Cajun Steel??

[Joe Rogers]

Fish,

Where did Barry learn Cajun Accordion? I actually came out with the very first Beginner and Intermediate instructional videos on Cajun Accordion. They are still sold through Floyd's Record Shop and Jr. Martin's Accordion Shop. I also had a dealer in Boston selling my stuff way back then. I no longer own the rights, I sold everything to Jr. Martin around 2000 or 2001.

Believe it or not, I am only just now learning Cajun Steel Guitar.


Joe Rogers

[Fish]

Barry is extremely dedicated when it comes to his music and has an amazing background. His band "Barry and the Remains" was very popular in the Northeast in the mid-sixties; they made a ground-breaking record for Epic Records, played on the Ed Sullivan show, and, believe it or not, opened for the Beatles on their second U.S. tour. So Barry played at Shea Stadium (He says they were all gentlemen, btw)!

Then, in the early 70's, he befriended Gram Parsons and was invited to play rhythm guitar and sing harmony on Gram's first solo record, "GP." Barry even sings lead vocals on one song on that album called "Cry One More Time."

In 1980 Barry replaced Ricky Skaggs in the Hot Band. We played an unforgettable gig at Slick's in St. Martinville, LA in 1981 and were enthralled by Cajun culture. We couldn't get enough of it....the people, the music and the food are just the best. After that trip to Louisiana, Barry went head-over-heels for Cajun music and bought an accordian from legendary accordian maker Marc Savoy. He practiced constantly! Now, I would have to ask Barry for details, but I believe he is self-taught on the instrument beyond a few starting pointers he may have received from Marc Savoy. I remember Barry was living in California at the time, so it was quite a commitment for him to tackle the instrument. He even bought a permit to play the instrument in LA County. ...wink, wink...('')

The version of LaCassine we recorded was intended for "Last Date," a live album of all previously unrecorded material for Emmylou. Barry did a stellar job on the song and it was a happy surprise to finally see his hard work surface on a re-mastered version of "Quarter Moon" in 2004.

[Joe Rogers]

Wow, that's quite a track record! Not many people can say they opened for the Beatles.

My instructional videos came out around 1990. It was right before I got my gig with McBride & the Ride and I was looking for something to make some extra money. It does take quite a commitment to learn the instrument. I had learned several instruments prior, but that background didn't help on Cajun Accordion. It wasn't until I realized that it has to be approached rhythmically and not musically that the door to learning it finally opened for me.

Thanks for the background. Yes, I'm glad to see that body of work surface as well.

Joe

[Fred Justice]

Joe, I didn't know you worked with McBride & The Ride, that group included one of our local boys here, Ray Hearnden from Scottsdale Arizona.
Ray's Mother owned and still does, The Handlebar J. night club and restaurant in Scottsdale where Ray and his two brothers have played for many years, and still do I believe.
I sure loved their music!!!

[Daniel J. Cormier]

That would be Tim Brossard . Steel player is his brother Marty Broussard on the MP-# you sent me.

By the way I listen to the cut with Emmylou and you guy's did a fine job.

[Fish]

Hey Daniel,

Thanks a million for taking time on your daughter's wedding day to identify Marty Broussard as the steel player on this version of LaCassine. This is a 27 year-long mystery that has finally been solved. Marty is a fantastic player. Perhaps later on we can figure out a way to post this solo on the forum so everyone can hear him. This track inspired Emmylou and her band to study Cajun music and try to emulate it. Thank you so much for your compliment; it really means a lot.

So for now, congratulations on your daughter's wedding and thanks again for helping solve a mystery dating back to 1981.

Steve Fishell

[Dan Tyack]

I want to hear it!

Steve, send me the mp3 and I'll post it on the forum.

[Terry Huval]

One of the early masters of Cajun steel guitar was the late Phillip Alleman. He was also a very good singer - who sang and played steel at the same time.

His most well-known recordings were with Aldus Roger and the Lafayette Playboys which were significant stylists of their era (1960's). Most Cajun steel guitarists point to Phillip Alleman as one of their major influences.

Here is a site which sells one of their CD's:

http://www.cduniverse.com/search/xx/mus ... Legend.htm

Lots of the samples on this CD have the Cajun steel guitar upfront. Check out Track 7 (Johnny Can't Dance) and Track 14 (Louisiana Waltz) as two examples - but there are others.

Enjoy!
Terry

[Fred Shannon]

And Terry Huval should know. He's one of the best Cajun fiddlers in the Swamp. Tremendous knowledge of the music. Here's a website that might interest those here on the thread.

I first heard Phil and the Lafayette Playboys at the Midway club in Breaux Bridge. I think we were at Mulates for a bit. This was way back there in time, maybe in the 60's or so. Here is the site:

http://www.lsue.edu/acadgate/music/alleman.htm

Thanks Terry for bringing up Phillip's name. We attended his funeral in 2005.


Phred

[Dan Tyack]

Here's that cut that Steve was talking about:

LaCassine Solo

Great solo!

[dlaurice]

There seems to be an affinity between steel players and the cajun accordion (actually I do not know why it doesn't run to the accordion generally since the steel seems to have replaced the accordion (used similarly with remarkably similar licks)in western swing). A number of years ago, my wife and I spent the better part of a week touring the bayous and back country of Louisiana. We ended up in the Big Easy for the Jazz Festival. I sold the preliminary touring to my wife as a vacation, but I was actually looking to buy a cajun accordion. Early on, we visited Jr. Martin's store in Lafayette. Jr. was talking with another guy who was playing the accordions (and quite well). He looked familiar. Finally I caught enough of the conversation to realize it was Lucky Oceans (Asleep at the Wheel etc.), in from Australia. I introduced myself to Lucky and Jr. as not in their league, but a steel player none the less. We had a long conversation and at the end of it, Jr. invited us to come back that evening for a "jam session", more or less to celebrate the fact that Lucky was in town. We did go back, and it was truly one of the steel guitar highlights of my life. Not only did Lucky play (mostly pedal), but Jr., Pee Wee Whitewing a whole line up of top local steel guitar players. The music was varied. Some played country with traditional pedal steel, and many played Cajun style, both lap steel and pedal. The back up musicians were awesome. Something I will never forget. At the time, my science teacher son suggested that the odds that 3 people, all who played two such obscure instruments, could end up at the same time in the same room in Lafayette, Louisiana had to be astronomical. I do not know about that, but now to my point. I fell in love with Cajun music many years ago, but it was a while before I heard it with steel. Initially I wrote off the steel playing I heard as sort of simplistic and a waste of the capabilities of the instrument. However, it was not long before I developed the greatest respect for those who play cajun music on the steel. It is simple, but try and play it. As someone above said, it is all in the rhythm. While the accordion is still my favorite part of Cajun music, well played cajun style steel is a close second.

[Fish]

To Dan, I'm technologically-challenged....thanks a lot for posting that track.
I know it sounds like a "Smithsonian field recording" but there's something about that solo that just slays me.

To Daniel J....I trust you had a GRAND time this weekend during (and after) your daughter's wedding. Best wishes from Tennessee.

So, do you know if this version of LaCassine by Tim Broussard with Marty on steel is available on CD? Vinyl? Cassette? I just gotta here this recording again with a little more fidelity than the cassette/AM radio-at-dusk version I have now. That goes for you too, sir. I'd want to hear your version of this great Cajun classic. Please let me know where I can buy it.

[Dan Tyack]

The attack is ferocious on that cut. It almost sounds like he's using a flatpick. I'd buy a couple dozen CDs with steel playing like that on it!

-Dan

[Murnel Babineaux]

You can play every steel lick on that recording on your E9th, or C6th.

(E9th) - Use your 4th 5th and 6th string E triad with string 8 as a drone (one octave down) to perform the sliding effect you hear in the recording. The sliding part you hear is by picking string 4 on fret 2 sliding up to fret 4 all the while picking string 8.

For (C6th) - 7th pedal down - use strings 1, 3,4 and 5 - G triad with string 5 as your drone (one octave down).

Using E9th/B6th Universal Tuning opens up much more possibilities for this type of playing. The picking techniques incorporate palm muting, 3rd and 4th fingertips on the right hand. In addition, there is some muting with the left hand.
I do use some pick blocking while playing this type of music, but typically, muting is much more effective.

This technique is a true discipline, but fun.


Murnel Babineaux

[Joe Rogers]

Fred J.- Yes, I spent quite a few nights at the Handlebar J when I was with the Ride. Every time we were in the area we always stopped in to do a few songs. I always had a great time out there. The best part about that gig was getting to cop Steve Fishell's brilliant steel work that he laid down on their first record.

We were a 4 piece band and I literally changed my 3rd string every 2 gigs just to make sure it wouldn't pop on stage. Ray and I were the lead as well as rhythm instruments. So when I was doing fills or a solo, Ray would keep the rhythm. When Ray would fill or solo, I was the rhythm guitar. It is quite an interesting steel gig when you have to play ALL the time. My fingers were in shape back then. LOL

Joe Rogers

[Joe Rogers]

Fish,

You may or may not have met Tim Broussard at one time or another. He played bass for years with Mark Chestnut. His brother Marty plays for Wayne Toups and is on a few of his CDs if I am not mistaken. I always loved that killer attack of his. I think he and Richard Comeaux have the fastest thumbs down here. If they could pick-pocket with just their thumbs you would never know your wallet was missing. LOL

Fred S, thanks for the link on Terry and the Aldus tribute. Terry is also a great steel player as well as a great fiddler. When I learned Cajun Accordion my 3 biggest influences were Iry LeJeune, Belton Richard and Aldus Roger. It was years later that I learned my great-great grandfather put an "S" on his Roger name to Americanize it and that I was in fact related to Aldus.

Murnell Babineaux plays some of the most original Cajun licks I have ever heard on steel guitar. We had a get together the other night and he was playing stuff on E9th that I didn't know could be done. He needs to tab that stuff out.

Joe Rogers

[Fish]

Hey Joe,

No I haven't had the pleasure of meeting the Broussard brothers, but I hope someday I do. Marty's playing is fascinating; I'd love to see him in action so I can get a better idea about what's going on with his fingerpicking...I mentioned to Dan Tyack that Marty's style is very "rock n' roll" in attitude. I'd like to know what the heck is going on during the V chord on LaCassine. Is he going to the 4th fret of the D string for the F#? (The previous 3 typestrokes were not intended to look obscene!)

Thanks for your kind words about my playing with McBride & the Ride. Those guys are brilliant musicians and I was just trying to keep up.

[Murnel Babineaux]

Fish,

The V chord is made using the open 2nd string D, with the bar on strings 3 and 4 on the 7th fret.

Think G major as your 1.

1st. G
2nd. D
3rd. B
4th. G

7th Fret = D on String 1, A on String 2, F# on String 3, D on String 4.

Murnel

[Fish]

Murnel,

THANK you! That is cool...It's so obvious once you find the spot. If I told you how I tried to play it you would just laugh....your way is so much more logical and musical. I appreciate the musical fellowship.

I love this style of playing and love Cajun music. So, have any of you guys ever sat down with bluegrass players and made some music? That would be one helluva a jam session. The Cajun rhythmic steel style would work great -- on dobro -- with banjo and fiddle....but hey, I'm just crazy that way.

Steve Fishell

[Pete Cormier]

Murnel
Any suggestions as to who is teaching
the steel in our area.I've ben sitting
home for a year listening and picking up
some tunes from the old g tuning players such as wilson lejune but i need
some instruction badly.
i'm playing a d-8 tuned to g and as per roy thomas the second neck is e9.
pete

[Murnel Babineaux]

Pete,

I will get with you soon about the teaching. I'll keep your e-mail address and let you know as soon as possible. Hang tight.

Murnel