Farewell, Alligator Man: A Tribute To Jimmy C. Newman
Acadiana Center For The Arts
Lafayette, LA
Louisiana Crossroads Series Presented by Downtown Lafayette
Friday, January 18, 2019
The Blood Red Moon expected to illuminate the firmament on Sunday was preceded by a blazing comet streaking over the skies of Lafayette on Friday, January 18. The comet had its own virtual soundtrack, familiar to local residents, the songbook of Jimmy C. Newman, born in a small Louisiana town far from the bright lights of Nashville. His songwriting output of American country music, later infused with songs influenced by his Cajun upbringing, covered as much territory as the comet that streaked over Lafayette.
I can’t read the notes I scribbled in the dark interior of the Acadiana Center for the Arts but I can tell you that I witnessed a night of dazzling music sung and played with cohesion, presence, expertise, and genuine love that swirled between spontaneity and synchronized beauty.
“Farewell, Alligator Man” was a tribute to Jimmy C. Newman (August 29, 1927 – June 21, 2014) a man whose type of rootsy music is never going to go out of style. I was surprised at the solid country sound and feel of his songs. I expected to hear music that sounded like the iconic Cajun singer Dewey Balfa and here I got a night reminiscent of Hank Williams. What else would you expect from a man who listened to Gene Autry when he was growing up in the small town of Mamou, LA.
This was one special night of music. It had superstars Marty Stuart and Doug Kershaw who played Newman’s music with sparkling energy but the night belonged to local musicians Kelli Jones (Fiddle, Guitar and Vocal), Joel Savoy (fiddle, vocals), Gary Newman (Bass and the son of Jimmy Newman), and Chris Stafford (Piano and Guitar), who were joined by Caleb Klauder (Mandolin, Guitar, and Vocals), Reeb Willms (Guitar and Vocals, half of the Klauder/Willms Duo), Rusty Blake (Pedal Steel and Guitar), Matt Meyer (Drums), and Jesse Lége (Accordion) all of whom played Newman’s music and sang his lyrics with utter affection and supremely original takes on old time music.
The carousel of Newman’s songs was played at what felt like rehearsal level and that’s a compliment. Every musician was in the moment, waiting to cover a song, add a lick, take a solo, or just beam a wide smile as they listened to a band mate interpret a Newman song with breathtaking freshness. This was way more than a concert, more like a piece of in-the-moment performance art for voice and instruments.
There is something universally appealing about Newman’s pure, direct singing and writing from half a century ago. Savoy, Jones, Klauder and Willms discovered Newman’s music independently, fortuitously met at venues across the country, and bonded over their mutual admiration.
Joel Savoy, fiddle player extraordinaire, and founder of the Louisiana-based label Valcour Records in Eunice, LA, promotes music and musicians with similar sensibilities. One of his first grand ideas after being named curator for the esteemed Louisiana Crossroads concert series at the Acadiana Center for the Arts in Downtown Lafayette was to put together “Farewell Alligator Man, A Tribute To Jimmy C. Newman.”
Valcour Records had last year just recorded “Farewell, Alligator Man: A Tribute to the Music of Jimmy C. Newman” with Savoy, Caleb Klauder, Reeb Willms, and Kelli Jones. Savoy asked heavy hitters Jesse Legé, Marty Stuart, and Doug Kershaw, who had known Newman over the years, to come along for tonight’s ride. They were honored for the invitation and had a blast playing alongside the whippersnappers.
Newman got his start playing on the radio program Louisiana Hayride out of Shreveport. You might know the names of a couple other young singers who launched from the hayride, George Jones and Elvis Presley. In an astonishing 50 year run at the Grand Ole Opry, Jimmy C. Newman had a big run of country songs. The song that launched his career was “Cry, Cry Darling’” in 1956.
From 1954 to 1970, he hit it out of the park and charted 33 songs on the Billboard Country Chart. He began to integrate Cajun influences into hit songs like the 1961 release of "Alligator Man" and a year later, "Bayou Talk." He claimed that the C in his name stood for “Cajun” and the man never forgot his roots and never stopped including Cajun songs in his shows.
Tonight’s “Farewell, Alligator Man” might have been more aptly titled, “Hello, Cajun Country Man.”
A loping rendition of “You Didn’t Have To Go,” opened the show firing on all cylinders, Savoy, Jones, Klauder, Willms trading lyrics and virtuoso solos. As they would do all night, Rusty Blake’s eloquently mood setting pedal steel, Gary Newman’s rhythmically thumping standup bass, Matt Meyer’s steady subtle drumming, Chris Stafford’s solid work on keyboard/electric bass, provided the musical roux, the perfect atmospherics for Newman’s songbook.
Kelli Jones, with her soaring Appalachian tonality that must have come from listening to music in her hometown of Raleigh, NC, mesmerized us with “I Wanna Tell All the World.”
This short sweet song was as country it comes. The dye was cast. We were in for a night of pure, heart on your sleeve, inspirationaLly delivered music played by musicians who have found what, for them, is the Holy Grail.
Swapping vocals and playing jaw dropping solos on mandolin, fiddle, accordion, guitar, and keyboard, they covered just about every song on the Alligator Man CD and several chosen by the performers. SET LIST BELOW
Hall of Fame musicians Marty Stuart (whose elegant black tour bus was parked in front of the ACA for two days) and Cajun legend Doug Kershaw knew that tonight they were part of the show, not THE show. They knew they were part of this campfire evening in which musicians took turns shaking new life into old songs or recreating them with the same purity Newman wrote them. "I've Got You On My Mind"...exhibit A.
Most of the songs were about three minutes long, just the way they were played on the A and B sides of the 78-rpm records back in the day.
Willms can swing sweet or sassy depending on Newman’s lyrics. Klauder and Savoy match Newman’s intent with vocal range and back it up with their crafty playing. Savoy and Jones fiddle playing was crisp, spritely or plaintive depending on the song. Part of the fun for me was watching their eye contact as they played duets standing close together as one unit on stage. Caleb Klauder’s mandolin playing was melodic or insanely flying fingers picked.
Marty Stuart and Doug Kershaw were inspired choices. There was Stuart representing Newman’s country side, wearing his white suit with black piping around lapels, black shirt, and flowing gray and black scarf, and 83 year-old Kershaw representing Newman’s Cajun side wearing a bright yellow open collared shirt with crawfish embroidered above the black pockets.
Then there was Jesse Lége. Lége is the Caruso of Cajun singers, his voice at once raw, sonorous, plaintive, and richly evocative. When he sings Jimmy C. Newman waltz, I feel like I’m embedded in amber listening to a house party on a porch down in Gueydan, LA. Descended from the tradition of Dewey Balfa, the man is the most senior balladeer carrying the flag of Cajun music still touring around the world.
My belief that SW Louisiana is Cajun and Creole music territory into which country sounds were imports from honky tonks across the state line in Texas has taken a serious revision. Jimmy C. Newman was an authentic country star, not as luminous as Hank Williams, but bright enough to light up the Grand Ole Opry and the sky over Lafayette tonight.
The evening’s last two roof- raising songs saluted Jimmy C. Newman with hits that celebrated his Cajun roots. “Alligator Man”…do I have to tell you how a title like that resonated with this crowd?
Doug Kershaw put a foot stomping charge in the evening’s final song, Newman’s spirited Cajun anthem, "Diggy Liggy Lo", that featured the entire cast singing and playing the daylights out of the song, and the audience standing, cheering, and singing along.
People from these parts revere music that celebrates their roots and musicians that proudly call Louisiana home. The Alligator Man crossed over country and Cajun genres. His star still shines bright in the Louisiana night.
Set 1 (courtesy of Joel Savoy)
You Didn’t Have to Go- Key of G
I Wanna Tell all the World- Key of D
I thought I’d never fall in love again- C
Let’s Stay together- Key of E
Got You on my Mind- Key of E
Jolie Blonde Ayou Toi T’es- Key of A
Great Big Fais Do-Do- Key of D
Cry Cry Darlin- Key of Bb
If you Tried as Hard to Love Me- Key of G
Cajun Baby- Key of D
Set 2 (courtesy of Joel Savoy)
Louisiana Man- Key of D
Colinda- Key of A
Day Dreamin- Key of A
Let the Whole World Talk- Key of D
Blue Darlin- Key of G
H Brown Shuffle - Key of F
Hole in my Heart- C/G after 2nd Chorus
Again in your Arms- Key of C
Alligator Man- Key of A
ENCORE: Diggy Diggy Lo Key of A
Thanks for the kind words Paul. It"s always nice to see you! Safe travels my friend.
Posted by: Gary Newman | January 27, 2019 at 03:48 PM
Paul
You prose is absolutely masterful. It brings back wonderfully colorful memories of that night. WOW - can you "turn a phrase" !
Posted by: Mark M | January 27, 2019 at 03:49 PM
Thank you, Mark, I appreciate your feedback, especially since you were there. I spent a few days trying to get it right, it’s a bit long but couldn’t manage to cut it down. Boy oh boy what a night.
You took a bunch of fine photos that captured the event and the feeling of the musicians on stage, quite wonderful.
Posted by: Paul A. Tamburello, Jr. aka PT from Boston | January 27, 2019 at 04:11 PM
Great writing, Paul!
Posted by: Myke Farricker | January 27, 2019 at 06:35 PM
Wonderful Paul, thanks!
Posted by: Joel Savoy | January 28, 2019 at 02:34 PM
Hi Paul!
Thanks so much for writing and sharing this wonderful article! I think your descriptions of the evening so perfectly captured the way it felt! We had the best time and I think we are all so proud!
One little correction: when you wrote about the album released a year earlier, I sang on the album along with Kelli, Joel, and Caleb, not just brought in for the live show as you said in the article. It would be great if you could correct this for us!
Thanks again for such a great article!
Kindly,
Reeb Willms
Posted by: Reeb Willms | January 28, 2019 at 09:07 PM
Hey Reeb,
I have no idea how I missed your name on that CD. Like hitting the right notes is important to you, getting the facts right is important to me, i just made the correction.
The energy from the group's singing and obvious camaraderie was clear to every one of us in the audience, a tribute to Jimmy C and all of you who carry his legacy into the future. You all have much to be proud of.
Thanks a ton for your comment and correction (a big goof on my part:)
Cheers,
Paul
Posted by: Paul A. Tamburello, Jr. aka PT from Boston | January 28, 2019 at 09:09 PM
Thank You,Paul for such a great write up.
For as many times in 50 years as I’ve been on stage....I was so humbled to share the stage with the likes of everyone, most of them dozens & dozens of times & add on Marty Stuart & Doug Kershaw....?
But I think being a part of this cast AND holding our very own Jimmy C.Newman to the light those two nights...!!!!
It’ll take a lot of doing to top that on my list of great musical achievments.
Thank You Gary Newman Joel savoy & ALL You Amazing musicians for allowing me to share it with you.
Posted by: Jesse Lege | January 29, 2019 at 01:10 AM
Paul, Thank you or sharing this and for writing this. What a great memory for all of us. I really appreciate your thoughts on the show and some of the things you said about our performance. It was simultaneously challenging and simple for me, but I was very proud of the whole group for how we managed to put that show, and the album together. I guess we all have the same musical language, so to speak. It is so comforting to find that in your peers.
Thank you again.
Caleb
Posted by: Caleb Klauder | January 29, 2019 at 02:01 AM
Caleb,
I was so moved by the tribute that I needed to write about it. If a person had only one bone of musicality in his/her body it would have been vibrating like one of the strings on your mandolin that night. You all played with inspiration and a sense of carrying on the torch. As I wrote, I learned about Jimmy C’s career path from his beginnings in Louisiana to Nashville and the Grand Ole Opry all the way to one of his last performances with some of you. I so enjoyed watching you all have that great musical conversation and the pride, sense of accomplishment, and comfort with each other as you played from beginning to end. That was one special evening. Trust me, all of us in the audience were having as much fun as all of you on stage.
My Baton Rouge born friend Rebecca took me on a tour of Louisiana in 2008. I joke with her that “I haven’t been the same man since…” I was smitten. Still am. And have been visiting and writing about it since. The rambunctious “Farewell, Alligator Man” tribute is one more reason I’ll keep coming down there for a music, dance, food and friends fix for as many days as I have.
Thank you for your comment, much appreciated
Posted by: Paul A. Tamburello, Jr. aka PT from Boston | January 29, 2019 at 11:18 AM
Fabulous article PT!
Posted by: susan M. Bennett | January 29, 2019 at 07:54 PM
Jesse, sitting in the audience, I knew there was something special bordering on magical that was happening on stage. You were right in the middle of it, describe it so well, and put it in a personal perspective that is as awesome to read as it was to experience. Given your 50 years of experience, that is one heck of a compliment to all the musicians you played with. I’m sure some of them will pass it on right from this post. Thank you for this very special note.
Posted by: Paul A. Tamburello, Jr. aka PT from Boston | January 29, 2019 at 08:11 PM
It was a beautifully written piece.
Thanks for the mention in your comments. {;
Rebecca
Posted by: Rebecca | January 30, 2019 at 09:27 AM