Compas (konpa) 53th Anniversary.

By Scheeler & Rene Devis , Heritagekonpa Magazine

July 26, 1955 - July 26, 2008

July 26 marks 53 years since Nemours Jean Baptiste founded Compas Direk, the bedrock of Haitian music.

From every Haitian history books to every Compas-oriented boutiques, from the first black republic to every corner record store in the Diasporas, Nemours Jean Baptist , Webert Sicot, andthe Compas Direk pioneers have been immortalized in the World of Compas " Konpa" Music.

Heritagekonpa Magazine celebrates Nemours Jean Baptiste and all the great Compas pioneers who have significant contributed to this great cultural heritage-- Compas (Konpa)Direk-- Haiti's national music (unofficially).

"The most genial music in the Caribbean may well be Haitian konpa, big-band dance music with an easygoing midtempo lilt and an endless supply of sunny rifts.The music has survived on Haiti since the swing era, even as compas has turned intoknpa and been rearranged for guitar bands", wrote JON PARELES of the New York times.

Disclosure: All the information published in this article are based from interviews conducted with Compas pioneers, historical accounts from a number of Haitian authors, and Dr. Gage Averil Book's "A Day for the Hunter, A Day for the Prey". It is important to note that some of the dates printed in this article might not be exactly accurate, since there's no existence of a national Haitian archives to verify factual information.

Nemours Jean Baptiste and the Compas Pioneers.

Nemour Jean Baptiste is credited with creating Compas (konpa) Direk, a style of Haitian music. The BBC has described him as Haiti's most influential band leader.

Compas Direct, the most popular of Haitian music- was indeed created by Nemours Jean Baptiste (born in February 1918), a virtuoso saxophonic. From an historical and logical perspective, Nemours alone did not create Compas Direk. He had the enlisted help of some of the greatest Haitian musicians, which included virtuous saxophonic Weber Sicot (born in 1930), Julien Paul, and the Durosseau brothers who founded the first Compas band, Conjunto International on July 26, 1955.

Compas Direk's first band also featured prominent musicians such as Monfort Jean-Baptiste, Anilus Cadet, Mozard Duroseau, Colber Krutzer Duroseau, and Richard Duroseay who came later on.

The early history of Haitian music began with the formation of big band orchestra and folklore musicians and/or groups which included Septentrional ( celebrating 60 years of existence), Jazz Des Jeunes, the Guinard brothers, Atomic, Tana, Titato, Maison Ante, Zobola, Diabolo, SAE orchestra, Les Etoiles, Ti Paris, Nirvana, Altchery Dorival, Gary French, Marcele Augustin, Richard Durossau  Lumane Casimir, Yvon Luissain, and Meridionale des Cayes to enumerate just a few. In the 1940's and 1950's, a number of Haitian bands could be found playing all styles of jazz and big band music; while others were performing and rearranging popular Latin ( Rumba, Tipico, Jazz, Bolero, Meringue and salsa ), French, American, and European tunes.

The 1950's gave rise to some of the most admired and prolific musical talents of our time, composer Charles Dessalines, Edner Guignard (the Guignard brothers), Gerard Dupervil, Michel Desgrottes, Essa El Saiehl, Lucien Noel, Charles Avoine, Leon Atus, Jean Claude Paul, Gary French, Serge Delaleux, Raoul and Roland Guillaume, Louis Layence, Anulus Cadet, Mozart Monfort, Richard Duroseau, Destinoble Barateau, Joe Trouillot, Edner and Kenel Duroseau, Monfort Jean Baptiste, Raroule Guillaume, TI RORO, Tales, Maz Pierrot, Raymond Pinchina, Jean Sejour, Aine Felix, Lidovic Lamothe, Daniel Mayala, Jean Moise, Augustin Fontaine, Les Freres Guillard, Eddy Prophete, Deroulo, Yapha, Nenet Domingue, Lominy, Charles Napoleon, Andre Dorismont, Raymond Gaspard, Candio Despradine, Antoine Duverger, Malary Gay, and of course Webert Sicot and Nemours Jean Baptiste, the inventors Konpa ( or Compas) music.

The transition from Haitian folklore to Compas was not easy. Long before Nemours and Sicot became national icons, they struggled to find their own musical identity. Both musicians had a different vision of what the music should be or sound like. The music performed by Nemours and Sicot relied heavily on saxophones and emphasized on sectional rhythmic. Compas (nemours) and Kadance Rampa ( Sicot) instrumentation were broken into brass (trumpets and trombones), saxes, and a rhythm section (consisting of an accordion or piano, bass, drums, guitar, and African Congas ). The music arrangements followed the typical big band orchestration: a melody played by the entire band in unison or harmony; a soloists (either with the Sax or the accordion, which was later replaced by the pianoand keyboard). Improvisation was key in the progression of Compas music, and style.

From history books to Compas-critics, there are different accounts as to when Webert Sicot left Conjunto. Some historians contended that Sicot played with Conjunto for only two months, while others believed he left in 1957 to form the group "Latino".

When Memoirs and Sicot were members of the same band, they were in direct competition with groups like "Jazz Des Jeunes", a widely popular folkloric Haitian band of the 50's era, and Septentrional Du Cap Haitien, one of the oldest big band in the world, founded in 1948, was playing a mixture of Latin and French hits which appealed largely to northern Haitian audience. Meanwhile, "Ti Paris and Altheri Dorival", the masters of Haitian troubadours, were also major players in Haiti's country sides. Those pioneers significantly contribute to the development of Haitian music, but Nemours Jean Baptiste and Webert Sicot brought a whole new vision to Haitain dance music.

From the love of music fostered through Haiti's country sides, both Nemours and Sicot converged many elements of Haitian rhythms to create Compas music which later reached national status. As Nemours and Sicot traveled acorss Haiti 's small provinces, they saw the opportunity to unify all Haitian musical styles. Both musicians adapted some of the most popular tunes into their respective repertoires.

The 1950's was a period of excitement for the Haitian music --konpa music, folklore, troubadour-- began to be heard on the radio in some part of the country. Nemours Jean Baptiste and Weber Sicot were in better position to record their music( on vinyl and/or A track). According to Dr. Gage Averill, the former chairman of New York University Music Department, Ricardo and Herby Widmaier, two Germain-Swiss immigrant , recorded the first Compas vinyl in 1956 by Nemours Jean Baptiste. The commercial Compas vinyl, recorded at 78 rpm at the studio of radio HH3W (now Radio Metropole), had a profound effect on Haitian musicians and the public.

This Compas music and dance movement were wildly popular in Haiti from the onset. This period also marked the beginning of ballroom dancing in Haiti.

In 1958 Nemours introduced the electrical guitar, timbale, cowbell, and tom-tom floor to Compas Direk. He later changed the name of the band to "Ensemble aux Calebasses De Nemours Jean-Baptiste" to reflect the name of a local club, where he performed from 1962 to 1970. Nemour's group featured the talents of Julien Paul, Pierre Blain, Louis Lahens, Arthur Louvelass,Tadhal, Marcelle Augustin, Napo, Yafa , Leconte Vilvaless, Louis Layance, Jean Claude Paul, and Willy La Croix.

During the same period, Webert Sicot attempt to balance the equation by establishing his own band "Enssemble Webert Sicot" with its home-base at "Au Calbasse" nightclub. Sicot's group included Andre Dorismond ( the father of battered Haitian immigrant Partick Dorismond), Nene, Emilyo, Deroulo, Prophet, Duval, Stein, soufrant, Doming, and Gary French.

The year 1961 was huge for Nemours, his music Compas Direk grew in popularity. Nemours began to travel outside of Port-Au- Prince. In July 1961 Ensemble Nemours Jean-Baptiste was invited to perform at the Palladium along with Tito Punte in New York City. His band also performed at the headquarters of the United Nations, where Nemours himself received a plaque as part of a special ceremony. The tour was a total success for the group. Nemours and his group memorized the international audience, said Julien Paul ( in interview given to Heritagekonpa Magaizne before his death on December 29, 2007 ).

After Nemours and his group returned to Port -au-Prince, they now had to face a better and more organized competitor in "Enssemble Webert Sicot". As the music spread throughout Haiti, Compas had become the signature of Haitian music. Although Nemours Jean Basptiste and Sicot did not get the recognition or the wealth they deserved, but their contribution would eternally remain the most powerful force in Haitian music industry. Their fierce competitive nature and creativity contributed significantly to the richness and evolution of Compas music.

Over the years, music historians and Compas fans have come to realize that there was no major difference between Nemours and Sicot musical styles. So, in an attempt to distinguish himself from Nemours, Sicot created his own style called "KADENCE RAMPA". While Sicot's music was more sophisticated, the rythmic section were almost indistinguishable. Nemours' music was based on improvisation, simple with an easy rhythm flow. As a result, It became easier for student and musicians to follow. 

While Sicot and Nemours were fierce rivals as musicians, but privately they were best friends. According to published reports, Nemours and Sicot met regularly to discuss musical strategies. Sicot and Nemours created an interest never seen before in the Haitian music industry. With their respective groups, the two pioneers captured the spirit of the entire Nation.

Webr Sicot and his group was the first band to participate in the Carnival in 1967 ( In addition to the "band a pied" (street bands). Nemours followed suit in 1968, and in that same year Haitian music saw the emergence of the "mini Jazz" bands. Those bands included Les Fantasies de Carrefour, Les Shleu- Shleu, Les Embassadeurs, Bossa Combo, Les Gypsies, Ibo Combo, Les Lourd Noirs, Les Difficiles de Petion Ville, Tabou Combo, Trio Select De Coupe Cloue, Bossa Combo, Les Gypsises, Les Fantesies de Carefour, Scorpio, D. P Express, and Les Freres Dejean.

In 1968, Sicot left Haiti to tour the United States and Europe. Nemours stayed behind to entertain a nation that embraced Konpa with their heart and soul. After leaving Haiti, Sicot left a void in the musical scene.  In 1971, he returned with his first solo album, "Just For You." However, it was too late for him to recapture a public that had religiously fell in love with Konpa Direk.  Nemours permanently imposed Konpa as the dominant form of music in Haiti. This was evident based on the fact that most upcoming bands adapt to Konpa Direk rather than Cadence Rampa. For instance, Les Shleu-Shleu, a very successful band in the 70's era, followed Nemours' trend and performed with him on several occasions.

From 1972 to 1978, Nemours and Sicot traveled frequently across the United States and the Caribbean to expose Konpa to the world. Both musicians remained active in the music scene unitil 1979. Due to their absences, Sicot and Nemours became less visible in Haiti as the mini Jazz took over the Haitian industry in 1980's. 

Nemours and Sicot toured a great deal and had national recognition, but Compas ( Konpa) only had local or territorial appeal. Compas ( Konpa) Direk did not cross over beyond the French Caribbean border.

Despite their tremendous contributions to Haitian music, Nemours Jean Baptiste and Webert Sicot never really benefited from the creation of their craft. It was reported that both musicians died in poverty. While producers, musicians, and boutique records label continue to exploited their creations, there is abolutely nothing being done to preserve their legacy.

Sicot and Nemours are to Comaps ( Konpa) what Beethoven and Mozart are to classical music. They were the heart and soul of Haitian music in the 50's, 60's and 70's. They were not just musicians, inventors, entertainers ( in the class of Frank Sinatra, Charles Aznavour, Sammy Davis JR), but they were national icons and idols of the first black republic in the world. According to Mario DeVolcy, one of Konpa's most famous drummer, "Sicot and Nemours were the true ambassadors of the Haitian music at home and abroad".

Their music brought joy to an entire nation.

Foot Notes:

Many renowned international artists have incorporated famous Haitian folklore's and Konpa melodies into their repertoires without giving proper credit to struggling Haitian artists who originally compose or wrote these songs. One such example is the interpretation of the Haitian classic, "Yellow Bird", by Arthur Lyman released under the label MCA Records in 1992. This album sold more than six million copies in the United states alone . You can only attribute the mistreatment of Haitian artists by the lack of structures and regulations of the Haitian music industry.

Disclosure: All the information published in this article are based from interview conducted with Compas Pioneers music expects, and historical accounts from a number of Haitian authors, and Dr. Gage Averil. It is important to note that some of the dates printed in this article might not be exactly accurate, since there's no existence of a national Haitian archives to verify factual information.