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With nothing more than the scant, vague promise that a furniture store, for example, could sell a few hundred copies of a local musician's songs, recording companies like Victor, Vocalion, Brunswick, Columbia, Bluebird, and Paramount sent engineers and recording equipment to outposts like New Orleans, San Antonio, Memphis, and Atlanta, or a bus ticket north to headquarters in Camden, New Jersey, Chicago, Richmond, Indiana, Grafton, Wisconsin, etc., and Cajun musicians were among the bunch to record alongside commercial artists like Jimmie Rodgers, jazz greats like Johnny Dodds, ragtime guitarists like Blind Blake, ladies of the blues like Bessie Smith, etc.
And the Library of Congress had a mandate to go everywhere and record the story of the music people made when it looked to some like the world was going to end in the Great Depression, dust storms at home, and a world war brewing abroad!
By the mid- to late 1930s a new wave made its way into Cajun music with a string band sound influenced by country and Western Swing music coming in from the influx of Texans, etc. Early adopters represented here include Dudley and James Fawvor, J. You can hear a great version of this tune on the Varise Conner cd mentioned up above. Fuselier contributed some of the standards of the Cajun music repertoire. Also, Miller' s Merrymakers were led by a guitarist named Beethoven Miller and another guitarist named Preston Manuel.
He sometimes played accordion for the KEUN Mamou Hour Cajun Band led by Sady Courville when Revon Reed was the host from Fred Tate's. Playing frottoir and singing with Ambrose Thibodeaux on accordion, live 1977 from Fred's Lounge in Mamou, Les Haricots Sont Pas Sales.
The Hackberry Ramblers were formed in the string band environment of the 1930s by Luderin Darbonne on fiddle and Edwin Duhon on guitar and various instruments, and an amazing vocalist named Lennis Sonnier.
They were the first to record the song Jolie Blonde under that title, and they had an a remarkable run of popularity.
A time of great music whose influence we cannot forget. Haunting, uncommonly tender folk music from fiddler Delma Lachney, vocalist Blind Uncle Gaspard, and accordion player John Bertrand.
Douglas Bellard, a black fiddler, was the playing partner of the great Amede Ardoin before Ardoin decided to go with fiddler Dennis Mc Gee, a white man who could offer him more protection when playing before crowds in those racially segregated days. Here Douglas is accompanied by Kirby Riley, accordion.