CD Review no. 62 | All CD Reviews

If one were to characterize the year 2002 in Haiti in musical terms, we could, without hesitation, say that it was the year of "Twoubadou" revolution. Indeed, with the introduction of their " Twoubadou style " of music, starting with their Blakawout Cd, Fabrice Rouzier and Kéké Belizaire launched one of the periodic upheaval which, since the 50s, has been occurring in Haitian Konpa dirèk on an average every 10 to 15 years or so. It is now difficult to keep count of the many " Twoubadou " CDs that have been released in. Yes, quite a few, but none sounds like the original Haiti Twoubadou. F. Rouzier , K. Bélizaire and Co. have given the group a unique sound which sets it apart from everyone else. The eagerly awaited third volume of Haiti Twoubadou gives ample proof of that.

Rouzier and Bélizaire and Co. have a way of harmonizing their music which, to me, shows a keen sense of creativity that I always like in a musician. Volume 3 of Haiti Twoubadou offers the same infectious cadence which makes you move despite yourself.

The album opens with a nice surprise. James Germain, with his stentorian voice, gives a nice rendition of the national anthem, " La Dessalinienne ", and the second surprise is a wonderful arrangement of Bob Marley's Turn your lights down low. The rythm is just right and the background vocals is excellent. Listen to how a series of breaks is harmoniously incorporated throughout the song with such accuracy !. A large number of singers also collaborated on this CD and as far as I am concerned, the raconteur Tonton Bicha with his northern accent , is an absolute hit. He is just hilarious and you can feel the musicians having a lot of fun with him in the recording studio. Haitian Rapper Black Alex is also excellent. In sum, Rouzier and Bélizaire put together an excellent cast of singers who do a wonderful job.

What sets Haiti Twoubadou apart from everyone else is the way it harmonizes its songs. Listen for example to Tune No. 4 or No. 5 or 6 or 7 etc. Each song is a gem. I enjoyed Tune No. 5 among others for its rythm and the melody. I like the way Black Alex comes in, taking over the melody. Speaking of harmony, listen in the middle of the rapping section, the voices breaking in with a gospel-blues tint. That is creativity at its best. Although I am not a great fan of too much electronic sound in the songs, I must say that the voice synthesizer is quite well utilized here.

Pay particular attention to Tune No. 9, Haïti chérie, written and sung by Jacques Sauveur Jean (Jackito). I love how the flute introduces the classic melody " Haïti chérie " in that song and plays the melody in a minor key instead of the traditional major key. The harmony is exquisite. Of particular interest also is Tune No. 10, a medley of Haitian traditional songs sung by James Germain. The arrangements are modern, sophisticated, subtle, sensitive, complex. I love the violin lines as well as the flute. I do not know of any other Haitian singers with a more powerful voice than that of James Germain.

I found Haiti Twoubadou-Volume 3 a much more sophisticated CD than the first ones, and as entertaining. Listening to it more than once allowed me to pick up the many nuances and everytime, the music sounded richer. I am already eagerly awaiting Vol. 4, although it is not fair to be saying that so soon after the release of Vol. 3.

If you have not gotten your copy of Volume 3, it is high time that you do so; this is a must in your collection of Haitian Twoubadou music. In my book, Haiti Twoubadou has a unique sound among all the other groups playing Twoubadou style.

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Yes, this is the year of Twoubadou music and you know that Fred Paul and Mini Records would not let this movement pass them by. Mini Records has just released two volumes of Twoubadou music under the title of Klasik Twoubadou. Even though the style is different from that of Haiti Twoubadou, I find them very good. These 2 CDs are immensely entertaining and they take you back memory lane. There are tunes from Anilus Cadet, Dodof Legros, Koupe Kloue, Ti Paris, Jazz des Jeunes, Aux Calebasses, Raoul Guillaume and so many more. The musicians do an excellent job of these songs.

I was happy to hear the voice of Gina Dupervil on Volume 1. There has been a real dearth of solo albums by Haitian female singers, as if they seem to have disappeared from the scene, unless they are with another group. She sounds so harmonious on Tune No. 2 of Volume 1.

In the liner notes, Fred Paul dedicates these 2 volumes to the master of the Troubadour genre, and this is a nice gesture to their memory. He put together a group of musicians who really do justice to the music. Interestingly enough, there are even some Cuban musicians who feel at ease playing this music.

Klasik Twoubadou - Vol. 1 and 2, is a necesary addition to your collection of Twoubadou Music. In my own musical point of view, I dare say that Haïti Twoubadou (Vol. 1,2 and 3) and now, this Klasik Twoubadou, are the best of Twoubadou music I have heard so far. So I urge to stop by your CD store as soon as possible. You will thoroughly enjoy them.

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Changing gear, we go now to Zenglen's latest release, Nou pèdi Fren, a Konpa Dirèk CD.

Folks, there are many groups who play Konpa dirèk, but, as far as I am concerned, few play as good Konpa as Zenglen is playing these days. The band shows a maturity which is unusual for a so-called New generation group. The harmony is solid, the rythm section is excellent, the harmony is just right and you can hear how settled the band is. I sure hope it can continue on that path.

Another characteristic of the group is the originality introductionsto their songs. It sounds natural. Listen for example to Tune No. 1 , 2 or 3. And most important also are the lyrics to their songs, contrary to so many other groups who seem to write the lyrics to their songs as an afterthought. You can see that Zenglen puts as much emphasis on the lyrics as on the melody. The group also has a flair to come up with a series of beautiful melodies which stick to your mind and you end up walking around and humming them everywhere. Whether the them is love, romance, Haiti, or some other social issue, there is depth and meaning. I applaud the group for that.

Tune No. 6 is played on a Twoubadou beat which is skillfully harmonized. Sung in English and Spanish, it is a pretty, haunting melody enhanced by the vocals. I like the way the piano plays in the background and the flute does its piece.

To tell you the truth, I have many favorites on the CD, but if I were to highlight one song, it probably would be Tune No. 11, Pou Man Man'm, written by the drummer Richie. The poignancy of lyrics seems to indicate that this song is a highly personal tribute from the drummer to his mother.

In short, this is an excellent Konpa CD which shows that Zenglen is not slowing down at all. The group plays a tight, solid Konpa beat which sets it apart from the others. I also appreciate the fact that the brass sound is natural, nothing electronic, except for the voice synthetizer, which it uses skillfully on one song.

Should you be looking for a good Konpa dirèk album for the holidays, go no further. This latest Zenglen CD is your choice. Go to your CD store without delay to get copy. You will love it.

Serge Bellegarde
For Windows on Haiti
January 2003