woensdag 30 november 2016

In Dulci Jubilo (1328) / Good Christian Men Rejoice (1853)

The original song text, a macaronic alternation of Medieval German and Latin, is thought to have been written by the German mystic and Dominican monk Heinrich Suso (or Seuse) circa 1328
One night in 1328 Suso had a vision in which he joined angels dancing as the angels sang to him "Nun singet und seid froh" or "In Dulci Jubilo".

In Dulci Jubilo - Original Version

The tune first appears in Codex 1305, a manuscript in Leipzig University Library dating from c.1400,

Here below are the German/ Latin words from Codex No. 1305 as quoted by Philipp Wackernagel  in "Das Deutsche Lirchenlied" from 1867 (#640)

1. In dulci iubilo
singet und sit vro.
Aller unser wonne
layt in presepio,
Sy leuchtet vor dy sonne
matris in gremio
qui alpha est & o.

2. O Jhesu paruule
noch dir ist mir so we:
troste mir myn gemute
O puce optime,
durch aller iuncfrawen gute
princeps glorie,
trahe me post te.

3. Ubi sunt gaudia?
nyndert me wen da,
do dy vogelin singen
noua cantica,
und do dy schelchen klingen
in regis curia
Eya qualia.

4. Mater et lilia
ist iuncfraw Maria
Wir woren gar vertorben
per nostra crimina
Nu het fy uns erworben
celorum gaudia
O quanta gracia.

Das deutsche Kirchenlied: #640

Around 1910 the German Choir Thomanerchor recorded "In Dulci Jubilo" for the Homokord-label

Here below a version they recorded in 1930 for the Grammophon-label:

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SLUB Mediathek

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SLUB Mediathek

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It has been suggested that the melody may have existed in Europe prior to this date.

Later on, the tune was included in "Geistliche Lieder", a 1533 Lutheran hymnal by Joseph Klug.

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The melody also appears in the 1582 Finnish songbook Piae Cantiones, a collection of sacred and secular medieval songs, in which the original German/ Latin lyrics are changed for Swedish/ Latin

 see In Dulci Jubilo - Piæ Cantiones, 1582 

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Here are the Swedish/ Latin lyrics of the 2 pages above:

In dulci iubilo,
Nu siunge wij io io
Then all tingh för oss förmo
ligger in praesepio
Och som Solen skijner
matris in gremio:
Alpha es et o,
Alpha es et o.

O Iesu paruule
för tigh är migh so we
Tröst migh i mitt sinne
O puer optime
Lätt migh tin godheet finne
O princeps gloriae,
Trahe me post te,
trahe me post te.

O Patris charitas,
O Nati lenitas,
Wij wore plat förderffuadh
per nostra crimina,
Nu haffuer hä oss förwärffuad
coeloru gaudia,
Eya wore wij thär
Eya wore wij thär.

Ubi sunt gaudia
Ther siunger man "Eya"
Hwar Englanar siunga
noua cantica,
Och sielanar springa
in regis curia,
Eya wore wij thär
Eya wore wij thär.

A copy of the rare 1582 edition of 'Piae Cantiones" was acquired by Thomas Helmore and John Mason Neale in 1853 from G. J. R. Gordon, Her Majesty's Envoy and Minister at Stockholm. Helmore adapted the carol melodies and Neale either paraphrased the carol lyrics into English or wrote entirely new lines.

So five hundred years later, this carol "In Dulci Jubilo" became the inspiration for the 1853 English paraphrase by John Mason Neale, He retitled it "Good Christian Men, Rejoice".

The song was subsequently published in "Carols for Christmas-tide" (London: Novello) in 1853.

Regrettably, this collection lacked Helmore's musical scores. Fortunately, Neale and Helmore published "The Condensed Vocal Parts to the Carols for Christmas-tide" in 1854, which contains all of Rev. Helmore's musical settings, plus all of the lyrics and settings to Carols for Easter-tide!

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Good Christian Men Rejoice

In 1619 Michael Praetorius (1571-1621) made his own arrangement of the song in his book"Polyhymnia Caduceatrix et Panegyrica"

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SEE: Polyhymnia Caduceatrix et Panegyrica  and  Polyhymnia Caduceatrix et Panegyrica

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Bach, Liszt and Pearsall also made their own arrangement of In Dulci Jubilo.

Johann Sebastian Bach set this melody several times: as a chorale in BWV 368; and then for organ in BWV 608 as a double canon in his Orgelbüchlein and in BWV 729 and BWV 751 as a chorale prelude.

Here below is an autograph manuscript of "In Dulci Jubilo", BWV 608, from the Orgelbüchlein, composed during the period 1708–1717, while Bach was court organist at the ducal court in Weimar.

In dulci jubilo 1  and  In dulci jubilo 2


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Franz Liszt included the carol in his piano suite Weihnachtsbaum in the movement entitled Die Hirten an der Krippe (The Shepherds at the Manger). written in 1875 and published in 1882

Weihnachtsbaum, S.186 (Liszt, Franz) - IMSLP

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Whereas John Mason Neale wrote (almost) new lyrics in 1853, some years earlier in 1837 Robert Lucas de Pearsall kept the macaronic structure of the song by retaining the Latin phrases and substituting the English for German.

In Dulci Jubilo - Pearsall

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English composer Gustav Holst had produced his fantasy, "Christmas Day", in 1910 for chorus and orchestra which was based on the interaction of four carol melodies. Holst’s work was essentially constructed on four readily available published carols (‘Good Christian men rejoice’, ‘God rest ye merry gentlemen’, ‘The First Nowell’ and an old Breton melody set to the words ‘Come, ye lofty, come, ye lowly’)

List of compositions by Gustav Holst - Wikipedia

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The first recorded version of this song I could find:

(o) Choir Band and Organ (1906)  (as "Good Christian Men Rejoice")
Released on Sterling cylinder #706

Sterling 78 RPM - Label Discography - UK - 78 RPM World

Sterling Cylinders | UCSB Cylinder Audio Archive

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(c) St Paul's Cathedral Choir (1912)
Released on the Marathon-label (#187)

78rpm Community - Wikis Profile - Marathon 101 - 199


(c) The Temple Carol Singers (1915)

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The Temple Carol Singers 78 RPM - Discography - UK - 78 RPM World

(c) Temple Quartet (1925)
Recorded in London in 1925

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(c) The Cloister Choir (1928)
Recorded October 16, 1928 in the UK
Released on The Victory #22

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The Cloister Choir is probably the same as St Stephen's Choir ?

Victory 7

78 RPM - The Cloister Choir - While Shepherd's Watched / Good Christian Men Rejoice - The Victory - UK - 22

(c) BBC Chorus conducted by Joseph Lewis (1934)
Released on the Columbia-label.

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(c) Victor Chapel Choir (1941)  (as We Three Kings Of Orient Are / Good Christian Men, Rejoice

Released on Victor 27645 as part of "Carols For Christmas" album set.

Victor Chapel Choir - Carols for Christmas Eve (Shellac, Album) at Discogs

VICTOR 78rpm numerical listing discography: 27500 - 28000

(c) Louvin Brothers 1960

The Louvin Brothers - Christmas With The Louvin Brothers (Vinyl, LP) at Discogs

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(c) The Reapers (1986)

In 1986 former member of the English prog rock band Gentle Giant, Kerry Minnear recorded a Christmas-album with the band The Reapers. "Good Christian Men Rejoice" was one of the songs, with that Gentle Giant feel.

Christmas Joy - The Gentle Giant Home Page

The Reapers - Christmas Joy (Cassette, Album) at Discogs

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(c) Michael Hedges 1990

Windham Hill Artists - A Winter's Solstice III (CD, Album) at Discogs

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(c) John Fahey 1991

The Fahey Files - John Fahey - The John Fahey Christmas Album

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In 1974 and 1975 Mike Oldfield recorded 2 versions of the song.
The 1st version from 1974 credit it to J.S. Bach, arr. Oldfield.
The second version from 1975 credit it to R. L. Pearsall, arr. Oldfield.
As we saw above Bach and Pearsall both wrote arrangements of it, but as we saw too the song dates further back than either composer.

Mike Oldfield had recorded the first version of this song in late 1974 (in memory of his mother (Maureen) after she died in late 1974) as the B-side to his single, "Don Alfonso", which did not chart, playing all instruments himself.

45cat - Mike Oldfield - Don Alfonso / In Dulci Jubilo (For Maureen) - Virgin - UK - VS 117

Mike Oldfield - Don Alfonso (Vinyl) at Discogs

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In 1975 Mike felt a better version could be done, and re-recorded it in October 1975 at the Manor, but incorporating some of the previous version's backing tracks recorded November 1974 at the Beacon, his home studio.

In Dulci Jubilo / On Horseback - Wikipedia

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(c) Smalltown Poets (2011)

Smalltown Poets - Smalltown Poets Christmas (CD, Album) at Discogs

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(c) Mediæval Bæbes (2003)

Mistletoe and Wine (album) - Wikipedia

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Furder reading: In dulci jubilo - Wikipedia

donderdag 17 november 2016

Jarabe Tapatio (1924) / Mexican Hat Dance (1933) / Mexican Hat Rock(1958) / De Hoedendans (1963)



Mexican dance developped during the revolution and holding elements from every part of the country (Jalisco, Yucatan, Michoacan, Puebla, Mexico City), performed in typical outfit (china poblana for the girl, charro suit for the boy).
The dance represents the courtship of a man and a woman, with the woman first rejecting the man’s advances, then eventually accepting them.
Halfway through the routine te man throws his sombrero on the floor, his girlfriend picks it up.
The next film was taken by American tourists in Mexico in the late 1920's. It shows performers wearing traditional clothing and performing the Jarabe Tapatio, or Mexican Hat Dance. This dance starts at 20 seconds in the Youtube below.

There is some debate regarding when El Jarabe Tapatío was first compiled. Some attribute it to a professor of music in Guadalajara, Jesús González Rubio (d. 1874 ), who purportedly compiled numerous jarabes, including an arrangement he made of Jarabe Tapatío.

A written reference of the melody is the issuance of a Mexican copyright on July 8, 1919, for Jarabe Tapatio, arranged by Felipe Alonso Partichela, and published by Wagner y Levien, Sucrs., Mexico city.
The original receipt no. 667 for the copyright has been seen at Promotora Hispano Americana de Musica, S.A., Mexico city. No copy of this printing of Jarabe Tapatio has been found, but is believed to be the same as the Partichela arrangement published as Mexican Hat Dance--Popular Jarabe Tapatio in 1933 by Edward B. Marks music Corporation, New York

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One music researcher determined that the earliest known printing of he melody is in sheet music entitled Jarabe Tapatio, arreglo para piano por Antonio Macias C., and published November 2, 1916 by Edmundo C. Arguelles, El Paso, Texas. Front cover is gray and black, m. on pp. 1-3 p.n. 32. LC (copyright copy deposited November 25 1916). The copyright records also state that the arranger, Antonio Macias, is a citizen of Mexico, domiciled in El Paso.



There may be other earlier versions too, for example, another arrangement was written by the Mexican composer Manuel Maria Ponce. Ponce used the "Mexican folk tune" Jarabe tapatio as thematic material in pieces he composed in 1911 called Rapsodia Mexicana I and  in 1913 called Rapsodia Mexicana II.

Although all of these different versions and claims regarding the first publication date of El Jarabe Tapatío may be interesting, pinpointing an actual publication date may not really matter because most musicians consider El Jarabe Tapatío to be traditional Mexican folk music since it is a medley of popular songs such as:
Jarabe de Jalisco – a jarabe from the state of Jalisco
Jarabe del Atole – a well-known traditional jarabe from the late 1800's
Son del Palomo – one of Mexico's most well-known sones
a Jarana Yucateca – a popular dance style from the Yucatán Peninsula
Jarabe Moreliano – a jarabe from the state of Michoacán
La Diana – the final section of most jarabes


Some recordings of the song:

(c) Jesús Abrego and Leopoldo Picazo 1905 (El jarabe tapatío)


(c) Jesús Abrego and Leopoldo Picazo 1908 (El jarabe tapatío)


(c) Banda Cubana Mexicana 1924  (Jarabe Tapatio)
Recorded September 9, 1924 in New York.
Released on Okeh 16144
Also released on Vocalion 8667

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(c) International Band (Nat Shilkret) 1925  (Jarabe tapatío)
Recorded Jamuary 27, 1925 in New York
Released on Victor 77926


(o) Banda Columbia (1925)
Released on Columbia 2090-X

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(c) Vocalion Concert Band 1925 (Jarabe Tapatio)
Recorded June 29, 1925 in New York
Released on Vocalion 15070B
Also on Brunswick 40126 (as by Brunswick Concert Band)
And on Vocalion 8881 (as Banda Vocalion)

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(c) Los Cancioneros del Bajío 1926
Recorded December 14, 1926 in Mexico City


(c) Orquesta Típica Mexicana "Anahuac"  1926
Recorded December 15, 1926 in Mexico City
Released on Victor 79174-B

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(c) Quinteto Tipico Mexicano 1926 Jarabe Tapatio
Recorded December 1926 in New York
Released on Columbia 2570-X

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(c) Banda De Policia De Mexico - Jarabe Tapatio 1928
Directed by Velino M Preza
Recorded May 1928 in Mexico City
Released on Brunswick 40402

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 (c) Orquesta Posadas 1929 (Jarabe Tapatio)

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(c) Orquesta Pajaro Azul 1934 (Popular Jarabe Tapatio)
Recorded March 26, 1934 in the Texas Hotel in San Antonia, Texas
Released on Bluebird B-2225

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Alo released on Bluebird 5747 (as by Bluebird Orchestra)


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(c) Mexican Dance Orchestra conducted by Manuel S. Acuna (1938)
Recorded April 6, 1938 in Los |Angeles
Released on Decca 2167

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In 1946 Manuel S. Acuna also recorded a version on the Imperial label:

(c) Les Brown and his Orchestra 1941 (Mexican Hat Dance)
Recorded September 17, 1941
Released on Okeh 6696 in 1941


And a few years later on Columbia 37349

(c) Xavier Cugat And His Waldorf-Astoria Orchestra ‎1944 Jarabe Tapatio (Mexican Hat Dance)
Recorded April 2, 1942
Released on Columbia 36697


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(c) Noël De Selva And His Pan-American Orchestra 1946 (Mexican Hat Dance)


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(c) Al Sack And His Orchestra 1946 (Mexican Hat Dance)


Rereleased on the TOPS label

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(c) Camille Howard 1949 (Fiesta In Old Mexico)

(c) The Applejacks 1958 (Mexican Hat Rock)

In fact "Mexican Hat Rock" is a combination of "La Raspa" (another Mexican traditional) and "Jarabe Tapatio".


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(c) Manuel and His Music of the Mountains 1962


(c) De Spelbrekers 1963 (De Hoedendans) (Mexican Hat Dance)


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Mexican Hat Dance was occasionally noodled by the Grateful Dead during tuning and delays.


(c) Brave Combo (1997)  (Mexican Hat Dance)

In fact Brave combo's "Mexican Hat Dance" is sort of a cover-version of the Apllejack's "Mexican Hat Rock" (with the "La Raspa" quote)

Listen to a sample here:


Rafael Herrera Robinson sings "Jarabe Tapatio" (Mexican Hat Dance) on Edison Gold Moulded Record 18508, recorded in 1904, but this has a different melody.



Rafael also recorded the song for the Columbia label in 1908 (Disco Columbia - C191)

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dinsdag 1 november 2016

Le Garcon Negligent (1929) / Abbeville (1937) / Alons Kooche Kooche (1937) / Gran Prairie (1940) / Big Texas (1948) / Jambalaya (1952)

"Jambalaya (On the Bayou)" is a song written and recorded by American country music singer Hank Williams that was first released in July 1952. Named for a Creole and Cajun dish, jambalaya, it spawned numerous cover versions and has since achieved popularity in several different music genres.

But the melody was borrowed from a traditional Cajun melody.

The first recording of this melody as a Cajun tune was by the Guidry Brothers called "Le Garcon Negligent" in 1929.

(o) Guidry Brothers (1929)  (as "Le Garcon Negligent")
Recorded October 1, 1929 in New Orleans, LA
Released on Vocalion 15849.

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Or listen here:

Here below a list of songs using the same melody but different lyrics

(c) Breaux Brothers (1935) (as "La Valse Du Bayou Plaquemine"),

Breaux Frères (Clifford Breaux, guitar, Ophy Breaux, fiddle, Amedee Breaux, accordion).
Recorded Oct. 9, 1934, San Antonio, Tex.
Released on Vocalion 03052

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(c) Cleoma Breaux (1936)  (as "Pin Solitaire"),

Cleoma Breaux Falcon: Guitar Vocals - Joe Falcon: Accordion - Moise Morgan: Fiddle .
Recorded in New Orleans on March 12, 1936.
Released on Decca 17024.

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(c) Miller's Merrymakers (1936) ( as "Lake Arthur Waltz")
Beethoven Miller: guitar  / J. B. Fuselier vocals and fiddle
Recorded October 17, 1936 in New Orleans.
Released on Bluebird B-2004.

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Miller's Merrymakers - Merrymakers' Hop / Lake Arthur Waltz (Shellac) at Discogs

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On the same day Miller's Merrymakers also recorded the same tune with a different title:

(c) Miller's Merrymakers (1936) (as "Pine Island"),
Beethoven Miller: guitar  / J. B. Fuselier vocals and fiddle
Recorded October 17, 1936 in New Orleans.
Released on Bluebird B-2006.

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(c) Jolly Boys of Lafayette (1937) (as "Abbeville"),
Leon "Crip" Credeur: fiddle, vocals / Joseph Fabacher: accordion / Francis "Red" Fabacher: guitar.
Recorded February 21, 1937 in Dallas, TX.
Released on Decca 17026.

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(c) Louisiana Rounders (1937)  (as "Allons Kooche Kooche").
Joe Werner [vcl/ gt], Julius ‘Papa Cairo’ Lamperez [vcl/gt], Wayne Perry [fiddle].
Recorded December 15, 1937. Adolphus Hotel, Dallas, TX.
Released on Decca #17040.

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Julius Angelle "Papa Cairo" Lamperez was a member of the Louisiana Rounders when they cut "Allons Kooche Kooche",
Not long before 1947, Murphy "Chuck" Guillory had decided to add Julius "Papa Cairo" Lamperez to his lineup of musicians. By 1948, he had Chuck's band perform the melody and gave it the title "Big Texas" (sometimes listed as "Gran' Texas".)
Papa Cairo took the melody of "Le Garcon Negligent" / "Gran Prairie" and wrote a new set of lyrics.
"Big Texas" or "Grand Texas" is a song about a lost love, a woman who left the singer to go with another man to "Big Texas"

(c) Chuck Guillory & His Rythmn Boys (1948) (as "Big Texas" (or "Gran Texas")
Jimmy Newman [rh gt], Papa Cairo [vcl/steel], poss. Pete Duhon or Howard Thibodeuax [bass], Curzey Roy [drums], Chuck Guillory [fiddle], Herman Durbin [piano]
Recorded 1948 New Orleans, LA
Released on Modern 612

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78 RPM - Chuck Guillory - Big Texas / Chere Petite - Modern - USA - 20-612

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In 1949 Papa Cairo decided to record the song in English with his own group and entitled it "Big Texas No. 2", released on Modern's subsidiary label called Colonial.

(c) Papa Cairo and his Boys (as "Big Texas No. 2").
Don Lane on xylophone, Murphy Smith on fiddle, Herman Durbin on piano, Albert Roy on guitar, possibly Pete Duhon on bass and Curly Mertz on percussion.
Recorded in 1949.
Released on Colonial Records (#104)

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78 RPM - Papa Cairo And His Boys - Big Texas No. 2 / Sweetheart I'll Be Blue - Colonial - USA - 104

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Papa Cairo followed it up with his original, pre-war French version simply called "Kooche Kooche".

(c) Papa Cairo and his Boys (as "Kooche Kooche").
Don Lane on xylophone, Murphy Smith on fiddle, Herman Durbin on piano, Albert Roy on guitar, possibly Pete Duhon on bass and Curly Mertz on percussion.
Recorded in 1949.
Released on Colonial Records (#105)

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78 RPM - Papa Cairo And His Boys - Kooche Kooche / Chere Poulette - Colonial - USA - 105

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Or to a sample here:


In 1951 Papa Cairo went to J.D. Miller's studio in Crowley and re-recorded the song twice, once in English and once in French for Feature Records.

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78 RPM - Papa Cairo And His Boys - Big Texas (English) / Big Texas (French) - Feature - USA - F-1049

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(c) Happy Fats & His Rayne-Bo Ramblers (1940) (as "Gran Prairie")
Happy Fats and His Rayne-Bo Ramblers (Sandy Lormand [gt], Pee Wee Broussard [banjo], Ray Clark [steel], Leroy Leblanc [bass], Harry Choates [gt/fiddle], Harold Broussard [piano])
Recorded February 14, 1940 in Dallas, TX –
Released on Bluebird B-2081

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And then the most successful version of the tune was recorded by Hank Williams: "Jambalaya", While maintaining a Cajun theme, "Jambalaya" is about life, parties and stereotypical food of Cajun cuisine. The narrator leaves to pole a pirogue down the shallow water of the bayou, to attend a party with his girlfriend Yvonne and her family. At the feast they have Cajun cuisine, notably Jambalaya, crawfish pie and filé gumbo, and drink liquor from fruit jars. Yvonne is his "ma cher amio", which is Cajun French for "my good friend" or more likely to mean "my girlfriend."

(c) Hank Williams (1952) [as Jambalaya (On The Bayou)
Williams recorded the song on June 13, 1952, his first recording session in six months, at Castle Studio in Nashville with backing provided by Jerry Rivers (fiddle), Don Helms (steel guitar), Chet Atkins (lead guitar), Chuck Wright (bass) and probably Ernie Newton (bass).
It was released in July 1952 on MGM 11283

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78 RPM - Hank Williams With His Drifting Cowboys - Jambalaya (On The Bayou) / Window Shopping - MGM - USA - 11283

Hank Williams With His Drifting Cowboys - Jambalaya (On The Bayou) / Window Shopping (Vinyl) at Discogs

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(c) Moon Mullican (1952)
[sometimes credited for being the one who learned (or even sold) the song to Hank Williams]
Moon Mullican [vcl/piano], Ivy Jimmy Bryant [ld gt], William E. Billy Strange [rh gt], Speedy West [steel], ? [bass], poss. Roy Harte [drums], ? [fiddle], ? [fem chrs-1])
Recorded July 9, 1952 Radio Recorders, 7000 Santa Monica Blvd., Hollywood, CA –
Released on King 1106

45cat - Moon Mullican - Jambalaya / A Mighty Pretty Waltz - King - USA - 45-1106

78 RPM - Moon Mullican - Jambalaya / A Mighty Pretty Waltz - King - USA - 1106

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Jo Stafford had a no 3 US Hit with her version

(c) Jo Stafford (1952)
With Paul Weston and his Orchestra and the Norman Luboff Choir
Recorded July 20, 1952.
Released on Columbia 39838

78 RPM - Jo Stafford - Jambalaya / Early Autumn - Columbia - USA - 39838


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The song was Brenda Lee's first single in 1956.

(c) Little Brenda Lee (1956)
Brenda Lee [vcl], Grady Martin [gt], Jack Shook [gt], Don Helms [steel], Bob Moore [bass], Farris Coursey [drums], Owen Bradley [piano]. Producer: Paul Cohen)
Recorded July 30, 1956 Music City Recordings, 804 16th Ave. South, Nashville, TN -
Released on Decca 30050



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(c) Fats Domino (1961)  (# 30 in the Billboard Hot 100)

45cat - Fats Domino - Jambalaya (On The Bayou) / I Hear You Knocking - Imperial - USA - X5796

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(c) Tony Sheridan And The Beat Brothers (1964)

Tony Sheridan And The Beat Brothers - Jambalaya / Will You Still Love Me Tomorrow (Vinyl) at Discogs


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(c) Hank Williams Jr (1964)
The son of Hank Williams recorded his version February 1964 in the Columbia Recording Studio, 804 16th Ave. South, Nashville, TN –
Produced by Jim Viennau


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In India, Usha Iyer (now Usha Uthup) recorded a version in 1968 on the HMV label, that became the best selling song until then, by an Indian artist in English.
Released on HMV 79858

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(c) Chuck Berry (1971) (as "Bordeaux in my Pirough")


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In 1974 Chuck Berry also recorded the Hank Williams version


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(c) Nitty Gritty Dirt Band (1972)  (Hit in the US and Dutch Charts)
Jeff Hanna [vcl/gt/drums/washboard], Jimmie Fadden [vcl/gt/harmonica/drums], Les Thompson [vcl/gt/mandolin/bass], John McEuen [vcl/gt/banjo/mandolin/fiddle/accordion], Jimmy Ibbotson [vcl/gt/drums/keyboards/accordion].
Recorded September 1971 The Aspen Studios, Aspen, CO -
Released on United Artists 50890



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(c) The Blue Ridge Rangers (1973)  (Hit in the Dutch Charts)

45cat - The Blue Ridge Rangers - Jambalaya (On The Bayou) / Workin' On A Building - Fantasy - USA - 689

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(c) Carpenters (1973)  (#3 Hit in the Dutch Charts)


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(c) Emmylou Harris (1975)


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(c) Elvis Presley (1975)
Recorded May 4, 1975, at Civic Center, Lake Charles, Louisanna


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(c) Normaal (1980)  (Dutch lyrics by Bennie Jolink and Ferdi Jolij)



Listen here:

More versions here: