Louisiana bands tend to be long-lived. The Hackberry Ramblers have existed nearly 76 years; the Preservation Hall Jazz Band is closing on half a century. Of course, leading any traditionalist band, regardless of genre, is risky. Some falter, bogged down by mannered delivery and/or obsessive purism that maintains integrity while rendering the music as lifeless as a prehistoric insect preserved in amber.
To Michael Doucet’s credit, BeauSoliel has largely avoided those pitfalls since they began 34 years ago. Preserving traditional Cajun music remains their focus, yet Doucet keeps its lifeblood circulating here by selectively absorbing contemporary and other sounds compatible with the band’s repertoire. That move accentuates a fact many know but some prefer to ignore: Traditional roots styles never remained static. They incorporated ideas from other genres, be it 1930s southern stringbands playing pop hits, or Robert Johnson singing cowboy songs.
While “Theogene Creole”, “Reel Cajun”, “Les Oignons” and several other numbers serve the traditional side on Alligator Purse, “Oignons” features edgy trombone by Roswell Rudd, an icon of avant-garde jazz. Recasting the traditional “Marie” as swamp pop results in a smart and highly effective performance. “Rouler Et Tourner”, an adaptation of Bob Dylan’s adaptation of “Rollin’ And Tumblin'”, is less logical; Dylan’s, after all, was but one of many adaptations of that blues standard.
J.J. Cale’s “The Problem” and Julie Miller’s “Little Darlin'” (a duet with Natalie Merchant) fit seamlessly into the band’s context, while “Valse A Thomas Ardoin”, the closing number, reverts to the rawest Bayou fare. Doucet’s zeal for preservation has clearly prevailed; his skill in adding new ideas as he does here only enhances that original vision.
Official video for BeauSoleil’s “Theogene Creole”
