Center for Louisiana Studies Archival Catalog

Midiyanto & the UL Lafayette World Percussion Ensemble:

00:00:00 - Midiyanto talks about the second song; using the same from, but different melody
00:02:00 - How instruments need to be altered for the second song
00:04:28 - Preparing your persona to play
00:05:37 - The group practices getting set, and then beginning the piece

00:06:30 - How the intro should sound
00:07:02 - The group practices the piece
00:12:30 - How to play through variations
00:13:55 - The group practices the full piece
{end}

00:00:58 - Practicing 'Gonjing Miring'
{end}

Ragin' Blues Band:
Nicole Liam (Vocal), Yanni Richard (Vocal), Mark St. Cyr (Trumpet), Nicholas Tanner (Guitar), Michael Joseph Harper (Guitar), Lee Allen Zeno (Bass), Gerard Delafose (Drums)

00:00:00 - 'I'm a Woman'
00:04:32 - untitled
{end}

Zydeco Ragin' Steppers:
Marie-Laure Boudreau (Accordion/Rubboard/Vocal), Kylie Veazey (Rubboard/Accordion/Vocal), Nathan Williams Jr. (Keyboard/Vocal), Jeremy Domingue (Guitar), Jesse DelGrizzi (Bass), Travis LeBlanc (Drums)

00:00:00 - 'Bad Bad Whiskey'
00:01:41 - 'Buck's Hot Rod'
00:05:13 - 'Tee Nah Nah / You Promised Me Love'
00:10:40 - 'The Back Door (La Porte Dans Arriere)'
{end}

Vermillion Express:
Emily Ortego (Guitar/Vocal), Celebrindal Roberts (Mandolin/Vocal), Luke Huval (Fiddle/Vocal), Benjamin Richey (Banjo), Dr. Len Springer (Bass)

- Instruments of Bluegrass:
00:08:20 - Emily Ortego on Acoustic Guitar
00:10:45 - Benjamin Richey on Banjo
00:12:07 - Celebrindal Roberts on Mandolin
00:13:58 - Dr. Len Springer on Upright Bass
00:14:45 - Luke Huval on Fiddle

00:17:32 - 'Why Did You Wander'
00:21:01 - 'Trains I Missed'
00:25:46 - 'Ground Speed'
00:29:26 - 'My Little Georgia Rose'

00:33:39 - 'You're the One'
00:37:35 - 'Shape of You'
00:42:47 - 'Sugar Tree Stomp'

00:47:56 - 'Get Down on Your Knees and Pray'
00:53:17 - 'There Ain't Nobody Gonna Miss Me'
00:57:01 - 'Lonesome Road Blues'
{end}

More Clips and Bonus Footage from the Cajun ensemble's set at Festival International 2019:

00:00:00 - 'J'ai Perdu Mon Idee'
00:02:36 - 'One Step de Marie Bouler'
00:06:52 - 'Crying Waltz'
{end}

Angelle Aces:
Renee Reed (Guitar/Vocal), Julie Babineaux (Mandolin/Vocal), Gracie Babineaux (Accordion/Fiddle/Vocal)

00:01:32 - 'Ouvre Cette Porte'
00:04:59 - 'Coulee Rodair'
00:08:10 - 'One Step de Marie Bouler'
00:12:36 - 'Can't Put That Monkey On My Back'
00:16:05 - 'Aimez-Moi Ce Soir'

00:19:27 - 'Chere Tout-Tout'
00:23:41 - 'Blues a Bebe'
00:26:00 - 'It's A Sin To Tell A Lie'
00:29:19 - 'T'es Petite et t'es Mignonne'
00:32:15 - 'Reel de Joie'
00:35:25 - 'Lovebridge Waltz'

00:39:15 - 'Crying Waltz'
00:42:56 - 'Oh Mom (Hey Mom)'
00:47:08 - 'Joe Pitre A Deux Femme'
00:51:19 - 'Chere 'tit Bassette'
00:55:11 - 'J'etais au Bal (I Went to the Dance)'
{end - Part 1}

Royal Roots Blues Band:
Aaron Barrilleaux (Guitar/Vocal), Sarah Rumsey (Piano/Vocal), Lucy Rhymes (Fiddle/Vocal), Devin Sonnier (Guitar/Vocal), Marty Christian (Guitar)

00:06:42 - 'Stop Breaking Down'
00:09:56 - 'Shame Shame Shame'
00:13:23 - 'Spoonful'

00:19:21 - 'Reconsider Baby'
00:23:54 - 'Everyday I Have the Blues'
00:27:14 - 'Mr. Airplane Man'

00:30:03 - 'West End Blues'
00:34:59 - 'Goin’ Down to the River'
00:40:17 - 'Baby What You Want Me To Do'
{end - Part 1}

2019 Traditional Music Showcase:

00:01:51 - 'Frugé's Reel' performed by Ailee Pardi (Fiddle) & Gracie Babineaux ('tit-fer)

Royal Roots Blues Band:
Aaron Barrilleaux (Guitar/Vocal), Sarah Rumsey (Piano/Vocal), Lucy Rhymes (Fiddle/Vocal), Devin Sonnier (Guitar)

00:03:46 - 'Everyday I Have the Blues'
00:07:38 - 'Spoonful'
00:12:14 - 'West End Blues'
{end - set}

00:16:44 - 'Sunflower River Blues' performed by Renee Reed (Guitar)

Vermillion Express:
Emily Ortego (Guitar/Vocal), Ailee Pardi (Fiddle), Julie Babineaux (Mandolin/Vocal), Benjamin Richey (Banjo/Vocal), Dr. Len Springer (Bass)

00:18:55 - 'Jerusalem Ridge'
00:23:30 - 'What's Good For You, Should Be Alright With Me'
00:27:18 - 'Only You'
{end - set}

00:31:16 - 'J'ai Fait Une Grosse Erreur (I Made A Big Mistake)' performed by Kylie Griffin (Accordion/Vocal)

Angelle Aces:
Gracie Babineaux (Accordion/Fiddle/Vocal), Julie Babineaux (Mandolin/Vocal), Renee Reed (Guitar/Vocal)

00:37:17 - 'Aimez-Moi Ce Soir'
00:40:32 - 'Can't Put That Monkey On My Back'
00:43:42 - 'T'es Petite et t'es Mignonne'
{end - set}

Performances by:
Lucy Rhymes (Fiddle/Vocal) & Ailee Pardi (Fiddle)

00:47:19 - 'Courville-McGee Waltz'
00:49:30 - 'Oh Mom (Hey Mom)'
{end -set}

00:54:03 - 'So I Sing' performed by Emily Ortego (Guitar/Vocal)

Ragin' Blues Band:
Hunter Hebert (Saxophone), Jace Hebert (Guitar), Kade Lalonde (Guitar/Vocal), Yanni Richard (Vocal), Paul Tauriac (Drums), Lee Allen Zeno (Bass)

00:59:10 - 'Black Magic Woman'
01:03:48 - 'I Don’t Want To Be With Nobody But You'
01:08:20 - 'Voodoo Woman'
{end - set}

01:14:20 - 'Meet Me in the City' performed by Devin Sonnier (Guitar/Vocal)

Zydeco Ragin' Steppers:
Kylie Griffin (Accordion/Vocal), Bradley Gueho (Rubboard), Fabian Bernard (Guitar), Ryan Malone (Guitar), Gregg Griffin (Bass), Nathan Byers (Drums)

01:18:43 - 'Madeleine'
01:22:29 - 'Barres De La Prison'
01:25:52 - 'The Back Door (La Porte Dans Arriere)'
{end - Part 1/Video}

Vermillion Express:
Emily Ortego (Guitar/Vocal), Ailee Pardi (Fiddle), Benjamin Richey (Banjo/Guitar/Vocal), Dr. Len Springer (Bass)

00:00:17 - Dr. Springer opens the show.
00:03:59 - Emily Ortego demonstrates Bluegrass Guitar
00:06:27 - Benjamin Richey demonstrates Bluegrass Banjo
00:09:10 - Dr. Len Springer demonstrates Bluegrass Bass
00:09:41 - Ailee Pardi demonstrates Bluegrass Fiddle

00:13:12 - 'Jerusalem Ridge'
00:17:22 - 'What's Good For You, Should Be Alright For Me'
00:21:02 - 'Perfectly'
00:25:44 - 'John Hardy'
00:28:51 - 'Only You'

00:33:15 - 'Honey You Don't Know My Mind'
00:37:08 - 'Home Sweet Home'
00:41:41 - 'Baby Don't You Ride That Train'
00:44:32 - 'Groundspeed'
{end}

00:01:25 - Growing up in Carencro, LA, his early musical influences, and inspirations like Buckwheat Zydeco & Lil' Buck Senegal
00:04:19 - Raised in a French speaking family
00:04:50 - Picking up an electric guitar for the first time
00:06:42 - Seeing Clifton Chenier at the age of 7 years old

00:07:57 - His older drum playing brother, John Allen Zeno.
00:09:13 - Switching from guitar to bass and playing in a family band as a child.
00:11:17 - Playing bass with his cousin, Rockin Dopsie Sr.
00:12:57 - Joining Buckwheat & the Hitchhikers

00:15:05 - Knowing Clifton Chenier and sitting in with the Red Hot Louisiana Band
00:18:41 - Recordings with The Hitchhikers and Lil' Bob
00:19:53 - The '15 piece' Hitchhikers band lineup and members over the years
00:25:06 - Day jobs outside of music

00:26:29 - Buckwheat Zydeco forming the Ils Sont Partis Band
00:28:20 - Beginning to tour as a Zydeco band
00:34:08 - Touring outside the U.S. and the international response
00:35:32 - Television appearances

00:38:31 - Playing at Bill Clinton's first Presidential Inauguration
00:39:53 - How the playing with Boston Pops Band helped them play the closing ceremonies at the 1996 Olympic Games
00:41:03 - Buckwheat Zydeco sticking up for his band
00:43:16 - Recording with Paul Simon and touring with Eric Clapton

00:44:41 - Willie Nelson
00:45:39 - Dwight Yoakam
00:46:23 - Advice for young musicians
00:49:31 - Recording at Ultrasonic Studios and Dockside Studios

00:52:47 - Charlie Rich
00:56:00 - Playing all types of music
00:57:21 - Work as a Producer
{end}

UL Steel Band:

00:00:00 - 'Suzie'
00:03:38 - 'Dingolay'
00:09:15 - 'Yambambe'

00:15:38 - 'Hard Times'
00:21:45 - 'Jump in the Line'
00:26:21 - 'Mambo Mindoro'
{end}

Tape recorded sometime in 1975, no exact date given;

00:00 - Talking about house dances;
02:20 - Lionel says that in the early days, men would leave the house or dancehall in between songs. Eventually, they would gather in the middle of the dancefloor between songs;
03:20 - More on dancing etiquette;
04:15 - "faire la march" - Men would stay with their dance partner when the music would stop. He would fan his lady and they'd walk around the dance floor - Similar to a wedding march;
05:50 - Lionel started to play music at age 13, stopped playing music when his kids were born. Restarted in 1955 after his kids graduated;
08:00 - He says that playing music wasn't considered a good job. When he quit playing music, he was with the Rayne-Bo Ramblers;
08:50 - Willie Vincent - Lionel says he was as good as Jimmie Rodgers, also died young;
10:00 - Talks about the Dixie Ramblers and the band members;
11:25 - Lionel generally played within the Leleux, LA area when he was first playing music. He then lists some of the dancehalls where he played;
12:45 - Lionel didn't always play in bands that had accordions. Mentions that he played with Bascom Mouton before the accordion became the main instrument;
14:05 - Talking about Amplification. Lionel says that he still has heavy bowing from the time before amplification;
14:45 - In 1935, in some dancehalls that had electricity, they used a sound system that had one microphone;
15:25 - Talks about the Model A Ford generators - there were two types. They could use the "Powerhouse type generator" to power their P.A.;
17:10 - They discuss more about etiquette and dances;
18:30 - Rarely played dances with drums. It was usually just fiddle and accordion, maybe a t-fer. Steel Guitar, Guitar, Drums, etc, came later;
20:40 - Fais do do - talks about the beds for kids in the dance;
22:20 - Order of songs played at dances. Dances were started with a waltz called "Ton 'tit bec est doux"
23:45 - Popularity of French music in those days versus modern day;
25:20 - Catholic people wouldn't have dances during Lent. They would have 'les danses rondes"
26:45 - They didn't always charge a "cover" at house dances. Sometimes they would pass a hat;
29:35 - Proper attire for dances - Coats and ties required. He mentions how hot they got with no air conditioning;
30:20 - During prohibition, they'd kick you out of the dance if you brought liqour. They'd sometimes feel men's coat pockets for flasks;

There is some audible tape print through for first several minutes
00:17 - Introduction - Ambrose says he was born and raised in Acadia Parish near Eunice;
01:50 - Started playing at 15 years old. Says that he was 72 years old at the time of the interview. Learned to play by ear;
02:38 - His father was a fiddle and accordion player; Ambrose tells a story about not knowing that his dad played the accordion until he decided to buy his first one at 15;
04:00 - Ambrose would pull "Coffee Weed" out of the rice fields when he was younger, that's how he made enough money to buy his first accordion;
05:30 - Talking about watching his dad play at small house dances and learning some of the songs that he would play;
06:40 - Mazurkas - different dance steps from normal, songs were played differently;
07:45 - Talking about the Valse à deux temps and jigs;
09:00 - Ambrose talks about his timing when playing and also how musician's timing affects dancers;
10:10 - Discussing what house dances were called - Ambrose says they used the word "bal" not "fais do do;"
12:15 - No amplification used in Ambrose's early days of playing.
12:45 - Mentions he never played with a fiddle or guitar until right before he made his first record in the early 60s;
13:30 - Ambrose quit playing music and never went to dances when he got married - He stopped playing for 38 years;
15:20 - Ambrose says that Revon Reed's radio program is what inspired him to start playing music again;
16:50 - Ambrose tells a story about finding and buying his new accordion from a coworker;
20:45 - Talking about playing on Revon Reed's program;
25:10 - Played many dances by himself, occasionally had triangles and spoons;
27:15 - Talking again about musical timing and how it affects dancers;
28:55 - Ambrose says that most of the dances he attended when he was younger were at homes;
28:40 - Talks about the first dancehall he went to in Eunice. Ambrose says that it was a converted house;
30:00 - When dancehalls started becoming a thing, many parents didn't want their daughters to attend;
30:45 - Bal de maison musicians were typically paid at the door or they would pass a hat. The charge was typically 10 or 15 cents;

In a black binder with engraving of knights riding horses and the word "Triumph"; 183 pages;

D-BL1-001-001
Note with the name "Mrs. John Sell"

D-BL1-001-002
Letter from Ed Blanchet to Catherine Brookshire on Nov. 3, 1948
3 pages; #3-5 (page in PDF)

D-BL1-001-003
Letter from Le Cercle Francais to Catherine Brookshire, Nov. 9, 1949
2 pages; #6-7

D-BL1-001-004
Letter from Judy Haun to Catherine Brookshire, July 15, 1948
4 pages; #8-12

D-BL1-001-005
Newspaper clipping from The Vermilion Post, Dec. 9, 1949; "Enjoy Music More" article by Catherine Brookshire
2 pages; #13-14

D-BL1-001-006
"J'm'ai Fait Un Nouveau Beau" (#2) sheet music and lyrics; Mrs. Duprelie(?) Boudreaux, Lola Mae Boudreaux's mother; May 1947
#15-16

D-BL1-001-007
"J'voudrais Marier" (#3) sheet music and lyrics; Thomas Lemaire, Forked Island 4/1943 and John Duhon, Cow Island 3/16/1944
2 pages; #17-19

D-BL1-001-008
"'Tite Fille de la Campagne" (#5) sheet music and lyrics; Thomas Lemaire, Cow Island 3/16/1944

D-BL1-001-009
"J'étais au Bal" (#6) sheet music and lyrics; John Duhon, Cow Island 3/16/1944

D-BL1-001-010
"La 'Tite Poule Caille" (#7) sheet music and lyrics; Jenny Lee, Cow Island 3/1944
#22-23

D-BL1-001-011
"I Have a Good Job" (#8) notes of lyrics and sheet music with "Nelly Bly" lyrics typed on back of the first page; From Milton, from Ben Langlinais, Cow Island, 3-16-1944
2 pages; #24-26

D-BL1-001-012
"Mets" (#9) sheet music and lyrics; Nunez 1944
5 pages; #27-32

D-BL1-001-013
"La Caille et la Perdrix" (#11) sheet music and lyrics with Kaplan High "Plans of the Day" for Monday, Sept. 22, 1947 on back side of page; Nunez school 1943
8 pages; #33-41

D-BL1-001-014
"De Dans Paris" (#13 or #14?) sheet music

D-BL1-001-015
"La Danse à la Vieille" (#13) lyrics; Thanks to Mrs. Isaac Foreman
4 pages; #43-47

D-BL1-001-016
"Mon Pere M'a Mis a L'ecole (La Rose En Bois)" (#15) sheet music and lyrics; Mabel Touchet KHS, Ms. Fritz(?), 10/24/1946
3 pages; #48-50

D-BL1-001-017
"La Robe de Soie Bleu" (#16) sheet music and lyrics
2 pages; #51-52

D-BL1-001-018
"La Violette Double" (#17) sheet music and lyrics; Velma Hebert, Meaux 1944
3 pages; #53-55

D-BL1-001-019
"Par Un Beau Jour" (#18) sheet music and lyrics; Yvonne Meaux, Kaplan 1944
4 pages; #56-59

D-BL1-001-020
"Les Huit Jours de Mai" (#19) sheet music and lyrics; Note "See 'Une Perdriole(?)' chansons de France - Vigneras"
2 pages; #60-62

D-BL1-001-021
"Fido" (#20) sheet music and lyrics; Aimee (Amy) Broussard, Kaplan 1944
2 pages; #63-64

D-BL1-001-022
"C'est La Robe a Tante Edma" (#21) lyrics

D-BL1-001-023
"Les Maragoins (Maringouins)" (#22) sheet music and lyrics; Huey Hebert, Kaplan 1944 (also recorded 1947)
2 pages; #66-67

D-BL1-001-024
"Je Prends Mon Violon" (#23) sheet music and lyrics with "Embarque Trois Jolis Battalions" (#24) also on the first page; Amy Broussard, Kaplan 1944
2 pages; #68-69

D-BL1-001-025
"Embarque Trois Jolis Battalions" (#24) lyrics; Lillian, Kaplan 1944 (Hoffpauir's 7th grade)

D-BL1-001-026
"Trois Petits Tambours" (#25) sheet music and lyrics; Mabel Touchet, Oct. 1946, Kaplan High 5th, Ms. Fritz
4 pages; #71-76

D-BL1-001-027
Lyrics (Le Pigeon Blanc Sur Le Table?) (#26) from Laines LaPointe, 5th grade, Woods or Comeaux

D-BL1-001-028
"O'Guillory" (#28) (recorded) sheet music and lyrics; Marie Lange, Kaplan 1947
2 pages; #78-79

D-BL1-001-029
"La Fille du Goalier" (#29) sheet music and lyrics; Marie Lange, Kaplan 1944
3 pages; #80-82

D-BL1-001-030
"Je L'aime Une Petite Fille" (#30) sheet music and lyrics;
4 pages; #83-86

D-BL1-001-031
"Goodbye Ma Chère Amie" (#31) lyrics

D-BL1-001-032
"Mon Pere M'a Donné Un Petit Homme" (#32) sheet music
#88-89

D-BL1-001-033
"Palm Today Polly" (#34) lyrics; Translation Marie Lange
2 pages; #90-91

D-BL1-001-034
"J'ai Passé Devant le Pommier" (#35) sheet music and lyrics;
2 pages; #92-95

D-BL1-001-035
"Tu M'as Promis" (#37) lyrics; Huey Hebert, Kaplan 5/26/1947

D-BL1-001-036
"Et Ou Est-ce Que T'es Partie" (#38) sheet music and lyrics
2 pages; #97-98

D-BL1-001-037
"Pacquet d'Epingles" (#39) sheet music and lyrics; Freda Touchet, 1945
2 pages; #99-100

D-BL1-001-038
"L'Orangier" (#40) sheet music and lyrics; Simeon Touchet, 1946
3 pages; #101-103

D-BL1-001-039
"Blanche Ma Bonne Lumière" (#41) sheet music and lyrics; Note "See 'Gentille Bateliere' chansons de France - Vigneras"
3 pages; #104-106

D-BL1-001-040
"Mon Aimable Catin" (#42) sheet music and lyrics; Simeon Touchet
4 pages; #107-110

D-BL1-001-041
"La Belle Castelienne" (#43) sheet music and lyrics; Simeon Touchet
2 pages; #111-112

D-BL1-001-042
"La Belle Emelie (Par Un Beau Lundi)" (#44) (as recorded) sheet music and lyrics; Simeon Touchet
5 pages; #113-117

D-BL1-001-043
"Le Tete Est Couronné" (#45) sheet music and lyrics; Simeon Touchet, Meaux '47
9 pages; #118-127

D-BL1-001-044
"La Délaissée" (#49) lyrics
2 pages; #128-129

D-BL1-001-045
"C'est Une 'Tite Fille" (#50) lyrics
#130-131

D-BL1-001-046
"La Bas Dans Ces Vallon" (#51) lyrics

D-BL1-001-047
"Ma Tendresse" (#52) lyrics
#133-134

D-BL1-001-048
"Le Long de les(?) Beau Bois" (#53) lyrics

D-BL1-001-049
"La Boulangerie" (#55) sheet music and lyrics
3 pages; #136-139

D-BL1-001-050
"D'un Beau" (#57) lyrics

D-BL1-001-051
"Les Gens Comme à Ville" (#58) lyrics
#141-142

D-BL1-001-052
"Sons les Trois Oreillers(?) Blanc" (#59) sheet music and lyrics
2 pages; #143-144

D-BL1-001-053
"D'un Grand Matin" (#60) sheet music and lyrics
5 pages; #145-150

D-BL1-001-054
"Chers Camarades a l'Armée" (#61) lyrics
#151-152

D-BL1-001-055
"Celet Borteuse" (#66) sheet music and lyrics; Simeon Touchet, 9/18/1948; dance instructions on back side
2 pages; #153-158

D-BL1-001-056
"Le Joli Rosier" (#67a) sheet music and lyrics; Simeon Touchet, 9/18/1948; dance instructions on back side
3 pages; #155-162

D-BL1-001-057
"Ah! Mon Beau Chateau" (#68) sheet music and lyrics; Simeon Touchet, 9/1948

D-BL1-001-058
"La Violette" (#69) sheet music and lyrics; with dance instructions

D-BL1-001-059
"En Revenant du Boulanger" (#70) sheet music and lyrics; M. Ernest Beranger, Abbeville, 10/1948
2 pages; #165-166

D-BL1-001-060
"La Caille et Le Perdrix" (#71) sheet music and lyrics
2 pages; #167-169

D-BL1-001-061
"J'ai Trouvé C'elle Que J'aime" (#72) sheet music and lyrics
2 pages; #170-171

D-BL1-001-062
"Mon Petit Mari" (#73) sheet music and lyrics; Evangeline Saltzman
2 pages; #172-173

D-BL1-001-063
"Le Premier Jour de Mai" (#74) sheet music and lyrics;
2 pages; #174-175

D-BL1-001-064
"La Belle Allait Oui-z-au Moulin" (#75) sheet music and lyrics; Evangeline Saltzman
2 pages; #176-178

D-BL1-001-065
"Mon Bon Vielion" (#77) lyrics

D-BL1-001-066
"Et ou Viens (Billy Garcon)" (#78) and "Mon Pere Etait Un Jardiner" (#79) sheet music and lyrics
3 pages; #180-182

In a folder; 70 pages

D-BL1-003- 001
Maison Acadienne Gazette, Vol. 1, No. 1
4 pages; #2-5 (page in PDF)

D-BL1-003-002
Le Coin Acadiens articles
50 articles; #6-55

D-BL1-003-003
Piece of paper with numbers
#56

D-BL1-003-004
"Colchiques danse les prés" sheet music
#57

D-BL1-003-005
"Mon Beau Sapin" lyrics
#58

D-BL1-003-006
"Encore Un Carreau d'Cassé" sheet music
2 pages; #59-60

D-BL1-003-007
Jean Sot story "Piment et Persil"
9 pages; #61-69

D-BL1-003-008
"Ca lên_i!" (Praise the Lord!) sheet music
#70

hand written

Lyrics to "Green Eyes/Aquellos Ajos Verdes" 

handdrawn and written

sheet music and lyrics to "Le Perison et L'Alanette"