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back, so I’m working on it and as I’m doing it, I’m incorporating it into my song writing from now
on and that way it will help me to learn. I learn in the field; I learn as I go.

BiTS: I love that. Most interesting, intriguing, rather than interesting, track on the album for me
is ‘Flip Flop and Fly’, which of course, is an old big band tune. What made you do that?

CL: Again, this is the music that my family was playing at that time. Big band stuff, horns, boogie-
woogie style stuff and I just want to incorporate that. That’s what my family did for many many
years and I feel a spiritual connection even though I’ve never met them, and I probably won’t meet

them until I make it to the pearly gates [chuckles]. It’s like a connection. It’s like me speaking to
them through music and through the music that they played in their time and I’m going to continue
to do that as well, as we go on.

BiTS: Do you have a favourite track on the album, Corey?

CL: Oh, let me see. I like the last song which is entitled
‘Arèt tô trin’, which in Kouri-Vini means stop your noise.
Basically, that term means, when they say stop your noise
around here that’s like if somebody bussing a lot and
they’re just running off at the mouth and they’re bussing,
bussing, bussing and you want to tell them to shut up.

Another way to tell them is stop your noise and we would
say arèt tô trin. It’s kind of a funny thing around here,
that’s how we talk [chuckles].

BiTS: That’s absolutely wonderful. Any other favourites?

CL: Let’s see there’s that one. I really like the cover of the Fats Domino song which is ‘I’m
Walking’ and we flipped it, we put it in Kouri-Vini.

BiTS: Absolutely wonderful stuff. Tell me something, have you got dozens and dozens of
accordions around your house, or do you just play on one or two?

CL: Oh no. I’m definitely an accordion junky. I’ve got probably maybe almost 30 of them laying
around [chuckles]. Yeah.

BiTS: Oh really. They’ve all got different aspects to them, I guess.

CL: Yeah, what I try to do, I try to have like maybe two or three main ones of different styles. For
the single-row, the diatonic accordion, I try to have maybe my three main ones and then the same
thing for the 3-row and the piano. The reason being is because if I’m playing somewhere and one
breaks, and has to go to the shop for however long, I still have a good one that I can go do another
job.

BiTS: That makes a great deal of practical sense. That’s a wonderful idea.