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Compas (also known as konpa or kompa) is a modern méringue musical genre in Haiti with European and African roots. that people have been dancing and singing since the 1800s. The genre was popularized following the 1955 creation of the ban Conjunto International by Nemours Jean-Baptiste. Compas is the main music of many countries such as Dominica and the French Antilles, etc. Whether it is incorrectly called zouk where French Antilles artists of Martinique and Guadeloupe have taken it or compas in places where Haitian artists have toured, this méringue style is very influential in the Caribbean, Africa, Cape Verde, Portugal, France, part of Canada, South and North America.

Etymology and characteristics

Compas is short for compas direct in French. In Creole, it is spelled as konpa dirèk or simply konpa. The popular botched spelling of kompa, results from a phonetic misunderstanding between French to Haitian Creole, as there is no m in front of a b or p and therefore an n is used instead.

The word “compás” in Spanish means “beat” or “rhythm,” and one of the most distinctive characteristics of compas is the consistent pulsating beat tanbou, a trait common to many styles of Caribbean music. Compas direct, literally means direct beat.

History

Nemours Jean-Baptiste presented his “Ensemble Aux Calebasses” in 1955 (named after the club “Aux Calebasses” located at Carrefour, a western neighborhood of Port-au-Prince; Haiti's capital where the band used to perform on weekends). Compas popularity took off likely due to the genre's ability to improvise and hold the rhythm section steady. Jean-Baptiste incorporated a lot of brass and easily recognized rhythms. Compas is sung in Creole, English, Spanish, French, Portuguese, etc. Nemours' popularity grew in and out of the country. Its clean horn section was remarkable and the band featured méringue tunes that gained instant popularity. For example, in Martinique, several music groups: Ensemble Abricot (bienvenue, festival compas), les djoubap's (Isabelle), combo jazz (electronique compas, pa gadem sou cote), Georges Plonquitte (vini dance compas direct), etc. have all within a year conquered the public with the many tunes or compositions of Nemours. Later Nemours became a favorite of Dominican president, Joaquín Balaguer who often contracted the band. This is why hits like "ti Carole", "Chagrin d'amour" featured by known Dominican stars Luis Miguel and others are also sung in Spanish.

In the late 50s Nemours and the Sicot Brothers from Haiti would frequently tour the Caribbean, especially Curaceo, Aruba, St Lucia, Dominica and mostly the French Islands of Martinique & Guadeloupe to spread the seed of the méringue-cadence or compas. Webert Sicot, the originator of cadence recorded three LPs albums with French Antilles producers: two with "Celini disques" in Guadeloupe and one with "Balthazar" in Martinique. Haitian compas or cadence bands were asked to integrate Antillean musicians. Consequently, the leading "Les Guais troubadours", with influential singer "Louis Lahens" along other bands, played a very important role in the schooling of Antilleans to the méringue compas or kadans music style. Almost all existing Haitian compas bands have toured these Islands that have since adopted the music and the dance of the méringue.

Dance style

The dance-style that accompanied konpa dirèk in the 1950s, was a two step dance called kare (square). As a méringue, a ballroom dance, compas is danced in pair. Sometimes partners dance holding each other tightly and romantically; in this case often most of the moves are made at the hips.

Mini-Jazz

The mini-jazz movement started in the mid-1960s, small bands called mini-djaz (which grew out of Haiti’s light rock and roll yeye bands of the early 1960s) played konpa featuring paired electric guitars, electric bass, drumset and other percussion, often with a saxophone. This trend, launched by Shleu Shleu after 1965, came to include a number of groups from Port-au-Prince neighbourhoods, especially the suburb of Pétionville. Tabou Combo, Les Difficiles, Les Loups Noirs, Les Frères DéJean, Les Fantaisistes de Carrefour, Bossa Combo and Les Ambassadeurs (among others) formed the core of this middle-class popular music movement.

From 1968 to the 1970s prominent bands like Bossa Combo, Les Shleu Shleu, Les Ambassadeurs, Les Vickings, Les Fantaisistes, Les Loups Noirs, Les Freres Dejean, Les Difficiles, Les Gypsies and mostly the majestic Tabou Combo have exerted a dominance on the Caribbean and many places in Europe and South America musical scene. For example, Tabou Combo has remained on the Paris hit parade for weeks with its "New York City" hit. Tabou did filled New York Central park in the same period.

These young (Haitian mini-jazz) musicians were critical in the creation of new technics that contribute to the fanciness of the style. Although Raymond Guaspard (Nemours) had already started it in the 50s, however, guitar players such as Corvington (Les Corvington), Robert Martineau (Les Difficiles/Gypsies/Scorpio/Topvice...), Dadou Pasket (Tabou combo/Magnum Band), Jean Claude Jean (Tabou Combo/Super Star...), Serge Rosenthal (Shleu Shleu), Ricardo/Tiplum (Les Ambassadeurs)Claude Marcellin (Les Difficiles/D.P. Express/Zèklè...), Police Nozile (Les Frères Déjean/D.P. Express...) and many more have created intricate mostly rhythmic guitar styles that constitute a strong distinguishable feature of the méringue.

In the 1970s, mini-djaz moved back toward the jazzy origins in Haiti by returning to a commonplace implementation of a horn section. This distinguished popular méringue bands from mini jazz at the time, as most serious méringue players strayed away from the use of large brass. Exile One, a very famous and influential kadans group who had their beginnings from the early 1970s, was a practitioner of mini-djaz from the start. They utilized synthesizers and a full horn section that inspired the trend toward returning to a heavy brass effect. They also proved that, with good musicianship, even something as structured and traditional as kadans can be molded into a new and exciting sound. With a fresh and renewed sound, mini jazz inspired newfound attraction and landed some local hits. In the mid-1980s, this tapered off to an extent – but today, the genre can still be found in Creole communities. To hear the best of the scene’s offerings, one might head to Port-au-Prince in Haiti, other neighboring Caribbean islands, New Orleans in the U.S., or the right parts of France.

Méringue-compas or cadence and its derivatives

Today the méringue-compas, deeply rooted in many countries, has influenced many music styles and been called other names:

Cadence-lypso

Cadence-lypso is the Dominican kadans of the 1970s. The leading figure in the promotion of the Cadence-lypso was the Dominican group Exile One (based on the island of Guadeloupe) and Grammacks that featured the Haitian cadence rampa and the Trinidadian calypso hence the name cadence-lypso; however, most of the bands repertoire was kadans

This fusion of kadans and calypso accounts only for a small percentage of the band's repertoire: Exile One like all Dominica kadans bands featured reggae, calypso and mostly kadans or compas music.

The Dominican kadans has evolved under the influence of Dominican and Caribbean/Latin rhythms, as well as rock guitars, soul-style vocals and funk bass and horn styles - music from the United States. By the end of the 1970s, Gordon Henderson defined Cadence-lypso as "a synthesis of Caribbean and African musical patterns fusing the traditional with the contemporary". It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim.

The full-horn section kadans band Exile One led by the talented Gordon Henderson introduced the newly arrived synthesizers to their music that other young cadence or compas bands from Haiti (mini-jazz) and the French Antilles emulated in the 1970s.

Soca

The Calypsonian Lord Shorty of Trinidad was the first to really define his music "soca" and with "Indrani" in 1973 and "Endless Vibration" (not just the song but the entire album) in 1975, calypso music really took off in another direction. Later in 1975 Lord Shorty visited his good friend Maestro in Dominica where he stayed (at Maestro's house) for a month while they visited and worked with local kadans artists. You had Maestro experimenting with calypso and cadence ("cadence-lypso"). Sadly a year later Maestro would die in an accident in Dominica and his loss was palpably felt by Shorty, who penned "Higher World" as a tribute.

In Dominica, Shorty had attended an Exile One performance of cadence-lypso, and collaborated with Dominica's 1969 Calypso King, Lord Tokyo and two calypso lyricists, Chris Seraphine and Pat Aaron in the early 1970s, who wrote him some kwéyòl lyrics. Soon after Shorty released a song, "Ou Petit", with words like "Ou dee moin ou petit Shorty" (meaning "you told me you are small Shorty"), a combination of calypso, cadence and kwéyòl.

Soca's development includes its fusion of calypso, cadence, and Indian musical instruments—particularly the dholak, tabla and dhantal—as demonstrated in Shorty's classic compositions "Ïndrani" and "Shanti Om".

Zouk

The inspiration for Zouk's style of rhythmic music comes from the Haitian compas, as well as music called cadence-lypso - Dominica cadence popularized by Grammacks and Exile One. Elements of gwo ka, tambour, ti bwa and biguine vidé are prominent in zouk. The French Creole tongue of Martinique and Guadeloupe is an important element, and are a distinctive part of the music.

Ethnomusicologist Jocelyn Guilbault believes zouk's evolution was influenced by other Caribbean styles especially Dominica cadence-lypso, Haitian cadence and Guadeloupean biguine. Zouk arose in the late 1970s and early 1980s, using elements of previous styles of antillean music, as well as importing other genres.

Today, Zouk is the French Antilles cadence or compas music.

Kizomba

Kizomba music was born in Angola (in Luanda) in the 80’s following the influences of traditional semba and the French Antilles compas music. Unlike Semba, Kizomba music is characterised by a slower and usually very romantic rhythm. A lot of people are confused about the origins of Kizomba music and wrongly believe it comes from Cape Verde because of their important role in Kizomba music production today. Typical music styles from Cape Verde are funana, morna, coladeira and batuque. Thanks to the French Antilles compas and the strong influence of Kizomba (from Angola), Cape Verdian singers could develop their own version of zouk (mixing it with coladeira) known as cabo love, cola-dance, cola-zouk, cabo-swing, cabo zouk, etc. Moreover, every lusophone country has developed its own Kizomba music flavour.

Coladeira

There is a strong compas influence in Cape Verdean music. During the 60s-80s Haitian artists and bands such as Claudette & Ti Pierre, Tabou Combo and mostly Gesner Henry alias Coupe Cloue and the Dominican group Exile One were very popular in Africa. Exile One was the first to export cadence or compas music to the Cape Verde islands. Cape Verdeans artists have been exposed to compas in the USA and France. In addition, the French Antilles band kassav and other French Antillean musicians, which main music is compas toured the islands in various occasions. Today, the new generation of Cape Verdean artists features a light compas close to Haitian and French Antillean compas music. The talented Tito Paris "dança mami Criola" 1994, is a good example; this CD featured music close to Haiti Tabou Combo, Caribbean Sextet, Exile One, Tropicana and French Antilles Kassav, etc.

Notable compas artists

• Nemours Jean-Baptiste
• Ensemble Webert Sicot
• D.P. Express
• Exile One
• Grammacks
• Kassav'
• La Perfecta
• Les Difficiles de Pétionville
• Les Frères Déjean
• Les Gypsies de Pétionville
• Les Leopards
• Les Loups Noirs
• Les Scorpio
• Les Shleu Shleu*
• Magnum Band
• Scorpio Universel
• Skah-Shah#1
• T-Vice
• Tabou Combo

See also

• Cadence rampa
• Cadence-lypso
• Caribbean music
• Haitian Carnival
• Méringue
• Zouk

References

1. ^ Hall, Michael R. (2012). Historical Dictionary of Haiti. p. 69. ISBN 9780810878105. Retrieved 2 December 2014.
2. ...The meringue-apparently a close relative, if not a descendant of the carabineer-had emerged as Haiti's predominant secular dancep73...the carabineer, which in both salon and rustic folk forms, acquired the status of a national dance in the early 1800, even though it was frequently condemned by the Eurocentric elitep72-73.Peter Manuel, Musics of the Non-Western World, University Press 1988,
3. Manuel, Peter (2006). Caribbean Currents: Caribbean Music from Rumba to Reggae (2nd edition). Philadelphia: Temple University Press. ISBN 1-59213-463-7.
4. Gage Averill (1997). Caribbean Current: A day for the hunter. A day for the prey. Chicago and London: The University of Chicago Press.
5. Peter Manuel, Musics of the Non-Western World, University Press 1988, p72-74
6. "Haitian Creole-English Dictionary with Basic English-Haitian Creole Appendix" (PDF). Retrieved 6 March 2014.
7. Stone, Michael. "FRoots Review" (PDF). p. 55. Retrieved 2 December 2014.
8. All Music Guide, compas direct
9. Haiti, Guadeloupe, Cabo Verde and others
10. Dominique Janvier, introduction on Nemour' album cover 1980, long vie to Nemours
11. Tambour Battant p85
12. All Music Guide 1994, compas direct
13. A Day for the Hunter, a Day for the Prey: Popular Music and Power in Haiti. Retrieved 20 March 2014.
14. Peter Manuel, Popular Musics of the Non-Western World, Oxford University Press 1988: (Nemours Jean-Bapstiste adapted the méringue to mambo-style big band instrumentation and rhythmic patterns, coining the term compas direct for his innovation. For his part, Webert Sicot is credited with popularizing the rubric cadence for his similarly modernized meringue)
15. Peter Manuel, Jocelyne Guilbault and many more have spoken about the mini-jazz in the books
16. AMG 1994
17. ^ Bloomsburry Encyclopedia Popular music of the world. Exile One and Cadence-lypso. Retrieved August 10, 2010.
18. By Paul Crask. "Zouk -Dominica". The Dominican. Reprinted from National Geographic. Retrieved August 10, 2010.
19. Grammacks: mediba (kadans), banana (sweet kadans), ou pa bon, (kadans), ou pitit (kadans), reggae down, disco live (kadans) this same tune is categorized as zouk retro by Deejay Zak (midlay kadans 11/24/2011) Exile one: akiyaka, gade deye...(Midnight) get ready 1997, etc.
20. "Cadence-lypso". Adventure guide. Retrieved December 3, 2005.
21. haitianmusic.net. popular-haitian-music. Retrieved August 10, 2010.
22. Caribbean and Latin America. Introduction of digital technology. Retrieved August 10, 2010.
23. "origin of soca Music". socawarriors. Retrieved December 3, 2005.
24. ^ Jocelyne Guilbault. Zouk: world music in the West Indies. Retrieved April 10, 2012.
25. Kuss, Malena. Music in Latin America and the Caribbean: An Encyclopedic History REANNOUNCE/F05: Volume 2: Performing the Caribbean Experience. University of Texas Press. p. 302. ISBN 0292784988. Retrieved April 10, 2012.
26. Guilbault, Jocelyne (1993). Zouk: World Music in the West Indies. p. 111. Retrieved 20 January 2014.
27. Jocelyne Guilbault. Zouk: world music in the West Indies. Retrieved August 10, 2010.
28. "Origin of kizomba". www.kizombalove.com. Retrieved December 3, 2005.
29. "Cabo zouk". Transnational Archipelago: Perspectives on Cape Verdean Migration and Diaspora. Retrieved December 3, 2005.
30. In the 1960s the coladeira emerged as a more lively, upbeat counter-part to the morna The coladeira is performed in fast duple meter, accompanying informal pop-style couple dancing. its primary influences appear to be an obscure folk processional music by the same name, Afro-American commercial music, the morna, and most important, modern French Caribbean pop...more often it is played by a modern dance band, that is, with drums, bass, electric guitars, and the like. Peter Manuel, Popular Musics of the Non-Western World,p95. Oxford University Press 1988
31. ...Aculturation has been further promoted by the growth of overseas communities (especially in New England) whose population now exceeds that of Cape Verde itself (around 300,000).Peter Manuel, Popular Musics of the Non-Western World,p95. Oxford University Press 1988

External links

• Experience Haitian music on Mizikpam Internet Radio

• Haitian music
• Caribbean music genres