In the ten years
since Nathan & the Zydeco Cha Chas made their debut album for
Rounder Records, the zydeco scene has undergone a dramatic
transformation. No longer old-time dance music for Creole
seniors in rural Southwest Louisiana, the popular zydeco sound in
1997 has a pumped-up, funky edge which has made it the music of
choice for many young people, from New Orleans to Houston.
Nationally, zydeco can be heard in television beer and fast food
commercials, and touring bands can count on finding an eager group
of dancers in just about any U.S. city.Still the hometown zydeco
audience is fickle, and a band capable of drawing 2000 people to a
Saturday evening dance or Sunday trail ride may find the crowd
defecting to another band only a few months later. In this
highly-competitive scene, the current trend leans toward bands who
play riff-based music on the diatonic or "French" accordion, with
obvious roots in the sound pioneered by Boozoo Chavis. While
the excitement surrounding such talented and charismatic artists as
Beau Jocque and Keith Frank has given birth to one of the most
vibrant local music scenes found anywhere, there is another side to
zydeco.
Through zydeco's changing trends and sounds, Nathan Williams and
his airtight band, the Zydeco Cha Chas, have only gotten better,
building on the formidable legacy of zydeco king Clifton Chenier.
Like Clifton (and unlike most South Louisiana accordionists today,
Nathan plays both sides of the larger piano accordion. Listen
to a song like "Hey Bebe" and you'll quickly see how he's capable of
rocking the house with just drummer Gerard St. Julien, Jr. and rub
board player Mark Williams in support. he writes wonderful new
songs, often based on the collective wisdom of his extended family.
"Slow Horses and Fast Women" or "Everything On the Hog" stem
directly from conversations which might have been overheard at
brother Sid's grocery store. And when it comes to tearing it
up on stage, Nathan and company deliver the kind of energy that
leaves dancers exhausted and always happy, whether at his hometown
gig at El Sid O's in Lafayette or on concert stages from Istanbul to
Tokyo.
Born in St. Martinville, Nathan was raised in a community in
which everyday conversation was conducted in Creole, a language
separate and distinct from Louisiana French (and which may have its
origins in the large number of Haitian immigrants who came to South
Louisiana in the mid-1800s).. Whether listening to Nathan
speaking with his mother even in English, or singing one of the many
Creole-language songs on this album, you hear a cadence which sets
Nathan's brand of zydeco apart. It's the same cadence you can
hear in Clifton Chenier's old records, more like Creole blues than
other Southwest Louisiana music.
For this reason, Nathan & the Zydeco Cha Chas are simultaneously
the most modern and the most traditional of zydeco bands working
today. Nathan is an accomplished musician and his ears have
led him to incorporate elements of blues, reggae and rock in his
songs. He's also a playful lyricist. Older brother
Dennis Paul Williams is well-versed in modern jazz harmony, and his
rhythm guitar parts are constantly surprising. yet, the soul
of Nathan's music is as ancient and deep as the Creole language.
Nathan has wanted to make a high-quality live album for some
time, for if we've managed to develop new songs and capture good
performances of them in the studio, no studio performance can
compare with the groove this band can generate live. When we
talked about the best possible venue, there really wasn't much of a
choice, as John Blancher's Rock 'n' Bowl New Orleans' Mid-City
Bowling Lanes has become one of the most exciting zydeco dancehalls
on the circuit (and a mecca for visitors from around the world),
even if it's three hours removed from the heart of Creole country.
As always, Nathan packed the house, and the excitement you hear is
palpable.
Highlights include the recently-penned "Tante Rosa," a tribute to
Nathan's aunt, who won't let anything stop her from attending a
zydeco trail ride (a dance which follows a horseback excursion
through the countryside), and Nathan's interpretation of Clifton's
"Josephine ce pas ma femme (Josephine is not my wife)." Bassist
Wayne Burns and drummer St. Julien lock into a groove that made the
floor at the Rock 'n' Bowl bounce even more than usual, while Allen
"Cat Roy" Broussard's sax riffs and Nathan's accordion take off like
a jet.
For those who think zydeco is moving too far from its
roots, or that the modern sound has little room for variety it's
time to appreciate the remarkable music of Nathan & the Zydeco Cha
Chas. In the flavor-of-the-month world of zydeco today, Nathan
is a steady rock who can always be counted on for great songs,
exciting music and good times. As he's been heard to say,
"Always wonder where you're going, but never forget where you came
from"
--Scott Billington
March, 1997