Like the song don’t sound nothing like Joe dwet file what is he suing for exactly

🔥🔥🔥🔥🔥🔥🔥🔥🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🕺🏾🕺🏾🕺🏾💃💃💃

haiti

#TVICE KITEM MONTREW

T-VICE x PHYLLISIA ROSS - "Kite'm Montre'w" official VIDEO!

MIXTAPE KOMPA GOUYAD 2021 - DJ ROOD MIX HAITI

Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!

Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil ́s oldest bands, founded in 1874. 

At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.

To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band "Jazz Orquestra os Azes do Ritmo" with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion – as we are witnessing on this record – had explosive effects.

His fresh new sound became the soundtrack to Cametá's legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó’s shows became notorious. In an interview one of his band members explains: "Whenever there was a party – on a Saturday for example – and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn’t understand how that was possible, but it certainly was amazing."

After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela", included on this record, became instant hits. A year later, "Mingau de Açai", one of Cupijo ́s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.

He then created "Concurso de Musicas Carnavalesco de Compositores Cametaenses”, a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, "Musicolor", to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people’s music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.
Master Cupjó, the pillar of Pará's festive culture, and a humble pop icon who was ushered prominently into the country’s history books, passed away on 25 September 2012, at the age of 76.

We at Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums. We hope that his music captivates you with the magic and bewilderment that is has us. We recognise his compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó........ Segura!!!

Mingau de Açai - Mestre Cupijo (OUT NOW)

"Ou Fè Kèm Poze" Manno Farinen X Natacha ZuZu

caroline HAITI TROUBADOUR EN CONCERT LIDO BOSTON 3-30-03

Byenvini sou chanèl la *O.J ÉCLAT PROMO*, abone pouw pa rete tout Mix DJ YAMS yo se la wap jwenn yo.
Pa ezite pataje l tout kote nou konte sou èd ou, ansanm chay pa lou 🙏🙏🙏🙏

MIX KOMPA FÈM VOYE 2022 By DJ YAMS HAÏTI 🇭🇹

The Global Zoe & Herold - Fem Voyé (Joey Dwet File (Remix)
For More Info & Booking:
(914) 996-6867 & (718) 313-6867
booktheglobalzoe@gmail.com
Instagram I Facebook I Twitter: @TheGlobalZoe @HeroldGuitar
www.TheGlobalZoe.com I www.Zoumpa.com

The Global Zoe & Herold - Fem Voyé (Joey Dwet File Remix)

Order <i>Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds, 1960-1978</i>, out now on Strut:
<a href="http://georiot.co/5oB">iTunes</i> • <a href="http://georiot.co/3ZL">Amazon</a> • <a href="http://bit.ly/HaitiDirect_StrutStore">Strut Store</a>

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]

Bedjine - M Anvi Bo W & Joe Dwet - Pozisyon & Kenny - Woulib & Roody Roodboy - Dous Pou Dous Ect..

Djakout #1 - Libre D'aimer (2014)

New "hit single" from King Frantz (Model Konpa) 
Take It All - Model Konpa
New "hit single" from King Frantz (Model Konpa) 
Take It All - Model Konpa
New "hit single" from King Frantz (Model Konpa) 
Take It All - Model Konpa


Fabrice Rouzier - JE VAIS

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