Greetings and welcome to the 12th season of Louisiana Crossroads! We thank you for supporting the series and helping it to step closer to its enormous potential. This season, we’re building on the original model by reaching out to some new artists who fit the series’ concept like a glove; we’re increasing the number of performances from six to eight, with most featuring twonight runs in the world-class James D. Moncus Theater at the AcA; we’re continuing our performance relationship with the great city of Lake Charles, with 4 shows to be held at the Central School Theater; we’re producing an hour-long, superbly shot television pilot, which is poised to reach a vast national and international audience, with additional filming planned for many of the concerts this season; and we’re continuing to broadcast live on KRVS, reaching hundreds of thousands of listeners in Southwest Louisiana, and untold numbers on the Internet, while jumping up a level in audio quality. All in all, we feel very excited about the growth of the series – and the fact that you’re reading these words means you probably feel that way as well! We invite you to sit back and enjoy the show… or to get up and holler, or to break out in a two-step if the mood strikes. We have a feeling it just might. Dirk Powell, Louisiana Crossroads Director
By D i r k P o w e l l
sit listening to Charles Brown in my recording studio, rich tones wafting out from the speakers and filling the space around me with a honeyed blue sweetness. A few yards away Bayou Teche, the most important waterway to the Chitimacha who gave
it its name, flows along slowly as it has for ages. It was on these flower-filled banks of
the Teche that Acadian refugees first settled in the 1760s, calling the area “La Pointe de Repos,” or The Point of Rest. They still call this stretch of bayou La Pointe at the True Friend Hall, just across the water. Some nights I sit on my porch and listen to the music coming from the club; full-on Creole sounds, pumping all night. When they’re really cranking, I can even hear the bass drum through the heavily treated walls of my studio. I smile when I hear it. It’s a good problem to have. Like every other place in Louisiana, this particular crossroads offers a cultural bounty that makes me feel lucky and blessed. 2
swirl of color, pulse, and flavor in a way that they have nowhere else in the world. How many people have brought their story to the mix that exists here in Louisiana? How many people walk into that colorful center, expecting to walk out the other side unchanged, only to end up on a new tangent, sprung off in a
Pondering the words “Louisiana Crossroads” brings to mind images of people coming together with connections that tie to the rest of the world. To explore them all would be a life’s work, but touching on just a few gives a sense of the depth of the mix – people of Francophone heritage who might have roots in Haiti, L’Acadie, Africa, or a hundred different parts of France itself; Lebanese heritage that may stretch back to some of the most important community builders in Lafayette or may be a story only a few years old; names like Romero and Ortego that may imply Spanish heritage from centuries past or may be tied to recent populations coming from Mexico, Central America, or other locales; heritage from Asia that includes, for example, one of the largest Laotian communities outside of Laos; and an abundance of Native cultures without which none could have learned what it takes to survive and flourish in an environment that teems with so many other forms of life. This coming together has happened throughout history and continues to happen today. It is a beautiful circle of influence and human connection, like a flower with a thousand petals instead of a dozen, with everything arriving at a center where things mix in a 3
we succumbed to a fast food drive-thru, my daughter Sophie, after hearing her mother offered a “combo,” piped up excitedly from the back seat, saying “I want some gumbo too!” That kind of mistake makes you realize that, even when we end up dipping into mainstream American culture, something’s still going right! My real Louisiana crossroad, the one Here’s another: one friend told me about some where my life took a new direction, relations who named their was the corner of Saint Antoine Street son Keet instead of Keith and Martin Luther King Jr. Boulevard in because they knew Paw-paw would just pronounce it Lafayette. In a single moment I was on a new path, one where I would never count that way regardless. Why not just go with it, they my dance steps again. thought, and let Paw-paw be right from the start? Keet, of course, had to explain for the rest of his through prairies or red clay hills, or an intersection life that his name really was Keet, but Paw-paw of waterways cut loosely into a swamp that only had it right from day one! the most seasoned guide can detect. And here’s one that brings tears: I remember We all have a story. It may be sitting at a my father-in-law Dewey Balfa sitting at the grandparent’s knee; it may be hearing a band or kitchen table, listening to a recording of the last a record; it may be tasting a special dish. It may concert he would ever give. During the beautiful be something that makes you laugh or something waltz “Chère Bébé Créole,” Dewey put his head that makes you cry – or, more often than you down on his left arm and began to rack with might think, something that makes you do both sobs – he was saying goodbye to music forever. at the same time. Here’s one that makes me laugh: once, when Even as his body shook, however, his right hand new direction, with a new song, a new step, a new belle or beau? That path could be an old dirt road under live oaks draped with Spanish moss. Or it could be an urban street radiating a heat that seems to draw feet to it, making them linger a little longer in their step. It could be a horse trail
deepened and affirmed. I never played that song, or perhaps any song, the same way again. There’s no doubt that he lives on in those notes. Sometimes crossroads appear and lead us down new and irresistible paths. When it happens to enough people in a similar way at a similar time, cultures shift; but the story is still made up of individual transitions. Someone mixed French roux with African okra for the first time, then a lot of people followed suit. It was someone’s new path; and then, before long, it became a comfortable and welltraveled road for many. Perhaps, for some, it eventually became filled with ruts that were too confining to stay in for long. To take an example of this process from another classic of Louisiana cuisine, you may find, as one local artist/chef did, that crawfish étouffée is irresistibly good when made with coconut milk. Maybe that works better for you than your grandmother’s homemade roux. It might well be better than your mother’s cream of mushroom soup. If you want to try it, you can find coconut milk at the Vietnamese grocery where the older generation calls you “sir” in an accent from Southeast Asia – and the younger one simply calls you
echoed the movement of the bow, never breaking the motion, full of smoothness, beauty and love. Watching Dewey say goodbye to music was heartbreaking, like watching lovers being pulled apart. But even in that moment, the power of what music is, and what life should be, was so evident that everyone present felt their own lives
“bruh” in an accent straight from Lafayette High. I’ll leave you with one more story: the first night I ever spent in Southwest Louisiana, I went to El Sido’s to hear Nathan & The Zydeco ChaChas. I was 21 years old. It was a Friday night. I learned, for the first time, what it really means to leave your cares at the door. I’d experienced leaving other things behind, but never cares.
El Sido’s Zydeco & Blues Club
Everyone was dressed to the nines. The jubilant tension of humans coming together in a setting where anything might happen floated on the music like steam above a simmering pot. I was at a point of transition, beginning to define myself as an adult for the first time and wondering what that meant. I felt like my mind had crept up somehow and become the dominant factor in my existence, whereas I wanted it to be, and had always strived for it to be, only one part of something that was not merely intellectual but also sensual, emotional, 6
With those few words, my state of confusion and physical. Even my music had suffered as I and suffering was destroyed. Where had I been? went through this transitional phase – I would Wherever it was, I would never go back. I was free! look down at my hands in the middle of a solo To say I’m grateful would be an understatement. and question how my fingers knew where to go. In truth, she was like an angel to me – and Angie Walking into El Sido’s, I saw how I’d been couldn’t have been a more perfect name. viewing the world: me over here, my problems My real Louisiana crossroad, the one where right in front of my face, and the rest of the world my life took a new direction, was the corner of obscured somewhere else over there. As I felt the Saint Antoine Street and Martin Luther King energy of the club, my real self started to surface. Jr. Boulevard in Before I knew it, I Lafayette. In a single was asking one of the moment I was on a lovely Creole belles new path, one where sitting at the tables to I would never count dance. my dance steps As we stepped again. onto the floor, the I hope the intellectual in me Louisiana Crossroads tried to reclaim its performances we place. I didn’t know bring you this season the steps. I was trying will carry you to a to learn. I needed new place. I hope to count it out. I Nathan Williams & The Zydeco Cha-Chas you walk in going shouted these things one direction and out going another. We have over the music into the ears of my partner. My so much to celebrate. And I know that, in true mind was waging a battle, but the war was won. Louisiana style, the celebration will not only As I shouted these incomprehensible words, my honor what is past but strengthen immeasurably partner looked up at me, straight in the eyes, and what is to come. said, simply, “My name’s Angie.” 7
Louisiana is a special place, where the line between stage and audience exists not as a strict barrier but as one piece of a loosely defined frame that is easily reached across in both directions. We thank all of you for continuing to make Louisiana audiences the best in the world! Stay connected to Louisiana Crossroads, and to other programing at the Acadiana Center for the Arts, by checking us out at www.louisianacrossroads.org or www.acadianacenterforthearts.org. We look forward to continuing to grow together.
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: AN EVENING WITH AARON NEVILLE September 28, 2011. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
consistently delivers the very best of what it means to be a musician deeply rooted in the sound and spirit of Louisiana. After all the number one hits and platinum selling albums – and the ups and downs that all residents of his city have weathered during the last few years – Mr. Neville is increasing the role of faith in his music and returning, in the deepest ways, to the roots he absorbed as a child growing up in New Orleans. We look forward to taking those journeys with him.
he quintessential Louisiana artist brings his world-renowned vocal gift to the James D. Moncus Theater for an evening of intimate music, accompanied by a single pianist. Mr. Neville is known for the distinctive and instantly recognizable voice that made “Tell It Like It Is” a million-seller back in 1967, but he has maintained an unassailable musical integrity and unquestionable hipness to audiences of all ages ever since. He is an artist who not only symbolizes but
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: ACCORDION BLOWOUT –
CAJUN, ZYDECO, LEBANESE AND CONJUNTO October 19, 2011. 7:00 PM. Central School Theatre, Lake Charles October 20 and 21, 2011. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
generosity of spirit that have made him not only a charismatic performer but also a world-class teacher. Master accordionist Corey Ledet, whose wide-open style has led him to be called the heir apparent to Clifton Chenier, will hit hard with his full-on Zydeco band. And last but not least, Eva Ybarra, a fiery and passionate performer – and the first woman to play Conjunto in Texas – will treat us to powerful cumbias, polkas, and more. Eva will show us why, after 50 years of performing, she is still called “Queen of the Accordion.”
he vibrant sound of the accordion has always been a key part of Louisiana’s unique musical expression. In this show, four virtuoso performers and their bands unite in a celebration of one of our most distinctive and spirited instruments. Kristi Guillory and Bonsoir Catin will deliver the hard-driving Cajun music that has made them a favorite throughout Acadiana and the world. Elias Lammam, originally of Lebanon but now residing in California, will bring timeless Pan-Arabic sounds, technical mastery, and a
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: SONGS FROM THE COAST The World Premiere of a Louisiana Crossroads film, with live performances by DL Menard and Jeffrey Broussard
November 25, 2011. 7:30 PM. Acadiana Center for the Arts’ James Devin Moncus Theater November 27, 2011. 4:30 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
is a rare chance to celebrate a work that encapsulates artistic achievement on multiple levels and in multiple genres. It’s a collaborative effort that we know will resonate with audiences across the board. We’ll also have plenty of refreshments on hand and, since we’re doing it SWLA style, end with a full-on Zydeco dance.
his special event will center around the premiere of the Louisiana Crossroads TV pilot, shown in high definition in the James D. Moncus Theater, followed by a Q & A with the filmmakers and live performances by Cajun/Creole greats DL Menard and Jeffrey Broussard. The film features Louisiana artists Irma Thomas (filmed at the AcA in June), Sonny Landreth (also filmed at the AcA), Allen Toussaint with the Preservation Hall Jazz Band, DL Menard, and others. This
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: LIL’ BAND O’ GOLD SWAMP POP CHRISTMAS PAGEANT December 7, 2011. 7:00 PM. Central School Theatre, Lake Charles December 8 and 9, 2011. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
one-of-a-kind, over-the-top holiday extravaganza featuring Warren Storm, Tommy McClain, David Egan, Steve Riley, CC Adcock, Richard Comeaux, Dickie Landry, David Ranson and Pat Breaux. Between them, these legends cover every genre of Southwest Louisiana music. In this context, they will rightfully put all that musical energy into the Swamp Pop sound that is already a powerful blend of it all – one that was largely created in the 1950s by members Warren Storm and Tommy McClain. With the final night broadcast live on KRVS by the great Lee Kleinpeter, this specially created show will be full of amazing music, infectious spirit, and surprises better than anything you’ll find in your stocking.
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: AN EVENING WITH STEVE EARLE with Joel Savoy, Linzay Young, and Dirk Powell January 12 and 13, 2012. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
This city won’t wash away. This city won’t ever drown.” During a career that has encompassed Grammy award-winning CDs, selfpenned novels and short story collections, major films, and production for other world-class artists, Steve has always provided a voice for the least privileged among us. This intimate solo show will feature collaboration with some of the musicians who have performed in Treme – Joel Savoy and Linzay Young – along with friend Dirk Powell.
teve Earle is a legendary and multifaceted performer with long-standing connections to the Gulf Coast and Louisiana. He spent formative time here in his younger years, venturing over from his home state of Texas; more recently he has been featured as an actor and musician in the HBO series Treme, for which he wrote the profoundly moving “This City,” a song about New Orleans after Katrina. The lyrics state: “Doesn’t matter, let come what may I ain’t ever going to leave this town.
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: A TRIBUTE TO LOUISIANA’S LITTLE WALTER, FEATURING JAMES COTTON with HENRY GRAY March 7, 2012. 7:00 PM at the Central School Theatre, Lake Charles March 8 and 9, 2012. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
Chicago-based band when Walter went out on his own. When they inducted Little Walter into the Rock-NRoll Hall of Fame, James Cotton got the call to pay tribute, as he will do for us here. This show will feature Louisiana pianist and National Heritage Fellow Henry Gray, a major blues artist in his own right, who also played with Little Walter back in the day. Henry will treat us to timeless music and stories that only he can tell. A few special surprises are in store as well.
ot everyone knows that the man who invented amplified Blues harmonica, and created the vocabulary that every player of his instrument has used as a foundation ever since, was a French speaking Creole from Marksville, Louisiana. Little Walter Jacobs (pronounced in the French manner – Jya-KOH – in Walter’s family) revolutionized his instrument and changed the musical landscape forever. James Cotton, who began his own recording career at Sun Records in 1953, is Little Walter’s peer in every sense – he replaced Walter on harmonica in Muddy Waters’
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: DE TEMPS ANTAN, CEDRIC WATSON, ANNA LAURA EDMISTON AND DAVID GREELY – EXPLORING QUEBECOIS, ACADIAN AND CAJUN/CREOLE CONNECTIONS April 11, 2012. 7:00 PM. Central School Theatre, Lake Charles April 12 and 13, 2012. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater he connections between the traditional music of Francophone Canada and Louisiana are undeniable but largely unexplored. This show brings together stalwarts on both side of that line – musicians who have unprecedented expertise in their fields but also great stage presence and a desire to create new music based on the commonalities of their heritage. De Temps Antan, all current or former members of the legendary group La Bouttine Souriante, are at the pinnacle of Quebecois music. The group features André Brunet, who performed during the opening of the Vancouver Olympic Games before tens of millions of viewers, Eric Beaudry, who is known not
only as a performer but world-class scholar of Francophone music, and master accordionist/harmonica player PierreLuc DuPuis. They will collaborate with Cedric Watson, the great young talent in Louisiana Creole Music, Anna Laura Edmiston, whose stellar vocal work with Feufollet has won her great renown, and David Greely, formerly of the Mamou Playboys, whose expertise in Louisiana fiddle and ballad styles is unmatched. 16
CAPITAL ONE PRESENTS LOUISIANA CROSSROADS: ZIGABOO MODELISTE, KING OF THE FUNKY DRUMS May 9 and 10, 2012. 8:00 PM. Acadiana Center for the Arts’ James Devin Moncus Theater
f you haven’t heard Zigaboo’s incredibly tight and genre-defining drumming on the original New Orleans recordings of The Meters, or the pivotal 1976 Wild Tchoupitoulas release that brought New Orleans Mardi Gras music to the world, you’ve undoubtedly heard it on one of the countless songs on which it’s been sampled over the last several decades. Zigaboo’s personal creation of funk drumming from the sounds he heard growing up in New Orleans has had an unmatched influence on the
music of the world. As a founding member of The Meters, he was part of the circle of musicians that revolved in large part around the Neville Brothers – but his innovative and rock solid drumming led him out of that circle, to tour with Keith Richards and The Rolling Stones, among many others. This show, with Zigaboo’s hard driving seven-piece funk band, featuring his original compositions mixed with Meters classics, will be the perfect closer to the season.
Many People Work Year Round to Make This Series Possible.
Linoleum Cut Blocks Artwork by: Peter Berchman DeHart Program content by: Dirk Powell Graphic design by: Megan Barra Photography by (page 6-7): Philip Gould Louisiana Crossroads Director: Dirk Powell Louisiana Crossroads Technical Staff: Brian Schneider, Tony Daigle, and Aaron Thomas Production support: Susan Champagne, Wilpro Productions Backdrop designed by Megan Barra and Don BEGNEAUD and produced by BEGNEAUD Manufacturing Special thanks to the highly dedicated and hard working staff at the Acadiana Center for the Arts, whose efforts towards enriching this community make Louisiana Crossroads possible; to the Lafayette Economic Development Authority, without whose partnership and support Louisiana Crossroads would not exist; and especially to Dr. Gerd Wuestemann, D.M.A. who collaborated in the process every step of the way. In addition, our thanks go out to Sonny Landreth, Lake Charles Mayor Randy Roach, Denise Fasske, Johanna Divine, ANN SAVOY, the Lt. Governorâ€™s office and the Department of Culture, Recreation and Tourism, Buchanan Lofts, The Hilton Hotel, Lafayette, KRVS 88.7 FM, and The French Press. 18
Past Performances Louisiana Crossroads Season 1 Henry Butler Dirk Powell & Friends Scott Ainslie & Glenis Redmond Scott Kirby Spencer Bohren Marce Lacouture & Friends Louisiana Crossroads Season 2 Doucet, Doucet & Reed Paul “Lil’ Buck” Sinegal & Harry Hypolite Sam Broussard, David Greely and Friends The Judy Carmichael Trio David Egan & Buddy Flett Scott Ainslie & Glenis Redmond Louisiana Crossroads Season 3 Sonny Landreth & Dave Ranson Carol Fran, Davell Crawford & Friends Rob Ickes & Slide City Nathan, Dennis Paul & Mark Williams Dickie Landry and Austin Sonnier Jr. Karan Casey, Dirk Powell & Friends Beth Patterson & Kalafka Louisiana Crossroads Season 4 Ulali Daybreak Frankie & Sean Gavin Sandip Burman & Friends John Mooney Maurice Brown Quintet Zachary Richard
Louisiana Crossroads Season 5 Stanley “Buckwheat” Dural Jr., Paul “Lil’ Buck” Sinegal & Friends Susan Cowsill, Mark Meaux & Friends A Tribute to Varise Conner featuring David Greely and members of the Conner Family on a special double bill with Celjun Scott Ainslie & Glenis Redmond The Wayfaring Strangers with special guests the UL Lafayette Wind Ensemble Louisiana Crossroads Season 6 Steve Conn with special guests Sonny Landreth & Michael Doucet The Sue Foley Band 30 Years of BeauSoleil Anders Osborne, Big Chief Monk Boudreaux, Doug Belote & Friends Miki Honeycutt sings David Egan and Buddy Flett Doyle Bramhall & C.C. Adcock Dirk Powell with The Foghorn Stringband Louisiana Crossroads Season 7 Dickie Landry Chris Thomas King La Joie de la Musique concert series Bruce MacDonald, George Porter Jr. & Friends 30 Years of BeauSoleil Jerry Douglas, Doug Belote & Friends The Marcia Ball Band Crooked Still Louisiana Crossroads Season 8 Dickie Landry & Jon Smith Scott Ainslie & Glenis Redmond Doyle Bramhall, C.C. Adcock & Friends Jo-El Sonnier & Friends Les Frères Michot & The Lost Bayou Ramblers The Lee Boys the subdudes Barbara Lynn, Sue Foley, Cindy Cashdollar, Sarah Brown & Lisa Pankratz 19
Louisiana Crossroads Season 9 Dickie Landry & Walter Thibeaux Tab Benoit & Leon Medica Terrance Simien, Susan Cowsill & Friends 30 Years of The Radiators The Bad Roads with David Egan and Pat Breaux 20 Years of Steve Riley & The Mamou Playboys Zachary Richard with David Torkanowsky and Shane Theriot Louisiana Crossroads Season 10 Jimmy Breaux, David Doucet & Mitch Reed Gateway to the Grammys Fundraiser John Mooney Roddie Romero & The Hub City All-Stars with special guest Joel Guzman Chris Thomas King’s 30th Anniversary Celebration of Tabby’s Blues Box Theresa Andersson Zachary Richard & Friends The Preservation Hall Jazz Band Louisiana Crossroads Season 11 The Bluerunners Reunion The Dylan LeBlanc Band Steve Conn, Sonny Landreth & Friends 100 Years of Robert Johson with Scott Ainslie, Sam Broussard and David Egan Dash Rip Rock & The Swingin’ Haymakers Buckwheat Zydeco & Ils Sont Partis Band Special Louisiana Crossroads Concert Event, June, 2011 Irma Thomas, The Soul Queen of New Orleans
101 W. Vermilion St. Lafayette, LA 70501
211 E. Devalcourt St. Lafayette, LA 70506
©2011 Acadiana Center for the Arts, Inc. 20
A Program of
In C o l l a b o r at i o n With