#frantz casseus

[ozkar-krapo]

Frantz CASSEUS

"Haitian Dances"

(10". Moi J'Connais rcds. 2014 / rec. 1954) [HT]

[purplealbumoftheday]

today's purple album of the day is: Haitian Folk Songs by Lolita Cuevas and Frantz Casseus!

[kdo-three]

Harry Belafonte - Day-O (The Banana Boat Song) (1956) Traditional Arranged by Harry Belafonte / William Attaway / Lord Burgess from: "Day-O" / "Star-O" (Single) "Calypso" (LP)

Calypso | Mento

@𝐫𝐜𝐡𝐢𝐯𝐞 (left click = play) (320kbps)

Personnel: Harry Belafonte: Vocals Millard J. Thomas: Guitar Frantz Casseus: Guitar

Tony Scott and His Orchestra: Congas / Maracas / Claves / Drumset

The Norman Luboff Choir Brock Peters: Chorus Leader

Album Produced by Ed Welker / Herman Diaz Jr.

"Calypso" was the first Long Play record album to sell over one million copies.

Recorded: in The Grand Ballroom of Webster Hall in New York City, New York 1955

Released: in 1956 RCA Victor Records

[finishinglinepress]

NEW FROM FINISHING LINE PRESS: Dormant by Harriet Ribot

On SALE now! Pre-order Price Guarantee: https://www.finishinglinepress.com/product/dormant-by-harriet-ribot/

RESERVE YOUR COPY TODAY

Harriet Ribot was born in Brooklyn, became a Registered Nurse at twenty, married at twenty-two, raised four successful sons through the seventies and eighties, and then earned her long-desired BA, with a concentration in Journalism, at Rutgers-Newark in the1980s. She also collated the works and biography of composer Frantz Casseus into a book of sheet music for solo guitar: The Complete Works of Frantz Casseus (Tuscany Publications, 2003). Her chapbook, Willow Tree, was published by Finishing Line Press, and her collection of poems, Ember, by Kelsay Books. #life #poetry #selfdiscovery

PRAISE FOR Dormant by Harriet Ribot

In Dormant, Harriet Ribot’s deeply honest first book of poetry, the reader is invited to share a writer’s late life self-discovery. With children long ago raised and husband gone, Ribot doesn’t over-romanticize her lived experience. “When your brain/has lain/dormant/what torment/to waken this thing” she tells us in the title poem. In another she writes, “Patience is time spread thin over peaks of frustration/and mounds of buried dreams, still visible/as one looks back over many years.” A deep and playful affection for language lace together love, loss and painful awakening throughout this lovely book.

–Roy Nathanson is author of Subway Moon, and teaches music at the NYU Gallatin School.

“I write to share” writes Harriet Ribot in her new book of poems, Dormant.Words tumble gently down the page. An occasional rhyme gives a boost. But the poems always land, gently, in the heart. Maybe, as “The Little Imp” says, “The whole world has a common bond of loneliness.” Maybe, as in “The Net,” There are “structures/holding us together in delicate balance.” In this “keep-moving world” where we “drink from the fountain of kiss,” Harriet reminds us that when you are on “the corner of somewhere to someplace else” that “life’s what you choose—not what you’ve found.” “Loosen up…” she urges, “live it up…show love to someone else!” Reader, follow the advice in these poems, and join with our Poet, saying “Having loved, I can face the future.”

–Bob Holman, activist, poet and filmmaker, is author of 17 volumes of poetry, most recently (Un)spoken and Life Poem, is founder of the Bowery Poetry Club and host of Language Matters

Please share/repost #flpauthor #preorder #AwesomeCoverArt #read #poems #literature #poetry #life

[haitilegends]

🎥 Immerse yourself in the captivating performance of "SOUFLE VAN," a traditional Haitian folk song arranged by Johnbern Thomas and performed by an exceptional group of musicians. .

#Haitilegends

_________

May 18, 2023

(HAITIAN FLAG DAY)

Johnbern Thomas - Drums & Arranger

Pauline Jean - Vocals

Marcus Lolo Keys & BGVS

Marc Harold Pierre - BGVS, Congas, Percussions

Aaron Goldberg - Piano

Billy Buss - Trumpet

Jacques Schwarz-Bart - Saxophone

David Casseus - Electric Bass

Cisco Percussionniste - Congas

Imeran Norman - Cowbell, Guiro

Jose Figueroa - Electric Bass

Aris Stanley Shegger - BGVS

Clyde Duverne - BGVS

This production was made possible by Johnbern Thomas Music Production LLC, working in collaboration with Pauline Jean and Marcus Lolo.

Recorded at : Institut Francais D'Haiti by Pierre Elove Filmed by Jean Sénatus & Etienne Shneider (LGM Studios)

Sear Sound NY by Jeremy Lucas Filmed by Patrick Ulysse (Unimix Films) & Steve Azor

Starke Lake Studio by Harrison Bormann Filmed by Benjamin Altidor.

Earecordingstudio by Ezechiel Augustin

Filmed by Erode Lapointe.

Mixed By Alex Venguer Mastered by Ken Rich at Grand Street Recording.

Project Narrative and Communication: Rosny Ladouceur.

Video Editor: Prime Concept Graphic Design & Project Manager : Ralph Stephane Momperousse.

This project is supported by: Aaron Goldberg, Pauline Jean Music, Marcus Lolo, Frantz Kenol, Yvon Andre (Kapi), Patrice Piersaint Music, Jean Huberman Mercure and the Haitian American Art Network, Inc.

Thank you our musician, friends and supporters for participating in such a noble project. Thank you for gifting this project to our DEAR HAITI May 18, 2023.

_________

Tap/Click #👈🏽

#JohnbernThomasMusic

#JohnbernThomas

#Jazz

#JazzMusic

#Haitianmusic

#HaitianJazz

#KreolJazz

#NewMusicFriday

#OutNow

#Haïti #Ayiti #haitianflagday

#covertunes

#PaulineJean

#MarcusLolo

#ayiticherie

#MarcHaroldPierre

#AaronGoldberg

#BillyBuss

#JacquesSchwarzBart

#DavidCasseus

#CiscoPercussionniste

#ImeranNorman

#JoseFigueroa

#ArisStanleyShegger

#ClydeDuverne

#HaitilegendsJazz

#Haitilegends

#GabrisanMusiclounge

[garudabluffs]

Leyla McCalla: Tiny Desk Concert

"How much does a memory weigh?" Leyla McCalla sings halfway through her Tiny Desk performance in a voice that feels like it's floating in water – swimming, drowning, escaping, returning home – as it intertwines with the seaweed lines of Nahum Zdybel's guitar. That question, from her ballad "Memory Song," is central to the music she and her band offer in this sparkling, thoughtful set. This music originated within McCalla's theater piece about independent station Radio Haiti, Breaking the Thermometer To Hide the Fever, which she transformed into one of 2022's most compelling albums. From the driving, danceable call to revolution "Dodinin" to "Nan Fon Bwa," written by renowned guitarist Frantz Casseus and now a showcase for McCalla's funky cello work, she and her band — all players deeply immersed in Haiti's rhythms and songlines — enact a historical journey that honors a nation born in revolution and still fighting, despite unfathomable hardship, today.'

SET LIST

Dodinin

Memory Song

Fort Dimanche

Nan Fon Bwa

MUSICIANS

Leyla McCalla - vocals, cello, banjo, electric guitar

Pete Olynciw - upright bass

Shawn Myers - drums

Nahum Zdybel - electric guitar

Markus Schwartz - Congas

LISTEN 21:56 READ MORE https://www.npr.org/2022/10/20/1128713485/leyla-mccalla-tiny-desk-concert

[zhanteimi]

Lolita Cuevas & Frantz Casseus – Haitian Folk Songs

Lolita Cuevas & Frantz Casseus – Haitian Folk Songs

Puerto Rico / Haiti, 1954, Caribbean folk / French Caribbean Music A charming, delicate, lovely little collection of Haitian folk songs arranged by the classical guitarist Frantz Casseus. An excellent interpretation of Haitian music for a single voice and a single guitar.

[piononostalgia]

Ti zoizeau, coté ou prallé?

Moin prallé caille Fillette LaLeau

Fillette LaLeau conn' mangé ti moune,

Si ou allé là mange ou tout.

Bri colo bril!

Bri colo bri!

Rossignol mangé corossol!

- Ti Zoizeau | Little Bird / Frantz Casseus

Naudline Pierre (Haitian-American, 1989) - Lest You Fall (2019)

[simseez]

The night FRANTZ CASSEUS followed #KEVINHART🔥😂🔥A MUST WATCH!

yooo bro is hilarious

[dustedmagazine]

Marc Ribot’s Ceramic Dog — Hope (Northern Spy)

Hope by Marc Ribot's Ceramic Dog

Marc Ribot’s unorthodox right-handed playing style, developed under the tutelage of revered mentor, Haitian classical guitarist/composer Frantz Casseus and honed to a polished sheen during his storied stint as an R&B sideman, sounds quite natural at this point in his eclectically nomadic career. Given his technical fluency, Ribot is justly celebrated as a session player, but he is much more than that — intuitive enough to have profound influence as an esteemed collaborator, the unsung hero teasing out idiomatic layers in Tom Waits’ music and lending soulful texture to numerous Elvis Costello records, just to name two of his most enduring creative partnerships, and passionate and voluble enough to have pursued his own projects with singular focus.

For Ceramic Dog, Ribot enlisted Chess Smith, a percussionist who plays with ferocity and nuance, and Shahzad Ismaily, a versatile bassist capable of shifting between a mellifluous bebop style and assaultive punk minimalism, sometimes amidst the same track. For well over a decade, the trio has used the album format to stretch beyond the constraints of genre sonically and indulge both poetic and agit-prop impulses lyrically. At their best, the trio coalesces with verve, especially in the latter stretch of their new release.

Ribot emerged as a key contributor to the work of John Lurie’s Lounge Lizards and John Zorn during a time when NYC’s Downtown was establishing its own mythology, less high concept than today’s boutique-ridden landscape, but more spontaneously thrilling. He’s bohemian, and this aura, while perhaps a bit shopworn to some, is endearing and somehow revitalizing in the context of the current moment, imbuing these songs with an enduring quality after a year and a half of relative isolation and a pervasive feeling of loss.

He shows his thematic cards early, that is to say he’s outspoken and caustic, but sly, winking, tongue-in-cheek, as if he’s not taking himself too seriously. Polemical set opener “B Flat Ontology”’s verses can be overwrought and clunky, shoehorned in in their sheer verbosity — as Ribot laces doggedly into a world gone awry. Lines like “This one/vivisected a celebrity on YouTube” suggest a more acerbic Mark Knopfler. And yet the band must be applauded for unadulterated literary ambition, gleeful nihilism that also recalls the Dadaesque musings of indispensable Lower East Side bard John S. Hall, whose King Missile scored hilariously, epochally unlikely hits with “Jesus Was Way Cool” and “Detachable Penis” during a fruitful early 1990s stretch. The reggae-inflected “Nickelodeon”’s poesy comes across as more nonsensical, pleasantly banal, like elevated doggerel, but there’s an exuberant intensity to the performance, viscerally evoking the late, lamented Nuyorican Poets Cafe slams in their heyday. The melodies can be a bit rote, but they’re as beautifully rendered as you might expect from these artists, pleasurably out-of-time, not modish, trendy. 

“Wanna” cuts in with a more prickly, No Wave urgency. It’s an album of many hues, tonal shjfts, and Ribot and cohorts are nothing if not versatile. The track’s capaciously recorded with foreboding riffage that wouldn’t be out of place on an early 1990s Helmet record. Hope is as wildly eclectic as its name portends, and while the experimentation stagnates at times, it exhilarates more often — a tension that not only plays out holistically, but within the songs themselves. 

“I don’t accept any aspect/of capitalist society,” an unrepentant Ribot declaims to introduce “The Activist,” and just as his didactic screeds sometimes put us off, he reels us back in, beguilingly self-deprecating — the man knows whereof he speaks, being a venerable firebrand community organizer who earned his bona fides long ago. The piece closes with a burst of abrasive, serrated guitar, one of several late-album exemplars of potently distilled sonic virtuosity I would have liked to hear more frequently, as in the squalling sax, courtesy of Darius Jones, that introduces “They Met in the Middle,” and the shriek of catharsis that cleaves the song in half, erupting spontaneously, midway through, as well as the wryly-named “Bertha the Cool”’s lush jazz funk groove, reminiscent of the quietly influential Steve Coleman and Five Elements, refreshing after the verbal fusillades dominating the album up to that point.

Hope’s closing stretch is magisterial, resoundingly punctuated. “Maple Leaf Rage” might be named in homage to Joplin and ragtime, but a sense of the elegiac is the only discernible connection between the two compositions. The track arrives muted, tentative, with abundant negative space, becoming gradually more pointillistic as this keenly attuned trio establish themselves individually, but remaining reflective, hinting at stillness. The shouting and freneticism that characterized the first part of the record have dissipated, and the track breathes. Bandleader Ribot arrests the chaos, and Hope settles into place, at least momentarily, until the guitar kicks in, echoing the first passage with amplification and force, an avant-garde roundelay, and the song is deepened by this contrapuntal interplay. The record’s occasionally high-gloss production overwhelms its minimalist spirit here and there, and yet Ribot’s charm lies in his shapeshifting musical voice, as much a venerable journeyman professional as he is an irascible deconstructionist. So it is with the jagged guitar lines that tear this track open — impeccable and yet rawly emotive. It’s always a kick to hear Ribot solo. He conjures Funkadelic’s “Maggot Brain” here, in the way this one sputters to a standstill, at last capitulates to silence, an echoing cavern of the mind. 

Michael Wiener

[aquariumdrunkard]

The Lagniappe Sessions :: Sessa

Atenção! An outsize portion of our 2019 listening was dominated by Grandeza, the debut album from Sao Paolo–born artist Sessa. As such, the follow lagniappe session is something akin to the sound of the inevitably. This, the first installment of a two-part session, begins with Sessa’s delicate rendering of Helene Smith’s soulful “I’m Controlled By Your Love”, a cover deftly employed to audiences while in LA earlier this year. Next, the artist pays tribute to fellow countryman, and Tropicália pioneer, Jorge Mautner — taking on 1976’s “Samba Jambo”, before closing out with Haitian composer and guitarist Frantz Casseus’s “Yanvalloux”.

[cillian-murphy-fan]

Cillian Murphy's Music Mixtape: Volume Thirteen

Jenny Hval – I Want to Tell You Something

Portishead – Glory Box

Frantz Casseus – Lullaby

John Fahey – Buck Dancer's Choice

John Lee Hooker – Misbelieving Baby

The Jimi Hendrix Experience – Third Stone From The Sun

Fleetwood Mac – Man of the World

Jacques Pills – Cheveux dans le vent

Kate Bush – King Of The Mountain

Holger Czukay – All Night Long

Silver Apples – Program

Super Furry Animals – Ice Hockey Hair

Common – The Corner

David Bowie – Young Americans

Buzzcocks – Why Can't I Touch It?

Maximum Joy – Stretch (7 " Version)

Godley & Creme – I Pity Inanimate Objects

Talk Talk – Life's What You Make It

a lazarus soul – Black & Amber

Radiohead – All I Need

Big Thief – From

Bon Iver – 22 (OVER S∞∞N)

Khruangbin – The Number 4

Jeff Buckley – Last Goodbye

Faces – Ooh La La

Van Morrison – Sweet Thing

Listen back here

[larryneilson37]

What I'm listening to right now

Suite No. 1: Coumbite by Frantz Casseus, on the album: Haitian Dances

[finishinglinepress]

NEW FROM FINISHING LINE PRESS: Willow Tree by Harriet Ribot

ADVANCE ORDER: https://www.finishinglinepress.com/product/willow-tree-by-harriet-ribot/

With humor and pathos, Harriet Ribot incorporates a thinly veiled odyssey of life around her. She became a Registered Nurse at twenty, married at twenty-two, raised four successful sons through the seventies and eighties, and collated the works and biography of friend, classical guitarist and composer Frantz Casseus into a book of sheet music for Solo Guitar: “The Complete Works of Frantz Casseus” (Tuscany Publications, 2003). She then earned her long-desired BA with a concentration in Journalism at Rutgers-Newark. She credits her successes to her very supportive family and a book she often read to her children The Little Train that Could (Platt and Monk, 1930).

PRAISE FOR Willow Tree by Harriet Ribot

The willow tree that forms the heart of Ribot’s collection is constantly evolving, “roughed up by high winds,” putting forth “a profusion of tightly knit buds” and then new leaves “like pigtails sporting a tie.” The poet renders what she sees faithfully, precisely, in musical lines that capture both the willow’s beauty and its vulnerability as it holds light and shadow, the present and the past, blue jays and cardinals. Poem by poem, the willow becomes an apt figure for the natural world as well as for our own passing lives.

–Jennifer Barber

Harriet Ribot paints with words, creating a portrait of a willow with March boughs “clean and spare/as a whippet/straining/at the starting gate.” With sparse lines she creates mystery, elegy, and focused attention. Step in among the leaves and imagine what tales she has braided into a crown, with grace.

–Tina Kelley, author of Rise Wildly and Abloom & Awry.

Please share/repost #flpauthor #preorder #AwesomeCoverArt #read #poems #literature #poetry

[anthologiealeatoire]

Sampler Moi J'Connais vol. 2 by V/A