Corey Ledet Zydeco

Corey Ledet
Corey Ledet Zydeco
Nouveau Electric Records

Houston born Corey Ledet keeps the zydeco flame burning bright with this new release full of hot grooves and soulful vocals. It was mostly recorded at Dockside Studios, Maurice, Louisiana, in June 2019, with one selection recorded during the Covid-19 lockdown. Corey is featured on lead, harmony and background vocals, accordion, drums, and washboard. Others playing on this album are Cecil Green on Hammond B3 organ, bassist Lee Allen Zeno, harmonica player Grant Dermody, Julian Primeaux on rhythm and lead guitar and backing vocals, and Gerard Delafose on drums and washboard.

Ledet comes from a family rich in music history. His great grandfather played bass with Bunk Johnson, while his grandfather, Buchanan Ledet, was the first zydeco drummer playing with Clifton Chenier and Rockin' Dopsie. Buchanan invented the twice-pumped bass drumming pattern called "double clutching" that's been an integral part of the genre ever since and is celebrated by the exuberant "Buchanan Ledet Special," one of several songs enthusiastically delivered in French.

Things start with the spirited "This Is All I Want," which conjures up the non-stop grooves of Boozoo Chavis. It is followed by "Buchanan Ledet Special," which has a brief spoken introduction. "Mon Marche" is a French rendition of Fats Domino's "I'm Walking" in a manner that would make Clifton Chenier smile. A bit more of a Clifton Chenier flavor is heard on "Per Mo (Call Me)." Grant Dermody adds a harmonica solo here. Dermody also is featured on the warp speed rendition of Ledet's cover of Big Joe Turner's hit "Flip Flop and Fly." He captures some of the high energy of such post-Chenier-Buckwheat Zydeco acts like Dwayne Dopsie. Try not to at least move one's feet listening to this track.

"Nina's Hot Step" is a traditionally rooted two-step creole instrumental that is a solo performance that Corey recorded to complete this project and adds to the variety of music here. Also, there is a delightful waltz, "Mon Make (I Miss)" that evokes Chenier's "Louisiana Waltz" from an early Arhoolie album. Ledet evokes some of the zydeco greats without imitation and, with his superb accordion playing and first-rate singing, has produced a sterling recording. The only possible complaint is that the playing time is short, but there is not one wasted moment.

I received a review download from a publicist. After writing the review I came across an article about the issues the pandemic has created for cajun and zydeco artists with the closure of clubs and cancellation of festivals that were major sources of their income. Corey was one of the artists mentioned, so purchasing this album helps Corey out in addition to providing the listener with some superb music. It is available on Bandcamp, https://coreyledetzydeco.bandcamp.com. Here is a video of Corey performing a song not on this album, "Promised Land Two Step." Yes, that is Paul 'L'il Buck' Sinegal on guitar on the left.

Cary Morin Dockside Saints

Cary Morin
Dockside Saints
Self-produced

A member of the Crow Tribal group, Cary Morin came to wide-spread notice as a member of the Pura Fé Trio. Subsequently, he followed a solo career in which his talents as a singer, songwriter, and guitarist showed a performer of great talent. His fingerstyle guitar playing itself was sensational. This writer was impressed by his fourth album, "Cradle to the Grave," in which his blues roots perhaps were more in evidence than this current release, which probably is best described as Americana or roots.

Recorded at Dockside Studios in Maurice, Louisiana, by producer Tony Daigle, Morin displays his versatility and immaculate musicianship and vocals on twelve originals. Daigle put together a remarkable group of Louisiana musicians including bassist Lee Allen Zeno, drummer Brian Brignac, accordionist Corey Ledet, keyboardist Eric Adcock, and electric guitarists. Keith Blair and John Fohl, fiddler Beau Thomas, and Celeste Di Iorio on harmony vocals. Morin fuses Zydeco, Cajun and Creole, Piedmont blues and country, gospel, and folk. This recording reminds this listener of Anders Osborne, who similarly blends a musical stew.

The wide range of grooves and moods starts with the zydeco two-step groove of "Nobody Gotta Know." With Ledet's organ-like chicken fried accordion and a driving rhythm, Morin sings with grits and conviction. It is followed by a haunting country-tinged ballad, "Exception to the Rule," and then the sultry "Prisoner" with a hypnotic acoustic riff. There is another country-tinged song, "Because He Told Me So," with another stunning vocal. He shares a vocal authority in common with such great roots singers as Levon Helm, John Fogerty, Marty Stuart, Bruce Springsteen, and Ruthie Foster. "Jamie Rose" is another South Louisiana to New Orleans groover with Beau Thomas' fiddle adding heat and Ledet's accordion. "Bare Trees" is a hauntingly beautiful instrumental with Ledet and Thomas adding atmosphere.

There is a remarkable song, "Valley of Tears," based on a true story that hishis great-grandmother told him at Morin's Crow naming ceremony. It was a story of her and friends escaping after being kidnapped as a teenager by a neighboring tribe. "When women were kidnapped back then, they were destined to a life of servitude." They escaped, stole their horses, and rode back home. "The moral of the story from my great grandmother to me was that there is nothing in life that you cannot overcome." He performs this without any melodramatics. The simple, honest rendition and the atmospheric backing results in an unforgettable performance.

Among the other musical delights, here is a funky blues-rock instrumental with Morin's electric fretwork, Ledet's accordion playing, and bassist Zeno showcased. Morin's artistry is on full display on the excellent "Dockside Saints."

I received my review copy from a publicist. here is a performance by Cary Morin from 2019 at the Kennedy Center in Washington.

Corey Ledet & His Zydeco Band Standing on Faith

Corey Ledet & His Zydeco Band
Standing on Faith

Corey Ledet has been one of the vital 'young' voices in Zydeco for over a decade. Rooted in the creators of the idiom like Clifton Chenier, John Delafose, and Boozoo Chavis, he has musically evolved to incorporate some of the modern trends in the music. It has been a few since his last recording, but this new recording, while relatively short, provides a solid look at the versatility he exhibits when playing zydeco.

Corey is heard of accordion, washboard and drums as well as vocals, while Jesse Delgizzi plays guitar, bass, moog and vocals with Cecil Green on keyboards. After an opening funk "Intro" with keyboards and vocal effects on the spoken intro (presumably by Delgizzi), Corey takes us into a Boozoo Chavis styled rocker, "Push Me Away," with some marvelous button accordion playing and the crisp, emphatic groove. Given Ledet's overdubbing his accordion over his drums and washboard, the recording sounds natural. In contrast, an instrumental "Love Never Felt So Good," comes off as a mix between zydeco and contemporary dance music with Delgizzi's funky bass and synthesizer work intriguing.

The driving zydeco gospel number, "Standing on Faith," is Ledet's statement of his faith, followed by an contemporary urban soul ballad, "Take Me There." "New York City" is a terrific zydeco rocker that will evoke Clifton Chenier and Roy Carrier as he sings about going to New York City for a zydeco dance. "Good Day" again takes things in a more contemporary mode where Delgizzi's synthesizer playing emulates steel pans lending a Caribbean rhythmic accent. The closing "Street Light," is another contemporary zydeco number, well played and sung, but being perhaps a bit smoother at the edges..

With its relatively short playing time and its contemporary flavor, there may not be enough straight-ahead zydeco here to appeal to the more traditional zydeco audience. Those looking for a more updated twist on the idiom will be more interested in this latest chapter In Corey Ledet's career.

I received my review copy from a publicist. Here is a video for "Street Light" from this album.

Some JazzFest recommendations for Day 1 Friday April 29

Corey Ledet

I will be heading down to New Orleans for the Annual Jazz & Heritage Festival for the first weekend. I will also be attending Lil’ Band O’ Gold’s Bobby Charles Tribute at the House of Blues’ Parish Room on Friday Night and WWOZ Piano Night on Monday May 2. Of course this assumes no problems with my flight getting down there, etc. However, here are some recommendations of lesser known performers that you should think about seeing. I have avoided major touring acts like Jeff Beck, Robert Plant or Tom Jones or Wyclef Jean and also some of my favorites like the Joe Krown Trio and Irma Thomas.


For Day 1 here are several acts of note


11:15 at the Sheraton New Orleans Fais Do Do Stage - Corey Ledet & His Zydeco Band. Ledet is among the more traditional of today’s zydeco acts, but certainly can lay down a hot two step or waltz. He can channel Clifton Chenier or John Delaphose, and do a zydeco take of an Elvis hit, Burning Love. He has a fine CD A Matter of Time as well as with Cedric Watson recorded the excellent Going Down to Lousiana.

Henry Gray

12:00 in the Blues Tent - Henry Gray & The Cats. Howling Wolf’s pianist for over a decade before he moved back south to Baton Rouge for the past four decades or so where he has mixed in his Big Maceo influenced piano style heard on recordings by Wolf, Jimmy Rogers and others with a healthy dose of Louisiana Swamp Blues exemplified by his Cold Chills. He has never received the acclaim of a Pinetop Perkins, but in my mind he is Pinetop’s equal and a better singer. His annual JazzFest appearance is always a treat.


12:15 in the WWOZ Jazz Tent - Derek Douget. If Derek had moved out of New Orleans, he is a saxophonist people would be talking about. I have seen him play with the marvelous trumpeter Maurice Brown as well as with Irwin Mayfield’s NYNO. He has a terrific CD, Perpetual Motion, as well as appeared to numerous cds including those by Adonis Rose, Leah Chase, Maurice Brown and Ellis Marsalis (He is the saxophonist on An Open Letter to Thelonious).

Derek Douget

1:30 in the WWOZ Jazz Tent - Germaine Bazzle. . What can one add to New Orleans jazz Diva, a singer of exquisite tone, taste and nuance. Always has some of Crescent City’s best musicians supporting her.

Germaine Bazzle

2:45 at the Sheraton New Orleans Fais Do Do Stage - Warren Storm - Willie Tee & Cypress. As a drummer, One probably cannot count the number of recordings Warren Storm played on (many Excello swamp blues classic) but he is also a great blues-eyed soul singer which can be heard when he anchors Lil’ Band ‘0 Gold. I am less familiar with Willie Tee Trahan, but the saxophonist and Storm hooked up in the 1980s playing bars throughout the Gulf Coast and recording some fine ‘swamp pop.’ Really looking forward to seeing them.

Warren Storm

4:00PM in the WWOZ Jazz Tent - Anat Cohen Quartet. She is becoming a perennial nominee for Best Clarinet Player in the Jazz Journalist Awards and the DownBeat Awards. Conversant with traditional swing, hard bop and world music, the Israeli born Anat will be also leading her Quartet on Saturday in the People’s Health Economy Hall Tent which might suggest two very different performances displaying two different sides of this remarkable msuician and composer.]


There are a few selections. Plenty of other great music including John Mooney, Donald Harrison, Jon Cleary, Los Hombres Caliente, Keb' Mo and the Golden Striker Trio featuring Ron Carter. 

Anat Cohen

Wood & Fraher's Texas Zydeco Excellent Book On Creole Music

If you are looking for a holiday present for the blues and/or zydeco fan, then the superb, Texas Zydeco is a book that should be considered. It combines authoritative writing with some beautiful photography.

Texas Zydeco
by Roger Wood & James Fraher (photographer)
University of Texas 2006


Zydeco music is usually associated with Louisiana, but historically Texas, and especially the city of Houston has been central to the growth and development of the idiom from the more traditional la la music of the creole population that is concentrated in southwestern Louisiana and neighboring portions of Texas that include House. The place of Texas in the rise and evolution of zydeco is the subject of Texas Zydeco, the latest collaboration between writer Roger Woof and photographer James Fraher, who previously collaborated in Down in Houston: Blues in Bayou City, the superb book on Houston’s blues scene.


Like the previous volume on Houston Blues, Wood does more than simply provide sketches of the history of the music. He takes us into the world of the zydeco as his first chapter introduces us to the various venues for zydeco and the audience and musicians there ranging from the clubs and church dances to the all day festivals at a rodeo arena. The history of the music as it was transformed from la la to zydeco and some of the pioneering figures and recordings are presented and the fact that some of the recordings were made in Houston including a rare Lightnin’ Hopkins recording on organ, Zologo. Folklorist Mack McCormick was responsible for the spelling of zydeco, but it was not until a Clifton Chenier recording used that spelling, that this spelling received the credibility until it became the established way to spell the term


A chapter is devoted to Chenier and his influence. Chenier’s mix of traditional creole music with rhythm and blues as well as his use of the piano accordion led to the emergence of zydeco as a musical genre and through interviews with some of Clifton’s contemporaries as well as some of the musicians who played with him, including his son C.J, and guitarists Philip Walker and Sherman Washington who recall their experiences with Clifton and how he was a mentor to them which they recognize even today the value of his lessons for them. Clifton was a remarkable person. Chenier invented the frottoir (rubboard) which replaced the washboards that had been used previously, having the first frottoirs fabricated and Wood spends some pages with the individuals that crafted these instruments for use.


Another chapter discusses some of the post-Chenier performers in the world of Texas zydeco, noting that many, but not all, have adopted the button accordion as opposed to the chromatic piano accordion, and provides an overview of these new breed performers including Corey Ledet, Dora and the Zydeco Bad Boyz, J. Paul and Skip Riteau, and in showing their individual maturation as artists how Texas remains a fertile ground for zydeco to continue to evolve.


James Fraher, certainly one of the most outstanding blues photographers alive, contributes some stunning photography. It is unfortunate that Wood and Fraher did not include some actual photographs of Chenier and other masters that Fraher never was able to document, as a photograph of a old Zodico poster for Chenier is not quite the same thing. But this is only a quibble as this book brings the world of zydeco, not simply reciting the lives of major figures, and joins Down in Houston as an important and engrossing book on African-American vernacular music traditions.


This review originally appeared in the November/December 2006 Jazz & Blues Report (issue 288). I likely received a review copy from the publisher.