A peek into the pages of ‘Way Down in Louisiana …’
4th January 2016 · 0 Comments
By Geraldine Wyckoff
Contributing Writer
Way Down in Louisiana – Clifton Chenier, Cajun, Zydeco and Swamp Pop Music isn’t a book designed to be read cover to cover. A natural instinct would be to first check out the wonderful photographs and the bright, historic posters contained in this artistically assembled and thoroughly researched 300-page, paperback volume.
With an exuberant picture of the King of Zydeco Clifton Chenier on the cover and his name prominent in the title, there’s a strong inclination to go directly to the chapters that deal with the supremely influential accordionist/vocalist/composer’s life from playing house parties in his hometown of Opelousas, Louisiana to a 1978 concert at New York City’s Carnegie Hall and beyond. To start with Chenier pays off in understanding the musical realm of Southwest Louisiana that is addressed in the rest of the book.
Though author Todd Mouton never had the opportunity to interview Chenier as he did the 11 other zydeco, Cajun and swamp pop musicians featured in separate chapters, he sought out sources that did. They include the liner notes written by Greg Drust for Chenier’s comprehensive anthology album Zydeco Dynamite. There are also sections devoted to musicians such as guitarist Lil’ Buck Sinegal and accordionist/vocalist Buckwheat Zydeco who performed with Chenier through the decades. They offer personal insights into the man and the musician.
It’s fun to hear stories from Buckwheat, born Stanley Dural Jr., and how he figuratively speaking was dragged into zydeco kicking and screaming. His father, Dural Sr., played accordion though only for family and friends and wanted his son to pick up the squeezebox. Buckwheat was more interested in playing keyboards and the “music of his generation.” His father was also a mechanic and “the only man allowed to touch Clifton Chenier’s Cadillacs.” It was Sinegal who called Buckwheat to tell him that Chenier wanted him to play organ in his band. Then Chenier got on the line… The rest, as they say, is history. Buckwheat agreed and is now one of the most legendary and respected zydeco men in the business.
It’s those kinds of stories that light up “Way Down in Louisiana” that is also filled with information about early releases of 45 rpms and musical details on albums that sometimes even include cut by cut points about the recordings. In this way, the book can be used as a resource for those seriously digging into the music of Southwest Louisiana as well as satisfying readers who enjoy a good narrative whether they are longtime listeners or new to the music.
There’s always something to learn in these pages where artists like Cajun singer/songwriter Zachary Richard and guitarist Sonny Landreth speak about their musical journeys, triumphs and misgivings.
A great tale is how, in the mid-1940s when Chenier was living and working in Port Arthur, Texas, he sketched in the dirt a design that he and his older brother, rubboard player Cleveland Chenier came up with for an over-the-shoulder rubboard. He asked metalworker Willie Landry if he could make one. “I can make anything you want,” Landry is quoted as saying. Cleveland, of course, make excellent use of the innovative instrument as have zydeco rhythm makers ever since.
“Way Down in Louisiana” is best read with the music nearby. That way the musical thread, the nuances, the evolution can be heard, realized and danced to! After all, zydeco, Cajun and swamp pop are all kissin’ country cousins who went global thanks, for the most part, to the late, great Clifton Chenier.
Suggested play lists are offered in the chapters and links are promised to be up soon on the website www.waydowninlouisiana.com.)
Blissful Baritone Saxes
“That’s what I do – I don’t play tenor no more,” declares Roger Lewis of blowing the baritone saxophone. About five years ago, Lewis, who is best known as an original member of the world-renowned Dirty Dozen Brass Band, put together the ensemble Baritone Bliss to celebrate the horn. The group, which includes Tony Dagradi, Calvin Johnson and Scott Johnson all working on baritone saxes, performs at Snug Harbor on Thursday, January 7.
Of the four saxophonists only Lewis calls the bari his main ax. The other guys double on other saxes, primarily the tenor. It was at the encouragement of pianist/vocalist Eddie Bo that began Lewis’ switch. “I used to play with Eddie Bo back in the ’60s and I brought a baritone to rehearsal. He said, ‘You sound good on the baritone, why don’t you play baritone?’ That’s how I got started.”
The rhythm section of Baritone Bliss includes pianist Marie Watanabe, bassist Kerry Lewis and drummer Joe Lastie. The ensemble will work on mostly original material – jazz, blues, second line – coming from the pens of Lewis, Dagradi and Calvin Johnson.
This article originally published in the January 4, 2016 print edition of The Louisiana Weekly newspaper.
