The Acadian accordion as we know it today or Melodeon as we know it in the realm of accordion history, made it's way into North and South America because of it's versatility, durability, and adaptability to handle European ethnic and New World diatonic tunes and rhythms. I think it was a one man band replacement for music played by brass bands. Since this style of accordion, the melodeon originated and was manufactured in Paris during the 1860s, I suspect that it was brought here in Louisiana by French immigrants. This melodeon is found throughout the U.S. from Virginia to Minnesota to Haiti.
Was it in the '70's that French music of Louisiana started being referred to as "Cajun" and "Zydeco"? Why?
It might have had different names. I personally recall the terms, "French Music, Chanky-chank, Cadjin (sound)" or "La La, Créole, French Blues". Cajun was used to identify this music during the 1920s and 30's as ethnic music from French Louisiana.
A Cajun dance would mean a white dance while zydeco dance would mean a black dance.
What is the connection between Cajun music/BeauSoleil and creole/zydeco musictoday?
It's what BeauSoleil respects, researches, performs, preserves and perpetuates. Because I've personally had the opportunity to sit, study and perform with many of the great masters of Cajun/Creole culture, our vision has been to continue to study, perform and create music of our genre using these direct personal experiences. It's kind of a direct link.
The "Hoogie Boogie" CD notes credits Bois Sec Ardoin as the traditional source for Zydeco Gris-Gris . Why was that?
Alphonse "Bois Sec" Ardoin is our direct link to his uncle's (Amédé Ardoin) amazing music. I've played many events with Bois Sec and had wonderful times at his home and with his family. He does speak predominately French which reveals an insight into his personality that doesn't always translate into English, but the bottom line is that he is an amazing individual and musician who took it upon himself to learn how to play accordion ( he used to take his father's accordion down from the armoire while his father and older brothers were out working the fields and taught himself to play) raised a large family with his lovely wife, Marcelene and totally shares his time and music with any interested novices.
I dedicated Gris Gris to him because it was during one of the Ardoin family "cochon du lait" parties at his farm that I was inspired to write the song. Bois Sec and Canray Fontentot played some old Créole tunes they learned from older musicians and the melody and cadence caught my ear and reminded me of the poetic cadence used by Vachel Lindsey in his "Congo" poem. At that time, probably 1975, there were very few young Créole musicians playing the rural style and diatonic accordion that Bois Sec preferred (a few were playing the piano accordion that Clifton Chenier performed on) so the English lyrics was sort of a story telling event describing what was going on down here. I wanted the song to be as authentic as possible and asked David Marcantel to help me with the Créole lyrics. Now, Bois Sec speaks a type of Cajun Louisiana French but does not speak Créole; Clifton did. Créole French exists in St. Martin Parish, Haiti, Martinique, the Seychelles, etc., so I thought that would add credence to the dilemna that our French Créole community in terms of identity.
What are the lyrics?
| Tout partout au ras du bayou, La mousse-lá balance dans les gros chênes verts Cocodries dormir en cyprière Fifollet danser en cimitière. |
All around the heart of the bayou, The moss balances in the alrge green oaks Crocodiles sleeping among the cyprus trees Will o' the wisp dancing in the cemetary. |
| Vent plein de cris des loups-garous, Pieds tapé rythme-là fou. Moune-là connaît y’olé Zydeco, Milattes apé grouiller aux os. |
The wind full of the cries of the werewolves, Feet tapping the crazy rhythm. People there know the Zydeco, Milattes begin to move their bodies to the music. |
| Zydeco chaud apé vini plus chaud, Gens creoles olé plis la grand eau, Plie ben frette qu’apé mouilli Pas capab’ froidir sang qu’apé bouilli. |
Hot Zydeco is getting hotter, Creole people shouting about the high water, Bend well getting mighty wet Can't cool the blood that's a'boiling in the bayou. |
| Beaux et belles fait ses projets, Maman maman, elle a fait le gris gris, Loin, loin dans le cyprière noir, Tout que’qu’un créole crie pour Zydeco. |
Boys and girls doing their thing, Mama, mama, she made a voodoo, Way back in the black bayou cyprus, All the Creoles shout for the Zydeco. |
| All along the bayou for a thousand miles, The Zydeco sound is all around, You drop what you’re doing and come on along, You dance to the music while I sing you my song. The bayou’s hot and known for its heat, |
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| The rattling bones to the Creole beat, The word is out, cher, you got to go Move your body to the Zydeco. |
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| Zydeco chaud apé vini plus chaud, Gens creoles olé plis la grand eau, Plie ben frette qu’apé mouilli Pas capab’ froidir sang qu’apé bouilli. |
Hot Zydeco is getting hotter, Creole people shouting about the high water, Bend well getting mighty wet Can't cool the blood that's a'boiling in the bayou. |
| Beaux et belles fait ses projets, Maman maman, elle a fait le gris gris, Loin, loin dans le cyprière noir, Tout que’qu’un créole crie pour Zydeco. |
Boys and girls doing their thing, Mama, mama, she made a voodoo, Way back in the black bayou cyprus, All the Creoles shout for the Zydeco. |
The "will 'o the wisp" is fire from the surface oil in the swamps and bayous.
"High water" means trouble.
[ Interview part 1 ]