with Kevin Wimmer
Louisiana
button accordion, fiddle

Preston Frank’s musical journey was deeply rooted in the intimate setting of his family’s home, where the rich sounds of Zydeco and Creole music filled the air. His early exposure to music, a tradition passed down through generations, came through his father and uncles, who were all musicians, forming the warm and traditional bedrock of his initial inspiration. “I had my dad and my uncles. Dad had two brothers, and they were all musicians. I’m the fourth generation of the Frank family, and my kids are the fifth.” This strong familial influence continues to shape his music and his commitment to preserving his heritage.

The Frank family has a storied musical heritage, but much of the early history remains undocumented due to the era’s technological and economic limitations. “I don’t have anything from my dad’s grandfather. We don’t have pictures or recordings. He didn’t want to take pictures, and they couldn’t afford tapes at that time,” Preston explained. Despite this, the stories and musical influences passed down through generations have left an indelible mark on him.

Initially, Preston’s musical style was heavily influenced by la las, a form of Creole music. However, he later transitioned to a more diverse style. “I started playing mostly la las at first. Then I changed my style and went to a more radical style, with a different rhythm than when I first started,” he recounted. This evolution marked the beginning of Preston’s unique contribution to Zydeco music.

The music culture of Preston’s youth was centered around communal gatherings and house dances. “They mostly did house dances and parties at home,” he remembered. These gatherings were about music and community, a tradition that profoundly influenced Preston’s approach to music.

Despite the deep musical environment he grew up in, Preston did not immediately pursue music professionally. He balanced his passion for music with a regular job, a decision that set him apart from many of his contemporaries. “I never played music for a living. Some play music for a living, and I don’t; I never did. I always had a job,” he stated. This dual path allowed Preston to appreciate music as an art form and a cherished family tradition.

Preston’s connection to his musical roots comes from the stories and experiences shared by his family members. “My uncle and my dad’s younger brother told me that their grandfather played in a different style, not the same as Cajun or Creole. It was more like old-time music,” he recounted. Though he never heard his great-grandfather play, these anecdotes have shaped his understanding of his family’s musical heritage.

Preston’s transition from traditional la las to a more unique and dynamic Zydeco style was a natural progression influenced by his desire to innovate while still honoring his roots. His music began incorporating broader rhythms and diverse influences, setting him apart from his contemporaries. This blend of the old and the new has become a hallmark of his music, maintaining the traditional essence of Zydeco while infusing it with fresh energy.

Despite these innovations, Preston has always remained committed to the core principles of Zydeco music. His performances aim to connect with the audience on a fundamental level, encouraging them to dance and engage with the music. “My main thing is to play the music and the songs that make your people, your audience, get on the floor and dance,” he stated. This focus on audience interaction is a testament to his deep understanding of Zydeco’s cultural and social role.

Through his journey, Preston Frank exemplifies the dynamic nature of Zydeco music—a genre that thrives on its ability to adapt and evolve while staying true to its cultural heritage. His story is a testament to the enduring power of music to connect people across generations and communities, preserving traditions while embracing change.

Central to his career is his commitment to cultural and language preservation. His music maintains Creole and French roots and emphasizes traditional rhythms. His advice to young musicians to learn traditional ways underscores the lasting value of these cultural treasures.

In celebrating Preston Frank, we honor a musician who has played a vital role in preserving and promoting Zydeco’s rich cultural tapestry. His story is an inspiration, ensuring the legacy of the Frank family and the vibrant rhythms of Zydeco music endure for generations.

Preston will be accompanied by Kevin Wimmer, one of Louisiana’s foremost Cajun-style fiddlers. Kevin is originally from New York City. He started his music studies at the age of four with his mother, Shirley Givens, who was a violinist, teacher of children at The Julliard School in NYC, and developer of the Givens Method for Teaching.

Cajun music has been the focus of Kevin Wimmer’s career since meeting Dewey Balfa. He even lived with the Dewey Balfa’s family for a few months in the 1980s. After playing as a member of the California Cajun Orchestra, Wimmer relocated to Lafayette, Louisiana to become a founding member of the band, Balfa Toujours, with Dewey’s daughter, Christine.

Wimmer continues to play with Balfa Toujours, but has become a fixture in the Cajun music community and member or collaborator with a number of top bands and artists: Preston Frank,  Racines, Ann Savoy and Her Sleepless Knights, and Steve Riley and the Mamou Playboys, to name a few. Wimmer’s relationships with the members of those bands have led to a multitude of performances with virtually every Cajun artist in the Lafayette area.

While Kevin has not been a prominent solo recording artist, his violin and vocals are part of a long list of recordings which include the Good Ol’ Persons (bluegrass), the California Cajun Orchestra, the New Riders Of The Purple Sage, John Reischman, Kathy Kallick,and Balfa Toujours.