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It just goes to show how Cajun music in the 20s and 30s was a real melting pot of styles and influences.
For such an isolated group as the Cajuns, their musicians sure were tuned in to the popular music of the day. But you could still hear really old sounds dating far back even while these modern influences were at work.
The phonograph was finding its way into many homes, and people wanted to hear local music.
With nothing more than the scant, vague promise that a furniture store, for example, could sell a few hundred copies of a local musician's songs, recording companies like Victor, Vocalion, Brunswick, Columbia, Bluebird, and Paramount sent engineers and recording equipment to outposts like New Orleans, San Antonio, Memphis, and Atlanta, or a bus ticket north to headquarters in Camden, New Jersey, Chicago, Richmond, Indiana, Grafton, Wisconsin, etc., and Cajun musicians were among the bunch to record alongside commercial artists like Jimmie Rodgers, jazz greats like Johnny Dodds, ragtime guitarists like Blind Blake, ladies of the blues like Bessie Smith, etc.
And when Cajun musicians took from the popular culture of the day, you could be sure they'd put their own stamp on it and give it a unique twist, making it their own. The lovely Creole Waltz done by the Fawvors has the lyrics associated later with Tout Les Deux Pour la Meme (Both for the Same) by Lawrence Walker. Varise Conner remembers his friendship with Fuselier in a touching interview on the Louisiana Folk Masters cd.
By the mid- to late 1930s a new wave made its way into Cajun music with a string band sound influenced by country and Western Swing music coming in from the influx of Texans, etc. Early adopters represented here include Dudley and James Fawvor, J. You can hear a great version of this tune on the Varise Conner cd mentioned up above. Fuselier contributed some of the standards of the Cajun music repertoire. Also, Miller' s Merrymakers were led by a guitarist named Beethoven Miller and another guitarist named Preston Manuel.
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A time of great music whose influence we cannot forget. Haunting, uncommonly tender folk music from fiddler Delma Lachney, vocalist Blind Uncle Gaspard, and accordion player John Bertrand.
Douglas Bellard, a black fiddler, was the playing partner of the great Amede Ardoin before Ardoin decided to go with fiddler Dennis Mc Gee, a white man who could offer him more protection when playing before crowds in those racially segregated days. Here Douglas is accompanied by Kirby Riley, accordion.
These songs by Bellard and Riley are extremely rare!
You are Little and You are Cute is of course the well-loved T'es Petite et T'es Mignonne. He was the first to record Chere Tout Toute under that title, though Angelas Le Jeune also uses the tune in one of his recordings. Fuselier accompanying Iry Le Jeune home from a dance when the two had a flat tire and pulled off the road to fix it. Manuel is featured on this Web site with the KEUN Mamou Hour Cajun Band and also appears with Ambrose Thibodeaux. The great fiddler Leo Soileau along with Maius (Mayeus?
He was the first to record the Lake Arthur Stomp under that title. ) Lafleur, later Moise Robin, on accordion is thought to be the second Cajun musician to record. Here we feature some of his later recordings with his string bands the Rhythm Boys and the Four Aces.