#twoubadou

[momentomizik]

[haitilegends]

Watch "Haiti twoubadou avec Josue Tavernier(RESIGNAC)" on YouTube

[folkmusicplus]

PUTUMAYO PRESENTS CHRISTMAS AROUND THE WORLD (CD)

Song listing:

1.New York Twoubadou - joyeux noel

2.Steve Schuch & the night heron consort - Here we come a-wassailing

3.Liuba Maria Hevia - Venid Fieles Todos (adeste fidelis)

4.Sheryl Cormier & Cajun Sounds - St. Nicholas

5.Cuba L.A. - Deck the hall

6.Banks Soundtech Steel Orchestra - God Rest Ye Merry Gentlemen

7.Los Reyes - White Christmas

8.Michael Doucet - We Three Kings

9.Dan Crary - What Child Is This

10.Pepe Castillo - Aguinaldo Jibaro

11.Kali - Douce Nuit (Silent Night)

12.Ramon F. Veloz - Paz en la Tierra (Joy To The World)

[haskahuskaooo]

Evolution of Wendy Traka's music style and unique elements in Haitian music scene?

Throughout her career, Wendy Traka has undergone a remarkable evolution in her music style, embracing a diverse range of influences that have set her apart in the Haitian music scene. In her early works, Wendy Traka demonstrated a strong connection to traditional Haitian musical genres such as kompa and twoubadou, showcasing her ability to deliver soulful ballads with emotive vocals. However, as she continued to explore her artistry, Wendy Traka began to experiment with new sounds and musical styles, incorporating elements of dancehall, trap, and contemporary pop into her repertoire.

For More-  Wendy traka

Her willingness to blend different genres has been a defining element of her music style, allowing her to cater to a broader audience while staying true to her Haitian roots. Wendy Traka's unique ability to infuse her songs with infectious rhythms, catchy hooks, and engaging storytelling has earned her a distinct place in the Haitian music scene. Her willingness to experiment and take risks has not only kept her music fresh and exciting but has also garnered her a dedicated and diverse fanbase. As she continues to push the boundaries of Haitian music, Wendy Traka remains an influential and innovative figure, contributing to the dynamic and ever-evolving landscape of Haitian musical expressions.

[umberandmochaagate]

As much as I kompa, it's gotta be understood that twoubadou as a genre is just too good. TOO GOOD

The love songs, the yearning, the emotions

[berlysbandcamp]

Compiled by Sofrito's Hugo Mendez, Haiti Direct is an amazing collection from Haiti's illustrious but sadly unsung musical history. While the island is still synonymous to too many with violence, poverty and voudou stereotypes, the island has a vibrant and innovative musical scene evolving from Compas Direct (meaning direct beat and itself a slower variant of Dominican merengue that came to prominence in the mid-1950s), which bred offshoots like the horn-driven Cadence Rampa, Mini-Jazz, which trimmed down the traditional big-band sound with rock instrumentation and psychedelic touches.

A sprawling compilation that spans nearly 20 years, the music reflects both the relatively long period of time and the numerous musical movements that came about in these years. Some tracks sound like driving, hypnotic, psychedelic jazz rock; like something Frank Zappa might have come up with. Other tracks more clearly reflect that heavy meringue influence from neighboring Dominican Republic, and indeed, virtually all of these tracks retain some vestiges of meringue. American jazz of numerous pedigrees and varieties is also infused in the rollicking, ass-shaking material that makes up this compilation.

The genres in Haiti Direct represent a time of immense strife for the people of Haiti, when poverty, disease and unimaginable political repression were all unavoidable facts of everyday life. The musicians on this compilation are a testament to the creativity, dynamism and exuberance of the Haitian people. 

[decameronhaiti]

View this post on Instagram

A post shared by Royal Decameron Indigo Beach (@decameronhaiti)

Quelques chambres restantes pour le long weekend de Pâques 😍Appelez-nous au 2815-0111 ou au 1855-308-0375 (option 5) 📞 Dépêchez-vous 🌴🇭🇹 🐇🐾🐰 🎈 🌴 📅 18 au 21 avril🥚🐰 🤡🤹🏽‍♀ #Goodvibes #familygoals #BestMum #familyFirst #familytime #HappyMoments #happyLife #myhappyplace #DecameronParadise ☀😎 #KidsShow #bouncecastle #AnimalFarm #Twoubadou #EasterShow #EasterBuffet #DecameronHaiti #haiti #cotedesarcadins #decameron #Easter #pâques #Easter2019 (à Decameron Haiti) https://www.instagram.com/p/BwWvvfyA3ba/?utm_source=ig_tumblr_share&igshid=b6pid73kj3o0

[tiran2vou]

AWOZE Twobadou

[anomalous7]

1804 🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹

[manmie-lau]

Listen to Ayiti Twoubadou - Instrumental by Junymix... #np on #SoundCloud

[burlveneer-music]

Wesli - Tradisyon - an exploration of Haiti’s music and history (Cumbancha)

Tradisyon is the first of a two-part project that retells the story of Haiti’s past and imagines its future.

“You have to know where you’re from to know where you’re going,” says Wesli, the acclaimed Montreal-based winner of the prestigious 2019 JUNO Award. Overflowing with 19 songs, Tradisyon explores traditional chants from the voodoo religion, explosive carnival rara rhythms and lilting, folksy twoubadou songs. To prepare for his ambitious new musical project, Tradisyon, the uniquely talented Haitian-Canadian songwriter, guitarist and producer Wesli (Wesley Louissaint) had to return to his roots. He embarked on a multi-year musical pilgrimage to explore often hidden facets of Haitian traditions. Wesli traveled across his homeland, visiting lakous, gathering places and community groups for practitioners of Haiti’s voodoo religion, to learn songs in African languages brought to Haiti hundreds of years ago. He honed his skills at a wide range of local musical instruments, from powerful interlocking rara horns to intricate drums in all shapes and sizes, not to mention folk instruments such as the Haitian banjo. And he reconnected with the profound spirituality and rich life philosophy of Afro-Haitian beliefs, which represent the inspiration and motivation, indeed the very soul, of Haitian culture. The result of this ambitious research is Tradisyon, the sixth album of Wesli’s celebrated career, and the first of a two-part set that retells the story of Haiti’s past and imagines its future. The encyclopedic first album features 19 songs, original compositions and treasures from the expansive Haitian music repertoire. By drawing on these traditions, Africa inevitably emerges -- through the rara, petro, nago, congo and yanvalou rhythms, and the lyrics sung both in Creole and the African languages of Yoruba, Ewe and Fon. They are all accompanied by local instruments such as the bamboo, the kata, the segon, the boula, the manman and the banjo, an originally African instrument that had been adopted by European colonizers.

[haitilegends]

Watch "Fabrice Rouzier - L'UNIVERSEL, CREATEUR du Mouvement TWOUBADOU" on YouTube

[nwdsc]

(Tradisyon | Wesliから)

Tradisyon by Wesli

WESLI EXPLORES THE ROOTS OF HIS AFRO-HAITIAN CULTURE ON TRADISYON Tradisyon is the first of a two-part project that retells the story of Haiti’s past and imagines its future. “You have to know where you’re from to know where you’re going,” says Wesli, the acclaimed Montreal-based winner of the prestigious 2019 JUNO Award. Overflowing with 19 songs, Tradisyon explores traditional chants from the voodoo religion, explosive carnival rara rhythms and lilting, folksy twoubadou songs. To prepare for his ambitious new musical project, Tradisyon, the uniquely talented Haitian-Canadian songwriter, guitarist and producer Wesli (Wesley Louissaint) had to return to his roots. He embarked on a multi-year musical pilgrimage to explore often hidden facets of Haitian traditions. Wesli traveled across his homeland, visiting lakous, gathering places and community groups for practitioners of Haiti’s voodoo religion, to learn songs in African languages brought to Haiti hundreds of years ago. He honed his skills at a wide range of local musical instruments, from powerful interlocking rara horns to intricate drums in all shapes and sizes, not to mention folk instruments such as the Haitian banjo. And he reconnected with the profound spirituality and rich life philosophy of Afro-Haitian beliefs, which represent the inspiration and motivation, indeed the very soul, of Haitian culture. The result of this ambitious research is Tradisyon, the sixth album of Wesli’s celebrated career, and the first of a two-part set that retells the story of Haiti’s past and imagines its future. The encyclopedic first album features 19 songs, original compositions and treasures from the expansive Haitian music repertoire. By drawing on these traditions, Africa inevitably emerges -- through the rara, petro, nago, congo and yanvalou rhythms, and the lyrics sung both in Creole and the African languages of Yoruba, Ewe and Fon. They are all accompanied by local instruments such as the bamboo, the kata, the segon, the boula, the manman and the banjo, an originally African instrument that had been adopted by European colonizers. Of Haitian origin and Montreal adoption––but above all a citizen of the world––Wesli is one of those rare artists capable of exploring different sounds while keeping his identity and his roots firmly anchored in his traditions. Ever since the release of his first album Kouraj in 2009, Wesli’s creativity has been unstoppable, leading to the acclaimed album Liberté dans le noir in 2011, the star-studded ImmiGrand and the more traditional Ayiti Étoile Nouvelle in 2015 and an expanded version of ImmiGrand in 2017. Only a year later, the prolific artist released Rapadou Kréyol, an exploration of African rhythms and instruments Wesli believes Haitian musical culture has neglected as it is increasingly drawn towards the commercial music encouraged by globalization. In 2019, the astonishing album was awarded the prestigious JUNO award for World Music Album of the Year. For Wesli, winning the JUNO award proved to him that the musical and cultural value he brings to the world had been accepted and welcomed, a message he hopes other young Haitian musicians will see as a sign that they too can inspire change with their craft. The Tradisyon project, named after the Haitian and African diasporic traditions it honors, is a continuation and deepening of the goals of Rapadou Kreyôl. This previous album “was something that I wanted to do for the Creole culture” Wesli explains, “but I did so much research into the culture, I felt like one album wasn’t enough.” After years spent visiting various Haitian villages, learning lyrics in new languages, and recording the album’s percussion tracks in Haiti to capture a truly authentic, island sound, Wesli returned to Montreal to finish putting the epic albums together. When asked about the immense scope of the project, Wesli reflects, “I wanted to write a story, but a story that I didn’t create, because the story has been there for hundreds of years. I’m talking about the traditions, the core elements of a great culture: the Haitian culture.” In Tradisyon and the upcoming Tradisyon, Pt. 2, Wesli accomplishes the incredible feat of weaving this magical musical story through complex and ambitious arrangements. Wesli has himself been a character in the epic story of Haitian culture. Born in 1980 to a financially challenged family of seven children in Port-au-Prince, Haiti, Wesli built his first guitar at the age of eight by stringing an old oil can with nylon fishing line. His musical adventure began at a young age when he sang alongside his mother in the gospel choir of the local church. His father, Henri Louissaint, was a well-known banjo and percussion player of twoubadou, a popular Haitian folk music style. Inspired by his parents, Wesli began playing the guitar as his primary instrument along with banjo and a wide range of traditional percussion. Growing up in household that struggled to make ends meet, Wesli was often told that he had to be seven times better than anyone else to make it out of poverty. After experiencing the joyful, passionate music played around him as a child, both by his parents and his broader community, he dreamed of becoming a professional musician. He likes to say, “music chose me to share its spirit.” His own spirit was challenged at a young age, when his family fled to a Cuban refugee camp during the violence that erupted after the 1991 Haitian coup d'état. Just 11 years old at the time, this difficult experience taught him “resilience, reconciliation and forgiveness” in the face of conflict. “No matter what,” Wesli says, “you can rebuild yourself and give yourself a positive direction, and make yourself into a new person that is useful to the society that you are living in.” This desire to serve his society has driven Wesli throughout his life, encouraging him to create change and bring Haitian culture to new audiences through the power of his music. At the age of 21, the musical prodigy won a scholarship contest sponsored by the Canadian government which allowed him to study arrangement and percussion in Montreal. Since then, Wesli has made Montreal his home, a process of integrating his home culture with an unfamiliar world which he describes as difficult but transformational: “I always like to say that I have two hearts. I have one heart in Haiti and I have one in heart Montreal, and that makes me who I am now.” Wesli put both of his hearts into the making of Tradisyon. The album starts with the thrilling call of the koné, a metal trumpet used in carnival parades. The opening song “Peyizan Yo” is a rallying cry for the farmers of Haiti who form the core of the island’s economy. Inspired by arrangements of voodoo music from the 1990s, the song asks people not to steal land from the farmers, who provide the nation with its sustenance. That is followed by “Fè Yo Wè Kongo Banda,” a traditional song used in the beginning of Lakou Congo ceremonies to call the spirits to gather. Sung by a Samba, preachers of the Afro-Haitian cultural tradition, the song often begins a Capella before the entire community lifts their voices and pounds their drums in celebration. A number of the songs on Tradisyon pay tribute to legends of Haiti’s musical past. “Samba” is an homage to Azor Rasin Mapou, one of the most influential artists in voodoo culture, while the rara composition “Wawa sé rèl O” celebrates the efforts of roots musician Wawa Rasin Kanga to pull the shroud of secrecy from Afro-Haitian traditions. “Konté M Rakonté M” sings the praises of Éric Charles, one of the founders of the band Haiti Twoubadou, which in the 1990s revived the twoudabou folk music style. Tradisyon features a number of banjo-led twoubadou tracks, notably “Kay Koulé Trouba” in which Wesli describes a leaking house––a metaphor for his interpretation of the fragile condition of Haiti’s cultural values in the present day. “Makonay” is a call for unity, singing of the circle created by the coming together of people from all the provinces of Haiti who each bring their own values to create a diverse, unified culture. “Trouba Ewa” aims to elevate the twoubadou musical style by bringing together a modern lover’s story with the traditional sounds of Haitian folk music, creating a unique, captivating arrangement dedicated to present-day Haiti. The upbeat reggae-influenced song "Le Soleil Descend” was the first single of the album and its colorful video launched the Tradisyon project in June 2021. Featuring Quebec singer-songwriter Paul Cargnello. the two artists sing about uniting under the sun. As Wesli says, “The sun breaks down all cultural, social and political borders and barriers. Under this sun we are all one people because it is this same light that inspires us and illuminates our paths.” Congolese drummer Kizaba joins Wesli in “Peze Café”, which blends the igbo rhythm with the classic folk song about a child sent to buy coffee for his family before being wrongfully arrested on his way home. Sung in Haiti during the dictatorship of François Duvalier to protest military brutality, this age-old song and the parable it tells gathers new meaning and power each time it is performed. In Wesli’s rendition, his striking vocals take center stage, backed by his stripped-down guitar accompaniment and Kizaba’s expert cajón playing. Overflowing with these and other highlights, Tradisyon honors and reveals Haiti’s rich musical history. The upcoming follow up, Tradisyon, Pt. 2, explores the new directions for the island’s music, blending traditional genres with electronic music, Afrobeat, soul, funk, hip-hop and more to create a rich, festive and uniquely engaging sound. Always thinking about the future and the legacy he leaves, Wesli’s aim with Tradisyon Pt. 2 is to give young Haitian musicians a “formula to merge ancient and new sounds. We are coming from somewhere, now we are somewhere else. You have to know where you’re from to know where you’re going. Tradisyon is where we’re coming from, and Tradisyon, Pt. 2 is where we’re going.” クレジット2022年10月21日リリース

[brada-bbr12]

Mika Benjamin - Ou Pati (Twoubadou)

[umberandmochaagate]

Every time I see something about Black Panther & Haiti it's lit. In Cap-Haitian?? Okap?? MOZART LOUIS???

[ilyamatic]

The Betting Kind

A short tidbit featuring @asras3rdeye Kipling and my desire for dancing in soft lamp light.

Inspired by:

He knew it was a gamble. While they were able to laugh off any awkwardness Kipling's confession could have brought, something still lingered. To Andrico it felt like right before a lightning strike, the air heavy with promise. There just was no guarantee that she felt the same. 

But he took a risk and he asked, rushed and blushing, if she would like to go to a fét with him. The small population of Ayitian often liked to get together for drinks, dancing, and a general taste of the island they left behind. And while open to anyone looking for a good time, inviting the gardener felt intimate, almost like a… date.

Surprisingly, to him at least, Kipling agreed. And there they stood three nights later in the middle of some garden in Goldgrave, watching couples sway on the makeshift dance floor. And it was there Andrico decided to take another risk.

"Would you like to dance Miss Brone?"

Bright brown eyes turned to him, their gaze a bit sheepish.

"I don't know," Kipling said. "I'm not particularly trained…"

One of her hands curled against her long floral skirt. Andrico reached out and took it in his own.

"Just follow my lead," he said with an easy smile. 

Kipling smiled softly back and followed him easily to the dance floor. She followed him easily when he put his hand on her waist and lead them into a simple two step. She laughed easily too, when he twirled her and brought her in closer. 

Bright brown eyes twinkled playfully as they moved across the floor. Andrico took a gamble that night. But in the lanterns' soft light with Kipling warm in his arms, Andrico realized that he won the jackpot.