Young Zydeco Artists Reignite Chenier’s Flame

Much as reggae did after Bob Marley’s death, zydeco went through a period of adjustment and mourning after the 1987 death of its dominant figure, Clifton Chenier. Although such peers as the late Rockin’ Dopsie and Buckwheat Zydeco carried on Chenier’s pioneering blend of Cajun, blues and ‘50s R&B;, they never fully captured the same vibrant sound.

Now a crop of younger artists has arrived from Louisiana to create fresh excitement in zydeco with updated influences. How do their albums stack up again two posthumous releases from the King of Zydeco? That’s the question in this edition of On the Offbeat, an occasional column focusing on roots, ethnic and pop sounds from around the globe:

* * 1/2 Clifton Chenier, “Frenchin’ the Boogie,” Verve. * * * * “Live,” Arhoolie. “Frenchin’ the Boogie” was recorded in 1976 for a French blues label and features Stanley (Buckwheat Zydeco) Dural on keyboards and saxophonist John Hart. The material is predominantly blues standards, and workmanlike performances make it a solid but not essential outing.

But “Live” is 75 minutes of classic Chenier and may be the single best introduction to his music. The album, which features the last of his great bands at blues festivals in Long Beach and San Francisco in the early ‘80s, offers a generous dose of Chenier’s onstage charisma. His accordion playing was still hot--and it had to be to match the fiery alto sax solos of his son C.J., Sherman Robertson’s blues guitar leads and the powerhouse drive of longtime drummer Robert St. Judy.

* * 1/2 Beau Joque & the Zydeco Hi-Rollers, “Pick Up on This!” Rounder. To understand how vital St. Judy was to Chenier and the zydeco sound, listen to Joque’s second Rounder effort. Steve Charlot’s playing sounds like a drum machine stuck on the 4/4 rock backbeat button--no swing, no syncopation, no dynamics. Joque’s gruff singing and strong accordion battle to overcome that inflexible anchor, and he pulls it off most successfully on the ska-tinged “Don’t Tell Your Mama” and the clever shift from the “Hi-Rollers Theme” into War’s anthem “Low Rider.”

* * * Terrance Simien, “There’s Room for Us All,” Black Top. Simien was an early entry in the new zydeco sweepstakes who took an unfortunate turn toward a ‘50s frat-rock sound a few years ago. “Room” returns him to the soul-R&B; sound that’s his forte, even if he’s still shamelessly emulating his vocal idols Aaron Neville and Sam Cooke. The pace on this promising return sometimes drags when the mid-tempo R&B; tunes aren’t balanced with enough straight, up-tempo zydeco.

* * * Nathan & the Zydeco Cha Chas, “Follow Me Chicken,” Rounder. Nathan Williams offers a punchier, funkier brand of zydeco on his band’s third Rounder release. The Cha Chas effectively mix their arrangements by dipping into different rhythms, and the combination of Williams’ skilled accordion and Allen Broussard’s alto sax gives the music a broader melodic range than many zydeco groups have.

* * * 1/2 John Delafose & the Eunice Playboys, “Blues Stay Away From Me,” Rounder. * * * * Geno Delafose, “French Rockin’ Boogie,” Rounder. “Back to the Future” might best describe the Delafose clan’s game plan--look to zydeco’s traditional roots for inspiration and then deliver the goods with plenty of exuberance. The Eunice Playboys’ last recording is a reminder of why zydeco first captured listeners outside Louisiana--zesty dance rhythms are blended with old-time waltz tempos and country tinges. John Delafose’s occasional fiddle playing adds another dimension.

His eldest son, Geno, had already been groomed for a band-leading role before his father died last year--half the tracks on “Blues Stay Away From Me” feature his accordion and voice. His sparkling solo debut relies on the spirited verve of the band, augmented by punctuation from the Iguanas’ sax tandem on three songs. Geno’s vocal and instrumental delivery animates the arrangements on “French Rockin’ Boogie,” and drummer Jermaine Jack has Robert St. Judy’s knack for making zydeco rhythms spring fully to life.

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good, recommended), four stars (excellent).