Benoit LeBlanc: Mô kouzin mô kouzinn

If you were ever curious as to what pre-jazz music might have sounded like in the Louisiana area, then Benoit LeBlanc's Mô kouzin mô kouzinn is the album for you. LeBlanc presents 27 Creole songs that in many ways form the basis for the emergence of jazz in New Orleans in the late 19th century, songs that enslaved Creole people might have played at New Orleans' Congo Square in the 19th century, one of the few places in the country where enslaved people were allowed to sing their songs. Several of the songs appear here in recorded form for the first time.

LeBlanc, a descendant of Acadian heritage, has long been interested in Louisianan music, hosting music programs on the Montreal radio station CIBL-FM for fourteen years and playing in bands around Montreal. While the album is the product of years of research into the Creole language—known as Kouri- Vini in Louisiana—and culture by LeBlanc, this is no academic exercise: He and his band can really swing. Including both full-band performances as well as acoustic and a cappella renditions, the album hits that sweet spot between BeauSoleil and Dr. John. The modern arrangements of mostly traditional songs bring out the Afro-Caribbean rhythms that influenced the New Orleans syncopated sound. Although many of the songs feature guitar, LeBlanc also wanted to use instruments from that time period that became standards in early jazz, such as the banjo, violin, flute and clarinet, as well as numerous African and Caribbean percussion instruments.

Beyond the value in preserving the Creole language and culture, it is the power and beauty of the performances of the songs that make the album shine. Highlights include the opener "Un nòt kankan," which sets the tone with a highly contagious swinging beat, joyous singing and bouncing violin; the slinky rhythms of "Éy laba," with a sweet clarinet solo by Duane Larson; the Bo Diddley-like beat of "Blansh Toukoutou"; plus Pascale LeBlanc's lovely a cappella rendition of "Kalinda" and her moving version of "Moulin," for which she accompanies herself on acoustic guitar while J.D. Slim adds electric slide guitar accoutrements.