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|Music of Haiti|
|Media and performance|
|Nationalistic and patriotic songs|
|National anthem||La Dessalinienne|
Cadence rampa or kadans is a modern Haitian Méringue, popularized by the talented sax player Webert Sicot in the early 60s. Webert Sicot left Nemours Jean Baptiste Compas band and called his music cadence to differentiate it from Compas, however, either compas or cadence is a modern Méringue. Only rivalery between Sicot and Nemours created these names. Because of the frequent tours of the Sicot brothers, Cadence became very influential in the Caribbean.
Maestro Webert Sicot was well regarded in Guadeloupe where musicians liked his rigorous harmonic skills. In Dominica, cadence is often called cadence-lypso while in the French Antilles Kadans is the Creole world for cadence rampa.
Raymond had created a new rhythm "cadence rampa" to counter compas, but it was only in a spirit of competition. It was to be danced like a sweeping of the floor with one’s feet or as if one slid the feet back and forth on the floor. The rest of the body swung from side to side exactly the same as for dancing compas-direk. Soon, the public realized that cadence rampa, far from being original, was just an astute rearrangement of Compas-direk and without losing interest in it, did not find it consequential enough to deserve their applause. Besides, the Sicot Brothers were not as prolific as Nemours and did not release enough new albums, notwithstanding the fact that they were consummate musicians.
Sicot must have known that he did not have a winner with cadence rampa since he did not insist on challenging Nemours very long. Even as early as the 1957, he was seen performing in public with Nemours. While the public thought that they were each other’s enemies, Nemours and Webert were socializing. André Dorismond and Gary French, singers for Sicot’s orchestra were friends with Louis Lahens and Jean-Claude Félix (aka Ti Jean-Claude), singers for Nemours. When Haitians began to emigrate to the US in the early seventies, the fame of cadence rampa suddenly dwindled because most of its supporters had left Haiti. Eventually, Webert Sicot traveled to New York and continued to play there, but cadence rampa’s success in Haiti was short-lived. Actually, the growing success of Nemours Jean-Baptiste throughout the years out and inside the country popularized the name compas, the same meringue.
The French Antilles cadence
As early as 1962 the Sicot Brothers from Haiti would frequently tour Dominica, the French Islands of Martinique & Guadeloupe and others to spread the seed of cadence, a Haitian Méringue. 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. In addition to the Sicot brothers, almost all existing Haitian compas bands have toured in these Islands that have since adopted the music and the dance of the Meringue. Exile One, Grammacks, Les Leopards, la Perfecta, Kassav...are all cadence/compas or Méringue bands.
Cadence-lypso or Dominica kadans
Cadence-lypso is another name for kadans in Dominica. The most influential figure in the promotion of Cadence-lypso was the Dominican group Exile One(based on the island of Guadeloupe) that featured the calypso music and reggae from the English speaking Caribbean and mostly the cadence rampa from Haiti.
Gordon Henderson, the band leader and founder coined the name "Cadence-lypso" in his full band that used a full-horn section and was the first to use the synthesizers in kadans. Many mini-jazz from Haiti and the French Antilles followed this format. Exile One was the first Caribbean band to sign a production contract with major label Barclay Records. The first to export kadans music to the four corners of the globe: Japan, the Indian Ocean, Africa, North America, Europe, The Cape Verde islands.