¡Buckwheat!

Hell Yeah!

Buckwheat!

Zydeco!

Everybody clap your hands!
and if you can't clap your hands, 

clap your hands anyway...! 

 

Buckwheat Zydeco

Down Home Live

Thanksgiving At El Sid O's

2001

Tracks:

01 - Soul Serenade (Bucks Intro) - 6:14
02 - What You Gonna Do? - 10:57
03 - Hard To Stop - 7:33
04 - Walking To New Orleans - 8:40
05 - Trouble - 6:59
06 - Make A Change - 5:45
07 - Put It In The Pocket - 5:29
08 - Out On The Town - 8:12
09 - Beast Of Burden - 13:00

Personnel:

Stanley "Buckwheat" Dural, Jr. (accordion, Hammond B-3, electric keyboard, lead vocals)
Lee Allen Zeno (bass, master of ceremonies)
Michael Melchione (guitar)
Sir Reginald Master Dural (rubboard)
Kevin Menard (drums)
Curtis Watson (trumpet)
Gray Mayfield (sax)
Paul "Lil' Buck" Sinegal (guitar)
Melvin Veazie (guitar)
Calvin Landry (trumpet)
Paul Wiltz (Sax)

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 Live from Louisiana's Creole Country comes Buckwheat Zydeco’s "Down Home Live!," the first-ever live album of zydeco's best-loved ambassador, Buckwheat Zydeco. "Down Home Live!," is a record of rollicking good times tracked in the intimate confines of El Sid O's Zydeco & Blues Club during a hometown break for the barnstorming bandleader's annual Thanksgiving show in Lafayette, La.

Blues Access, in a cover story and lead review, said: "The good-natured energy that literally pops off of this disc immediately makes you wish you had been at El Sid O’s to witness the show in person. But you’ll be glad to have this document of the event that catches not only every feel-good note but the essential ‘vibe’ of the evening as well ... it’s impossible to resist being caught up in the sheer sense of fun and release (it) draws you into."

From the powerhouse dance floor boogie of "What You Gonna Do?" to the majestic soul of Dural's brilliant reading of "Beast of Burden," the band does it all. The group even revisits their inventive reworking of Fats Domino's "Walking to New Orleans" and Dural's reggae-tinged zyde-soul anthem "Make A Change."

The New York Times, The Wall Street Journal and others have called Buckwheat Zydeco "one of the best party bands in America," and now music fans need venture no farther than their CD players to find out what all the fuss is about.

" Down Home Live!" showcases the show-stopping dynamics that've turned countless curious listeners and concert-goers into full-fledged zydeco fanatics. This is also the disc the converted have been waiting for, as it captures Buck’s irresistible personality, bottling the between-song patter, soaring solos and horn-driven workouts that are this legendary live act's trademarks.

Lucky

Lucky

Lucky

that we have this music

rush to the last remaining

record shop

and get your copy

tomorrow

;-) 

or get your Buckwheat

here!

... The selection of music is comprised of old standards and new originals that illustrate the scope of Buckwheat Zydeco’s capabilities. While technical bravado is substantial, the group’s delivery allows us to play distant witness to a rare party. Down Home Live is incredibly fun, and will make you want to catch the first plane to Louisiana for some first-person interaction with one of the greatest performing units of the past thirty years ...

* ♥ *

O sole mio :-)

  

Les Sœurs Dalmasso

Saga Italienne
2004

Tracks:

01. La mamma
02. Torna a Surriento
03. Una canzone per te
04. Portami tante rose
05. Ai Maria
06. Violino tzigano
07. Tarentelle
08. La strada del bosco
09. Brasilia
10. Vivere
11. O sole mio

Interprètes:

Les Sœurs Dalmasso:

Suzel Zajac Dalmasso (Voix)
Linette Dalmasso (Accordéon, Voix)
Pierrine Zajac Dalmasso (Violon)

avec:

Dominique Cravic (Guitare)
Robert Santiago (Accordéon diatonique)

Enregistrement 2003-2004

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 Utterly charming music from another era, 

from sisters with a tale to tell.

:-)

 

 read it all

here :)

♥

Walk me out in the morning dew, my honey.

  

Lela Tataraidze

Janghi - Morning Fog

2000 

Tracks: 

 01. Ikneba Jobda (Perhaps It Was Better)
02. Vertskhlis Tasadamts Maktsia (If I Could Be as a Silver Chalice)
03. Samshoblo (Homeland)
04. Shenma Survilma Damlia (My Desire for You Has Drained My Empty)
05. Makhkvidia (Has He Died?)
06. Tushetian Melodies
07. Davagvianeh (I Was Late)
08. Verkvlis Tsikhe (the Fortress of Verkvli)
09. Ra Lamazia Tusheti (How Beautiful Is Tusheti)
10. Meh Regvenma (the Fool and I)
11. Lomo, Sheh Lomis Mokulo (Lion- Killer, O Lion)
12. Vazhao (O Young Gentleman)
13. Janghi (Morning Fog)
14. Nana
15. Gagnis Gori
16. Caucasian Melodies
17. Dililmeh
18. Datireba
19. Shen Ro Gogonivart
20. Tskhrajer Chavshale (Nine Times Wiped Away)
21. Shatilis Asulo (Oh Daughter of Shatili) - Lela Tataraidze, Traditional

Lela Tataraidze sings and plays accordion and panduri.

 
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 Music inspired by the nature of Lela's native land.

Born in 1952, Lela grew up in a family from Tusheti, the mountainous region of Georgia. With her sad eyes but a happy face, she is an excellent accordion and panduri player, and also a brilliant vocalist, who sings the popular songs of the mountains with a lot of emotion. She was brought up in the musical atmosphere of her family and continued her studies at the school of music and later on at the philharmonic ensemble of Tbilisi, the capital of Georgia. She toured in Hungary, Romania, Yugoslavia, Czechoslovakia, Bulgaria and France. She made her first recordings with Melodiya Records in 1988. She founded the trio ensemble of Kesane ("myosotis, forget-me-not", a flower of Tusheti) and recorded her first CD in Holland in 1999, "Janghi" ("morning fog"). Her last CD is from June 2007, it is entitled "Songs of Survival: traditional music of Georgia". Lela Tataraidze is the great lady of Georgian traditional song, a popular art coming from time immemorial and from the majestic landscapes of the legendary Georgia. Enjoy! 

link

  

Lela grew up in a family of musicians from Tusheti, the mountainous region of Georgia. With her sad eyes but a happy face, she is an excellent accordion and panduri player, and also a brilliant vocalist, who sings the popular songs of the mountains with a lot of emotion and her own Songs also. Her sister, Eter Tataraidze is Folklorist also, she is working at the Folklore Center of Georgia.

She was brought up in the musical atmosphere of her family and continued her studies at the school of music and later on at the Philharmonic ensemble of Tbilisi, the capital of Georgia.

At the same time, Lela works at the Regional Cultural Center of her hometown and works as the soloist of the radio and television of Tbilisi.

She founded the trio ensemble of Kesane (which means the flower of Myosotis forget-me-not) and recorded her first CD for Pan Records in Holland in 1999. Lela is accompanied by two female singers and players of panduri and dayera, Marina Giorgadze and Lia Khountsaria.

  

  

more music and a nice text : )

 
To put it short, this ... is the quintessence of mountain music: pure, primal, without any additives. Everything else, more complicated, is based on this music. So, here are the roots.

 ♥

You can't go wrong if you play it right...

 

Octa Clark & Hector Duhon
Old Time Cajun Music

1992

Tracks:

A1. Bosco Stomp    
A2. Valse A Deux Temps    
A3. J'ai Ete Au Bal Hier Au Soir    
A4. La Valse Soleil Couche    
A5. Polka A Ma Vielle Tante
    Written-By – Octa Clark
A6. La Vielle Valse De Musicien
    Written-By – Octa Clark
A7. Les Cocombres Sont Pas Sales
    Written-By – Octa Clark

B1. Jolie Blonde    
B2. Creole Twist
    Written-By – Octa Clark
B3. Ton Petite Bec Est Doux    
B4. Le Reve Du Soulard    
B5. Freight Train Blues    
B6. La Valse Criminelle

Bonus:

14. Çajun Hot Shoe
15. Vals Laçatin
16. Cher Alice
17. Tite Fille Two Step

Personnel:

 Accordion, Vocals – Octa Clark
Fiddle – Hector Duhon
Guitar – Michael Doucet

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 For most of their lives, the musical souls of Cajun musicians Octa Clark, accordion, and Hector Duhon, fiddle, were inseparable. In 1928, the two formed a friendship that would last a lifetime, beginning with house dances and resuming again with a later incarnation of the Dixie Ramblers with Duhon's son Bessyl in the 50's. Later, after Bessyl left, the two older gents still played regularly, mainly at Mulate's and occasional festivals. In 1981, Arhoolie's Chris Strachwitz was the first to record the two legends accompanied by Michael Doucet on guitar at Doucet's home. The beauty of this recording is that it's an accurate representation of what a trio playing informally indoors sounds like. The sound is flat, no extra embellishments, which explains why Clark's accordion playing is much more audible than Duhon and Doucet combined.

It's also apparent why Duhon considered his friend one of the best accordion players he had played with. Even at the ripe young age of then 77, Clark's straight-on playing never wavers, maintaining a clean, flowing consistency while each note exudes a tremendous air of confidence. When he belts out an 'a-I-e-e-e,' it's a powerful release of cutting, joyful emotion. A couple of other tunes ("Creole Twist," "Cajun Hot Shoe") showcase his amazing ability to not only play quickly but maintain masterful control of the accordion's funky, offsetting bass notes old-time Cajun music is known for. Of the 17 tracks here, 13 are from the original LP recording including Clark's old world-style polka, "Polka a Ma Vielle Tante." The last four tracks were also recorded that day but are released here for the first time. Throughout his life, Clark was known for saying, "You can't go wrong if you play it right." - Dan Willging

source
    

   

Artist Biography by Richie Unterberger

Singer/accordionist Octa Clark (b. 1904) and fiddler Hector Duhon (b. 1915) began playing together in the late 1920s. Duhon recorded for a while as part of the Dixie Ramblers, and after the group disbanded, remained active playing neighborhood dances with Clark. Both were senior citizens by the time they made their debut album as a duo for Arhoolie in 1981, with Michael Doucet playing guitar and writing the liner notes. Playing typical waltzes and dance tunes of the Cajun region, they also recorded an album for Rounder. Clark died in 1998.

***

By Melody Sokolow

I consider myself quite an avid listener (and dancer) of Cajun music, for years now....This CD is hard to beat for the purest example of this gorgeous art form. I picked it up yesterday, for the first time, and it brought me to tears. These men work together in a way that just brings the house down. Skilled artists, performing a time-honored tradition. Sensitive, poignant music - every song is a pleasure.....

***

  

By R. Webb

Old time Cajun music is right, and these two old pros Octa Clark & Hector Duhon knew exactly how to play it right, as Octa always said it "you can't go wrong if you play it right", Clark rocks on accordion & vocals, Duhon is sure-fire on fiddle, also filling in the gaps on guitar is Michael Doucet. The traditional sound of this genre is the best and without hesitation I'd rank this recording on top with the likes of The Balfa Brothers, Iry LeJeune, Nathan Abshire etc...Clark and Duhon recorded this album, their first in 1981, the original recording is thirteen tracks, the last four on this disc were added and recorded in the same time frame at Doucet's home in Lafayette,La...The Arhoolie co. seems to be fairly consistent in releasing rare and "old timey" recordings, similar to Smithsonian Folkways, the audio is excellent including a few liner notes by guitarist Michael Doucet. Take my advice, don't miss this one baby, you're liable to miss the train.

  

***

By Tacitus Bond
Having been raised in Cajun country with many of my childhood friends speaking Cajun French this music is in my blood. I do not like much of the modern "Cajun" music, so this album is a trip back to my child hood. These two are some of the greatest accordion and fiddle players of all time.

***

 ♥

Dansez...

  

Tribal Jâze

Trash, Trad & Roots
2008

Tracks:

01. Ouverture En Si Bémol Mineur
02. An Dro De Travers
03. La Tordue
04. Bourrée À Deux Ronds
05. Oudent Waltz
06. Bambi Roots
07. Cottage
08. Nin Nin Nin
09. Bourrée Du Tiot
10. The Miller Of Drohan
11. Dimanche Matin
12. De L'aut' Jour

Cédric "le Tiot" Hergault : Tambour & Percussions
Boris "le Secos" Nortier : Accordéon diatonique
Marc "le Gros" Buvry : Sax baryton

  

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.ღ•:*´♥`*:•ღ.

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Musiques de bal folk à danser mais avec une pointe d'humour et de swing.
Vous ne resterez pas sur votre chaise en écoutant la musique de ces 3 compères !
Le message est clair: amusez-vous et dansez jusqu'au bout de la nuit.

Vive La France!

   

Attribut ou à la tribu ?

Ils font comme les bretons, ils ressemblent aux bretons, ils sont des bretons.

Trois belles bêtes (le secos au diato, le ‘tiot au tambour  et le gros d’la troupe au baryton) amoureux de la terre, des côtes d’agneau grillées à la menthe, du bon vin et de la musique. Bref, ces trois lascars pourraient être de parfaits limousins.
Le jâze ? Un clin d’œil à la grosse caisse tambourinante des trios populaires en Bretagne au début du XXème : l’époque glorieuse du diato arrivé fraîchement sur les côtes …atlantiques.

En place pour un parcours de danses traditionnelles...

Bonjour à tous,
Nous somme le groupe TRIBAL JÂZE

"Créé en 2005 par Boris Nortier, Marc Buvry et Cédric Hergault, Tribal Jâze est un trio d’accordéon diatonique, sax baryton et tambour-jâze officiant dans le créneau des nouvelles musiques traditionnelles.

En 2007, Tribal Jâze s’attache à la production d’un premier album autoproduit « Le Grand Saut ». Avec leur deuxième album « Trash, Trad & Roots » produit en 2008, et « III », produit en 2011, ils sortent des sentiers battus des musiques traditionnelles et élargissent leur univers en s’accompagnant d’un V-Jay lors de leurs concerts.

Ils participent à de nombreux festivals en France mais également à l’étranger (Belgique, Portugal, Italie, Angleterre)."

Venez nous découvrir sur notre site ou en live pour danser !

site

or try here

need more music?

also look for Timothée Le Bour & Youen Bodros : )

♥

Welcome to Arsèguel ...

  

L'Acordió Un Món De Sons
2001

Tracks:

01. Carles Belda, Helena Casas, Josep Ma. Mayol, Josu Mayol - Bruno
02. Donal Regan, Daire O'Neil - O'Connell's Trip To Parliament
03. Enrique Telleria - La Cumparsita
04. Antonio Barros - Popular (Portugal)
05. Gwenael Kiviger, Axel Breitenreicher - Ar Plac'h Dimel Dimezet Gant
06. Cati Plana - Per Cortesia
07. Hans & Roland Pongratz, Sonja Petersamer - Popular (Bavaria)
08. Francesc Marimon - Acrobaleno
09. Guennady Kakmy Kov - Popular (Russia)
10. Daniel Violant - Sense
11. Schwytzerörgeli Trio Edelweiss - Popular (Swiss)
12. Matias Mazarico I Pere-Pau Jinménez - Un Puntet En El Mapa
13. Artur Blasco - Jota De La Placa D'Arsèguel
14. Ilio Amisano, Stefano Profeta - La Palude
15. Marc Del Pino - Vals Molt
16. Ned Kelly, Úrsula Byrni - Ryan's Polka
17. Laja, Iturbide - Trikirixa (Basque)
18. Alexandre Korotkov - Czardas
19. El Pont D'Acalís - Pasadoble De Muntanya

  

 recorded live in Arsèguel

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

  

Welcome to the accordion capital! 

Arsèguel is considered Catalonia’s accordion capital.
Every year, since 1976, it has hosted the Trobada amb els Acordionistes del Pirineu  (Gathering of the Accordion Players of the Pyrenees), the oldest folk music festival celebrated in the Catalan-speaking world. Arsèguel lies in the north-east of the comarca (local district) of L'Alt Urgell, in the very heart of the Pyrenees. It can be found on the lower spurs of the Serra del Cadí (Cadí Ridge), between the river Segre and the slopes of the Puig del Grau. Other points of interest to highlight are the Romanesque-style church of Santa Coloma and the Fàbrica de llanes (wool factory), and of course the marvellous views of the Pyrenees!

 

   

Want to visit:

Accordion Museum

      This museum explains the history of the accordion and its evolution around the world, but with particular reference to its links with the traditional folk culture of the Lleida Pyrenees. The instruments exhibited date from 1840 to the present day and include: melodeons, concertinas, bandoneons, and diatonic, semi-diatonic and chromatic accordions.

 

  

source

♥

Accordion & Violin

   

Yann-Fañch Perroches

& 

Fañch Landreau

 
Daou-ha-daou
2000

Tracks:

1- Le mauvais père (trad) /
La Jolie Rochelle (comp. Perroches - Landreau / trad)
2- Suite Gavotte (trad.)
3- Ma petite Philomène / Ridées 6 temps (trad)
4- La marche des cabanes à sieste (comp. F Landreau)
Gavottes pourlettes (comp. Perroches/Landreau - trad) 

5- Marches de Le Gal et le Nouveau (trad)
6- Ninette (Ronds de St Vincent) (trad)
7- Maria (comp. YF Perroches)

8- Les rats d'eau de St Malo (trad)        
9- La (grosse) Valse à Dudule (comp. YF Perroches)

10- Un ti bihan (trad)
11- Suite Plinn :
Ton-simpl : (A Thomas/D Philippe)
Bal plinn : (Perroches/Landreau)
Ton-doubl : (trad - D Le Féon)
12- Son ar Mezvier (trad) / Kas-a-barh (trad - Landreau)
13- Voici fleurir les roses (trad)

  

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The artist says: "For me the diatonic accordion and Breton music are universal. Swing, melancholy and harmony... My music is deeply rooted, but it is nourished from all sources, from every encounter."

"An exceptional, very spare album, an album that will remain timeless because the only 'special effects' are the musicians themselves!" Le Télégramme

"You'll be entranced. For Breton music listeners, this is a joy, but for players in search of tunes, it's essential!" Dirty Linen

   

"An accordion. A violin. A microphone. 

No tricks. We play, that's all." 

    
Such is the declaration made by Perroches and Landreau on the cover of their new CD. Daou-ha-daou provides a lesson in the texture that can be created by two musicians without the benefit of overdubbing or an arm's length of guest players. Veterans of the leading Breton band Skolvan, these two share a rare understanding and sympathy, and succeed in weaving many a pretty web around the template of traditional and original melodies from their region. First a tune is established, by one instrument or sometimes both (the unison playing is telepathically tight), then the accordion basses begin to syncopate and extend the chordal background into jazzy territory. The fiddle soars and dips around the basic melody, delighting with its delicate improvisations. The comparison with England's Chris Wood and Andy Cutting is an obvious one, but there are other points of reference such as the Arctic soundscapes of Finland's queen of squeeze Maria Kalaniemi, whose influence is heard in the dissonant chords filtering into the "Suite Gavotte," as well as in Yann-Fanch's tribute "Maria," an air with a powerful sense of open space.

Generally the mood of this entirely instrumental CD is one of reflection and melancholy, with minor keys and broken rhythms predominant, although "Les Rats d'Eau de St. Malo" works up quite a head of steam with some Quebec-style foot percussion. The beautifully crafted music deserves repeated listening by anyone who appreciates fine playing, but it can also serve well as an atmospheric backdrop. With Daou-ha-daou, Perroches and Landreau offer another great example of the current strength of European traditional music.

~Brian Peters
  

Perroches

*♫*♫*

Bandolim

  

Hamilton de Holanda

Samba do Avião
2006

  

Tracks:

01- Cinema paradiso (e.morricone) 3:18
02- Samba do avião (a.c.jobim) 3:57
03- Théo (h. de holanda) 4:36
04- Embora (h. de holanda) 4:12
05- Último suspiro (h. de holanda) 4:03
06- Na hora do recreio (h. de holanda) 4:27
07- Eu não existo sem voce (a.c.jobim) 3:24
08- Dor menor (h. de holanda) 3:42
09- Chorinho pra ele (h.pascoal) 3:38 *
10- Sertão (r.galliano) 4:19 *
11- Sanfona (r.galliano) 4:06 *

Personnel: 

Hamilton de Holanda (mandolin)

Richard Galliano (accordion) *

Recording information: 

Maxine Studio, Milano, Italy (01/28/2005-01/30/2005)

  

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Hamilton de Holanda is the world's finest player of the jazz mandolin. And not only that. In 2001 he was unanimously voted "Best Instrumentalist in Brazil".

Richard Galliano (who specially composed two pieces for this recording) is the world's finest accordion player.

Hamilton de Holanda is a master of "Choro" - traditional Brazilian street music with strong links to jazz, tango and African rhythms - which originated in Rio around 1850. He performed on the Grammy-Award winning album by Cesària Evora and now tours the world with his own Trio and Quarteto but also often appearing with Richard Galliano in a duo.

This is a record of pure crystalline beauty whose natural flow recalls the "rodas de choro" - gatherings of musicians who play their instruments as if they were talking to each other. This is the music of subtle alchemy where the timbre reminds one of other important composers- such as Astor Piazzolla and Egberto Gismonti who spoke the language of jazz and improvisation while still infusing it with traditional phrasing and rhythm.

  

***

Born in Rio de Janeiro- 1976 Hamilton de Holanda is already considered as one of the greatest virtuosos of bandolim of all times., His work is very much Brazilian, but in a contemporary way, he is known as a master of 'Choro' music from the streets of Brazil that infuses tango, African and jazz styles. Guesting on 3 tracks is the wonderful accordion of Richard Galliano, the two of them working together are just brilliant and a real highlight. Graham Radley

***

Brazil

    
The mandolin (called "bandolim") has a long and rich tradition in Brazilian folk music, especially in the style called choro. The composer and mandolin virtuoso Jacob do Bandolim did much to popularize the instrument through many recordings, and his influence continues to the present day. Some contemporary mandolin players in Brazil include Jacob's disciple Deo Rian, and Hamilton de Holanda (the former, a traditional choro-style player, the latter an eclectic innovator).
The mandolin came into Brazil by way of Portugal. Portuguese music has a long tradition of mandolins and mandolin-like instruments (see, for example, the Portuguese guitar).
The mandolin is used almost exclusively as a melody instrument in Brazilian folk music - the role of chordal accompaniment being taken over by the cavaquinho and nylon-strung violão, or Spanish-style guitar. Its popularity, therefore, has risen and fallen with instrumental folk music styles, especially choro. The later part of the 20th century saw a renaissance of choro in Brazil, and with it, a revival of the country's mandolinistic tradition.

       

   

♥

Sem asma e nem bronquite …sanfonite!

   

Dominguinhos, Sivuca & Oswaldinho
Cada um Belisca um Pouco
2004

 

Faixas:

1 - Feira de Mangaio (Sivuca; Glória Gadelha)
2 - A Dança de Moda/Qui Nem Jiló/Fuga de África (Luiz Gonzaga; Zédantas / Luiz Gonzaga; Humberto Teixeira / Luiz Gonzaga)
3 - Eu Só Quero Um Xodó (Dominguinhos; Anastácia)
4 - Baião (Luiz Gonzaga; Humberto Teixeita)
5 - Feijoada/Pagode Russo/O Sanfoneiro Só Tocava Isso (Sivuca / Luiz Gonzaga; João Silva / Geraldo Medeiros; Haroldo Lobo)
6 - Cada Um Belisca Um Pouco (Sivuca; Dominguinhos; Oswaldinho)
7 - Nilopolitano (Dominguinhos)
8 - Sabiá/Numa Sala de Reboco/Xote das Meninas (Luiz Gonzaga; Zédantas / Luiz Gonzaga; José Marcolino / Luiz Gonzaga; Zédantas)
9 - Adeus Maria Fuiô (Sivuca; Humberto Teixeira)
10 - Isso Aqui Tá Born Demais/Quero Chá/Pedras Que Cantam (Dominguinhos; Chico Buarque / Luiz Gonzaga; José Marcolino / Dominguinhos; Fausto Nilo)
11 - Roseira de Norte (Pedro Sertanejo; Zé Gonzaga)
12 - Asa Branca (Luiz Gonzaga; Humberto Teixeira)

Músicos especialmente convidados:

João Lyra - violão e viola
Toni 7 Cordas - violão 7
Alceu Maia - cavaco
Durval - percussão
Mingo Araújo - percussão
Waldonys - sanfona nas músicas Nilopolitano, Sabiá, Numa Sala de Reboco e Xote das Meninas.

 

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The encounter of Dominguinhos, Sivuca and Oswaldinho on the CD, Cada um Belisca um Pouco is one of those magic moments that makes our music one of the richest in the world. While Luiz Gonzaga and Jackson do Pandeiro introduced Brazil to the Northeastern rhythms as the "baião" and the "xaxado" in the 40s and 50s, the three accordionists are responsible for giving the main instrument of this music an aura of "universitality".

Dominguinhos, from Pernambuco, Sivuca, from Paraíba and the Oswaldinho, son of the mythical Pedro Sertanejo, from Rio (author of the beautiful Roseira do Norte, remembered in this work) bring the sounds of the rural Northeast. The roads they followed looking for their musical dreams gave them other notes up their sleeves as well. That is why, in bringing the three masters to a studio, the producer, José Milton, performs a remarkable service to our music.

Luiz Gonzaga brought in his mixture of "xote, maracatu and baião" (rhythms of the Northeast), and the golden trio of national accordions understood that in the wind of the bellows more than just a regional lament of the suffering Northeastern soul breathed. When they play the same instrument all together, the sound that comes out is also improvised as American jazz or choro from Rio.

Before this, the three had played together only one time, in a trilogy performed in 1994 with José Milton in honor of Gonzaga, Jackson and João do Vale. From that time, this project filled the dreams of the producer. Intimately linked by roots, instruments and talent, Dominguinhos, Sivuca and Oswaldinho made the CD in one go only, as if they had met at some dance in Garanhuns, Campina Grande or Juazeiro. They chose the repertoire together and, when ready, went into the studio. "It was impressive. They went through the songs at the time of the recording, harmonized and knew when to solo by just looking at each other," tells José Milton.

To give more freedom to the trio, a first rate group was formed by musicians that follow the same musical line. The guitarists, João Lyra and Tony Sete Cordas, the ukulele player, Alceu Maia, and the percussionists, Durval and Minto Araújo, gave still more harmony to the work. The disciple, Waldonys, added to the choir of accordions on the beautiful, Nilopolitano, by Dominguinhos, and on the pot-pourri that brought together Sabiá, Xote das Meninas (both by Luiz Gonzaga and Zé Dantas) and Numa Sala de Reboco (by Gonzagão and Zé Marcolino). By the way, because the songs for the CD were chosen using the sole criterion of emotional memory, Gonzagão, master and friend of all, was spontaneously honored. Well-known songs as Asa Branca and Baião (by "Velho Lua" with Humberto Teixeira) were given sophisticated arrangements, with the three alternating in solos and backup. Other less known songs as Dança da Moda and Fuga da África came together thanks to the memory of the musicians.

The composer side of each musician is also seen in an interesting way. From Sivuca, the classics Feira de Mangaio (written with his wife, Glorinha Gadelha) and Adeus Maria Fulô are here, as well as Feijoada, only recorded before on a 78 record. It is put together here with another tasty pot-pourri with Pagode Russo, one more by Gonzaga, and O Sanfoneiro só Tacava by Geraldo Medeiros. From Dominguinhos are Eu só Quero um Xodó, Isso Aqui Tá Bom Demais and Pedras que Cantam (with the partners Anastácia, Nando Cordel and Fausto Nilo, respectively).

It was Oswaldinho, the guy who, to the desperation of the purists, dared to mix the Northeastern rhythms with rock, who wrote the song that gives the CD its name and synthesizes the soul of the CD: Cada um Belisca um Pouco. In other words, it is a CD that was born ready for that special place on the shelf of each lover of Brazilian music, and, why not say, universal.

JOÃO PIMENTEL 

 

Muito “roots” … virtuosidades ao extremo!
Sem asma e nem bronquite …sanfonite!

    

Vinicius Ribeiro

 

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Bom dia Tiago!

 

Ay-Te Te Fee

   

Clifton Chenier

Zodico Blues & Boogie
1955

Tracks:

01 Boppin’ The Rock
02 Ay-Te Te Fee
03 The Cats Dreamin’
04 Squeeze Box Boogie
05 The Things I Did For You
06 Think It Over
07 Zodico Stomp
08 Yesterday (I Lost My Best Friend)
09 Chenier’s Boogie
10 I’m On My Way (Back Home To You)
11 All Night Long
12 Opelousas Hop
13 I’m On My Way (Back Home To You)
14 Wherever You Go I’ll Go
15 Opelousas Hop
16 Clifton’s Dreamin’
17 Chenier’s Boogie
18 Wherever You Go I’ll Go
19 Ay-Te Te Fee
20 All Night Long

Personnel:

Clifton Chenier - vocals, accordion
Cleveland Chenier - rubboard
Lionel Prevo - tenor sax
James K. Jones - piano
Phillip Walker - guitars
Louis Candy - bass
Wilton Siemen - drums

Notes:

Recording Date: Apr 1955 - Sep 1955

Remastered at Fantasy, Berkeley, by Kirk Felton. 1993

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Compiled and with archive research by Ray Topping this compact disc includes the recordings Clifton made for Art Rupe’s Specialty Records on two different trips to Los Angeles in 1955. These are the most important recordings of Zydeco music of this period. Clifton blends the blues with rural Louisiana Creole folk music unlike no other and this is proof.

That's "zydeco", to most of you – but "zodico" is also a term that was used in the early years – before cats like Clifton Chenier helped bring their regional Louisiana groove to a much wider audience! The tunes here are all pretty cooking – rare early work from Cliff, recorded in the mid 50s – with a nice undercurrent of R&B that dropped out of zydeco a bit more in later years – lots of rolling piano parts that make for a stronger link to New Orleans music than you might think! The set features 20 tracks in all, with Chenier on accordion and vocals – plus tenor, guitar, piano, bass, drums, and scrub board for percussion. ~ Dusty Groove America

Clifton Chenier's mid-'50s singles for Specialty were among his rawest and simplest; they were short ditties with rippling accordion and gritty vocals on top and driving rhythms and surging instrumental accompaniment underneath. That's the formula displayed on this 20-cut presentation of Chenier's early work, where he was often backed by guitarists Phillip Walker or Cornelius Green (Lonesome Sundown), with his brother Cleveland handling rubboard duties. This is Chenier in his stylistic infancy, building and nurturing what ultimately became a signature sound. ~ Ron Wynn

 

~♥~

 

Dansons la bourrée!

Dansons la bourrée!
Muisque & Tradition Vol. 1

Tracks:

Robert Bras - Roland Brunel

1 - Les garçons de la montagne
2 - La montagnarde

Marcel Pelat-Charly - Joseph Ruols

3 - Les cinq noisettes
4 - La bourrée à Joseph

Charly Charbonnier- Didier Pauvert

5 - Bourrée du Fridefont
6 - La bourrée du Falgoux

Louis Rispal - Gabriel Chiva

7 - La bourrée du Louis
8 - La tricoutado
9 - La bourrée des familles

Tonin Troupel - Claude Descombels

10 - La bourrée en Auvergne
11 - La bourrée de Royat
12 - Le tourniquet

Jean-Claude Labouchet - Denis Salesse

13 - La bourré de bouteilles

Duo cabrette/accordéon:

Cabrette: 

Roland Brunel, Joseph Ruols, Didier Pauvert, Louis Rispal, Claude Descombels, Denis Salesse

Accordéon: 

Robert Bras, Marcel Pelat-Charly, Charly Charbonnier, Gabriel Chiva, Tonin Troupel, Jean-Claude Labouchet
 

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The bourrée (also borrèia) is a dance of French origin common in Auvergne and Biscay in Spain in the 17th century. It is danced in quick double time, somewhat resembling the gavotte. The main difference between the two is the anacrusis, or upbeat; a bourrée starts on the last beat of a bar, creating a quarter-bar anacrusis, whereas a gavotte has a half-bar anacrusis. It often has a dactylic rhythm. In his Der Vollkommene Capellmeister (Hamburg, 1739), Johann Mattheson wrote of the bourrée, "its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable".

Composers such as Johann Sebastian Bach, George Frideric Handel, and Frédéric Chopin used the musical form of the bourrée. The dance survives to this day in the Auvergne and has been successfully "exported" to the UK and other countries. The bourrée of lower Auvergne, also called Montagnarde, is in triple time, while that of high Auvergne is in double time.
 

  

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Johnny Can't Dance

  

Aldus Roger
A Cajun Legend

Tracks:

1.  Lafayette Two-Step (2:14)
2.  Steppin' Fast (2:31)
3.  Flames d'enfer (2:44)
4.  Fi Fi Poncho (2:47)
5.  Over The Waves (3:47)
6.  Jambalaya (2:48)
7.  Johnny Can't Dance (2:48)
8.  Lafayette Playboy Waltz (2:46)
9.  Hicks Wagon Wheel (2:42)
10.  Love Sick Waltz (2:51)
11.  Zydeco Sont Pas Sale (2:34)
12.  Un Autre Chance (3:21)
13.  Diga Ding Ding Dong (2:46)
14.  Louisiana Waltz (2:37)
15.  Mamou Two-Step (2:28)
16.  The Last Waltz (2:33)
17.  Wafus Two-Step (2:10)
18.  KLFY Waltz (2:41)
19.  Perrodin Two-Step (2:10)
20.  Jolie Blonde (2:44)
21.  Petite Au La Grosse (3:31)
22.  Creole Stomp (1:50)

  

Musicians:

Aldus Roger and the Lafayetter Playboys
Aldus Roger - vocal, accordion
Doc Guidry - fiddle
Fernice "Man" Abshire
Johnny Credeur
Phillip Alleman
Tunice Abshire
David Abshire
Harry Lee Mott
Louis Foreman
Tony Thibodeaux
Clarence Alleman
Vernon Bergeron
Gerald Touchet

 

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It may seem a bit presumptuous for an artist's debut album to refer to him as a legend, but Aldus Roger's "A Cajun Legend" is justifiably titled. The Lafayette, Louisiana, native has been a local fixture for decades, appearing at festivals throughout the region and even starring in his own local television show for a spell. This compilation is taken from live performances and occasional studio dates, and covers a broad range, both in time and in the makeup of Roger's ever-shifting band, the Lafayette Playboys. Fiddler Doc Guidry is Roger's foil on most of it, and the album's most exciting moments come when Guidry and Roger trade off solos in good-natured cutting contests. The music and sound quality are extraordinary.

Cajun Legend plays the French Music of South Louisiana is a mid-'60s album from Aldus Roger, one of the most popular Cajun accordionists of the '50s and '60s. Featuring contributions form steel guitarist Phillip Alleman and fiddler Doc Guidry, the record accurately captures the exciting, eclectic atmosphere of Roger's dancehall concerts and features a fine version of his signature song, "Johnny Can't Dance." ~ Thom Owens, All Music Guide

Aldus Roger was best known for his television music program during the late 1950s and 1960s. He also recorded a Cajun French version of Hank Williams' hit "Jambalaya" (originally this was a Cajun song titled "Grand Texas").

Aldus Roger

Legendary accordionist who influenced a generation of Cajun music artists

The accordionist and bandleader Aldus Roger, who has died aged 83, was one of the most popular figures in Louisiana Cajun music in the 1950s. While his contemporary and fellow accordionist Lawrence Walker favoured a smooth sound, "Aldus's music was loud. More into full force," as singer/historian Johnnie Allan remembered.

Typical recordings from Roger, like Lafayette Two Step (1964) and Diga Ding Ding Dong (1966), spiced the standard Cajun stew of accordion, fiddle and steel guitar with thudding bass guitar and drums. In the case of Lafayette Two Step this might have amounted in traditionalists' eyes to heresy, since it was the first Cajun song to be put on a record, in 1928, by the accordionist Joseph Falcon. Roger's version of the deeply traditional Mardi Gras Dance went even further, being pepped up to a frenzy by rock'n'roll drumming.

Roger was born in the small town of Carencro, near Lafayette, a musician's son who began playing the one-row diatonic accordion the locally preferred type of the instrument aged eight. By his mid-teens he was playing in public, but during the 1930s popular taste in rench-speaking south Louisiana swung away from the accordion to a string-band sound, closer to Anglo-American country music. It was not until the instrument enjoyed a revival in the 1950s, thanks to players like Iry LeJune, Nathan Abshire and Roger himself, that he made his mark with his band the Lafayette Playboys.

For 15 years Roger had a television show on KLFY in Lafayette, and he made records for all the south Louisiana labels specialising in Cajun music, such as Goldband, Cajun Classics and, especially, La Louisianne, for whom he recorded numerous singles and three albums.

While Roger was probably most at ease with the native Cajun repertoire of two-steps and waltzes, he was not too hidebound to hire young musicians who could sing rhythm and blues numbers.

"So far as music to dance by," commented the Cajun music historian Pierre Daigle, "there can be no better, but I find that he plays a cool music, and in my opinion it does not stir the heart." Yet, despite this, Roger had a devoted following among both dancers and musicians.

Although he had been inactive since the 1980s, Roger's playing had already influenced a generation of younger accordionists like Reggie Matte, Pat Savant and Wayne Toups, who carry on maintaining this unique music's remarkable survival in the teeth of assimilation.

Aldus Roger, Louisiana French musician, born February 10, 1916; died April 4, 1999.

Tony Russell, The Guardian, Wednesday 2 June 1999

Aldus Roger at the Liberty Theatre in Eunice

 

thank you tineg for the music

 

 "About Aldus, his recordings are *the* reference point for both fans of the dance hall sound and accordionists alike. His style is not as highly embellished or frou-frou as Savoy's or Riley's: it's to the point, clean, concise and driving."

 

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