#Www haitian musique com plus
In Miami Brutus never stop caressing the dream of keeping some of the pieces alive and had moved on with some attempts like the Zenglen Plus and a few solo albums in the 1990’s. In the song “Fidel” the band said: “Sé konsa se konsa se konsa la vi ya ye lè ou vle met chanjman reziztans tèt chaje.” Unfortunately after a U.S tour most of the band’s members abandoned ship and the band broke up into pieces like a real Zenglen. The Konpa world was introduced to their new found stars like the guitarist and singer Brutus Derissaint and the lead singer Gary Didier Perez among others. Zenglen became one of the wonders of the early 1990’s as they released the hit song “Fidel” off of the album “An Nou Alèz.” In the song the band said that “change” is never easy and always faces obstacles, and resistance, but that they pledge to remain faithful (Fidel) to their mission which is to improve and modernize the Konpa rhythm. Once completed, they took some tapes to several radio stations where hosts and listeners would become fans and fall in love. In 1989, the trio recorded “Koule Tan” (the color of time). They all exclaimed ZENGLEN (which means tiny pieces of broken glass) and from that day on this was their band’s name. The guys laughed at the fact that Patrick would have a hard time cleaning up the many tiny pieces off the granulated floor. During one of their rehearsals, some beer bottles fell off an amplifier that was vibrating and shattered into a million pieces. They would meet every afternoon to listen to all genres of music and interpret their favorites. Garry Didier Perez (lead singer) and his friend Patrick Martineau, often noticed him and one day invited him to come over Patrick’s house. Every afternoon, a young Brutus Derissaint (guitarist and singer) would sit on his front porch and play the guitar.
El folklorista, etnógrafo y etnomusicólogo Harold Courlander, conocido por su importante trabajo inicial que documenta la ”vasta literatura hablada, los bailes, la música“ de los campesinos haitianos, lanzó estas grabaciones de campo de los pueblos de las montañas de Haití antes que casi cualquier otra de las grabaciones estuvieran disponibles.It was the 80’s, a quiet suburb of Port-au-Prince, where three friends who were destined to make history in Haitian music met.
Los ritmos son dichos para chofé (o calentamiento) de jugadores y oyentes por igual, inspirando tambores y bailes cada vez más apasionados. Tocan el manman, moyen y tambores bébé de vudú, una práctica religiosa y cultural organizada, a menudo tergiversada, que valora la comunión con la tierra y el respeto por la comunidad. Gotas de sudor ruedan por la frente de los musculosos tamboristas que nunca se cansan. Folklorist, ethnographer and ethnomusicologist Harold Courlander, known for his important early work documenting the “vast unwritten literature, dances, music” of the Haitian peasants, released these field recordings from the mountain villages of Haiti before nearly any other recordings were available. The rhythms are said to chofé (or heat up) players and listeners alike, inspiring increasingly impassioned drumming and dancing. They play the manman, moyen and bébé drums of vodoun, an often misrepresented organized religious and cultural practice that values communion with the land and respect for the community. Beads of sweat roll from the brows of muscular drummers who never tire.
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