User:Pcharlotte/Cajun music

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Cajun music (French: Musique cadienne), an emblematic music of Louisiana played by the Cajuns, is rooted in the ballads of the French-speaking Acadians of Canada. Although they are two separate genres, Cajun music is often mentioned in tandem with the Creole-based zydeco music. Both are of Acadiana origin and share French and African origins. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media, such as television commercials.

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It is unlikely that musical instruments were introduced to colonial Louisiana before around 1780. Although originally there were no instruments, there were songs. Families sung traditional French songs called complaintes which the Cajuns adapted to their new ways of life. The first known record of an instrument was of a violin in 1780 and a fiddle and clarinet in 1785. The diatonic accordion was introduced to Cajun music in the mid- to late-1800s. It became popular because of it's volume which, along with the fiddle, created sufficient accompaniment for dancing. Originally, musicians and singers performed at house dance parties known as bals de maison. However Cajun music, born from ballads, later transformed to dance music—played with or without words. The music was essential for small get-togethers on the front porch, bals de maison, and public dances in dance halls called fais do-dos.

There are several variations of Cajun dance: a Cajun one step, also called a Cajun Jig, a Cajun two step, also called a Cajun Jitterbug, and a Cajun Waltz. In mild contrast, zydeco dancing is a syncopated two-step or jitterbug. A Cajun dancer will cover the dance floor while the zydeco dancer will primarily dance in a smaller area.

Cajun music can be found predominantly at Louisiana festivals and dance halls, in addition to weddings in Acadiana.

Cajun Renaissance:

Drawing on elements of the earlier traditional, Texas swing, and dancehall periods, the Cajun "renaissance" also incorporates more modern elements of folk, blues, jazz and swamp pop, and bluegrass styles. The fiddle players relax, involving a more legato feel to the solos. The quick fiddle action and double stops are missing, replaced by dominant blues chords and jazz slides.

Pioneers such as BeauSoleil with Michael Doucet, Zachary Richard, Jambalaya Cajun Band, Bruce Daigrepont, and others broke new ground, while other musicians such as Eddie LeJeune, Irvin LeJeune, Homer LeJeune, the Pine Leaf Boys, and others brought energy to older, more traditional forms.

Fais do-dos (Cajun Dancehalls - 1946-1960)
In Cajun Louisiana, public dancehalls are known as fais do-dos. This expression may have evolved from a practice of bringing children to dance halls to lull them to sleep. In French, fais do-do means "go to sleep". This style originated in the post-war era of the late 1940s and continues to the present-day in small town dancehalls. During this early period, bands changed from performing at house dances to large halls.

Fais do-do music is similar to the traditional Cajun music of house dances, with added accompaniment such as the bass guitar, drum kit, steel guitar, and rhythm guitar, electric or acoustic. The same abrupt, staccato feel can also be felt. The implementation of electrical amplification allowed instruments to cut through the noise of the crowd and be heard throughout the dance hall. Electrification of the dance venues also allowed the fiddle to be played in a smoother style and alternate leads with the accordion. The steel guitar also adds remarks. Typically in dancehall Cajun performances the melody is played by the accordion followed by a bridge, a vocal verse, leading lines by the steel guitar, fiddle, and accordion followed finally by a bridge. This is followed by the next vocal verse, and so on. Lawrence Walker, Aldus Roger, Nathan Abshire, Iry LeJeune, Al Berard, and Sidney Brown are examples of this musical period. The characteristics of dancehall Cajun can be seen in current artists such as Jesse Légé and The Basin Brothers Band.

Contemporary Cajun music (1980s - )[edit]
Contemporary Cajun music is influenced by rock, R&B, blues, soul, and zydeco music. Although led by the accordion, the electric guitar, washboard, and keyboard are all present in this form. Musicians such as Wayne Toups, Roddie Romero and the Hub City Allstars, Lee Benoit, Damon Troy, Kevin Naquin, Trent LeJeune, and Steve Riley and the Mamou Playboys have popularized this modern form of Cajun music. The band Atchafalaya, active from 1982 to 1986, is another example of this style. More recently, the Lost Bayou Ramblers have experimented with mixing traditional instruments and cutting edge technology, as showcased on their last two records, Mammoth Waltz (2012) and Kalenda (2017). This sound has been dubbed “Heavy Cajun Psych”. Doug Kershaw recorded "Louisiana Man," an autobiographical song that he wrote while in the army. The song sold millions of copies and, over the years, it has come to be considered a standard of modern Cajun music. "Louisiana Man" has been covered by more than 800 artists.

Country and Texas swing Cajun (Pre war/1934–1941)
This style draws from Texas country music and moves away from the traditional accordion sound. It has more of a swing style popularized by Bob Wills and the Texas Playboys. Instead of being dominated by the accordion, Cajun swing relies significantly on the fiddle and piano with a swinging tempo. Bands in the 1940s began using the steel guitar, an instrument also found in Cajun dancehall music. Dances such as "the jig" are common in this genre of Cajun music. Leo Soileau, J. B. Fuselier, Leroy "Happy Fats" Leblanc, Harry Choates and the Hackberry Ramblers are early examples of this style, as are The Red Stick Ramblers and The Lost Bayou Ramblers.

1974, first Tribute to Cajun Music festival - goal was to reach a younger audiences with Cajun music (renamed Festival de Musique Acadienne/Cajun Music Festival)

CODOFIL - Council for the Development of French in Louisiana

Festivals Acadiens, 1977

In 1968, CODOFIL (the Council for the Development of French in Louisiana) was created. The goal of this agency, which still exists, was to promote Cajun culture and combat negative stereotypes. In 1974, CODOFIL created the three-hour Tribute to Cajun Music festival, later renamed the Festival de Musique Acadienne, in order to revive an interest in Cajun music and culture among the younger generation.

In 1964, Gladius Thibodeaux, Louis "Vinesse" Lejeune, and Dewey Balfa represented Louisiana music at the Newport Folk Festival. This was a turning point in the awareness of Cajun music at a national level.