Ray Abshire plays traditional Cajun dance music, performing regularly at the New Orleans Jazz & Heritage Festival and the Festival International in Lafayette, where he lives. Currently, he leaves home only to play festivals and music camps. Born into a musical family – he is a cousin of Cajun great Nathan Abshire – Ray Abshire grew up during the South Louisiana “Dance Hall” era of the 1950s and 1960s and began playing professionally when he was 14.
He performed with all the well-known Cajun masters whose recordings form the foundation for students of Cajun music today; a highlight of his collaborations is the time he spent as accordion player with the legendary Balfa Brothers Band from 1969 to 1975.
Ray Abshire’s accordion style is traditional and he sings in the classic Cajun tenor high voice. Remaining true to the traditional sound he grew up with, Abshire draws from a large repertoire of songs rarely heard today, as featured on his CD, “For Old Times Sake” with fiddlers Courtney Granger and Kevin Wimmer on Swallow Records, released in 2003.
The Pine Leaf Boys, a remarkable band from southern Louisiana, play traditional Cajun and Creole music with new, unique arrangements.
The band features some of the finest players in the Cajun music scene. Accordion and fiddle player Wilson Savoy is the son of legends Marc and Ann Savoy, while master fiddler and superb singer Courtney Granger comes from the Balfa family lineage.
Bassist Thomas David was born and raised in Lafayette. He started playing drums professionally at age 8 alongside his father, Ken David, bassist with Jambalaya Cajun Band.
The Balfa name brings up memories of the renowned Balfa Brothers, who took their Louisiana roots music from the prairies of Mamou to the far reaches of the world. Balfa Toujours (Balfa always) is making sure the name will keep its place for future generations.
Led by Christine Balfa, daughter of acclaimed Cajun fiddler Dewey Balfa, the group has taken generations of inspiration and created a vibrant sound all their own. Since coming together after Dewey’s passing in 1992, they’ve grown from a band known for its youth and passion into pillars of the traditional music community not only in Louisiana but throughout the folk music world. They’ve recorded several albums, appeared in numerous films and television shows, toured North America, Europe, Australia, and Asia, enjoyed front cover features in roots music magazines, and taught classes in Cajun culture internationally, in both French and English.
Balfa Toujours cross many boundaries and perform in a wide array of styles, from rocking dancehalls to crowded festivals to informative concerts, without ever losing the joy of life that characterizes their culture.
Christine Balfa may be recognizable to some from her appearance in the film The Big Easy. She grew up playing triangle with her father Dewey and learned music and language from the thriving culture around Basile, Louisiana. Her singing is full of the raw emotion that enables the best Cajun singers to communicate powerful feelings directly to the heart. She collaborates on many of the group’s original songs and is the founder and director of Louisiana Folk Roots, a non-profit organization dedicated to supporting Louisiana traditions.
Stanley “Buckwheat” Dural passed away on September 24 at Our Lady of Lourdes Regional Medical Center in Lafayette, Louisiana. He was 68 years old. Stanley “Buckwheat” Dural was the leader of one of the greatest Zydeco bands, Buckwheat Zydeco.
Buckwheat Zydeco’s powerful live shows were legendary for the fun and abandon they inspired. It was the first Zydeco band to land a major record label deal, the first to perform on a national television show, the first to have its music featured in major motion pictures, TV shows and national TV commercials, the first to record with top rock musicians and the first to introduce Zydeco to the music mainstream.
“Buckwheat Zydeco embodied a genre and represented a community with his signature playing style that brought distinctly creole zydeco music to fans across the globe. Buckwheat played both for and with legends, performing at both Clinton inaugurations, touring with Eric Clapton, and collaborating with a seemingly endless list of artists over his 40-plus year career. He won an Emmy for his work in TV and a GRAMMY in the genre he helped define. The world lost a music heavyweight today. Our thoughts go out to his family and friends,” said Neil Portnow, President/CEO of The Recording Academy.
Stanley “Buckwheat” Dural, Jr. was born in 1947 in Lafayette, Louisiana, a close-knit community where many black people express their Creole heritage by speaking French, and by playing and dancing to Zydeco. This hybrid genre blends Afro-Caribbean rhythms, and blues, with soul, rock, country and the French-rooted Cajun music of the Creoles’ white neighbors.
As the son of a Zydeco accordionist, Buckwheat grew up steeped in this culture, and also absorbed Lafayette’s ample outpouring of blues and Gulf Coast “swamp pop.” He began his professional career as an R&B sideman, playing keyboards for artists such as Joe Tex, Barbara Lynn and Clarence Gatemouth Brown.
In 1971, Dural began leading his own R&B and funk band, Buckwheat and the Hitchhikers, playing the contemporary sounds of popular bands like Parliament Funkadelic and Earth, Wind &Fire. The group achieved a regional hit with “It’s Hard to Get.”
By the mid-1970s, South Louisiana began to experience a grass-roots cultural renaissance as Zydeco and Cajun music, once scorned as overly ethnic, gained appreciation as treasured cultural resources. As the demand grew for Zydeco bands, Dural was offered a gig playing organ for the “King of Zydeco,” the late Clifton Chenier. Buck (as he was also known) worked hard and learned all that he could. After three years of touring, recording and accordion apprenticeship, he left in 1979 to lead his own group, Buckwheat Zydeco and the ils Sont Partis Band. Like Chenier, Buckwheat continued to blend traditional Creole Zydeco with the latest black-contemporary styles, drawing on all of his rich and varied musical experience.
Recording prolifically for various independent labels, Dural attracted the attention of music journalist Ted Fox, who became his manager and co-producer. In 1987, Fox arranged Buckwheat’s signing with Island Records, and he became the first Zydeco artist to appear on a major label. This resulted in the band’s fourth Grammy nomination.
During the years of critical acclaim that has ensued, Buckwheat Zydeco toured constantly, headlining at major venues as well as sharing stages with the likes of U2 and Eric Clapton, and even The Boston Pops. Clapton also recorded as a special guest with Buckwheat Zydeco – as did Willie Nelson, Mavis Staples, Dwight Yoakam and David Hidalgo of Los Lobos – on some of his numerous projects that followed.
The band performed at both of President Clinton’s inaugurals, and Buck was featured on the Closing Ceremonies of the Summer Olympics in Atlanta before a worldwide television audience of three billion.
Another first project for Buckwheat Zydeco was the release of the band’s lively children’s album, Choo Choo Boogaloo, on the Music For Little People label which won numerous awards and rave reviews. It features zydeco originals as well as classics such as “Iko, Iko,””Cotton Fields,””Little Red Caboose,” and “Skip To My Lou.” In the spirit of creating a genuine family feeling people of all ages contributed to the music, including a talented young people’s gospel choir from Baton Rouge.
Buckwheat Zydeco celebrated its 20th anniversary by releasing a retrospective album. The Buckwheat Zydeco Story – A 20-Year Party, a compilation of the band’s best recordings, was released on Buckwheat’s own Tomorrow Recordings label on July 6, 1999. It features 74 minutes of music on one disc as well as comprehensive liner notes in a 16-page booklet in a slipcased package.
The album’s cover features an unforgettable image of Stanley “Buckwheat” Dural, Jr. in front of the tiny boyhood home he shared with eleven brothers and sisters in Lafayette, Louisiana. It is both a tribute to his roots and a statement of how far he and the Creole music he loves have come. The album’s colorful original art was created by award-winning Jackson, MS artist H.C. Porter whose work is exhibited in shows and museums around the United States.
The studio recording, Trouble, was released on Tomorrow Recordings on January 12, 1999. Buck felt strongly that this was his best album in a dozen years. Perhaps more aptly titled than Buck even knew, Trouble was originally released in May of 1997 by Mesa/Atlantic just as Mesa was undergoing a shake-up. Unsatisfied with the results of the original release – and unwilling to give up on what they felt was one of the band’s key albums – Dural and Ted Fox, convinced Atlantic to revert the album to them.
On Trouble, Buckwheat decided to concentrate on the skilled players within his band, and revisit the live-on-the-bandstand feel of the Zydeco and R&B dance halls where he first learned his craft.
One For The Road (Blues Unlimited Records, 1979)
Take It Easy, Baby (Blues Unlimited Records, 1980)
Peoples Choice (Blues Unlimited Records, 1982) 100% Fortified Zydeco (Black Top Records, 1983)
Turning Point (Rounder Records, 1983)
Ils Sont Partis (Blues Unlimited Records, 1984)
Waitin’ For My Ya Ya (Rounder Records, 1985)
On a Night Like This (Island Records, 1987)
Taking It Home (Island Records, 1988) Where Theres Smoke Theres Fire (MCA Records|MCA Special Products, 1990)
Buckwheats Zydeco Party (Rounder Records, 1992)
On Track (Atlantic Records, 1992)
Menagerie: The Essential Zydeco Collection (Mango Records, 1993) Choo Choo Boogaloo (Music For Little People, 1994)
Five Card Stud (Island Records, 1994)
The Best Of Louisiana Zydeco (Avi Entertainment, 1996)
Trouble (Tomorrow Recordings, 1997)
Buckwheat Zydeco Story: A 20 Year Party (Tomorrow Recordings, 1999) The Ultimate Collection (Hip-O Records, 2000)
Down Home Live (Tomorrow Recordings, 2001) Classics (Rounder Records, 2003) Jackpot! (Tomorrow Recordings, 2005)
The Best of Buckwheat Zydeco: Millennium Collection (Island Records, 2006) Lay Your Burden Down (Alligator Records, 2009)
Let The Good Times Roll: Essential Recordings (Rounder Records, 2009)
Being a self-styled traditionalist doesn’t mean my musical tastes are so staunch that I shun any sonic adventurousness that steps over traditional boundaries. Cross the line into an over-reliance on gimmickry (which can take the form of too much technology or pop pandering for commercial purposes), and you’ve lost me. Taking chances by mixing traditions or styles in ways that leave musical integrity unscathed? You’ve got my attention.
Aziza Brahim, a Sahrawi woman who was born in an Algerian refugee camp as the war over the Western Sahara region was raging, doesn’t exactly go in for traditional Sahrawi music on Abbar el Hamada (Glitter Beat, 2016). Having lived and studied in Cuba and currently a citizen of Spain, some of her songs have an expected, and very welcome, Iberian and Latin edge. She even sings in Spanish for much of the album, the title of which refers to rocky desert landscapes and subject-wise deals with activist concerns like the ongoing plight of the Sahrawi.
The disc also digs into a measure of the “desert blues” sound that many Saharan musicians have become known for, as well as a few galloping rhythms that suggest a more laid back version of Senegalese m’balax (which has always had its own Latin flavors).
Brahim isn’t as frequent in her use of wailing, undulating tones as a lot singers with Arabic roots tend to be. Her approach is more pensive, but she sharpens her tone when needed, and partly because she also plays the bowl-shaped tbal drum while she sings, her voice fits the grooves as naturally as the grooves themselves, be they acoustic or electric. A stunning release all around.
She’s already a groundbreaker for use of the Swedish nyckelharpa (keyed viola) in the music of her native Spain, and now Ana Alcaide takes things a few steps further with Leyenda- World Music Inspired by Feminine Legends (ARC Music, 2016). Female folkloric characters from various cultures (including Spain, Mexico, China, Scotland and Alcaide’s own imagination) are celebrated in songs that range from lullaby-like softness to ritualistic and pulsating.
Nyckelharpa, baroque guitars and bouzouki are sweetened with other strings, reeds, percussion and celestial production values that surround Alcaide’s gracefully penetrating vocals and construct a pair of instrumentals that seem to tell otherworldly tales without any words at all. This is music that could serve as a soundtrack for any ancient or modern fantasy worth conjuring, or bring about just enough of a dream state to take you blissfully away from reality for a while. Either way, it’s stunning.
Chicha, the Peruvian-originated, organ-tweaked, fuzz guitar-laden psychedelic style of music with similarities to Colombian cumbia and Jamaican dub, continues on its revival path courtesy of Austin-based band Money Chicha. Their debut album Echo En Mexico (Vampisoul, 2016) is an irresistibly throbbing beat fest where unyielding layers of Latin percussion support keyboards, guitars and bass that are as trippy in their wall of sound as they are intertwined in their tightness. And tightness is indeed the key.
The chicha sound is one that must not lag in its skipping rhythms or spot-on melodic mesh that weighs in somewhere between surf rock, alternative Latin, Andean tradition, the ghost of Arsenio Rodriguez and music that simply wouldn’t appeal to polite society in Lima, Bogota or, well, Austin. Money Chicha go their own way by eliminating vocals entirely and giving the tracks a subtle funk push with a little extra breathing room among the instruments, resulting in a disc that satisfies to the frenzied max.
Lovers of African drumming and African music in general will happily tune in to West to West (ARC Music, 2016) by Nii Okai Tagoe. He’s a master of many a drum and percussion instrument affiliated with the Motherland and treads a beaten (beating?) path away from tradition by lacing his danceable pieces with horns, keyboards, violin, harp, bass and guitar.
Some unexpected turns are taken with arrangements as well, such as the blues sway of “3 Monkeys.” Not surprising for a gent who’s played with outfits as diverse as Baka Beyond and African Head Charge. This sort of thing has been done before, but Tagoe certainly does it spot-on.
A very different take on percussion and its relationship to the human voice can be heard on Chiaroscuro (Bent Records, 2016) a collaboration involving Baird Hersey & Prana with Nexus. Nexus is a virtuosic percussion ensemble; Prana is a group of singers who all specialize in singing two pitches simultaneously. That dual pitch knack helped inspire Garry Kvistad of Nexus to invent the vistaphone, four octaves worth of chimes gathered into one instrument and the perfect companion to the harmonic series scale of notes that the singers use to achieve their second level of vocal prowess.
The grandiosely-titled tracks on the album (“The Rituals of Dusk,” A Crown of Radiant Fire,” etc.) combine orchestral drums, gongs, glockenspiel, marimba, vibraphone, xylophone, voices and the debuting vistaphone to create music that I can only describe as equal parts refined and primal, rhythmic and atmospheric, structured and seemingly spontaneous, eerie and comforting, earthy and not of this earth. Repeating patterns of percussion and wordless voices ascend to mesmerizing heights and hover there, exploring in sonic terms the disc’s titular concept of light and dark contrasting yet harmonizing.
The three concluding compositions (including a mind-and-ear-altering Balinese monkey chant) are voices unaccompanied and lose nothing in the absence of their percussive counterparts. So is this disc the pinnacle of traditional music, the complete lack of it or something else altogether? Get it and decide for yourself. And prepare to be spellbound.
I don’t know a great deal about traditional Welsh music and thus can’t say how closely 9Bach adheres to it with their latest release, Anian (Real World, 2016). But I am quite taken with the shimmery emotiveness of singer/pianist/composer/lyricist Lisa Jen’s lead vocals, as well as the sparse yet very sturdy support her bandmates offer on guitar, bass, percussion, harp, hammer dulcimer and harmonies.
While some of the instruments used reportedly stray from tradition, the end result is a perfect fit, with modern production adding a kind of cool mist to softly enveloping music that often has a melancholy, longing feel offset by pure beauty. Anian is one to savor repeatedly.
There’s also a bonus disc, Yn Dy Lais (In Your Voice), that features Welsh-influenced poetry and storytelling rendered in English by the likes of Peter Gabriel and Rhys Ifans. It’s meant to make the nuances of the Welsh language more accessibly artsy and is worth a listen, but the lovely sounds on the first disc are the true reason to get this album.
A world away but still bringing tradition to a different level, Roddie Romero and the Hub City All-Stars take music with roots as old as the Louisiana bayou itself and jolt it full of rock, soul, blues, zydeco and funk energy. Gulfstream (Octavia Records, 2016) is a swampy, sultry, swaggering, sizzling slab of deep-south musical gumbo that will delight anyone who loves the celebratory sounds of New Orleans and Lafayette and appreciates the need to cool down for a ballad like the Aaron Neville-ish title track. It’s a party, albeit from the heart.
Richard Bona, the “African Sting,” melds his smooth Cameroonian roots music with the sounds of Afro-Cuban band Mandekan Cubano on Heritage (Qwest Records, 2016). African and Latin musical traditions have been best friends for a long, long time thanks to their shared origins, and Mandekan Cubano’s piano, dual percussion, trumpet and trombone lineup expertly underpins Bona’s joyous salsa-infused numbers and his softer side. Primarily a bassist but adept on numerous instruments, Bona adds unexpected touches like electric sitar to the range of Afro-Latin delights that comprise a very fine release.
Brazilian music, a familiar world staple for decades, has more recently been fused with electronica to degrees that some traditionalists have accepted and others rejected. Put me in the former category. It’s telling that Luisa Maita waited six years since her first album to put out a followup; perhaps she wanted to see how the Brazilian/electronica scene would play out in the interim. Her sophomore release Fio da Memoria (Cumbancha, 2016) has the breathy, sensual feel that’s nearly a given when it comes to female Brazilian singers, and the tunes roll out on a foundation of grooves rooted in samba, even if they’re not always rendered on organic instruments.
Maita’s steamy sentiments translate well, as the sung-in-English “Around You” demonstrates, and she’s got some stories of substance to tell, like “Na Asa,” a musical tale of dreams realized. Fio da Memoria is a keeper for sure, but Maita’s vocal mix of subtle and searing would benefit even more from backing that likewise balances real and electronic sounds equally.
If you need a reminder of how well traditional Ethiopian music meshes with jazz, The Rough Guide to Ethiopian Jazz (World Music Network, 2016) will handily serve. Trailblazer Mulatu Astatke kicks off with the horn-heavy proclaiming of “Gamo” and things jump ever further back into the Swinging Addis feel of the 60s and 70s from there.
While at only 9 tracks the collection can’t cover the whole spectrum, what you get is choice. Serpentine instrumentals are the bulk of it, including NYC’s Budos Band providing impressive overseas translation of the sound, but the soulful vocal thrills of Tlahoun Gessesse and Gabriella Ghermandi show just how large a role male and female voices also played (and play) on the scene. A superb sampler.
headline photo: Richard Bona
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