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Zydeco (/ˈzaɪdɪˌkoʊ, -diː-/ ZY-dih-koh, -dee-; French: zarico) is a music genre that was created in rural Southwest Louisiana by Afro-Americans of Creole heritage. It blends blues and rhythm and blues with music indigenous to the Louisiana Creoles, such as la la and juré. Musicians use the French accordion and a Creole washboard instrument called the frottoir.[1][2]
| Zydeco | |
|---|---|
 Buckwheat Zydeco with accordion | |
| Etymology | From French les haricots ("the beans"), from a phrase that recurred in many cajun and zydeco songs |
| Other names | Zarico, zodigo, le musique Creole |
| Stylistic origins | |
| Cultural origins | Early 20th century, Louisiana, U.S. |
| Typical instruments |
|
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Zydeco music is typically played in an uptempo, syncopated manner with a strong rhythmic core,[3] and often incorporates elements of blues, rock and roll, soul music, R&B, Cajun, and early Creole music. Zydeco music is centered on the accordion, which leads the rest of the band, and a specialized washboard, called a vest frottoir, as a prominent percussive instrument. Other common instruments in zydeco are the electric guitar, bass, keyboard, and drum set.[4] If there are accompanying lyrics, they are typically sung in English or French.[5] Many zydeco performers create original zydeco compositions, though it is also common for musicians to adapt blues standards, R&B hits, and traditional Cajun tunes into the zydeco style.[6]
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Look up zydeco in Wiktionary, the free dictionary.
The origin of the term "zydeco" is uncertain. One theory is that it derives from the French phrase Les haricots [ne] sont pas salés,[7] which, when spoken in Louisiana French, is pronounced [lez‿a.ɾi.ko sɔ̃ pa saˈle]. This literally translates as "the green beans aren't salted" and is used idiomatically to express hardship.[8][9]
Initially, several different spellings of the word existed, including "zarico" and "zodico" (in some dialects of French, r has the same pronunciation used by certain dialects of American English for specific instances of d — a voiced alveolar tap [ɾ]).[citation needed]
In 1960, musicologist Mack McCormick used the spelling "zydeco" in the liner notes for a compilation album: A Treasury of Field Recordings. The word was used in reviews, and McCormick began publicizing it around Houston as a standard spelling. Its use was also accepted by musician Clifton Chenier (who had earlier recorded "Zodico Stomp" in 1955) in his recording "Zydeco Sont Pas Salés". Chenier later claimed credit for having coined this spelling[5]
Another possible root word for zydeco is a West African term for "musicking". Recent studies based on early Louisiana recordings made by Alan and John Lomax suggest that the term, as well as the tradition, may have African origins. The west African languages of tribes affected by the slave trade provide some clues as to the origins of zydeco. In at least a dozen languages from this culture-area of Africa, the syllables "za", "re", and "go" are frequently associated with dancing and/or playing music".[10][3] It is also possible that "za re go" evolved into les haricots by French-Creole speaking generations unfamiliar with the original language, turning what would have been unfamiliar words into a phonetically similar phrase in the regional language.[11]
The word "zydeco" can refer to the musical genre, the dance style, or a social gathering at which the music is played.[4]
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The original French settlers came to Louisiana in the late 1600s, sent by the Regent of France, Philippe d'Orléans, Duke of Orléans, to help settle La Louisiane (the Louisiana Territory they claimed as a colony. Arriving in New Orleans on seven ships, the settlers quickly moved into the bayous and swamps. There, the French culture permeated those of the Spanish and Native American Indians, who had long populated the area.
In 1720, German Catholics founded the second permanent European settlements in St. John the Baptist Parish, part of what became known as the German Coast. Later in the 18th century, more German and Irish immigrants also settled in this area.[12] Europeans imported or acquired African slaves as workers, and they soon outnumbered the whites on major sugar cane and other plantations. Through the decades, all the peoples gradually mixed.
For 150 years, Louisiana Creoles enjoyed an insular lifestyle, prospering, educating themselves without the government and building their invisible communities under the Code Noir. The French created the Code Noir in 1724 to establish rules for treatment of enslaved Africans. It also established restrictions and rights for gens de couleur libres, free people of color who were a growing class, often descended from French white men and Black African or mixed-race women. They had the right to own land, something which few blacks or people of color in the American South had at that time.
The disruption of the Louisiana Creole community began when the United States made the Louisiana Purchase and Americans started settling in the state, particularly migrating from the Southeast. The new settlers typically recognized only the binary system of race that prevailed in the slave societies common where they had come from. The American states had made laws based on the assumption of second-class status for most people of visible African descent, because of its strong association with the caste of slavery.
When the Civil War ended, and the black slaves were freed across the South, Louisiana Creoles who had been free before the war often assumed positions of leadership during Reconstruction. However, segregationist Democrats in Louisiana classified Creoles as Black, or having the same status as freed slaves. By the end of the 19th century, Louisiana, Mississippi, and other former Confederate states were passing new constitutions and laws to disenfranchise most blacks and many poor whites under rules designed to suppress black voting (despite the Fifteenth Amendment to the United States Constitution). Creoles continued to press for education and advancement while negotiating the new society.
Zydeco's rural beginnings and the prevailing economic conditions at its inception are reflected in the song titles, lyrics, and bluesy vocals. The music arose as a synthesis of traditional Creole music, some Cajun music influences, and African-American traditions, including R&B, blues, jazz, and gospel. It was also often just called French music or le musique Creole known as "la-la."
Amédé Ardoin, the second and most influential musician of the region to record the Creole music of southwest Louisiana, made his first recordings in 1929.[13] This Creole music served as a foundation for what later became known as zydeco. Originally performed at house dances in the community, the music eventually was also performed in Catholic Church community centers, as Creoles were mostly Catholic, as well as in rural dance halls and nightclubs.
During World War II, and the Second Great Migration, many French-speaking and Louisiana Creole-speaking Créoles from the area around Marksville and Opelousas, Louisiana left a poor and prejudiced state for better economic opportunities in Texas. Their numbers were surpassed by the many southern Blacks, including people of color, who migrated to California, Oregon and Washington states, where the buildup of defense industries provided more access to good jobs. They still had to deal with some discrimination but found more opportunities than in the legally segregated South. In California blacks from Louisiana and other Southern states could vote and began to participate in political life. Today, there are many Cajun and zydeco festivals throughout the US.
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Zydeco music pioneer Clifton Chenier, "The King of Zydeco", made zydeco popular on regional radio stations with his bluesy style and keyboard accordion. In the mid-1950s, Chenier's popularity brought zydeco to the fringes of the American mainstream. He signed with Specialty Records, the same label that first recorded Little Richard and Sam Cooke for wide audiences. Chenier, considered the architect of contemporary zydeco,[14][15] became the first major zydeco artist. His early hits included "Les Haricots Sont Pas Salés" ("The Snap Beans Ain't Salty" — a reference to the singer being too poor to afford salt pork to season the beans).
The first zydeco vest frottoir was designed by Clifton Chenier in 1946 while he and his brother Cleveland were working at an oil refinery in Port Arthur, Texas. Chenier commissioned the instrument from Willie Landry, a welder-fabricator who worked at the same refinery. Landry's original frottoir is held in the permanent collection of the Smithsonian Institution.[16]
Tejano music performers of the 1950s–1970s, such as Little Joe and Freddie Fender, were known for their zydeco roots and inspiration. They helped popularize the style in South Texas within mainstream country music.[17][18]
In 1978, Clifton Chenier saw how popular Zydeco was becoming on the road and overseas. He persuaded a young creole/lala accordionist named Fernest Arceneaux to pick up the accordion again. Arceneaux had given up the accordion in the 1960s to play the guitar. Shortly after, he began to tour internationally as Fernest and the Thunders. [19]
In the mid-1980s, Rockin' Sidney brought international attention to zydeco music with his hit tune "My Toot Toot". Clifton Chenier, Rockin' Sidney, and Queen Ida all garnered Grammy awards during this pivotal period, opening the door to emerging artists who would continue the traditions. Rockin' Dopsie recorded with Paul Simon on his album Graceland and also signed a major label deal during this time.[20][21]
John Delafose was extremely popular regionally. The music made major advances when emerging bands burst exuberantly onto the national scene, fusing new sounds and styles with the music. Boozoo Chavis, Roy Carrier, Zydeco Force, Nathan and the Zydeco Cha Chas, the Sam Brothers, Terrance Simien, Chubby Carrier, and many others were breathing new life into the music. Zydeco superstar Buckwheat Zydeco, already well into his career, signed his deal with Island Records in the mid-1980s. Combined with the national popularity of Creole and Cajun food, and the popular feature film The Big Easy, set in New Orleans, zydeco music had a revival. New artists were cultivated, the music took a more innovative direction, and zydeco increased in mainstream popularity.
Active zydeco musicians such as C.J. Chenier (son of Clifton Chenier), Chubby Carrier (son of Roy Carrier), Geno Delafose (son of John Delafose), Terrance Simien, Nathan Williams and others began touring internationally during the 1980s. Beau Jocque was a monumental songwriter and innovator who infused zydeco with powerful beats and bass lines in the 1990s, adding striking production and elements of funk, hip-hop and rap. Young performers such as Chris Ardoin, Keith Frank, Corey Arceneaux (great nephew of Fernest Arceneaux), and Zydeco Force tied the sound to the bass drum rhythm to accentuate or syncopate the backbeat even more. This style is sometimes called "double clutching".[5][19]
Hundreds of zydeco bands continue the music traditions across the U.S. and in Europe, Japan, the UK and Australia. A precocious 7-year-old zydeco accordionist, Guyland Leday, was featured in a 2006 HBO documentary about music and young people.[22]
In 2007, zydeco was recognized with a separate category in the Grammy awards, the Grammy Award for Best Zydeco or Cajun Music Album category.[23] But with changes in popularity, in 2011 the Grammy awards eliminated the category and folded the genre into its new "Best Regional Roots Album" category.[24]
21st century zydeco artists include but not limited to Lil' Nate (son of Nathan Williams), Leon Chavis, Rusty Metoyer. Andre Thierry has kept the tradition alive on the West Coast, while Corey Arceneaux among other artist perform on the East Coast. Dwayne Dopsie (son of Rockin' Dopsie) and his band, the Zydeco Hellraisers,[25] were nominated for best Regional Roots Album in the 2017 Grammy Awards.[26] In 2024 at the 66th annual Grammy Awards Buckwheat Zydeco Jr. (son of the late Buckwheat Zydeco) and the Legendary Ils Sont Partis Band took home the Grammy Award for best regional roots album.[27]
While zydeco is a genre that has become synonymous with the cultural and musical identity of Louisiana, it is an important part of the musical landscape of the United States. This southern Black music tradition has received wide recognition throughout the country. Because of the migration of the French-speaking blacks and multiracial Creoles, the mixing of Cajun and Creole musicians, and the warm embrace of people from outside these cultures, there are multiple hotbeds of zydeco and festivals for it throughout the US and in Europe: Louisiana, Texas, Oregon, California, and Europe, as far north as Scandinavia.
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