Cajun music is a beguiling, seductive, heady mixture of influences –rhythms borrowed from the Creole, French fiddle and accordion, full voice American vocal styles in which notes are emphatically held and the voice wavers around the tone. Along with its cousin Zydeco, it is one of the best strains of North American roots music: danceable, rhythmic, and oh so congenial, lacking some of the morbid pre-occupation with death and the blessed beyond that haunts other genres — Appalachian, for example. Its two steps and waltzes have seduced many a rock or pop musician, who in turn have borrowed from the tradition in their own music. And that’s how we got to this release: Ann Savoy has collaborated with a cast of these folks and an assortment of Cajun musicians to make a Cajun album.( The Cajun artists are credited as an “all star cast”in this advance copy).
Savoy coached the singers in French pronunciation, Cajun style, and collaborates in several duets on this disc. I can’t comment on her success with the singers‚ pronunciation, since I’m not a Franco phone, but it sounds good from where I’ve been sitting. In fact, Evangeline Made has passed the stringent, “Road Trip Repetition” test. Not that it takes a lot to beat the radio on the New York Thruway, but it certainly takes something to advance past the other discs in my travel case!
The lineup of guest musicians includes Rodney Crowell, John Fogerty, Patty Griffin, David Johansson, Nick Lowe, Maria McKee, Linda Ronstadt, Linda Thompson, and Richard Thompson. Now, I’d listen to Richard Thompson sing jingles (as long as he accompanied himself on guitar), so it comes as no surprise that his “Les Flammes d‚Enfer (The Flames of Hell)”is my favorite track on this disc, along with a couple of two steps, “Vagabond Special”and “Two Step de Prairie Soileau.”But mention must also be made of Fogerty “Diggy Liggy”, which is a hoot, and Linda Ronstadt and Ann Savoy’s “Le Chanson d‚une Fille de Quinze An (Song of a Fifteen Year Old Girl)”which is a lovely duet in any language. I was also partial to their duet –surely one of the “woman in prison”ballads, entitle “O Ma Chere ŒTite Fille (Oh My Dear Little Girl)”which is sung in both English and French. Maria McKee also turns in a great version of a song that seems to graft a Cajun chorus onto a classic Anglo/Celtic tune, “Tout Un Beau Soir en me Promenant (On a Beautiful Evening While Out Walking.”
When I first got this disc, I was slightly suspicious of the concept, yet drawn by the lineup. I can now report that it works, and makes for great listening. Should it replace albums by your favorite Cajun artists? Absolutely Not! But it’s great music, and a great way to celebrate the appeal of musicians from outside the Cajun community who have adopted this music –and now seemingly been adopted by the musical hospitality of this small, closely knit musical community.
(Rounder, 2002)
