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Mardi Gras music Fat Tuesday 2/27/2017
Traditional Cajun Music (Before 1930)
This style comprises the roots of Cajun dance music, involving only a few instruments such as the
Cajun accordion,
fiddle, and
triangle. This form holds firm to a basic
rhythm with
staccato style notes, including lots of fiddle
double stops. Each fiddle solo is composed of a
major scale riff, repeated between verses. This form has existed since the early 1900s and the
waltz and
two-step are the most common dances of this Cajun music genre. Many songs that became standards in the Cajun music repertoire were first recorded in this period of the 1920s and 1930s. A number of the most prominent traditional Cajun musicians are featured in the 1989 documentary
J'Ai Ete Au Bal.
Amédé Ardoin,
Canray Fontenot,
Wade Frugé,
Dewey Segura,
Joe Falcon and
Cléoma Falcon, and the
Breaux Brothers are examples of this genre.
Country and Texas swing Cajun (1934–1941)
Main article:
Western swing
This style involves heavy elements of
Texas country music influence and a move away from the traditional accordion. This music has more of a "swing" style popularized by
Bob Wills and the Texas Playboys. Instead of the music being dominated by the accordion, Cajun swing relies heavily on the fiddle and
piano with a swinging tempo. Bands in the 1940s began using the steel guitar, an instrument which also found use in dancehall Cajun music. Dances such as "
the jig" are common among this genre of Cajun music.
Leo Soileau,
J. B. Fuselier,
Leroy "Happy Fats" Leblanc,
Harry Choates and the
Hackberry Ramblers are early examples of this style.
The Red Stick Ramblers and
The Lost Bayou Ramblers are contemporary bands playing in this style.
Dancehall Cajun (1946–1960)
This style, Dancehall Cajun is often known in South Louisiana as "
Fais do-do" music because it is commonly played at
fais do-dos; this in turn comes from the local practice of couples bringing their children with them to the dance hall. This period is defined as such due to the fact that more bands moved from the house dances to large halls, as well as, electrical amplification of instruments to cut through the noise of the crowd. It is similar to traditional Cajun music with added
accompaniment such as the
bass guitar,
drum kit,
steel guitar, and
rhythm guitar, electric or acoustic. The same abrupt,
staccato feel can be felt as in traditional Cajun. This style originated in the post-war era of the late 1940s and continues up until the present in small town dancehalls. Electrification of the dance venues allowed the fiddle to be played in a smoother style, alternating leads with the accordion. The steel guitar also adds remarks. Typically in dancehall Cajun performances the melody is played by the accordion followed by a bridge, a vocal verse, a leading line by the steel guitar, a leading line by the fiddle, then a leading line by the accordion player again followed by a bridge. This is followed by the next vocal verse, and so on.
Lawrence Walker,
Aldus Roger,
Nathan Abshire,
Iry LeJeune, and
Sidney Brown are examples of this musical period. The characteristics of dancehall Cajun can be seen in current artists such as
Jesse Légé, and
The Basin Brothers Band.
Cajun "renaissance"
Drawing on elements of the earlier traditional, Texas swing, and dancehall periods, the Cajun "renaissance" also incorporates more modern elements of
folk, blues,
jazz and
swamp pop, and
bluegrass styles. The fiddle players relax, involving a more
legato feel to the solos. The quick fiddle action and double stops are missing, replaced by dominant blues chords and jazz slides.
Pioneers such as
BeauSoleil with
Michael Doucet,
Zachary Richard,
Jambalaya Cajun Band,
Bruce Daigrepont, and others broke new ground, while other musicians such as
Eddie LeJeune,
Robert Jardell,
Les Frères Michot, The
Pine Leaf Boys, and others brought energy to older, more traditional forms.
Contemporary Cajun music
This style involves Cajun music with a heavy influence of
rock,
R&B,
blues,
soul, and
zydeco, producing a less traditional, more contemporary sound. Although led by the accordion, the
electric guitar,
washboard, and
keyboard are all present in this form. Since the 1940s, musicians such as
Wayne Toups,
Roddie Romero and the Hub City Allstars,
Lee Benoit,
Damon Troy,
Kevin Naquin, and
Steve Riley and the Mamou Playboys have popularized this modern form of Cajun music.
[2][3]
Doug Kershaw recorded "Louisiana Man", an autobiographical song that he had written while in the army. The song sold millions of copies ; over the years it has come to be considered a standard of modern Cajun music.
[4] The song was eventually
covered by more than 800 artists.
Lyrics
The unaccompanied ballad was the earliest form of Cajun music. The narrative songs often had passionate themes of death, solitude or ill-fated love — a reaction to their harsh exile and rough frontier experience, as well as celebrations of love and humorous tales. Ballads were ritually sung at weddings and funerals, and sung informally for small groups of people at house parties as the food cooked and young children played.
The early songs were mixtures of la la,
contredanses,
reels and
jigs and other folk influences from black, white and Native American traditions. Early song lyrics were entirely in
Cajun French. Though French-language songwriting is still common, some Cajun music today is sung in
English with younger singers and audiences.
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