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The modern form emerged in Southeast Texas in the late 1940s and 1950s among immigrants from this ethnic group, who came to cities such as Houston and Beaumont to find employment.
There they fused old Louisiana French music traditions with urban blues and R&B to create a distinctive sound.
One was issued around 1947 on the song erroneously titled "Zolo Go" by bluesman Sam Lightnin' Hopkins on Gold Star Records, and the second appeared in the 1949 recording of "Bon Ton Roula" by rhythm-and-blues performer Clarence "Bon Ton" Garlow on Macy's Records.
The key event in the movement of black Creole music into the public venues of Houston occurred at Irene's Café on Christmas Eve 1949, when accordionist Willie Green played an impromptu concert that drew large crowds and established the zydeco sound as a form of popular entertainment.
One black Creole who moved to Texas in 1947 and became part of the Frenchtown scene was Clifton Chenier (1925–1987), generally acknowledged today as the "King of Zydeco"—the musician most responsible for popularizing the music.
Among Chenier's innovations were the employment of the large piano-key chromatic accordion, which has a wider musical range than the traditional diatonic instrument, and the invention of the modern washboard vest, which expanded the musical possibilities for percussion beyond the limitations of the previously hand-held household utensil.
He first took up the organ and rhythm and blues, as part of Sam and the Untouchables, and funk and soul as bandleader of Buckwheat and The Hitchhikers.
The first two recordings to use variants of the term to refer to a style of music and dancing (as opposed to the original French sense referring to a vegetable) were produced in Houston. He grew up with the early sounds of zydeco in the Creole French language, his father's accordion playing, and his uncle's washboard scratching.He sneaked into clubs to hear Fats Domino, and was exposed to a range of South Louisiana songs.These included a session on August 8, 1934, at the Texas Hotel in San Antonio for the Bluebird/Victor company.In subsequent years, la-la increasingly came to highlight Afro-Caribbean rhythms, in which accents shifted to various beats.
The following, adapted from the , Roger Wood, "ZYDECO," accessed September 01, 2019, I'm doing research on Catherine Jennings Lockwood, specifically the incident known as "Katy Jennings' Ride." Her father was Gordon C. Texas Constitution of 1836 Co-Author- Elisha Pease?