Sunday, March 18, 2018

"A Mosquito Ate Up My Sweetheart" - Segura Brothers

Columbia records rounded out the end of 1928 with a final call by advertising in the papers for Cajun musicians to bring their instruments to New Orleans for one last session.  In December, the Segura Brothers accepted the invitation.  It would be these recordings that would gain them the notoriety of Alan Lomax in 1934 and later, other folklorists at the Library of Congress.  As Lomax lamented:
The Segura Brothers and their band at White Oak near New Iberia, Louisiana, played this beautiful music.2,3  

Les maringouins, a tout mange ma belle,

Ils ont quitté de ses gros orteils,

Pour me faire des bouchons de liège,

Pour toucher les demi-bouteilles,
Et ton papa ressemble à un éléphant
Et ta maman ressemble à une automobile
Ton petit frère ressemble à un ouaouaron
Ta petite soeur ressemble à un coin de banquette.

Given that this song seems to be a children's tune, the Seguras seem to borrow more Acadian traditional melodies compared to the African Creole influences in other melodies of the period.  Like other comparable tunes such as "Saute Crapaud", Cajun children had a fascination with songs involving animals and insects.  The following year, Artelus Mistric recorded the melody as "You Belong To Me".  It's quite possible it may have been influential in Leo Soileau's 1937 "Valse D'Amour".
Dewey and Eddie Segura

 Keep in mind, these lyrics can't be taken literally.  Cajuns found interesting and unique ways to describe someone's appearance.  In this case, the mosquitoes caused such bodily havoc, that the subject's family look deformed.   Even in Cajun French, the term "coin de banquette" is commonly used to refer to someone who is ugly.

The mosquitoes ate my beauty,

They have left her big toes,

Seem as if they are plugging corks,

To use on half-bottles,
And your dad looks like an elephant,
And your mom looks like a car,
Your little brother looks like a bullfrog,
Your little sister looks like a bench seat.

In 1957, the tune was recorded during a field session for the Ethnic Folkways Library by Bobby Bourke from Avery Island entitled "Les Marigouins Ont Mange Ma Belle". Nathan Abshire was a huge fan of the Segura's music. He had borrowed their tune "My Sweetheart Run Away" for his "Valse de Bayou Teche". In 1949, "Mosquito" became popularly known as Nathan Abshire's "La Valse de Hollybeach". 

In 1987, right before his death, Dewey told his daughters that he wanted the Cajun French music heritage, which he had worked his lifetime to promote, to remain alive.  In keeping with those wishes, he gave his 78 RPM recordings to them stating, "I know you'll do something with them".1  In 1998, his recordings, along with other artifacts, were put on display at the Acadian Museum of Erath near his hometown. 

  1. Abbeville Meridional. 3-5-1999
  3. Traditional Music in Coastal Louisiana: The 1934 Lomax Recordings By Joshua Clegg Caffery
  4. Lyrics by Stephanie D
Release Info:
W147656-1 A Mosquito Ate Up My Sweetheart 40507-F Columbia 90007 Okeh
W147657-1 New Iberia Polka 40507-F Columbia 90007 Okeh

Louisiana Cajun Music Volume 1: First Recordings - The 1920's (Old Timey, 1970)
Cajun Louisiane 1928-1939 (Fremeaux, 2003)
Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)
Cajun Country, Vol. 2, More Hits from the Swamp (JSP, 2005)

Tuesday, March 13, 2018

"Cherie Ba Sate (Little Sweetheart)" - Joe Manuel

Between 1946 and 1948, Harry Choates and his Melody Boys recorded dozens of tunes.  But after the break-up of his original group, the Manuel brothers, Joe and Abe, ventured out and formed their own groups with similar style.  Joe Manuel was born into a musical family north of Basile. Although his father, Adam, was an accordion player, Joe played Cajun music often without an accordion throughout his career. In the late 1940s, Abe and Joe Manuel who had performed with Leo Soileau and Harry Choates played more contemporary requests and styles dictated by the listeners and dancers.  Joe's band appeared on the radio on stations like KWSL in Lake Charles.  Following his tenure with Choates, he teamed with his brother Abe in the Rockola Playboys and as Sandy and Joe Austin in Corpus Christi, Texas.  But by 1949, he had his own group, The Louisiana Nighthawks.1
Joe Manuel

Hey, bassette, il y a pas longtemps, ouais, 
Tu m'as laissé, 'tit fille, pour t'en aller, 
Pour t'en aller, ouais, avec un autre, 
Avec un autre, ‘tit fille, j'mérite pas ça, vilains 

Hey, bassette, observes-toi bien, ouais, 
Tous les malfaits, ‘tit fille, ça tu m’as fait il y a pas longtemps,
Tu m'as quitté pour roulailler, ouais, 
Pour t'en aller, ‘tit fille, j'mérite pas ça.
Opelousas Daily World
May 20, 1949

The location for this recording is unknown however, it's quite possible given the sounds on the recording, it was held across the street from the Silver Star Club in Sulphur; the same place Hackberry Ramblers recorded for DeLuxe. During the session, he recorded a waltz he entitled "Chérie Bassette", misspelled as "Cherie Ba Sate". (#6039); not to be confused with the more well known recording by J.B. Fuselier.  His band comprised of probably Eddie Caldwell, Abe Manuel on fiddle, Dusty Rhodes on steel guitar, and Crawford Vincent on drums. 

Hey, short girl, over there, not long ago, yeah,

You left me, hey, little girl, you went away,

You went away, yeah, with another,

With another, little girl, I didn't deserve that, your naughty ways.

Hey, short girl, take a good look at yourself, yeah
All the terrible things, little girl, that you did to me, over there, not long ago,
You left me to go run around, yeah,
You went away, little girl, I didn't deserve that.

  1. Cajun Dancehall Heyday by Ron Yule
  2. Lyrics by Jordy A and Herman M
  3. NOTE: Possibly "Cherie Ba Sate" and "Creole Hop" are in reverse on 78 pressing.
Release Info:
D 946 Cherie Ba Sate 6039-A DeLuxe
D 947 Creole Hop 6039-B DeLuxe

Wednesday, March 7, 2018

"Les Tete Fille De Lafayette" - Happy Fats

Cajun country musician, Leroy "Happy Fats" Leblanc took chances with musicians filling in his group and Harry Choates was definitely one of them.   In 1940, Harry began playing with Leo Soileau and Happy in their Cajun band. He started playing with a borrowed fiddle. For the rest of his career he played with borrowed instruments and may never have actually owned his own. If he did, he would have bought it from a pawn shop and then later sold it to buy something to drink. Choates could play anything with strings, and occasionally, the piano. Once, when the strings on his bow were broken, he cut them off in a ceiling fan, rosined the wood of the bow and played the fiddle with that.4,5   

By February of 1940, Harry joined Happy in Dallas, Texas for his earliest recording session for Bluebird records.  In their ode to the 'belles' of Lafayette, the Rayne-Bo Ramblers expanded on the arranging style employed during their recording of "Lafayette" by emphasizing vocal harmonies, dramatic pauses, and fiddle and steel guitar breaks.1  According to author Ryan Brasseaux:

The Rayne-Bo Rambler release "Les Tit Fille de Lafayette" represents a high point during the Cajun swing era.  Happy Fats Leblanc and his string band combined French lyrics with Southern gospel harmonies and jazzy fiddle breaks.  The arrangement was sophisticated, urbane, and absolutely cosmopolitan, just like the musicians and culture from which the music sprang.1 
Rayne Tribune
Aug 23, 1940

Allons là-bas à Lafayette,

C’est pour voir les belles petites filles,

On va danser, on va traîner,

On va avoir les meilleurs temps de nos vies.

Tu connais, moi, je connais,
C’est la place pour moi à aller,
Hé, petite fille, après espérer,
Loin, là-bas, dans Lafayette.
The song "La Tete Fille Lafayette" (#2083) was led by two vocalists: Kaplan native and guitarist Stafford "Sandy" Lormand and Texas swing fiddle player Harry Choates. The rhythm section's bouncing 2/4 backbeat with Happy on bass, Harold Broussard on piano, Choates' cascading fiddle runs, and Ray Clark's bright steel guitar accents painted a jovial musical backdrop for the romantic lyrics to "Les Tit Fille De Lafayette," which describe a bachelor's paradise at a Lafayette dance.1  According to music author Michael Hurtt, 
"Les Tit Fille De Lafayette" was a song so swinging that when he bursts into the French vocal it’s a shock to the listener that it isn’t sung in English.3

Let's go over there to Lafayette,

It's to see the beautiful little girls,

We're going to dance, we're going to hang out,

We're going to have the best times of our lives.

You know, I know,
It's the place for me to go,
Hey, little girl, I hope,
Far away, over there, in Lafayette.
More than anything else, Harry’s gig with the Ramblers combined all of the rural, bluesy overtones, advanced jazzy improvisations and sprightly musicianship that would come to define his unique style.3  

But Harry's stint with Happy didn't last.   His heavy drinking and unreliability was too much for Happy's style and Harry left after three months with the group.  During this time, the Ramblers would be featured on KVOL.  It was Lafayette's oldest radio station, opening in 1935 and featured Happy Fats on their program.   For a short while, a fiddler from Port Arthur, TX, Billy "Tiny" Moore, joined the group for a short stint.   Moore recalls playing during the KVOL years:
Then I went to Louisiana with a Cajun band by the name of "Happy Fats and His Rainbow Ramblers". We lived in Rayne, Louisiana and our radio program was in Lafayette, Louisiana on KVOL, I'll never forget it. I was over there for about a year. A steady job. A very low-paying job, but it didn't cost much to live. For instance, my room and board and laundry, I lived with his mother, Happy Fats' mother, Leroy LeBlanc was his real name. I lived with Mrs. LeBlanc, marvelous French cook, for two dollars a week. My room and board and laundry was two dollars a week. So if we made 15-20 dollars a week, we were still all right. I enjoyed that. We did play a lot of the old Cajun music which I wasn't too familiar with, and am still not even today. But with a swing feel I suppose. And a lot of the country songs back in those days.2 
Moore would later leave for Port Arthur joining the Jubileers swing band.
KVOL, 1940
Billy "Tiny" Moore, Robert Escudier, A.B. Craft,
Joseph "Pee Wee" Broussard, Richard Haynes,
Ray Clark, Sandy Lormand, Happy Fats

  1. Cajun Breakdown: The Emergence of an American-Made Music By Ryan Andre Brasseaux
  2. Eldon Shamblin, Tiny Moore, Dean McKinney Moore 1981 interview online
  5. "Poor Hobo: The Tragic Life of Harry Choates: A Cajun Legend" by Tim Knight
  6. Lyrics by Jordy A and Eric C
Release Info:
BS-048014-1 Les Tete Fille De Lafayette B-2083-A Bluebird
BS-048012-1 La Polka A Gilbert (Old Time Polka) B-2083-B Bluebird

Harry Choates: Five-Time Loser 1940-1951 (Krazy Kat, 1990)
Devil In The Bayou - The Gold Star Recordings (Bear Family, 2002)
Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)

Friday, March 2, 2018

"Allon A Tassone (Let's Go To Tassone)" - Dennis McGee & Sady Courville

Dennis McGee is credited with transforming French Louisiana music into a high-level cultural expression, elevating it to the status of "art" music.  During these early years, his most well known partner was a fellow fiddle player named Sady Courville.   According to author Sara Le Menestrel, "reversing the stereotype of plain or simple music, this comparison is suggestive of the existence of geniuses within French Louisiana music, like in any other genre."  Sady recalls the first session:
There was an old man in the community who was always promoting different things.  He asked this man that I was working with if he thought we would like to make some records. He said, "I wonder if Dennis and Sady would go and make some records".  That was the old 78s at that time.  So [Wade] Fruge asked me and I asked Dennis.  He had said, "They would pay all your expenses" but that was it.  Just our expenses you know.4   

Allons! Aller à grand Tasso, mais, c’est pour voir les belles petites chères,

Allons! Aller, mais, à grand Tasso, mais, c’est pour voir les belles bouclés,

Allons! Aller à grand Tasso pour voir les belles bouclés.

Gardez-donc, mais, ces belles jeunes, mais, ils sont si bonnes, mais, les danseurs,
Ça danse bien, mais, ç’a la bonne vie, c’était joli, les chers p’tit cœurs,
Gardez-donc, mais, c’est si mignonne, malheureuse, dit "Bye bye".

Je suis après, mais, m’en aller, mais ouais, là-bas, mais, à Tasso,
C’est pour voir les belles p’tites, oh yé yaille, malheureuse,
C’est là je vas m’en aller, si loin, mais, c’est pour voir, mais, les belles filles.

Allons! Aller, mais, s’en aller, oh là-bas, mais, p’tit monde, mais malheureuse,
Je vas aller, mais, m’en aller à Tasso, c’est pour voir les chères mignonnes.
Sady Courville 1

Courville and McGee took a trip to New Orleans in March of 1929 and recorded eight tunes for Vocalion records including this song.   Sady continues:
And I had this old fiddle here. I had it in a flour sack.  I didn't even have a case for it. So we got on a train here one morning and went to New Orleans, somewhere in the French Quarter on the second floor, and we made those records.  We made about either or ten of them.4

"Allon A Tassone" (#5334) is an ode to the Louisiana community of Tasso, east of Eunice, Louisiana where Dennis would visit and see the beautiful curly haired girls.  The term "tasso" first appears in the Louisiana documentary record in 1859 as the name of a prairie community near present-day Duson, in the heart of the early Cajun ranching country.  In 1880, Goerge Washington Cable collected notes on the Cajun community census report.  His notes revealed "tassao" as a "jerked beef" near the Carencro area.2  Today, tasso is a type of spicy, heavily peppered and smoked pork found in Louisiana.  Unlike ham, it's not made from the hind leg of a hog, but rather the hog's shoulder. 

Let's go! Going to big Tasso, well, it's to see the beautiful little darlings,

Let's go! Going, well, to big Tasso, well, it's to see the beautiful curly haired ones,

Let's go! Going to big Tasso to see the beautiful curly haired ones.

Look at that, well, those beautiful young ones, well, they are so good, well, dancers,
That dance well, well, life is good, it's beautiful, dear little sweethearts,
Look at that, well, it's so cute, oh my, say "bye bye".

I have, well, went away, well yeh, over there, well, to Tasso,
It's to see the little beauties, oh ye yaille, oh my,
That's where I'm going to go, so far, well, it's to see , well, the beautiful girls.

Let's go! Going to, well, go away, oh over there, well, my little everything, well oh my,
I am going to, well, go away to Tasso, it's to see the darling cuties. 

Like several of McGee's originals, the timing of the music seems to run everywhere.  According to perspective given by a musician from California:

You play that Dennis McGee stuff, if you haven't heard it before, you can't guess why it's gonna have like three measures, four measures, two measures... or how it's going to go.  You basically have to learn it and memorize it or count it... Alot of times playing with accordion, it is sort of like "Okay..." But when you start playing the Dennis McGee stuff, it's more intellectually challenging because you have to figure out where the song's going all the time... He reminds me of Mozart.1

  1. Negotiating Difference in French Louisiana Music: Categories, Stereotypes ... By Sara Le Menestrel
  2. Stir the Pot: The History of Cajun Cuisine By Marcelle Bienvenu, Carl A. Brasseaux, Ryan A. Brasseaux
  3. DENNIS MCGEE - Complete Early Recordings. Yazoo 1994. Liner notes.
  4. Cajun and Creole Music Makers By Barry Jean Ancelet
The Complete Early Recordings of Dennis McGee (Yazoo, 1994)
Cajun: Rare & Authentic (JSP, 2008)

Saturday, February 24, 2018

"Shamrock Waltz" - Nathan Abshire

Nathan Abshire was a musician that helped ressurect the Cajun accordion after WWII.  He recorded for George Khoury in Lake Charles for years between 1949 and 1957.  Eventually, Khoury—who was also now recording rhythm and blues and country music—shifted Abshire to the Lyric and then the Khoury imprint. Abshire recorded for Khoury until 1956, cutting several classics including “La Valse de Holly Beach,” “Musical Five Special” “Lu Lu Boogie” and “Shamrock Waltz.” Abshire didn’t record in the late 1950s, but he and Pine Grove Boys stayed busy, working for several years at the infamous Shamrock Club in Lake Charles. His melody, previously recorded by Lionel Cormier as the Welcome Club Waltz, was an ode to this popular dancehall.

Tu m'a quitté, pour t'en aller,

T'en aller au Shamrock,
Tu connais ça t'as fais,
Avec moi il y a pas longtemps.

Ils rappelle, tout ça t'as fais,
Ça fais moi (z)avant d'partir,
Tu connais j'ai pris ça dur,
Pas connais, tu vas te voir.

Milton Vanicor recalls that, while he was playing with Iry Lejeune, many times Nathan Abshire and Dewey, after playing at Jones Bar north of Lake Charles, would come to the Shamrock Club in north Lake Charles and play until 1:00 a.m. The two groups would join in a jam session everyone enjoyed.3 Around 1965, Jo-El Sonnier moved to Lake Charles from his Acadia Parish home and played with Robert Bertrand and the Louisiana Ramblers at the Shamrock.  The place featured other Cajun musicians such as Phil Menard and Bobby Leger.4  They played the Shamrock Club, the hot-spot at the time, as well as other local clubs.”2  Bands that were featured at the Shamrock advertised via radio many times from the dancehall's stage with a live performance.4  One local remembered it most out of all the other clubs:
I believe the Shamrock was the very largest. The walls breathed in and out on Friday and Saturday nights at that place.
Shamrock Club
Larry Miller, Cleveland "Cat" Deshotel,
Nathan Abshire, Thomas Langley,
Jr. Benoit

Photo from the Johnnie Allan Collection
Center for Louisiana Studies
University of Louisiana at Lafayette

Celebrating his success at the club, Nathan recorded one of his last songs for Khoury in Lake Charles in 1956 known as the "Shamrock Waltz" (#652).  It's possible the vocalist is drummer Thomas Langley, but it's unclear.  He had Junior Benoit on guitar, possibly Cleveland Deshotel on either fiddle or bass, and either Darius LeBlanc or Jake Miere on steel guitar.
You have left, you went away,
You went away to the Shamrock,
You know what you've done,
With me, over there, not long ago.

They remember, all that you've done,
That was done to me, before leaving,
You know I took it hard,
Don't you know, you're going to see.

By the mid-1950s, many Cajuns had relocated from Southwestern Louisiana to points as remote as New Orleans, Baton Rouge, Morgan City, Houston, Beaumont and even California in search of employment. They enjoyed their newly found wealth, but they still loved their food, culture and music. As a result Abshire and the Pine Grove Boys started traveling to dances far from home.  Eventually Khoury began recording rhythm and blues and country music, however, kept his music store open for business.  As far as the building, patrons had fond memories of the place:
Parking was tight. The club was a long narrow building parallel to the highway. On the other side was a chain link fence about 3 or 4 feet from the building. On the other side of the fence was a grave yard. People would say "When I die I won't have far to go".5
In 1968, Nathan used the title "Shamrock" for a fast accordion-driven instrumental, similar in feel to the better known "Zydeco Sont Pas Sale". 

  3. Louisiana Fiddlers by Ron Yule
  4. Cajun Dancehall Heyday by Ron Yule
  5. Discussions with Jerry M
Nathan Abshire & the Pine Grove Boys - French Blues (Arhoolie, 1993)

Tuesday, February 20, 2018

"Paroi Acadia Breakdown" - Leo Soileau

Leo Soileau was one of the giant figures in Cajun music history. His early recordings from the late 1920s are both powerful and emotive, and rank among the all-time classics of Cajun music. Great contributions to his music were made by legendary Cajun musicians and singers Mayeus LaFleur and Moise Robin.2  The bandleader prided himself on his diverse repertoire that catered to the ethnically diverse audience between southwest Louisiana and east Texas.1 Acknowledging the difference between country and Cajun:

It's more music to it--to me. You can play in different keys. That French music, it's just the one...just like that rock n roll.1

In the 1935 recording was done in Chicago, IL as his Four Aces Leo with Bill ‘Dewey’ Landry on guitar, Floyd Shreve on guitar, and possibly O.P. Shreve and Johnny Roberts on either drums, bass, or rhythm guitar.  The instrumental is a slower version of the Breaux recording of "Vas Y Carrement", better known "Step It Fast". 

For unknown reasons, Decca chose to market this for the French speaking market as well as the English speakers as well.   On their original release, the song is listed as "Pario Acadia Breakdown" (a mixture of French-English title referring to Acadia Parish) and on the re-issue, they gave it a new catalog number, renaming it to "Arcadia County Breakdown".  Oddly enough, the word parish is replaced with county and Acadia is misspelled. The same was done with the records flip-side recording: "Les Blues De La Louisiane" or "Louisiana Blues" respectively. 

Rayne Tribune
Oct 29, 1937

  1. Cajun Breakdown: The Emergence of an American-Made Music By Ryan Andre Brasseaux
  2. Leo Soileau - The Early Recordings of Leo Soileau CD.  Liner notes.
Release Info:
C-9975-A Les Blues De La Louisiane - Decca 17009 A Montgomery Ward M-4485
C-9988-A Paroi Acadia Breakdown - Decca 17009 B Montgomery Ward M-4485

C-9975-A Louisiana Blues - Decca 5116 A Montgomery Ward M-4485
C-9988-A Arcadia Country Breakdown - Decca 5116 B Montgomery Ward M-4485

Wednesday, February 14, 2018

"La Valse De Gueydan" - Leo Soileau

Old melodies such as "Jolie Blonde" were popular tunes that Cajuns picked up and learned during the turn of the century.   Melodies such as this one found it's way into pockets of isolated populations where unique names were given to the songs.  Leo Soileau's group took the original Breaux recording of "Ma Blonde Est Partie" and changed it slightly, giving it a new name, "Le Valse De Gueydan" (#2086). After the Hackberry Ramblers recorded the same tune in the same swing style as "Jolie Blonde", many musicians would later simply refer to Leo's version as "Jolie Blonde" as well.

In 1935 in New Orleans, Leo Soileau had his Three Aces group record the tune on Bluebird records under the watchful eye of Eli Oberstein.  The song was an ode to the small Cajun town of Gueydan.  While his Three Aces were fairly constant, occasionally Leo had other members record with him as well.   According to Happy Fats, Tony Gonzales was on drums and Bill Landry or Floyd Shreve was on guitar.  However, Preston Manuel recalls Sam Baker on drums and Jerry Baker on guitar.

Eh, jolie, moi je m'en vas dans grand Gueydan,

C'est pour voir, ma jolie petite fille,

Jolie coeur, je vu pas faire.

Eh, jolie, pourqoui donc mais tu fait ca,
Avec ton vieux neg, jolie petite fille,
Pourquoi donc mais tu fais ca avec ton neg?

Elle etait dans les miseres,
Mais, jolie fille, pourquoi donc,
Tu fait ca avec ton nieux neg,
Et jamais j'avais cru quoi j'ai vu.

Eh ma fille, jolie fille.
Leo Soileau and the Three Aces 5

Not to be confused with John Bertrand and Milton Pitre's recording of "Valse de Gueydan" or Amede Ardoin's "La Valse de Gueydan", it's the version of the melody in which most believe influenced Harry's famous 1946 recording of "Jole Blon".  After his father's death, around the late 30s, Choates joined Soileau's group on guitar and second fiddle for Leo's Aces with Joe and Abe Manuel, and Francis “Red” Fabacher. A great innovator in Cajun music, Soileau mentored Choates, who learned many of Soileau's stage tricks.   During Harry's time with Soileau's group, he was exposed to their song "La Valse De Gueydan".  

According to Happy Fats:
Harry had first performed the tune in Soileau's band but on his Gold Star recording he stepped up the key from G to A.  

Eh, pretty, I am going to big Gueydan,

It's to see my pretty little girl,

Pretty sweetheart, I can't see you.

Eh, pretty, why have you done that,
To your old man, pretty little girl,
Why have you done that to your man?

She was in misery,
Well, pretty girl, why have,
You done this to your old man,
And I never thought I'd see that.

Eh, my girl, pretty girl. 
The Three Aces' efforts were well received in the Cajun community.  Their version of the popular waltz was an instant success that prompted Bluebird to issue the record twice in their 2000 Cajun series.4

  1. South to Louisiana: The Music of the Cajun Bayous By John Broven
  2. Encyclopedia of Great Popular Song Recordings, Volume 2 By Steve Sullivan
  3. Label scan by University of Louisiana at Lafayette Cajun and Creole Music Collection - Special Collections
  4. Cajun Breakdown: The Emergence of an American-Made Music By Ryan Andre Brasseaux
  5. Country Music Originals : The Legends and the Lost: The Legends and the Lost By Tony Russell
Louisiana Cajun Music Vol. 3: The String Bands Of The 1930s (Old Timey/Arhoolie, 1971)
Jole Blon - 23 Artists One Theme (Bear, 2002)
Cajun Louisiane 1928-1939 (Fremeaux, 2003)
Cajun Capers: Cajun Music 1928-1954 (Proper, 2005)
The Beginner's Guide to Cajun Music (Proper/Primo, 2008)