Cajun music

It is unlikely that musical instruments were introduced to colonial Louisiana before around 1780. Although originally there were no instruments, there were songs. Families sung traditional French songs called complaintes which the Cajuns adapted to their new ways of life. The first known record was of a violin in 1780 and a fiddle and clarinet player in 1785. The diatonic accordion was introduced to Cajun music in the mid- to late-1800s. It became popular because of its volume which, along with the fiddle, created sufficient accompaniment for dancing.[5] Originally, musicians and singers performed at house dance parties known as bals de maison. However Cajun music, born from ballads, later transformed to dance music—played with or without words. The music was essential for small get-togethers on the front porch, bals de maison, and public dances in dance halls called fais do-dos.[6]

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 many 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 Été Au Bal. Amédé Ardoin, Canray Fontenot, Wade Frugé, Dewey Segura, Joe Falcon and Cléoma Falcon, and the Breaux Brothers are examples of this genre.[7]

This style draws from Texas country music and moves away from the traditional accordion sound. It has more of a swing style popularized by Bob Wills and the Texas Playboys. Instead of being dominated by the accordion, Cajun swing relies significantly on the fiddle and piano with a swinging tempo. Bands in the 1940s began using the steel guitar, an instrument also found in Cajun dancehall music. Dances such as "the jig" are common in 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 Cajun swing bands from the 1990s.[8]

In Cajun Louisiana, public dancehalls are known as fais do-dos.[9] This expression may have evolved from a practice of bringing children to dance halls to lull them to sleep. In French, fais do-do means "go to sleep".[9] This style originated in the post-war era of the late 1940s and continues to the present-day in small town dancehalls. During this early period, bands changed from performing at house dances to large halls.

Fais do-do near Crowley, Louisiana in 1938.

Fais do-do music is similar to the traditional Cajun music of house dances, with added accompaniment such as the bass guitar, drum kit, steel guitar, and rhythm guitar, electric or acoustic. The same abrupt, staccato feel can also be felt. The implementation of electrical amplification allowed instruments to cut through the noise of the crowd and be heard throughout the dance hall. Electrification of the dance venues also allowed the fiddle to be played in a smoother style and alternate 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, leading lines by the steel guitar, fiddle, and accordion followed finally by a bridge. This is followed by the next vocal verse, and so on. Lawrence Walker, Aldus Roger, Nathan Abshire, Iry LeJeune, Al Berard, and Sidney Brown are examples of this musical period.[10] The characteristics of dancehall Cajun can be seen in current artists such as Jesse Légé and The Basin Brothers Band.

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,[11] Jambalaya Cajun Band, Bruce Daigrepont, and others broke new ground, while other musicians such as Eddie LeJeune, Irvin LeJeune, Homer LeJeune, the Pine Leaf Boys, and others brought energy to older, more traditional forms.

In 1964, Gladius Thibodeaux, Louis "Vinesse" Lejeune, and Dewey Balfa represented Louisiana at the Newport Folk Festival in Rhode Island. Their concert was a success and this was a turning point in the awareness of Cajun music at a national level.[12][5]

Lost Bayou Ramblers, New Orleans.

Contemporary Cajun music is influenced by rock, R&B, blues, soul, and zydeco music. Although led by the accordion, the electric guitar, washboard, and keyboard are all present in this form. Musicians such as Wayne Toups, Roddie Romero and the Hub City Allstars, Lee Benoit, Damon Troy, Kevin Naquin, Trent LeJeune, and Steve Riley and the Mamou Playboys have popularized this modern form of Cajun music.[13][14] The band Atchafalaya, active from 1982 to 1986, is another example of this style.[15] More recently, the Lost Bayou Ramblers have experimented with mixing traditional instruments and cutting-edge technology, as showcased on their last two records, Mammoth Waltz (2012) and Kalenda (2017). This sound has been dubbed “Heavy Cajun Psych”.

Doug Kershaw recorded "Louisiana Man", an autobiographical song that he wrote while in the army. The song sold millions of copies and, over the years, it has come to be considered a standard of modern Cajun music. "Louisiana Man" has been covered by more than 800 artists.[16]