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“Jambalaya (On the Bayou)” is a song credited to American country music singer Hank Williams that was first released in 1952. Named for a Creole and Cajun dish, jambalaya, it spawned numerous cover versions and has since achieved popularity in a number of music genres.

With a melody based on the Cajun song “Grand Texas”, some sources, including Allmusic, claim that the song was co-written by Williams and Moon Mullican, with Mullican uncredited but receiving ongoing royalties. Other sources[who?] claim that this was one of several songs which Williams purchased from other writers; a practice that was relatively common in “show business” at the time.

Released in 1952, crediting Williams as the sole author, it was performed by Williams as a country song. It reached #1 on the U.S. country charts, and remains one of his most popular songs today.

Cajun Roots of the Song
Since the original melody of the song was from a Cajun French song called “Grand Texas”, the song is a staple of cajun culture. Although Williams changed the lyrics, he kept a Louisiana theme. In addition, Cajuns readily identified with the soulful sound of Williams. After Williams released his version, Cajuns recorded the song again using Cajun instruments. However, this time they used Williams’ lyrics translated into the Cajun French language. Over the past few decades, the Cajun French version has been performed by many Cajun bands including Aldus Roger and Joel Sonnier.

Theme
Williams’ song resembles “Grand Texas”, a Cajun French song, in melody only. “Grand Texas” is a song about a lost love, a woman who left the singer to go with another man to “Big Texas”. Jambalaya, alternately, is about life, parties and stereotypical food of Cajun cuisine. The song has a Cajun theme, possibly inspired by Williams’ time with the Louisiana Hayride, though Louisiana Hayride was recorded in Shreveport, a city with very little Cajun cultural influence. Referenced within the song are such Cajun dishes as jambalaya, crawfish pie, and filé gumbo. Williams sings of “Yvonne” in the song, referring to her as my ma cher amio, which is considered poor Cajun French for “my dear” (redundantly Williams uses the word “my” before the French “ma”), and has caused some confusion among listeners, particularly given his pronunciation. The refrain “son of a gun, we’ll have big fun on the bayou” has become a well-recognized and often repeated phrase.

Williams composed a sequel to the song from the female perspective, “I’m Yvonne (Of the Bayou)”, with Jimmy Rule. It was not as popular. As with “Jambalaya” there is speculation that Williams may have purchased this song from Mullican.

Later researched by a member of Moon’s family, a story emerged about how the song came about in the first place, and it was said that while visiting a small bar located just south of the Choupique Bayou and owned by Yvonne Little, the song Jambalaya referred to some truly wonderful times had there.

Cover versions
Sheet music of “Jambalaya (On the Bayou)” with Jo Stafford on the cover
Another, even more popular at the time, version of the song was the 1952 cover version recorded by Jo Stafford, reaching #3 on the Billboard pop charts (and making the song well known to people other than country music fans). Mitch Miller had originally intended Jambalaya to be recorded by Jimmy Boyd for Columbia Records. Boyd turned the song down and Miller recorded it with Jo Stafford. Years later Jimmy Boyd did record it for Dot records. It was further popularized in a Rock’n'Roll version by Fats Domino.

http://en.wikipedia.org/wiki/Jambalaya_(On_the_Bayou)

Clive Riche – vocals
Daniela Velli – vocals
Piera Pizzi – vocals
Enrico Cresci – ellectric Guitar, vocals
Alberto Contri – el. & ac. guitars, mandolin, vocals
Danilo Cartia – banjo, acoustic guitar, vocals
Leonardo Petrucci – mandola, acoustic guitar, vocals
Michele Anselmi – steel guitar, harmonica, vocals
Stefano Tavernese – violin, ac. guitar, washboard, vocals
Michael Supnick – trumpet, trombone
Carlo Ficini – trombone
Cristiana Polegri – saxophones, vocals
Gianluca Galvani – tuba
Silvia Manco – piano, vocals
Vincenzo Lucarelli – Hammond organ
Francesco Puglisi – electric bass
Derek Wilson – drums

Recorded live in Milan 23rd of november, 2007

Produced by FONDAZIONE PUBBLICITA’ PROGRESSO
Alberto Contri – artistic director
Enrico Cresci – musical director

Per informazioni contattare Vania Pavan, Fondazione
Pubblicità Progresso – Via Mercalli, 11 – 20122 Milano
Tel. (+39) 02 5830 4448 oppure (+39) 393 9120349
v.pavan@pubblicitaprogresso.org

Posted by:
http://www.michaelsupnick.com

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With Emmett’s Free Hands method, both of your hands are equal partners. As they approach the fretboard from opposite sides, your fingers line up parallel to the frets and a powerful new musical language emerges – bass lines, lead melodies, chords, and rhythm, simultaneously, and in any combination you desire.

Today thousands of musicians are making their own music with our Stick, Grand Stick, Stick Bass and NS/Stick fretboard tapping instruments. Emmett continues to expand on his original concepts by adding to the variety of Stick models, features and tunings – defining the state of the art in tapping instruments.

The Stick comes from the guitar and bass, but its playing method shares roots with keyboards and drums as well, placing all of these musical voices in the hands of one musician. The Stick is unique, expansive, versatile, like each of its players. It is a blank slate upon which to “tap your potential.”

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Upon first listening to his father’s music, Chenier thought all the songs sounded the same. But he eventually began to appreciate and master the zydeco style, as he later joined and then took over his father’s band and career. The first instrument Chenier learned to play was the saxophone. As a teenager in the early 1970s he played in black Top 40 bands in Port Arthur. By the mid 1970s Chenier went to college to study music.

In 1978 his father invited Chenier to play his saxophone with The Red Hot Louisiana Band, whose members also included his Uncle, Cleveland Chenier, on washboard.[2] By 1985, as his father was growing ill from diabetes, he invited Chenier to start playing the accordion in a larger role with the band, and to open the shows.

In 1987, the year his father died, Chenier continued his own musical career where his father left off. He has since played such venues as the New Orleans Jazz & Heritage Festival, San Diego’s Street Scene and Milwaukee’s Summerfest.

Paul Simon first heard Chenier in 1990, and featured him on the The Rhythm of the Saints album, and that year’s ‘Born At The Right Time’ tour. In 1992 Chenier played accordion on “Cajun Song”, a track on the Gin Blossoms’ album, New Miserable Experience.

1992 saw Chenier featured with the Red Hot Louisiana Band on the PBS music television program Austin City Limits. [3]

By October 1994 Chenier was signed by Alligator. His debut release there was Too Much Fun, named the next year as best zydeco album of 1995 by Living Blues Magazine. In 1995, Chenier gained his widest audience to date with television appearances on the Jon Stewart Show and CNN. His 1996 appearance at the New Orleans Jazz & Heritage Festival was featured in a segment by the VH1 cable music television network, as well as by Entertainment Weekly.

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