Clifton Chenier King Of Zydeco

This collection of 15 accordion arrangements of tunes by Clifton Chenier (1925-1987) clearly demonstrates why he is known as the undisputed King of Zydeco music. Written for the piano accordion as opposed to the Cajun button accordion, all of the selections in this book are transcribed from Chenier's 1965-1987 recordings on Arhoolie Records. the featured tunes are: Ain't No Need of Cryin' Tu le Ton Son Ton, I'm Coming Home, Jole Blonde, Calinda, Louisiana Two-Step, Ay, Ai, Ai, Louisiana Blues, Black Gal, Big Momou, I'm on the Wonder, Zydeco Cha Cha, I'm a Hog for You, Zydeco et Pas Sale, and Black Snake Blues. Dix Bruce con- tributes a fine essay on the colorful life of Clifton Chenier. A delightful companion CD recording is available in the spirit of Chenier's signature cry- Laissez les bon ton roulet! (Let the good times role!) Note: 10 songs out of 15 are on the cd, 96616CD Clifton Chenier 60 Minutes with the King of Zydeco. the other 5 songs are transcribed from other Arhooolie CDs by Clifton Chenier.

With Clifton Chenier's amazing life and career as the centerpiece, this collection of profiles gathered across two decades unites some of the world's most innovative creative forces.

An inside view of this Louisiana Creole dance music in photos, interviews, and commentary

Cajun Spice is an exciting, lively, joyful recording of some of the finest Cajun music available featuring many of today's great Cajun artists. the Rounder Recording features many of today's Cajun artists. Included are renditions by Bruce Daigrepont, D.L. Menard, Jo-El Sonnier, Beusoleil, the Balfa Brothers, Octa Clark and the Dixie Ramblers, Eddie LeJeune, and Michael Doucet. In this special keyboard accordion edition, each song is transcribed into a rousing Cajun accordion solo.

Zydeco music - Creole music.

“An important book for anyone with an interest in life, American music, Southern culture, dancing, accordions, the recording industry, folklore, old dance clubs in the weeds, fortune tellers, hoodoos or shotguns.” —Annie Proulx There’s a musical kingdom in the American South that’s not marked on any map. Stretching from the prairies of Louisiana to the oil towns of East Texas, it is ruled over accordion-squeezing, washboard-wielding musicians such as Buckwheat Zydeco, Nathan Williams, Keith Frank, Terrance Simien, Rosie Ledet, and C. J. Chenier. Theirs is the kingdom of zydeco. With its African-Caribbean rhythms, Creole-French-English lyrics, and lively dance styles, zydeco has spread from its origins in Louisiana across the nation, from Back Bay to the Bay Area. It has influenced the music of Eric Clapton and Paul Simon and been played at Carnegie Hall. In this remarkable and engrossing book, Michael Tisserand reveals why zydeco’s identifiable and unforgettable blend of blues and Cajun influences has made the dance music of Louisiana black Creoles so popular and widespread. Zydeco’s appeal runs deeper than the feel-good, get-up-and-dance reaction it invariably elicits and is intertwined in the music’s roots and rhythms, handed down from generation to generation. Here is the story of zydeco music. Tisserand goes on the zydeco trail to meet the major artists; he reconstructs the legends behind the music’s beginnings, offering complete biographies of pioneers such as Amédé Ardoin and Clifton Chenier; and he takes you into the dance halls and onto the front porches where zydeco was born and continues to thrive. More than a book on a musical style, The Kingdom of Zydeco is an exploration and a celebration of a distinctive American culture.

Describes the history of the music of southern Louisiana and examines the influence of Cajun songs on American popular music

As Louis Armstrong forever tethered jazz to New Orleans and Clifton Chenier fixed Lafayette as home to zydeco, Slim Harpo established Baton Rouge as a base for the blues. In the only complete biography of this internationally renowned blues singer and musician, Martin Hawkins traces Harpo’s rural upbringing near Louisiana’s capital, his professional development fostered by the local music scene, and his national success with R&B hits like Rainin’ in My Heart, Baby Scratch My Back, and I’m A King Bee, among others. Hawkins follows Harpo’s global musical impact from the early 1960s to today and offers a detailed look at the nature of the independent recording business that enabled his remarkable legacy. With new research and interviews, Hawkins fills in previous biographical gaps and redresses misinformation about Harpo’s life. In addition to weaving the musician’s career into the lives of other Louisiana blues players—including Lightnin’ Slim, Lazy Lester, and Silas Hogan—the author discusses the pioneering role of Crowley, Louisiana, record producer J. D. Miller and illustrates how Excello Records in Nashville brought national attention to Harpo’s music recorded in Louisiana. This engaging narrative examines Harpo’s various recording sessions and provides a detailed discography, as well as a list of blues-related records by fellow Baton Rouge artists. Slim Harpo: Blues King Bee of Baton Rouge will stand as the ultimate resource on the musician’s life and the rich history of Baton Rouge’s blues heritage.