CLIFTON CHENIER POSTER Danny Garrett Art Zydeco Blues

This is an original single sheet printed paper poster advertisement (sometimes known as a flyer or print) for a concert performance gig at a live music venue.Antone's Nightclub Austin, Texas 16th Anniversary July 1991This poster portrays brothers Cleveland & Clifton Chenier onwashboard & accordion and features art by house artist Danny Garrett.Performing that week were C. J. Chenier, James Cotton,Luther "Guitar Jr." Johnson, Calvin Jones, Darrell Nulisch, Pinetop Perkins, Snooky Pryor, Jimmy Rogers, Willie Smith, Marcia Ball, Doyle Bramhall Sr., Doyle Bramhall Jr., Lou Ann Barton, Sarah Brown, Wilfred Chevis, Sue Foley, Alan Haynes, Mark Kazanoff, Miss Lavelle White, Chris Layton, Johnny Nicholas, Derek O'Brien, George Rains, Tommy Shannon, Angela Strehli, Brian Terry and Reese Wynans.This piece is a glossy black print that measures 12 x 18 inches.Condition is excellent to near mint.Combine items to save$$$!The undisputed "King Of Zydeco", Clifton Chenier (1925 — 1987) was the first Creole to be presented a Grammy award on national television. Blending the French and Cajun two-steps and waltzes of southwest Louisiana with New Orleans R&B, Texas blues and big band jazz, Chenier created the modern, dance-inspiring, sounds of Zydeco. A flamboyant personality, remembered for his gold tooth and the cape and crown that he wore during concerts, Chenier set the standard for all the Zydeco players who have followed in his footsteps. In an interview from Ann Savoy's book, Cajun Music: Reflection Of A People, Chenier explained, "Zydeco is rock and French mixed together, you know, like French music and rock with a beat to it. It's the same thing as rock and roll but it's different because I'm singing in French". The son of sharecropper and amateur accordion player, Joe Chenier, and the nephew of a guitarist, fiddler and dance club owner, Maurice "Big" Chenier, Chenier found his earliest influences in the blues of Muddy Waters, Peetie Wheatstraw and Lightnin' Hopkins, the New Orleans R&B of Fats Domino and Professor Longhair, the 1920s and 30s recordings by Zydeco accordionist Amede Ardoin and the playing of childhood friends Claude Faulk and Jesse and Zozo Reynolds. Acquiring his first accordion from a neighbor, Isaie (easy) Blasa in 1947, Chenier was taught the basics of the instruments by his father. By 1944, Chenier was performing, with his brother Cleveland on frottoir (rub-board) in the dance halls of Lake Charles.Moving to New Iberia in the mid-1940s, Chenier worked in the sugar fields. cut sugar cane. After moving, to Port Arthur, Texas, in 1947, he divided his time between driving a refinery truck and hauling pipe for Gulf and Texaco and playing with his brother. In 1954, Chenier signed with Elko Records. His first recording session, at Lake Charles radio station KAOK, yielded seven tunes including the regional hit single, "Clifton's Blues" and "Louisiana Stomp".Chenier's first national attention came with his first single for the Specialty record label, "Ay Tete Fille (Hey, Little Girl)", a cover of a Professor Longhair tune, released in May 1955. The song was one of twelve that he recorded during two sessions produced by Bumps Blackwell, best known for his work with Little Richard. By 1956, Chenier had left his day job to devote his full-time attention to music, Touring with his band, The Zydeco Ramblers, which included blues guitarist Philip Walker. The following year, Chenier left Specialty and signed with the Chess label in Chicago. Although he toured, along with Etta James, throughout the United States, Chenier's career suffered when the popularity of ethnic and regional music styles began to decline. Although he recorded thirteen songs for the Crowley, Louisiana-based Zynn label, between 1958 and 1960, none charted.The turning point in Chenier's career came when Lighnin' Hopkins' wife, who was a cousin, introduced Chris Strachwitz, owner of roots music label, Arhoolie, to his early recordings. Strachwitz quickly signed Chenier to Arhoolie, producing his first single, "Ay Yi Yi"/ "Why Did You Go Last Night?", in four years. Although they continued to work together until the early-1970s, Chenier and Strachwitz differed artistically. While Chenier wanted to record commercial-minded R&B, Strachwitz encouraged him to focus on traditional Zydeco. Chenier's first album for Arhoolie, Louisiana Blues And Zydeco, featured one side of blues and R&B and one side of French two-steps and waltzes.In 1976, Chenier recorded one of his best albums, Bogalusa Boogie, and formed a new group, The Red Hot Louisiana Band, featuring tenor saxophonist "Blind" John Hart and guitarist Paul Senegal... — Craig Harris -- All Music Guide Born in Dallas in 1949, this singer/songwriter/drummer grew up listening to Dallas radio (with heavy doses of Jimmy Reed, Ray Charles and Bobby Blue Bland on rock & roll stations) and locals the Nightcaps, one of the country's first White electric blues bands. In high school he joined the Chessmen, which soon included a young Jimmie Vaughan on guitar; they opened in Dallas on Jimi Hendrix's first U.S. tour. Moving to Austin in 1970, he and Vaughan formed Texas Storm, which later shortened its name to Storm and occasionally included Jimmie's younger brother Stevie on bass. Doyle next formed the Nightcrawlers with Stevie (now on lead guitar), who later credited Bramhall as a primary vocal influence. During this time the two also co-wrote "Dirty Pool," which Vaughan included on his debut, Texas Flood. Doyle Bramhall wrote or co-wrote seven more songs on subsequent Stevie Ray albums, and collaborated on three for Family Style by the Vaughan Brothers (which also featured Bramhall on drums). While drumming with Marcia Ball and Mason Ruffner in the early '80s, Bramhall began stockpiling solo recordings, which eventually comprised his long-awaited debut on CD, featuring both Vaughan's and Doyle's son, guitarist Doyle Bramhall II, formerly of the Arc Angels. Recently he began a collaboration that should prove interesting -- with pop singer Jennifer Warnes. -- Dan Forte -- All Music Guide Texas-based vocalist and songwriter "Miss" Lavelle White has a significant discography of singles, most dating back to the 1950s and '60s, but she only released her first full length album, Miss Lavelle, on the Austin, Texas-based Antone's label in 1994. To say the album has been a long time coming would be the understatement of the year, for White's talents as a songwriter and singer were well-known in 1950s Houston, where she recorded several singles for the Duke/Peacock labels. In the late '50s, her labelmates included Bobby "Blue" Bland, B.B. King and Junior Parker. Miss Lavelle was White's first recording of any kind, in fact, in 30 years. The fact that it's a gorgeous album helped White play some large blues festivals in the last couple of years across the U.S., Canada and Europe, but for a number of years when she had no record deal, White continued to enterain club crowds with her singing in Chicago, Texas, Louisiana and Florida.White's first big break as a vocalist came about with something she wrote for herself, "If I Could Be with You," and a procession of other singles followed for the Duke/Peacock label, including "Just Look at You Fool," "Stop These Teardrops" and "The Tide of Love." Unlike many other blues singers, White didn't get started recording until she was 25, thanks to fellow Houstonian Johnny "Clyde" Copeland, who brought White to Duke/Peacock owner Don Robey's attention.White, now in her 50s, began writing poems and songs when she was 12, she said in a 1994 interview."Hardships in life made me start to write," she explained, "and the first record I cut was with a gospel group,'Precious Lord, Lead Me On.'" When she was 16, White moved to Houston and fell into the city's burgeoning blues club scene with Clarence Hollimon, who now records with his wife Carol Fran for the Rounder label.Today, more than 30 years after she got her humble start in the blues clubs in Houston, White sings as well as she ever did, and though she's had time off from the road over the years, she's never stopped singing or writing songs. She released her first album, Miss Lavelle, in 1994. It was followed three years later by It Haven't Been Easy. -- Richard Skelly -- All Music Guide He admittedly wasn't the originator of the seminal piano piece "Pinetop's Boogie Woogie," but it's a safe bet that more people associate it nowadays with Pinetop Perkins than with the man who devised it in the first place, Clarence "Pinetop" Smith. Although it seems as though he's been around Chicago forever, the Mississippi native actually got a relatively late start on his path to Windy City immortality. It was only when Muddy Waters took him on to replace Otis Spann in 1969 that Perkins's rolling mastery of the ivories began to assume outsized proportions.Perkins began his blues existence primarily as a guitarist, but a mid-'40s encounter with an outraged chorus girl toting a knife at a Helena, AR, nightspot left him with severed tendons in his left arm. That dashed his guitar aspirations, but Joe Willie Perkins came back strong from the injury, concentrating solely on piano from that point on. Perkins had traveled to Helena with Robert Nighthawk in 1943, playing with the elegant slide guitarist on Nighthawk's KFFA radio program. Perkins soon switched over to rival Sonny Boy Williamson's beloved King Biscuit Time radio show in Helena, where he remained for an extended period. Perkins accompanied Nighthawk on a 1950 session for the Chess brothers that produced "Jackson Town Gal," but Chicago couldn't hold him at the time.Nighthawk disciple Earl Hooker recruited Perkins during the early '50s. They hit the road, pausing at Sam Phillips's studios in Memphis long enough for Perkins to wax his first version of "Pinetop's Boogie Woogie" in 1953. He settled in downstate Illinois for a spell, then relocated to Chicago. Mu