Tuesday, February 16, 1999
Mardi Gras comes to Royce Hall
CONCERT: BeauSoleil, Dirty Dozen to highlight rich music of
Louisiana
By Sandy Yang
Daily Bruin Contributor
The sounds of Mardi Gras – the collective beat of a huge
celebration, the spontaneous rhythm of free body movements and the
changing grooves of the music – make a major contribution to the
celebration’s immense energy. That rowdy air moves straight from
the depth of the New Orleans scene to Royce Hall tonight, with
"Bayou to Bourbon Street," a shot of the region’s rich culture via
music.
"Bayou to Bourbon Street" consists of three distinct Louisiana
groups playing the music of New Orleans. The mix includes Cajun
group BeauSoleil, brass band The Dirty Dozen and Cajun-zydeco group
Geno Delafose & French Rockin’ Boogie.
This wide range of music on one bill is representative of the
rich and versatile history of New Orleans music.
Since the groups have played together before, "Bayou to Bourbon
Street" is also a formula that has worked in the past, keeping
audiences coming back for more. Individually, each band has enjoyed
long-running success throughout the country and the world, showing
that New Orleans music isn’t just limited to Louisiana, but extends
to anyone with an appreciation for good music.
This especially applies to BeauSoleil’s music, which the group
sings all in French. But according to bandleader and lead
vocalist-fiddler Michael Doucet, linguistic and cultural barriers
really don’t matter.
"I think the feeling and the general emotions from the songs
stand by themselves. I think it just works," Doucet says.
In the past 23 years, Cajun music resurfaced, thanks to
BeauSoleil’s efforts to rejuvenate the dying musical culture. Cajun
music is now more popular than ever, which Doucet attributes to a
neat rural island rhythm that makes dancing inevitable.
"It’s good to relive these songs," Doucet says. "Songs that have
been here for so long. It’s great to breathe new life into it and,
at the same time, it’s great to have the ability and forum to play
your new songs."
The Dirty Dozen also faced a similar battle with dying interest
in more traditional music when the group started in 1977, a time
when disco was at its height and record-spinning disc jockeys
replaced live bands.
The Dirty Dozen derived its name from a time when brass bands
were employed by necessity.
The band was a Southern pleasure and social club at which brass
bands played to raise money for the African American community.
Since insurance companies would not accept applications from
African Americans, the money raised was used when someone in the
community needed help. After African Americans were permitted to
buy insurance, brass bands became somewhat obsolete.
"When that happened, brass bands began to fade away," Davis
says. "Things like transistor radios helped put brass bands in the
background. This one particular group, The Dirty Dozen, decided to
become active again in the mid to late ’70s."
Now, 22 years later, the eight-man brass jazz band has not only
ascended to world-class status long after disco died, but they have
also provided inspiration to others who have likewise pursued a
less beaten path.
"There was a time when New Orleans jazz was at the point where
it was almost nonexistent," recalls Gregory Davis, trumpet player
for The Dirty Dozen. "Now there are 20 to 25 brass bands working in
New Orleans, copies of The Dirty Dozen. Once we demonstrated that
it could be more than just a New Orleans thing, it could be a real
stage production."
Even with the successful tours and an increasing following, both
BeauSoleil and The Dirty Dozen don’t expect to become the next
household name anytime soon – and they don’t want to.
"That would be the worst thing," Doucet says. "I prefer people
who go out and like it because it’s different, not because it’s the
same. I think the individualistic qualities that adhere to the
(Bayou) culture are not just the music but the people who make it.
That’s why you have three distinct groups from Louisiana playing
because our styles are different."
Davis adds: "We would all like to become more popular no matter
who you are or what you play. I would always hope that jazz,
whether I’m playing or not, would always retain some popularity.
But I don’t wonder why Garth Brooks fills up an arena and I
can’t."
Even if the groups aren’t rotated on a regular basis on MTV, all
three groups have amassed a loyal following every time they tour.
Along with the concerts, the groups also record CDs and contribute
to films, television and videos.
"You do all that there is to do," Davis says. "In the beginning,
you’re taking a chance going out there because no one knows who you
are. Maybe they don’t even know the type of music you play, but
over the years, people become familiar with what you do and they
will hear you when you play and see you when you come to town."
For BeauSoleil, spreading the music has kept the 200-year-old
Cajun tradition alive and well today.
"When I was growing up, going to college in the late ’60s, early
’70s, there wasn’t a lot of interest among young people (for Cajun
music)," Doucet says. "They called it old people’s music. So we
kind of latched on to our grandparent’s generation and learned
directly from these masters."
Doucet seems to echo the sentiments of each group.
"That was great music that was being lost, so we learned it,"
Doucet says. "And because it was very valuable, it was our goal to
bring it to people here."
MUSIC: "Bayou to Bourbon Street" appears at Royce Hall tonight
at 8 p.m. BeauSoleil bandleader Michael Doucet will lead a
discussion before the concert at 7 p.m. Tickets are available for
$30, $24, $19 and $10 for students. For more information, call
(310) 825-2101.
Comments, feedback, problems?
© 1998 ASUCLA Communications Board[Home]