By Blair Kilpatrick
Through age thirty-nine, Blair Kilpatrick had settled into existence as a working towards psychologist, spouse, and mom. Then an opportunity come upon in New Orleans became her international the wrong way up. She lower back domestic to Chicago with not going new passions for Cajun track and its defining tool, the accordion. Captivated by means of routine goals of taking part in the Cajun accordion, she got down to grasp it. but she used to be now not a musician, was once too self-conscious to bounce, and did not even sing within the bathe. Kilpatrick's obsession took her from Chicago's Cajun dance scene to a people tune camp in West Virginia, from side to side to south Louisiana, or even to a Cajun pageant in France. An unforeseen family members stream introduced her to the San Francisco Bay zone, domestic to the biggest Cajun-zydeco song scene open air the Gulf Coast. There she turned a prot?g? of well known accordionist Danny Poullard, a Louisiana-born Creole and the guiding spirit of the neighborhood Louisiana French song group. attractive, uplifting, and illuminating a special patch of the yank cultural panorama, Accordion goals is Kilpatrick's account of the potential of ardour, risk-taking, and change--at any age. Blair Kilpatrick has an self reliant perform in psychotherapy within the San Francisco Bay quarter. She additionally plays and files with Sauce Piquante, a standard Cajun-Creole band she based within the overdue Nineties. examine extra at www.blairkilpatrick.com
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Extra resources for Accordion Dreams: A Journey into Cajun and Creole Music
So that was how it happened, that hypnotic Accordion Dreams 2 1 twining together of accordion and fiddle, guitar and triangle. The first wave of sound was fast and exuberant—the next, languorous and mournful. The songs alternated between fast and slow: lifting me up, bringing me down, and then lifting me up again. I studied the tall man working the accordion. He appeared serious, almost impassive, and he seemed to look away from the crowd as he played—listening, gazing inward or perhaps downward, toward the accordion in his hands.
I couldn’t really explain the pull of Cajun music any more than I could have explained why, as a little girl, I burst into tears one night at bedtime, after my Harvard-educated father told me in a kind way that no, we would probably never live on a farm. All I knew was that I felt a deep connection to those passionate, resilient country people in Louisiana—and I identified with the themes of sadness and struggle in their history and music. Along with Amédé Ardoin and the Balfa Brothers, I read about Iry LeJeune, Lawrence Walker, Amédé Breaux, the fiddler Dennis McGee, and other legendary musicians associated with early recordings of songs that became part of the core Cajun repertoire.
Perhaps that old woman had sold me an antique toy. I found another clue at Christmas, when my parents gave me a book that was high on my wish list, Ann Savoy’s Cajun Music: A Reflection of a People. The book painted a loving portrait of the music and culture that Ann, a Virginia native, had embraced when she married Marc. It had everything: serious scholarship, oral history, profiles of musicians, interviews in French, photos, song lyrics, and discographies. As I pored over it, I came across an old photo of a young Cajun boy, barefoot and in overalls, playing an accordion that looked just like mine.
Accordion Dreams: A Journey into Cajun and Creole Music by Blair Kilpatrick