Nathan Williams performing at El During my extended trip through southern , Sido’s & Club, Lafayette, where I interviewed more than a dozen musicians, Louisiana, November 19, 2014. it seemed that was nowhere to be found. With only a few days left to catch up with him, he had not responded to my email or daily phone messages. As it turns out, it was well worth the extra effort it took to track him down. Several artists mentioned that they had seen him recently at one place or another. He was not on the road. They suggested I drop by his brother’s club, El Sido’s, but it just did not fit the sched- ule. Finally, late on a Friday afternoon, I called from a borrowed phone in Lafayette and Williams answered. When he learned I was a writer who wanted to interview him in person, he hesitated, but ultimately agreed to get together at his home after church on Sunday. As I sat alone in his driveway at the ap- pointed time, it appeared to be a bust—the only missed interview in a community where the locals could not wait to talk proudly about their music and to play a song or two to punctu- ate their colorful stories. But, ten NATHAN minutes later Williams pulled up in his shiny pick-up truck. He said he needed a few minutes to change clothes, then he pointed to the I Got More Soul Than a Shoemaker entrance on the side of his upscale, Lafayette home and went in the front door. The first few minutes of the interview, held in his modern home recording studio, brought the kind of rushed, mechanical listing of accomplish- ments and anecdotes that are offered to satisfy a reporter who needs something quick for a news- paper a day or two before a gig. With his dark, wraparound glasses, his oversized black cowboy hat and his lack of enthusiasm for telling his story, the interview was going nowhere. However, a question about his relationship to suddenly brought Williams to his feet and he opened a large closet door, disappearing inside. The closet held more than a dozen of various sizes and colors, many given to him by other artists. Stories began to flow about each one as he lifted out a half dozen, one at a time. He was finally smiling and relaxed. Mentioning that my WILLIAMS next interview was with the largely unrecorded, lo- cal legend and master Clayton Sampy led to more stories, mostly about the accordion players who came before Williams. Eventually, he woke up his youngest son, Naylon, and tracked Nathan Jr. down by cell phone. Soon, the three began a bravura three-accordion jam session in the front yard that lasted nearly an hour. Songs poured out one after another, often overlapping, as the three stood working their instruments hard and singing together without a microphone. Williams, who earlier appeared so reticent, knew that it had been a difficult start to the after- noon. With the tape off, he explained, “I’m a very private person.” He also said, “My music is the fun side of life.” Clearly, holding onto his cream-colored Roland accordion and talking about his admiration for artists he learned from over many years trans-

GENE TOMKO by Scott M. Bock forms this accomplished man. Williams has earned his way in music and ERIK LINDAHL in life, surviving a tough childhood with the Nathan Williams performing loss of his father early on and his own medical with Mark A. Williams problems. Today, he is among the best known (rubboard) and Adam Harris zydeco artists, carrying on a tradition that he (bass) at El Sido’s, Lafayette, cares about deeply. He is also an attentive father Louisiana, 1988. and husband. He runs his own trucking business when he is not touring. At one point, he said simply, “I try to be the best I can.” Williams and his band, the Zydeco Cha Chas, have been recording for decades now, beginning with a few 45 r.p.m.’s financed by his brother Sid, who figures prominently in Williams’ life. At one point Williams referred to his brother as the Don King of zydeco. These now hard to find records led to his first appearance, in 1988, at the New Orleans Jazz and Heritage Festival, and Williams has never

looked back. LINDA VARTOOGIAN-FRONTROWPHOTOS His soulful vocals are laid-back, and his Creole accent affirms the authenticity of his music. Williams frequently lapses into French during a set, does not take much time to talk to an audience and whooping and hollering punctuate many of his songs. His shows are ’m originally from St. Martinsville, Williams’ brother Sid helped take care of an insistent, exhausting celebration of danc- Louisiana, where the crawfish got soul the struggling family, first working sugarcane, ing, singing and clapping along with Williams and the alligators sing the blues. We was then doing roadwork and finally working Nathan Williams performing with his son Lil’ Nathan and his cousin Mark Williams and the band. seven brothers and one sister. We all in the oil fields. Payoff from an injury that (rubboard) at the Tenth Annual Original Southwest Louisiana Zydeco Music Festival in Born on March 14, 1963, Williams was “Istayed together. I’m the baby. My daddy occurred in the oil business provided the Plaisance, Louisiana, September 5, 1992. signed by when he was in died when I was seven years old. He was money the older Williams used to begin his his mid-20s. His half of a live release in 1989 a construction worker. A heavy equipment own business. “I left from St. Martinsville and operator. He used to be out of town a lot, went to stay with my oldest brother, Sid, in my first accordion from Buckwheat, as a (Zydeco Live!: Direct From Richard’s Club, Nathan Williams at Wenonah Park, paved a lot of streets and all that. It was a Lafayette when I was 12 years old. He’s 13 matter of fact. Lawtell, Louisiana, Rounder CD 2069) quickly Bay City, Michigan, 1994. brought him international attention. Seven more big loss not having my dad. Before my dad years older than me. I went to school, and “After that, what happened was my recordings followed on Rounder from 1989 to died, our house had burned down. I wasn’t Sid opened up a grocery store and I started brother opened up a club, El Sido’s Zydeco 2006, making Williams one of the most prolific born yet and after that they had to build a working for him. All my schoolmates could and Blues Club. It’s been open more than 30 zydeco artists working today. Along the way, small house. But, my daddy was a veteran tell you I always was beating on the desk, years, now. I been playing [almost that long]. he won awards for his songwriting and was and momma would get a check for us. My beating drums and singing whatever. We’d When I first started playing at the club, I was inducted into the Louisiana Music Hall of Fame momma played a big part in my life, and my sing on the school bus going on trips. I knew playing for free to get the people to come. It in 2005. In 2012, he received both the Zydeco grandmother. I learned all the French from my I had it. I used to like the Commodores, Al helped me a lot. Every Friday night the club Music Association’s Lifetime Achievement Award grandmother. God been so good to me. Green and everything—R&B, Z.Z. Hill and all would hold 300 or 400 people in the room. and the Big Easy Award for the best zydeco “My uncle Harry Hypolite [who played that soulful stuff. It was packed. And then, I started playing guitar with Clifton Chenier] and my other “I never had any idea I’d play accordion church dances and church halls. band. In late 2013, he released A New Road, uncles used to do la la’s [dances] at their until I came to Lafayette. Then, I dreamed “I bought my own accordion, because the first recording on his own Cha Cha Records. house [in St. Martinsville]. They’d sit down that I was going to play accordion. I got to I couldn’t learn good like I wanted on Though he stretches the genre, Williams and sing blues. They’d sing gospel and be good friends with Buckwheat. When I [Buckwheat’s] because of the tone. I bought ultimately remains a traditionalist who idol- stuff like that. They’d drink wine and get all moved to Lafayette, Buckwheat moved right a [piano] one. And, so what happened was izes Chenier, and was close friends with messed up on the weekend. This one old across the street from my brother’s store. He I started learning good on that. That’s the the late Stanley Dural, otherwise known as guy had a triple row accordion, and they’d was living in an apartment. So, we always accordion I recorded Steady Rock on and Buckwheat. It was, in fact, Dural who made be sitting down playing and just drinking was friends. He did a lot to help my career. then Zydeco Live! with Boozoo Chavis on the Rounder deal possible. and enjoying themself. Clayton [Sampy] helped me a lot too. When Rounder Records. I just picked it up and I When he’s not touring, Williams can “[When] I was a little bitty boy I used I first started Clayton helped me a whole lot. developed the style myself. I know it was a be found working in his studio or running his to go listen to Clifton Chenier all the time. I He’d show me things on the accordion. So, gift from God.” “hot shot” trucking company that services the was like eight or nine years old and I couldn’t after me and Buckwheat got tight—a matter Williams says he knew right away that oil and gas industry. Whether it is music or get in the club. We used to go look in the of fact, he’s kin to my wife—it’s all family he was going to master the accordion. Chenier the trucking business, Williams works hard at back, standing on a washing machine outside oriented. So, from then he always did look spurred him on one night when Williams sang everything he does. at this old lady’s house. She had to run us over me like a father or big brother. He did a with him. He remembers Chenier turning to After jamming with his sons at the end out of there all the time. I never gave up. One lot to help my career. What happened was, his uncle and telling him that Williams was of the interview, Williams insisted on jumping time they was dancing so much they broke when Buckwheat used to play a dance I going to be good. Soon he would follow his in his truck for the half-hour ride to see old the floor in there. They called it the Casino used to go sit in with his band. I [had been] mentor, Dural, as the leader of the house band friend Sampy. The interview with Sampy had Club on Main Street in St. Martinsville. A big practicing when I was working at the store. I at El Sido’s. “I recorded my first singles on to wait while the two played together and old wood club. It’s still up, matter of fact but would take a little break, take my accordion, my brother’s label, El Sido’s. We did two 45s. swapped stories for another hour in front of it’s not too much action.” go in the bathroom and practice. I bought A lady wrote songs for me, Louisiana Waltz

Sampy’s place. BARCLAY ROBERT

30 • LIVING BLUES • April 2019 April 2019 • LIVING BLUES • 31 GENE TOMKO borrowed and made his own, and standards. “[Over the years] I went to New York because you’re dead. Because, I got more soul A live show is an unpredictable jukebox full of and played Tramps and then got on television than a shoemaker. music that keeps the band on its toes. on Good Morning America. I played Lincoln “I still work, but not as much as I used “I started singing in front of people Center. I played the Hollywood Bowl and the to, but now it’s starting to pick back up again. when I was like about 17, 18 years old. I Kennedy Center in Washington. We did a [The drop off began with 9/11.] A matter of just automatically turn on. I don’t care if its Budweiser commercial. I did a Converse ten- fact, with 9/11 I had about maybe eight or 30,000 people, all you see is heads. It don’t nis shoe commercial. We was in that movie nine gigs in New York. We was on the road. bother me. I never plan my show. Everything In the Electric Mist with Tommy Lee Jones. So I said, ‘We got two or three days off, lets is natural. I just get up and do my thing. I I did a record with Buddy Guy in Nashville go back home.’ The Monday I got home, here don’t know what I’m going to do. The band [Skin Deep, 2008]. I recorded at the Grand come all this happening. So, my agent asked has to know everything. I represent Louisiana. Ole Opry. I even recorded with Cyndi Lauper. me, ‘What you going to do with all the gigs Bring your dancing shoes. I’ve got over 80 We were the first zydeco band to play in you got?’ I lost a lot of money, but money is songs. I can play four dances without stop- Poland. We did a week in Poland. I been not everything. I was thinking about all the ping. And, I don’t play the same song twice. [playing] overseas for years. I’m like the Coca- people that lost their life. If you go to a concert and you know every Cola sign. You might see me anywhere. I been “I’m happy to make a living. I’m going song the band is going to play well, come on blessed everywhere I go. If you don’t get up to do it as long as I can. As long as the [it’s boring]. and shake a leg, you better call an undertaker good Lord let me do it, and just try to be the best I can and be honest. But, the main Nathan Williams performing at El thing—all this came about because of God. Sido’s Zydeco & Blues Club, Lafayette, That’s what I lean on, the Lord. I just try Louisiana, November 20, 2013. and be the best I can. I just try and be an example for my kids. I’m straight up people. I’m serious about my business. “[When work fell off] I said, ‘I’m going to do something I like.’ I got me another busi- ness. I opened me up a hot shot service with (left to right) Wayne “Blue” Burns, Mark Anthony Williams, Gerard oil field trucks. Even in music, I do most of St. Julien, Nathan Williams, Allen “Cat Roy” Broussard and Dennis the driving. I like to drive.” With his Cha Cha Paul Williams performing at the Pocono Roots Festival, Lake Harmony, Hot Shot Service, Williams hauls equipment Pennsylvania, June 23, 1996. needed in oil fields. He has a few trucks that he drives himself when he is in town. He enjoys the work and he can leave it to others and Zydeco Blues. I cut that and I had my when he is away. two songs. I had Bye Bye, My Little Moma “I’m [working on music] with my son Lil’ and Everybody Calls Me Crazy. And, when I Nate. I got my own record label. My son is recorded those two songs, I took off. The Cha on my label, Cha Cha Records. He’s busy and Chas [formed] in ’85. [plays a lot] in Houston. He plays [a newer “Then, after that, what happened was, style of zydeco]. Chris Ardoin, J. Paul, Leon Buckwheat was supposed to go record a live Chavis are doing it too. My younger son, album with Rounder Records. So, Buckwheat Naylon, is a bad dude. He plays drums and got a major label with Island Records. So he he plays accordion. He play with [Lil’ Nate] recommended [me] to Rounder. And, I was all the time. It’s in our blood. One of my on Rounder [for a long time]. brothers was an organist in church. Then I “After I recorded my Steady Rock al- got my brother Dennis, my other brother that bum, that’s when I started touring. That’s the plays guitar with me. He reads music and he song that marching bands play. will instruct the band if we have to write it “I got a gumbo in my music. I put a down, but a lot of the guys play by ear. And, little four in it to make it a sauce. I got a little my daughter is Natalie. She plays piano and bit of reggae. I got a little bit of R&B. I got a she can sing.” little bit of blues, a little bit of zydeco. Just Williams is pleased that a new genera- a little bit of everything. I prepared myself tion is playing zydeco and coming out to where I can fit in any category.” hear the music he loves. Now, he is doing Williams keeps a picture of Chenier in everything he can to support Lil’ Nate’s career. a central spot in his home studio. He makes Mark Williams and Nathan Williams “Nate is getting the young kids into it and it clear that Chenier remains a guiding figure, performing at the Belgium R ’n’ B he’s doing the tradition, too. He’s big around but explains that he never received a lesson Festival, Peer, Belgium, July 19, 2003. here. You have to find a way so zydeco

from him. “I never stopped playing Clifton’s HARRIS PAUL doesn’t die out. In Houston, every weekend music. One time he came to me after he you get thousands of kids going out to hear died, in a dream. It was so real, [whispers] all his songs. I never practice none of it. It’s title of a song and put it down. I get on my zydeco. They’ve got a little hip-hop in there ‘Keep on doing what you’re doing. Keep on built in me. computer and start writing a song. A lot of and a little rap. doing what you’re doing.’ It was like real. So, “I’m a songwriter, too. I write a lot of times I do that.” “Music is music to me. You got to I don’t ever do a show without doing one of songs. I could be riding in the truck or some- Each of Williams’ recordings includes respect all levels of music. I can’t be a critic of his songs. I never forget the tradition. I know thing and think about a song—think about a a mix of his own material, songs he has nobody’s stuff.” GENE TOMKO

32 • LIVING BLUES • April 2019 April 2019 • LIVING BLUES • 33