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Mc Cormick originally intended for the term to apply only to the fusion of Texas blues and Creole la-la that he heard in Frenchtown.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.Zydeco singing—plaintive vocalizing in a blues style—typically combines English and French. 1950) is generally recognized as the most influential figure in the early development of Creole music.
Robert Burton "Mack" Mc Cormick with collected jazz album covers, 1986. Owner Doris Mc Clendon stands at the door of her club, the Continental Zydeco Ballroom in Houston.
In 1964 at the Gold Star Studio in Houston, Chenier recorded the classic song "Zydeco Sont Pas Salé," in which the producer abandoned the French phrase Since then, with Southwest Louisiana, Southeast Texas has remained a hotbed of zydeco culture—home to recording and touring artists such as Chenier, Wilfred Chevis, Step Rideau, Brian Terry, Cedric Watson, Corey Ledet, and The Zydeco Dots.
Contemporary zydeco has continued to evolve, incorporating progressive elements of various styles of popular music, especially including rock and hip-hop.
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.