blues (Columbia 14289-D).

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Clifton Chenier, Louisiana Blues Accordionist

http://en.wikipedia.org/wiki/Clifton_Chenier