Bio:
One of the brightest young talents to emerge in Cajun, Creole and Zydeco (Louisiana French) music over the last decade, Cedric Watson is a four-time Grammy-nominated fiddler, singer, accordionist & songwriter with seemingly unlimited potential.
Originally from San Felipe, TX (population 868), Cedric made his first appearance at the age of 19 at the Zydeco Jam at The Big Easy in Houston, TX. Just two years later, he moved to south Louisiana, quickly immersing himself in French music and language. Over the next several years, Cedric performed French music in 17 countries and on 7 full-length albums with various groups, including the Pine Leaf Boys, Corey Ledet, Les Amis Creole with Ed Poullard and J.B. Adams, and with his own group, Bijou Creole.
Cedric Watson & Bijou Creole resurrect the ancient sounds of the French and Spanish contra dance and bourré alongside the spiritual rhythms of the Congo tribes of West Africa, who were sold as slaves in the Carribean and Louisiana by the French and Spanish.
With an apparently bottomless repertoire of songs at his fingertips, Cedric plays everything from forgotten Creole melodies and obscure Dennis McGee reels to more modern Cajun and Zydeco songs, even occasionally throwing in a bluegrass fiddle tune or an old string band number. Unlike many of his contemporaries, he is also a prolific songwriter, writing almost all of his songs on his double row Hohner accordion. Cedric’s songs channel his diverse ancestry (African, French, Native American and Spanish) to create his own brand of sounds.
Cedric’s albums are a tapestry of pulsing rhythms and Creole poetry, and his live performances are unforgettable, all at once progressive and nostalgic.
Contact Information
Management/Booking:
BOOKING
Folklore Productions
Matt Greenhill [email protected]
RECORD LABEL
Valcour Records
www.valcourrecords.com [email protected]
Quotes, Notes & Etc.
“We don’t want to forget that one of the biggest contributions to our culture, music and heritage was made by the Native Americans. I find that the old Zydeco rhythms sound like a mix of African and Native American ceremonial rhythms. This mélange very possibly came about through the intermingling of the Native American population and the Maroons.”
– Cedric Watson
“I’m sure Canray [Fontenot] is smiling (with his wonderful wall-to-wall smile) down on Cedric whenever he picks up a fiddle.”
– Jeanie McLerie | The Old-Time Herald, Chapel Hill, NC
“Few recordings in the Cajun and Creole fiefdom have ever run the gamut quite like this…”
– Dan Willgng | Offbeat Magazine, New Orleans, LA
“Fiddler Cedric Watson moves like a star and gets the girls screaming”
– Songlines | London, UK
“An aggressive and gifted reanimator of Louisiana Creole music”
– New York Times | New York City, NY
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).