PRESS PHOTOS (Click for full size):
NOMINATED FOR A 2011 GRAMMY AWARD
CJ Chenier and the Red Hot Louisiana Band recorded “Can’t Sit Down” in one session at Rock Romano’s recording studio in Houston, TX. The idea was to keep all of the energy and feel of a live show but on a studio album. The CD is full of Zydeco and Blues done the way CJ Chenier and his band rock it out at their live shows. There is evan a cover of “Clap Hands” by Tom Waits done in Chenier’s signature style.
C.J. Chenier and the Red Hot Louisiana Band - "Jambalaya" - On Tour 2016
C.J. Chenier and the Red Hot Louisiana Band - "Bon Ton Roulet" - On Tour 2016
C.J. Chenier and the Red Hot Louisiana Band - Gator by The Bay 2016
C.J. Chenier & Red Hot Louisiana Band - Buchanan 2013
C.J. Chenier & Red Hot Louisiana Band - Rawa Blues Festival 2011
What people are saying about CJ Chenier & “Can’t Sit Down”
"Hard-charging riffs, bluesy shouts in the vocals and a rhythm section that makes two-steps into ratcheting rock."
- New York Times
"His vocals and accordion continue to drip with top-line Louisiana hot sauce, keeping the good times rolling with energized adaptations of blues and Creole r&b classics."
"Can't Sit Down is a lot of fun"
"Chenier has carried the tradition forward with reverence and some daring...Chenier’s spirit always comes across as buoyant."
- Houston Chronicle
“If this one doesn't get some part of you moving, I have no question that your heart has stopped.”
-The Examiner - Read the whole article here (http://www.examiner.com/review/schwindy-s-indie-music-spotlight-c-j-chenier)
“Although Chenier belongs to one of the most famous Zydeco musician families in recent history, his music can equally be described as blues, where the dazzling accordion plays the role of the electric guitar or harmonica.”
- World Music Central - read the whole article here (http://worldmusiccentral.org/2011/09/13/zydeco-good-times/)
“C.J. is like the Hank Jr of zydeco and he not only knows the music's roots, he sees it's future.”
- Midwest Records
“Recorded in one session without overdubs to give it a live feel, this is a foot-stomping lively set of Zydeco dance music”
“He is a monster,”
“On his latest CD, the reigning king of zydeco works within the fixed points of his Louisiana musical tradition—the influences of blues, country and R&B, and the occasional French vocal—and rocks up the mix for maximum contemporary party appeal.”
“This music is about as real as it gets. Zydeco accordionist CJ Chenier takes the mantle from his father and uncles, Clifton and Cleveland respectively, and puts out a hard hitting boogie and blues disc..”
“CJ got it right, nailing it with a 20 oz. claw hammer.”
- Thailand to Timbuktu - read the whole article here (http://thailand-to-timbuktu.blogspot.com/2011/10/c-j-cheniers-cant-sit-down-zydeco-lives.html)
“One of the best zydeco party bands on the planet”
- Jazz Police
“If you like Zydeco, you can't go wrong here. Obviously, the talent is being passed down to the next Chenier generation.”
- Amazon - read the whole article here
“nothing short of a modern zydeco classic”
- Roots World - read the whole article here
“While the Waits version is a whispered, eerie story driven by hand percussion and rhythm, C.J. brightens the corners, with washboard keeping time and the bass roving like a wild boar crossing paths with a wild train- C.J.’s accordion. It’s simply a wonderful version of this song.”
-Angelica Music - read the whole article here
“What it does do is kick butt”
- Offbeat - read the whole article here
“Make no mistake about: C.J. Chenier is a master too, and Can’t Sit Down is surely this master’s masterwork!”
- Groove 2 U
2014 GRAMMY AWARDS PAYS TRIBUTE TO THE KING OF ZYDECO CLIFTON CHENIER In the cotton-and rice-growing prairie country of Southwest Louisiana in 1954, a black talent scout, John Fulbright, heard a remarkable Creole accordionist and singer who billed himself as "the King of the South," and his name was Clifton Chenier. Together, they went to a Lake Charles radio station where Clifton cut his first rocking accordion instrumental, "Louisiana Stomp," for the tiny Elko label. Although that first record went nowhere, it was soon leased to the bigger Imperial label, which in turn drew the attention of the even bigger Specialty firm. A year later, Clifton's Specialty release "Ay-Tete Fee" made the R&B charts, sending Clifton on a brief nationwide tour of the chitlin' concert circuit.