In January of 2014 producer/rambler Korey Richey joined Louis Michot for a trip to wintry New York to begin songwriting for their next studio album. Mammoth Waltz had been out for 2 years, and made a splash (or more like a Mammoth size stomp) that carried the band well beyond the normal reaches of Cajun music's well defined genre expectations. The band had always been known for their sonic departures, while always remaining firmly rooted in the french music traditions of Louisiana, and this new project would prove to bring more experimentation in Cajun music. The two ramblers spent 4 days in the basement of DFA records in the West Village of Manhattan, laying down the framework for what would become KALENDA...the tune itself based off of a rare field recording by William Owens from the 1930's housed in the University of Texas archives, next to those of the Lomax collection. The collection was given to Louis by historian and long time friend and musical archiologist Kevin Fontenot, and was referred to by the two as "You Must Destroy This Record" a quote by Irene Whitfield, offended by the first song in the collection whose lyrics spoke of Mary Magdalene, judged sacreligious by the late ethno-musicologist. This version of Dansez Calinda, sang by Vavasseur Mouton in Lafayette, Louisiana, was recognized by Kevin and Louis as a missing bridge between the original Place Congo slave dance, and the 1960's Cajun rock'n'roll version, and would serve as the basis for the title track of the album:
Kalenda, 250 years in the making PT 1
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