Center for Louisiana Studies Archival Catalog
This searchable database provides information on images, documents, and audio and video recordings, made between 1934 and the present.
MUS 360 - feat. Michael Doucet
Featuring Michael Doucet:
00:20 - Origin of Colinda, Madame Young using the same melody
01:30 - Clips on Afro-American stick fighting called Colinda
06:00 - 'Parlez-Nous à Boire / Si J'aurais des Ailles' (Edius Naquin)
10:30 - Example and discussing the lyrics of the Balfa Brothers version of 'Parlez-Nous à Boire'
15:00 - Discussing Irene Whitfield's thesis and her work with Alan Lomax in 1934
18:00 - Michael Doucet and Barry Ancelet on researching and hearing the Lomax recordings for the first time
20:50 - First commercial recordings created a Victrola machine
-Amedé Ardoin, Dennis McGee, and Joe Falcon, all made 78 RPM Recordings
22:30 - Continuing discussion on Irene Whitfield
24:00 - Violins in Jazz bands
26:45 - BeauSoleil version of 'Parlez-Nous à Boire;' and an explanation of their approach for the recording
32:55 - 'Parlez-Nous à Boire' (Feufollet)
35:45 - 'Zydeco sont pas Salé' (Lomax's Juré version)
36:20 - U.S.L. Francophone Studies and discovering the Lomax Recordings
39:15 - 'Zydeco Sont Pas Sale' (Clifton Chenier)
42:00 - The speakers continue discussing different styles of the song
45:00 - Iry LeJeune and Joe Falcon adaptations of the same melody
51:52 - BeauSoleil version of 'J'étais au Bal;' then songs evolving from Creole French tradition
{end}
Michael Doucet - Guest Speaker for a Dance Class (pt. 1)
Michael Doucet:
01:00 - Dancing to Cajun music
02:35 - Dudley Leblanc's Hadacol and its connection to dance
03:45 - The flow of the music and how it connects to dance
04:45 - Students giving feedback on dance expression to Cajun music
06:00 - His experience of Cajun music growing up and people dancing
10:00 - Allow emotions to guide their dancing
11:40 - Ways of reaching goals
13:35 - His intriguing visits and learning from older people, sparked his desire to preserve and pass on the music and history
20:00 - Experience learning by ear and the transfer of knowledge
30:00 - Origins of the waltz
32:00 - Class dances to 'Jolie Blonde'
37:30 - Polka
41:00 - Class dances to various songs
{end - Part 1}
Michael Doucet - Guest Speaker for a Dance Class (pt. 2)
Michael Doucet:
00:00 - Class continues to dance various traditional tunes
10:00 - Rhythmic chopping on violin
11:30 - 'Valse à Deux Temps'
17:00 - Improvisational dancing to a reel
{end - Part 2/Video}
Traditional Cajun Music Ensemble Class taught by Wilson Savoy (pt. 1)
Wilson Savoy's Traditional Cajun Music Ensemble Class with special guest, Michael Doucet:
00:00 - Review of previous week's class
00:40 - 'Bosco Stomp'
12:50 - 'Midland Two-Step'
21:20 - 'Cherokee Waltz'
25:00 - Comparing excerpts from different songs like 'Grand Mamou,' and 'Viens Me Chercher'
27:00 - Wallace "Cheese" Reed
35:15 - 'Bayou Teche Waltz'
40:00 - Origin of songs and how some people learned them
44:00 - Ways the accordion can imitate fiddle sounds; and discussing the diatonic accordion
{end - Part 1}
Traditional Cajun Music Ensemble Class taught by Wilson Savoy (pt. 2)
Wilson Savoy:
01:00 - 'Balfa Family Waltz'
02:30 - The simplicity of music is what makes it beautiful, "leaving space"
03:15 - Old styles of Cajun music
07:00 - Early Dennis McGee recordings
14:00 - 'Bayou Teche Waltz'
22:00 - 'Caillette est Crèvée'
25:20 - 'Pine Grove Blues'
33:00 - Picking out the melody in a song
38:20 - Beau Jocque's style and comparing to other Zydeco Musicians; interplay between bass and drums
39:00 - Example of using the same 5 notes and changing the syncopation
41:00 - 'Quoi Faire'
43:50 - Difference between Cajun and Zydeco and how people respond to each style
46:00 - Story about Douglas Bellard and Canray Fontenot's father
48:30 - Emphasize on the rhythm rather than fancy melodies
51:00 - 'Basile Waltz'
{end - Part 2/Video}
Michael Doucet Classroom Lecture
Michael Doucet speaks to a class, and is joined by the traditional music ensemble
00:50 - Significance of Cajun music being local and his journey learning and playing music
02:25 - Speaking about Irene Whitfield Holmes' thesis
03:00 - Cajun music in the 1970's and young people discovering traditional music
03:25 - NEA grant to study fiddle styles of Acadiana and immerse Cajun and Creole Music into primary schools with Dewey Balfa
07:00 - Different French dialects in Louisiana
13:15 - 'Happy One-step'
25:00 - 'Acadian Two-step'
{end}
Jam Session at The BeauSoleil Home with Michael Doucet, Forest Huval, Megan Brown, & Jo Vidrine (pt. 1)
Michael Doucet, Forest Huval, Megan Brown, & Jo Vidrine:
00:00 - 'Lacassine Special' (partial)
01:00 - Megan Brown talking about learning to play Cajun music and learning to speak French
05:30 - Michael talks about the National Council for Tratitional Arts (NCTA) and the benefits of them hosting the National Folk Festival
08:20 - Hector and Bessyl Duhon
10:00 - Course that Michael wrote about French/Creole language; teaching Cajun music and culture in schools
11:30 - The struggles with performing Cajun music with the lack of acceptance
13:00 - Story of the Pine Leaf Boys being asked to leave U.L. Lafayette grounds for playing music on campus
16:15 - 'Kaplan Waltz'
20:45 - Forest Huval talks about learning to play accordion; getting the bass side
23:20 - 'Wafus Two-Step'
28:40 - 'Tit Monde' (Creole version)
35:30 - Michael's experiences hanging out with older musicians
38:00 - 'Cajun Hot Shoes'
44:00 - 'La valse de Grandmère'
48:00 - 'Tit monde'
{end - Part 1}
Jam Session at The BeauSoleil Home with Michael Doucet, Forest Huval, Megan Brown, & Jo Vidrine (pt. 2)
Michael Doucet, Forest Huval, Megan Brown, & Jo Vidrine:
01:30 - 'La Valse du Regret'
15:00 - 'Papa George'
21:00 - 'La Valse de la Vie'
26:00 - Mentions the author, Varmin Daigle, of 'La Valse de la Vie.'
28:00 - Discussing the design of the BeauSoleil Home
{end - Part 2/Video}
Jazz Ensemble Rehearsal - feat. Tommy Alesi & Billy Ware
Tommy Alesi & Billy Ware:
02:00 - untitled
06:00 - Introductions
08:15 - Bee Bop
14:00 - Dindi
23:10 - Barbedos (Charlie Parker tune)
29:40 - 'Speak Low'
35:30 - Same song, but starting at the drum solo
38:40 - 'Rue 608'
46:55 - 'Someday My Prince Will Come'
{end}
U.L. Lafayette Dance Class - feat. BeauSoleil & Renaissance Cadienne Dance Group (pt. 1)
BeauSoleil and Renaissance Cadienne visit a dance class at U.L. Lafayette
02:00 - 'Kaplan Waltz'
07:00 - 'Mazurka' by Varise Conner
10:20 - 'Mazurka'
16:24 - 'Sainte Anne's Reel' and Dancing
21:29 - 'Allons à Lafayette'
26:40 - Jig
34:58 - Reel with danse ronde
39:19 - Reel with danse ronde take 2
42:56 - 'La valse à Pop'
{end - Part 1}
U.L. Lafayette Dance Class - feat. BeauSoleil & Renaissance Cadienne Dance Group (pt. 2)
BeauSoleil and Renaissance Cadienne visit a dance class at U.L. Lafayette:
00:00 - 'Entèrre-moi pas'
05:45 - 'Chez Seychelles' (European waltz style)
09:15 - Contradanse to 'One-step de McGee'
15:00 - McGee Set
{end - Part 2/Video}
BeauSoleil avec Michael Doucet - Live Performace & Interview in Angelle Hall
BeauSoleil avec Michael Doucet:
Michael Doucet (Fiddle), Mitch Reed (Fiddle), Jimmy Breaux (Accordion), David Doucet (Guitar), Tommy Alesi (Drums), Billy Ware (Percussion)
01:12 - Double Fiddle Waltz
03:50 - Double Fiddle Medley; 'Reel de Deshotels,' 'French Jig'
08:00 - Experience of playing music professionally and developing into a touring group
09:30 - 1970's population census and bringing music into primary schools with Dewey Balfa via grants
15:00 - Michael Doucet and Canray Fontenot playing at Carnagie Hall
15:40 - David Barry: creator of Francophone Studies at U.S.L.
17:00 - Becoming full time touring musicians
18:20 - How the music is received outside of Louisiana
19:00 - Learning from other types of music
20:00 - Core group of young Cajun musicians and scholars working in the late 70's
23:55 - Johnny Gimbal's words on being a successful musician
25:00 - Improving as a musician and staying true to yourself
25:30 - Advises students to be themselves when playing music
26:50 - Jimmy Breaux talking about his accordions; evolution of accordion / melodeon
29:10 - Definition of the word "Creole." Differences between Cajun and Creole musics
32:20 - RCA, developing a phonograph, and the need for native music to increase sales
32:40 - Amedé Ardoin and Dennis McGee recordings
35:25 - Austin Sonnier, black Jazz music scene in Southwest LA, and Kid Jordan
43:00 - 'Chanky-Chank Francais'
{end}
Interview of Tommy Alesi by Dr. Mark DeWitt
Tommy Alesi:
00:01:00 - Tommy Alesi, son to the owner of Alesi's Pizza House in Lafayette
00:02:20 - Stationed in Lafayette during war; meeting Tommy's Mother
00:02:40 - Moving to Lafayette in 1957
00:03:15 - Father playing piano accordion
00:05:00 - Talking about how he began to play music; started out in school band playing drums
00:05:30 - First influences being Jazz and swing
00:06:00 - Playing with Sonny Landreth; in the rock band "Electros"
00:08:20 - Local Jazz scene ; Antler's
00:09:30 - Starting with BeauSoleil in the late 70's
00:12:00 - Becoming full time with BeauSoleil in the early 90's, and traveling
00:14:00 - Late 80's: a change of style for BeauSoleil
00:17:00 - Evolution, the usage of drums, and bass guitar in BeauSoleil
00:19:30 - Calypso and Latin musical influence
00:22:00 - Movie Soundtracks
00:26:00 - "Lightning Rod" versus regular drum sticks/brushes
00:27:00 - Bands involved with in the 1980's: Zachary Richard, Sonny Landreth, Dickie Landry, Wayne Toups
00:30:00 - Touring experiences with BeauSoleil
00:37:00 - Cajun Dancing around the country; Ashkenaz in Berkeley
00:40:00 - Playing with Mary Chapin Carpenter at the Super Bowl
00:43:00 - Experience playing in Kuwait and Saudi Arabia
00:44:30 - Meeting musicians from other genres of music
00:48:25 - Jamming with musicians from other cultures, eg. Arabic
00:51:30 - Tommy Comeaux; and playing in "The London Fog" with him
00:57:30 - Studying at U.S.L.
00:58:00 - Personal mentors: Buddy Rich, Louis Bellison, Max Roach, etc
{end}
Interview of Billy Ware by Dr. Mark DeWitt
Billy Ware:
00:40 - First experiences playing music; Bongo drums
01:45 - Taking lessons from Charlie Gahn
02:45 - Birthplace (Mobile, AL), family history, and how his parents met; eventually moving to Lafayette. Family owned Belle Grove Plantation in White Castle
04:30 - Learning to play drums
09:00 - Playing with different bands and attending jam sessions in high school
10:30 - Francis Pavy
11:50 - Attending U.S.L.
15:30 - Playing for dance studios
17:50 - Music and living in California
27:40 - Experimenting with different types of percussion instruments
28:00 - Modeling his playing style from Jazz recordings
32:15 - Flexitone and experimenting with obscure percussive instruments
33:45 - Percussion instruments taken on the road
36:15 - Experimenting and learning from early music making programs on the computer
39:30 - Returning to Louisiana, and playing with BeauSoleil; Tommy Alesi getting involved with the band
42:50 - Deciding to stay with BeauSoleil full time
45:20 - Touring
48:00 - Forming a tight band
50:00 - Remembering Tommy Comeaux
{end}
Interview of Mitch Reed by Dr. Mark DeWitt
Mitch Reed:
01:00 - Birthplace of Bayou Vista, LA
01:20 - Growing up on Doucet Road in Lafayette, and musical motivation
03:00 - Playing with his father, Bob Reed, in a Cajun band called "Mamou Prairie Band"
04:20 - Octa Clark and Hector Duhon sparking inspiration for Cajun music
04:50 - Canray Fontenot and Bois Sec Ardoin
05:45 - The influence of Irish Music; Planxty
07:30 - Fiddle beginnings
08:00 - His father taking him to visit older fiddle players
09:20 - A fiddle maker from Grand Prairie, Adner Ortego
09:50 - Stories about Adner Ortego
12:00 - Story about 'Madame Sosthene'
14:15 - Studying music at U.S.L
15:45 - Influence of Jazz on Cajun Music
17:00 - Improvisation in Cajun Music
19:15 - Making a fiddle with Adner Ortego; and the involvement of a belt sander
22:00 - Learning music, cooking, gardening from Ortego
23:50 - Having the proper playing technique, while trying to incorporate emotions used by older musicians
29:00 - A fiddler from North California, Carol Robinson, introducing Mitch to Canray Fontenot and Wade Frugé
31:45 - Playing with Wade Frugé and Canray Fontenot and their performance styles
34:00 - Definition of Creole
34:30 - The results of meeting Cory McCauley at the Savoy Music Center jam
38:00 - Forming the trio of: McCauley, Reed, and Randy Vidrine
38:45 - Trio travel memories, and gigs
39:00 - Experiences in Darby, England, Chris Hall, and the inception of a Cajun music scene in England
43:25 - Touring on bass guitar with Dewey Balfa
44:20 - 'La Bottine Souriante'
46:00 - Ways of family's story telling and Pascal stories
{end}
Interview of David Doucet by Dr. Mark DeWitt
David Doucet:
01:00 - Experience at the Blue Moon Jam Session
02:30 - BeauSoleil's use of more chords, compared to most Cajun groups
04:00 - Hiring bands for the World's Fair, in New Orleans
04:10 - Snooks Eaglin and his unorthadox playing style
05:30 - Lack of creativity in the current Lafayette music scene
08:00 - Playing music on the strip in the late 70s; Mother's Mantle
09:00 - Early BeauSoleil
10:00 - Guitar origins and influences like: Doc Watson and Mississippi John Hirt
13:00 - Recollections of black and white musicians playing together, including his, Dewey Balfa, and brother, Michael Doucet's involvement
17:20 - The influence of Paul Prudhomme
17:40 - Programing the Cajun music sector in the World's Fair
20:00 - Luderine Darbonne with the Hackberry Ramblers at the World's Fair
22:30 - Recording the "Parlez-nous à boire" album in 1984
24:00 - The tune 'Prairie Home Companion'
25:30 - Bringing Dennis McGee and Sady Courville to New York for the Music of the World Concert
27:00 - Dennis McGee being hospitalized in New York
31:00 - Stylistic differences between Mitch Reed and Michael's styles
34:00 - Brotherly experiences growing up, and music's correlation
38:00 - Michael moving to California in 1972, and picking up the guitars he left at home
42:50 - Attending Cathedral High School with Zachary Richard
45:00 - Michael's car accident in 1971
50:40 - Michael recording himself at home in David's youth
50:55 - Raul Breaux
56:00 - Street performing
01:00:00 - Memories with Octa Clark at Mulate's
{end}
Interview of Michael Doucet by Dr. Mark DeWitt
Michael Doucet:
01:00 - Adult musical carrer; formation of Coteau
02:45 - The relationship between Coteau and BeauSoleil
03:30 - Getting young people interested in French music in the 1970s
05:30 - Recording BeauSoleil's first record
07:25 - Difference between the two groups
08:50 - Touring with Coteau
10:00 - Playing when Cajun music was not appreciated
11:45 - The retirement of Coteau
14:30 - Recording Coteau's first album and the difference
18:10 - Playing Jimmy Carter's inauguration
20:00 - Cajun music's influence and its impact on other genres
23:00 - How the NEA grant contributed to building relationships with Cajun legends
24:50 - 'The Cajun Pit' (Bessyl Duhon)
29:00 - Additional BeauSoleil history, such as different accordionists over the years
31:00 - 'Les Amis Cadjins' and 'Zydeco Gris Gris'
34:00 - The Canray Fontenot / Hector Duhon and Octa Clark recordings that were made at Michael's house, by Chris Strachwitz
35:40 - BeauSoleil prioritizing Dancehall style music in their sound
39:00 - The increase of booking gigs that were more dance oriented during the early 80's
40:00 - Old La Poussière Dancehall
41:20 - 1986: committing to music full time; band member rotation
44:00 - 1982: Tour in La Rochelle, France
45:00 - Sharing the stage with Jimmy and Pat Breaux; Jimmy's BeauSoleil beginnings
45:45 - Master's of the Folk Violin with Mitch Reed
48:00 - The necessity of evolution
52:00 - Signing with Rhino Records
53:25 - Remembering Tommy Comeaux
{end}
BeauSoleil avec Michael Doucet - Recording Session at KRVS: Cypress Lake Studios
BeauSoleil avec Michael Doucet:
Michael Doucet (Fiddle), Mitch Reed (Bass), Jimmy Breaux (Accordion), David Doucet (Guitar), Tommy Alesi (Drums), Billy Ware (Percussion)
Setup and Sound Check:
01:40 - 'Balfa Waltz'
10:47 - 'J'etais au Bal (I Went to the Dance)'
16:46 - 'Two Step de Port Arthur'
20:43 - Michael picks up the pace
Recording Begins:
26:10 - 'Two Step de Port Arthur' Take 1
31:40 - 'Two Step de Port Arthur' Take 2
42:55 - The band, sound engineers, and students listen to, then download, the tracks.
{end}
MUS 376 - feat. Bill Bennett
Bill Bennett:
00:00 - Typical background of most sound engineers
01:36 - The job field for the recording industry
04:47 - Ohm's law and similar formulas
10:47 - Live sound
12:14 - Importance of communication skills
14:48 - How to make a "useful comment" to recording musicians
16:53 - Bill's start in audio recording
19:33 - Going on tour with LeRoux as their sound engineer; which included opening for big acts such as Kansas
23:53 - Studio recording
25:56 - How BeauSoleil manages their sound on the road
29:04 - Stage volume and acoustics
30:05 - Playing at "sheds" (type of venue common in the Northeast)
33:25 - Splitters
39:18 - Adjusting the sound when BeauSoleil played with the Wind Ensemble in Angelle Hall
42:55 - Monitors for drummers
45:56 - Benefits of In-Ear Monitors
48:17 - Decibel levels
53:47 - Precision and musicianship
{end}
Big Band Jazz Class with Tommy Alesi & Billy Ware
MUS 360 - feat. BeauSoleil: Michael Doucet, Jimmy Breaux, David Doucet (pt. 1)
BeauSoleil: Michael Doucet, Jimmy Breaux, David Doucet:
08:10 - Michael Doucet explains BeauSoleil's 35th Anniversary "Tour"
10:43 - 'From Carencro to Bamako'
17:53 - The differences in the last song compared to more traditional Cajun music
23:15 - Pressures of playing music, like feeling out crowds and choosing songs for certain venues
27:33 - Michael talks about the most musically unique place in the world
30:34 - David Doucet's role with BeauSoleil since the group's inception
39:00 - 'Le Chanky Chank Francais'
44:50 - The structure of Cajun Music, particularly the tune and the turn (A-part & B-part)
47:48 - Jimmy talks about the Breaux Family
{end}
MUS 360 - feat. BeauSoleil: Michael Doucet, Jimmy Breaux, David Doucet (pt. 2)
BeauSoleil: Michael Doucet, Jimmy Breaux, David Doucet:
00:00 - Jimmy Breaux explains playing the accordion
01:40 - The reality and challenges of being a Musician
05:09 - Experience with being heckled
11:27 - David talks about guitar playing
18:15 - 'T'en a eu mais n'auras plus'
{end}
MUS 360 - feat. BeauSoleil: Tommy Alesi, Billy Ware, Mitch Reed
BeauSoleil: Tommy Alesi, Billy Ware, Mitch Reed:
00:02:35 - Tommy Alesi and Billy Ware explain the various rhythms of BeauSoleil
00:07:27 - 'Bosco Blues'
00:10:27 - 'The Back Door (La Porte Dans Arriere)'
00:14:40 - History of Alesi Pizza House, Tommy's father, and moving to Lafayette
00:22:29 - Meeting Michael Doucet and joining BeauSoleil
00:24:31 - Experimentation with percussion in Cajun music
00:28:26 - Rhythm in BeauSoleil's version of 'Bon Temps Rouler'
00:31:31 - Creating and researching different rhythms and percussion
00:36:27 - Latin rhythm
00:39:46 - Second Line rhythm
00:49:47 - Michael and Billy's original vision for BeauSoleil
00:52:18 - Mitch Reed's musical beginnings
00:57:44 - Paul Simon and Dickie Landry sitting together at Carnegie Hall watching BeauSoleil
01:00:44 - Usual suspects at Marc Savoy's jam and Mitch's driving influences
01:03:45 - The process of building relationships with older musicians; then meeting Canray Fontenot and the Carriere family
01:08:40 - 'Old Carpenter's Waltz'
01:13:13 - Cajun versus Creole fiddle styles
01:16:38 - Story of Tommy Alesi's alligator skin snare drum
{end}
Jam Session @ The BeauSoleil Home - feat. Traditional Music Students & BeauSoleil avec Michael Doucet
00:00:00 - "The USL Theme Song"
00:02:15 - 'Ossun Two Step'
00:06:37 - 'J'ai Fait Mon Idée'
00:11:42 - 'One Step de Chameau'
00:21:35 - 'Valse D'ecrevisse'
00:27:00 - untitled
00:34:30 - untitled
00:40:38 - 'La Valse de la Belle'
00:49:52 - 'Wafus Two Step'
00:58:14 - 'Kaplan Waltz'
01:06:37 - 'OST Special'
{end}
Michael Doucet & Mitch Reed visit a String Instrument Class
Michael Doucet and Mitch Reed:
06:24 - Mitch Reed explains not stopping / hesitating on mistakes when playing an instrument
10:14 - Michael Doucet mentions memorization and improv
13:46 - Critique of the Bass students
19:42 - Importance of "keeping it simple" and listening to older artists
26:00 - "sorry Mark"
27:30 - untitled
34:45 - untitled
41:05 - Syncopation
43:20 - Creole music and Bass in Zydeco
45:36 - Theme of Cajun and Creole music
46:45 - Tuning and older styles
48:55 - How traditional music is different
51:55 - Dennis McGee's fiddle technique
{end}
Comeaux Chair Songwriter Showcase (pt. 1)
Comeaux Chair Songwriter Showcase (pt. 2)
MUS 319 - feat. David Egan (pt. 1)
MUS 319 - feat. David Egan (pt. 2)
MUS 319 - feat. Nathan Williams Sr. (pt. 1)
MUS 319 - feat. Nathan Williams Sr. (pt. 2)
MUS 364 featuring Dr. Ida Wenefrida
MUS 319 - feat. Yvette Landry
MUS 360 - feat. Andre Thierry
MUS 360 featuring Dr. Barry Ancelet
MUS 360 - feat. Louis Michot & Nathan Williams Jr.
MUS 360 - feat. Anya Burgess & Larry Miller
MUS 360 - feat. Zachary Richard
Zachary Richard:
00:01:39 - Richard begins with his youth, as well as his musical origins in choir
00:04:04 - Days at Tulane Univesity; radical involvements in correlation with the Moratorium March of 1969
00:06:35 - Timeline of events that ignited becoming a musician, and first expieriences in the music industry
00:09:30 - Cajun upbringings and the start of playing Cajun music
00:11:08 - Zachary Richard answers questions from the class; first, about his accordion mentor-Felix Richard, alongside learning to play
00:15:55 - Continuing with the role of French from his past to present, going on to how it shaped his life and music
00:25:45 - Gives personal beliefs/opinions on the state and future of Francophone culture in Louisiana
00:34:25 - Richard picks up his guitar, then breakdowns the influences behind his music
00:38:09 - Clifton Chenier, their relationship, and Chenier's impact on him
00:42:20 - Dabbles on different styles of Zydeco
00:43:18 - Zachary Richard plays his song 'Clif's Zydeco,' and discusses it. Later, the class briefly joins in
00:50:30 - New album and it's title song 'Le Fou,' explaining the conncetions within
00:56:18 - Zachary Richard performs 'Le Fou'
00:59:45 - The Deepwater Horizon oil spill (Gulf Coast oil spill 2010), and Richard's ideology on being a positive change in the world
01:08:00 - Zachary Richard performs 'Sunset On Louisianne
{end}
MUS 360 - feat. Jeffery Broussard & D'Jalma Garnier
00:01:09 - Jeffery Broussard's early life, origins, and family's musical relations.
00:03:56 - Broussard on playing drums with his father's band (The Lawtell Playboys), becoming an accordion front-man, and estabilishing Zydeco Force.
00:05:10 - Ways of the family band, and versatility the Broussard siblings possessed while playing together.
00:06:40 - The group looks further into The Lawtell Playboys.
00:08:03 - Jeffery Broussard talks about from first learning to playing fiddle now.
00:09:01 - Dr. DeWitt explains Balfa Camp, it's importance, and history to the class. Broussard and Garnier mention their experience with Balfa Camp.
00:11:34 - Then turns to Garnier inquiring about his beginnings in music.
00:14:51 - D'Jalma Garnier plays 'Eh La Bas.'
00:15:55 - Creole music.
00:16:45 - He goes on to explain the difference in feedback, outside of Louisiana, while playing Jazz versus playing Creole music. Then, Garnier refers to his quick transition from first learning to performing live.
00:23:23 - Jeffery Broussard and D'Jalma Garnier perform 'Old Carpenter's Waltz.'
00:26:54 - 'Blue Runner.'
00:29:17 - Garnier recalls meeting with, and learning from, numerous fiddlers such as: Canray Fontenot, Calvin Carriere, Michael Doucet, and several others.
00:30:00 - Garnier tells how recieving a Texas Folklife Resources grant, allowed him to study Creole fiddle with Canray Fontenot; also mentioning his exspansive collection of recordings.
00:34:52 - Dr. DeWitt turns back to Broussard, and asks about the days of Zydeco Force. Broussard then flips to his opinion on Zydeco in the present time.
00:37:32 - Zydeco Force's start and rise to popularity.
00:39:08 - 'Madeleine' (Delton Broussard Version).
00:40:18 - 'Madeleine' (Jeffery Broussard Version).
00:41:17 - 'Madeleine' (Boozoo Chavis).
00:42:28 - J.B. talks about Zydeco Force's style of playing, and how Zydeco has changed since; thoughts toward the current Zydeco, regarding it's: style, reasoning, and what they believe it means for the culture.
00:48:16 - 'Return of the Creole;' Afterward, Broussard explains the song's unique construction.
00:53:34 - The presenters take a few questions from the class.
00:58:00 - 'La Robe Barre.'
01:01:23 - Broussard explains a rare accordion technique, which involves using his thumb to hit notes.
01:03:30 - Short stories
{end}