From Haiti Direct, compiled by Hugo Mendez of Sofrito. Out now on Strut Records.
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Founded by saxophonist Carmin Bichotte in the summer of 1967 in the Carrefour suburb of Port au Prince, Les Fantaisistes celebrated their more egalitarian roots and promoted themselves in opposition to the more uptown milieu of groups like Les Shleu Shleu, scoring numerous hits with lead singer Ricot Mazarin. The spaced-out "Panno Caye Nan Bois Chêne" - with vocals by Haitian singer and poet Ansy Derose - is taken from an album recorded whilst on tour in Guadeloupe in the early 70s and riffs on the local biguine rhythm to haunting effect.

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Les Fantaisistes de Carrefour - Panno Caye Nan Bois Chêne [from Haiti Direct]

Nova - Coffret Danse

Inflacion

Order Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds, 1960-1978, out now on Strut:
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From the liner notes:
Super Jazz des Jeunes are an institution of Haitian music. Headed by saxophonist and arranger Réné St. Aude, they developed what they termed ‘Voudou Jazz’, blending traditional folk songs and rhythms with big band arrangements – something also promoted by the more uptown orchestra of Issa el Saieh. First coming together in the early 1940s, the Jazz des Jeunes were 20-year veterans when “Coté Moune Yo” was recorded and represent a side of Haitian music that pre-dates – and at the time opposed - the compas explosion.

Sung by Gerard Dupervil, “Coté Moune Yo” is a big band setting of a traditional Haitian folk song, adding the traditional vaksin to the line-up.

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Super Jazz Des Jeunes - "Cote Moune Yo" [from Haiti Direct]

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From the liner notes:
Led by charismatic singer Gardner Lalanne, Les Loups Noirs (The Black Wolves) were extremely popular in the '70s, touring extensively and recording across the Caribbean and in New York and Paris. "Pile Ou Face" (heads or tails) is an uncharacteristically experimental instrumental that layers saxophones and swirling organ over a rolling compas beat - a great demonstration of the way that the timbales and percussion sections of the big bands were being replaced by stripped-back cowbell and kick drum at the beginning of the ‘70s.
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Les Loups Noirs - "Pile Ou Face" [from Haiti Direct]

EDGARD DEPESTRE
Saxophone, flûte	Maestro
RAYMOND GUILLAUME
Saxophone
GERARD JEAN-BAPTISTE
Trompette
JOSE TAVERNIER
Chant, tambour
MICHEL LARAQUE
Guitare
BOULO VALCOURT
Guitare, chant
LIONEL ORIOL
Contrebasse
JEAN-ALIX LARAQUE
Batterie
REGINALD POLICARD
Percussions
SONY SERAPHIN
Percussions

IBO COMBO - Ti Gacon

LES VIKINGS D'HAITI - OSS 117 Opération Vikings (Antilles / West Indies / Latin)

OSTINATO RECORDS PROUDLY PRESENTS

OSTLP/CD001

TANBOU TOUJOU LOU: MERINGUE, KOMPA KREYOL, VODOU JAZZ, & ELECTRIC FOLKLORE FROM HAITI 1960 - 1981

COMPILED & CURATED by VIK SOHONIE

"What a superb compilation this is. This might be the most surprising compilation of 2016 yet." - Songlines Magazine

ORDER NOW: 

Bandcamp: http://bit.ly/1Oh3k6s

Amazon: http://amzn.to/2aEWE49

iTunes: http://apple.co/2apEMFT

Available on 2xLP Gatefold, CD, and Digital.

Selected from an array of private collections and radio archives in Brooklyn, New York, and multiple digging trips in Port-au-Prince, Jacmel, Gonaives, and St. Marc, Haiti, are twenty tracks that encompass the vast diversity of styles during the seminal years of musical innovation and percussive potency in Haiti. From the legendary, elegant big band dance parties in iconic nightclubs of Port-au-Prince to the rhythms of the countryside; from accordion-driven meringue and Vodou-derived drum patterns, to hypnotic tenor sax arrangements and psychedelic interpretations of folklore, the music of 1960's, '70's, & '80's Haiti enjoys a royal repute across the Caribbean, West Africa, and the Colombian coast. 

In the golden era of Haitian music, between the 1960s and 1980s, experimentation and electric reinterpretation of traditional rhythms was rife, along with the sophisticated balancing of a host of influences. There’s the jazz-era instrumentation, brought during the early 20th century American occupation, which introduced horn sections to Haitian ensembles. Cuba, cultural imperator of the Afro-Atlantic and perennial ally of Haiti, imbued Meringue, Mambo, Son, Guajira, Charanga, and a slew of Afro-Cuban styles into the Haitian repertoire. Accordion-driven Colombian Cumbia and Dominican Merengue left their mark. A melting pot of sound was all held together by the countless rhythms, drum patterns, and percussion brought across the Atlantic from Africa, surviving slavery’s violent cultural repression. 

Nago rhythms from what is today Nigeria and Benin, Kongo rhythms from Central Africa, and Petwo rhythms from the Vodou traditions of Guinea, among many others, were revived and given special importance in an age of black consciousness, driven by the Negritude and Noiriste philosophies of Afro-Caribbean intellectuals like Jamaica’s Marcus Garvey and Martinique’s Frantz Fanon and Aimé Césaire. 

The lasting result is a rich, layered terrine that spawned Haiti’s Cuban-inspired Meringue, the dominant Kompa Direct of Nemours Jean Baptiste, the silky tenor sax-led Cadence Rampa pioneered by Webert Sicot, psychedelic Mini Jazz, and the dancefloor-filling Vodou Jazz compositions of de-facto national orchestra, Super Jazz de Jeunes. At its peak, Haitian music was widely distributed, proliferating its unique blend of sound across the Francophone Caribbean and West Africa. 

Recordings capturing this vibrant laboratory of colliding influences were produced and pressed in Haiti, the United States, France, and elsewhere in the Caribbean. Huge catalogs from the heavyweight record labels of the time—IBO Records, Marc Records, and Mini Records—and the smaller, private presses have largely been gathering dust and bugs, left to warp in the damp humidity... until now.

"Aprè dans, tanbou toujou lou (After the dance, the drum is always heavy.)"

CREDITS: 
PRODUCTION, CURATION, RESEARCH, & LINER NOTES: Vik Sohonie / New York, NY
MASTERING ENGINEER: Michael Graves / Atlanta, GA 
GRAPHIC DESIGN: Pete White / London, EN
PHOTO RESTORATION: Artisan Photo Restoration/ New York, NY
CD COVER DESIGN: Kathi Remest / Berlin, GE
MANUFACTURING: AtoZ Media / New York, NY 
LEGAL: Savur Threadgold LLP Law / New York, NY 

SPECIAL THANKS to Samuel Merizema, my friend and guide in Haiti, whose resourcefulness and hard work made this compilation possible. 

 © & ℗ Ostinato Records 2016. All Rights Reserved. Unauthorized duplication or distribution of this sampler is prohibited.

Buy Now

TANBOU TOUJOU LOU: MERINGUE, KOMPA KREYOL, VODOU JAZZ, & ELECTRIC FOLKLORE FROM HAITI 1960 - 1981

HAITI CUMBIA - NEMOURS JEAN BAPTISTE (1969)

Afin de célébrer ses 10 000 fans sur Facebook, le collectif Mawimbi vous offre le premier volume des compilations Radio Mawimbi, en référence aux sessions radiophoniques du collectif sur les ondes de notre petite soeur Rinse France, dédiées à l’exploration de courants plus anciens des musiques africaines et caribéennes.

Ce premier volume contient donc 7 edits par la fine fleur de la scène internationale des diggers de musiques tropicales ! Soca trinidadienne, kompa haïtien, groove mandingue ou encore shangaan disco sont revisités pour ravir vos oreilles curieuses et rythmer vos nuits de danse effrénée. Le premier morceau vous est offert par Le Mellotron avec le titre de Tabou Combo revisité par Around The World.

En précommande dès maintenant pour 1€ sur leur Bandcamp › http://bit.ly/2luJ4lA

Mawimbi
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Tabou Combo - M'enragé (ATW edit) - Radio Mawimbi Vol.1 (Official Audio) | LeMellotron.com Premiere

haiti-congo connection. les shleu shleu du haiti's melting version of Franco et OK Jazz song, one of my fav tunes. killer!

les shleu shleu du haiti "cafe"

Founded in 2018 by DJ and Producer Déni-Shain & Thomas Vicente, Atangana Records is the fruit of a friendship and an unlikely alliance between Déni, a true digging globe-trotter, who has spent over twenty years traveling the world in search of artists and uncovering tropical hits, and Thomas an entrepreneur, who reached beyond his career in hospitality, to make a move on his and Deni’s passion for tropical music.
« MIZIK SOLEY SA BON » is the first volume of a tribute to the great Guadeloupean producer Henri Debs by Atangana Records & Henri Debs & Fils.
It is the result of a meeting which led us to listening to over 1400 hours of music, exploring the discographie of a visionary  inside his very own mythical studios.
Digging and putting together these 4 titles, the Atangana team really wanted to put the focus on the work of the producer. Producing a disque is always a rich human experience, Henri started his carrier as a perfume street seller  (poster of the maxi) during the week and doing gigs with his friends the week-end, he understood this right at the time.
The goal of this collaboration is to restore and re-edit the rare titles of Debs releases. In order to carry out this 3-year project, Atangana will be settling down at Henri Debs & Fils in Pointe à Pitre in September

Atangana Records 2019
Artwork by : Krokodil Deumildouz (WoozMoon – kofi deux mille)
Mastered by : MB Mastering 
Distributed by : The Pusher Distribution

ATGN004 A2  Les Maxel's - Bail Ti Bouin Z'oizo

Nominated for a Grammy and the German Record Critics Prize. Get BEJA POWER! Now —> https://ostlp.lnk.to/beja

HAITI CUMBIA - NEMOURS JEAN BAPTISTE (1969)

Ostinato Records

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