Julius Lamperez

Julius Angelle "Papa Cairo" Lamperez (born July 27, 1920 New Orleans, Louisiana[1] – d. November 13, 1999 Crowley, Louisiana[1]) was a popular guitarist, steel guitarist and country string band artist in Louisiana and southeast Texas during the 1930s through the 1950s.[2] He would later be known as the first person to write the tune "Grand Texas" which would later be popularized by Moon Mullican and Hank Williams as the song Jambalaya.[3]

Julius "Papa Cairo" Lamperez
Papa Cairo with Harry Choates
Background information
Birth nameJulius Angelle Lamperez
Also known asPapa Cairo
Born(1920-07-27)July 27, 1920[1]
New Orleans, Louisiana[1]
DiedNovember 13, 1999(1999-11-13) (aged 79)[1]
Crowley, Louisiana[1]
GenresCajun, country
Occupation(s)Musician, vocalist
Instrument(s)Lap steel guitar
LabelsDecca, Bluebird, Feature Records, B&C Records

Biography
Julius "Papa Cairo" Lamperez playing guitar, 1938

Lamperez was born in New Orleans but raised in Crowley. By 1932, at age of 12, he learned to read music and play the fiddle and became good friends with Joe Falcon and Cleoma Breaux.[4] He married Bessie Short. In 1934, he formed the Daylight Creepers band along with guitarist Bill Redlich and fiddler Erby Thibodeaux. Their music was broadcast on KVOL. When not playing music, he played football and loved boxing.[1]

He disbanded the group and in 1937, he joined Joe Werner and the Louisiana Rounders playing guitar and singing. They recorded 12 songs in Dallas in 1937 for Decca Records including "Allons Kooche Kooche", a tune based on the Jolly Boys of Lafayette's "Abbeville".[5] The melody would have a huge impact on his later recording of "Grand Texas". While in the band, he would meet Horace Andrus "Uncle Ambrose" Thibodeaux, Leroy "Happy Fats" Leblanc, Oran Guidry and Harry Choates. Happy Fats noticed he always wore a diamond-shaped gem on his tie and finger. Using the Cajun French word for "diamond" ("karo", pronounced "cairo"), his nickname became "Papa Cairo". He played the guitar across his knees with a metal finger attachment.[6] By December 1937, Lamperez would be back in Dallas, this time with Leo Soileau's Rhythm Boys and in 1938,[7] he recorded again with Joe in New Orleans.

By 1941, Lamperez learned to play a Hawaiian-style lap steel guitar[8] and traveled with Happy Fats to Dallas to record for Bluebird Records.[9] During the session, he wrote the song "In The House at the End of the Road". However, soon after, he was drafted into the US Army, became a Sergeant, and fought in Europe during World War II. He was captured by the Germans and held prisoner of war in a stalag. He escaped four times but never got very far, however, he made a fiddle while captured and the guards enjoyed his music.[10]

After the war, he began playing music again touring with Ernest Tubb.[6] In 1946, he played with Harry Choates and his Melody Boys.[11][12] He would also fill in from time to time with bands such as the Louisiana Hillbillies[2]

In 1948, he travelled with Chuck Guillory & his Rhythm Boys to New Orleans, wrote, and recorded the tune "Grand Texas" for Modern Records. In 1949, he would form his own band called "Papa Cairo And His Boys", including fiddler Rufus Thibodeaux.[13] That year, he would record a second version of his hit song in English called "Big Texas #2" and re-record "Kooche Kooche" in French.[14] In 1951, he would record his own version of the song entitled "Big Texas" for J. D. "Jay" Miller's Feature label. Jealous of Hank Williams' success with "Jamabalaya" in 1952, he claimed the song was stolen from his "Grand Texas" melody and refused to record again.[6] He continued to play around Galveston, Texas.[5]

Another one of his songs, "Just Wait And See", would be the basis for Marty Robbins' song "Pretty Words". At some point, he also recorded "Why Not" and "Smiling Pines" for B & C Records.

Discography

Compilations
  • Swingbillies – Hillbilly & Western Swing on Modern/Colonial/Flair 1947–52 (CHD 893 Ace, 2004)

References
  1. "Find A Grave. "Julius Lamperez"". Retrieved August 22, 2014.
  2. Brasseaux, Ryan Andre (2009). Cajun Breakdown : The Emergence of an American-Made Music. Oxford University Press. p. 156. ISBN 978-0195343069.
  3. McCall, Michael (2012). The Encyclopedia of Country Music (2nd ed.). Oxford University Press. p. 343. ISBN 978-0195395631.
  4. Allured, Janet (2009). Louisiana Women: Their Lives and Times. University of Georgia Press. p. 245. ISBN 978-0820329475.
  5. Sullivan, Steve (2013). Encyclopedia of Great Popular Song Recordings. Scarecrow Press. p. 381. ISBN 978-0810882959.
  6. Broven, John (1983). South To Louisiana: The Music of the Cajun Bayous. Pelican Publishing. p. 35. ISBN 978-0882896083.
  7. Horn, David (2012). Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America. Bloomsbury Academic. p. 117. ISBN 978-1441160782.
  8. Volk, Andy (2003). Lap Steel Guitar. Centerstream Publications. p. 174. ISBN 978-1574241341.
  9. ""HAPPY FATS (Leroy LeBlanc) & his Rayne-Bo Ramblers: (1935–1952) and Oran "Doc" Guidry, Louisiana extraordinaires"". Retrieved August 22, 2014.
  10. Kevin Fontenot (August 15, 2012). "Over These Prison Walls I Would Fly: Country Music POWs During World War II". Interview with Margie Lamperez (Speech). New Orleans. Retrieved August 22, 2014.
  11. "Harry Choates – Fiddle King of Cajun Swing".
  12. Russell, Tony (2010). Country Music Originals : The Legends and the Lost. Oxford University Press. p. 246. ISBN 978-0199732661.
  13. "Rufus Thibodeaux & Abe Manuel: A Tribute to Harry Choates". Retrieved August 22, 2014.
  14. Brasseaux, Ryan Andre (2009). Cajun Breakdown : The Emergence of an American-Made Music. Oxford University Press. p. 280. ISBN 978-0195343069.
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