|Stylistic origins||Haitian Méringue|
|Cultural origins||Mid 1960's to late 1970's, French Antilles (Guadeloupe & Martinique) and Dominica|
|Typical instruments||Drum, Tanbou, Conga, Cowbell, Guitars, Keyboards, Horn section, modern Synthesizer, Bass|
|Haiti, Dominica, Martinique, Guadeloupe|
|Music of Haiti|
|Media and performance|
|Music awards||Haitian Music Award|
|Nationalistic and patriotic songs|
|National anthem||La Dessalinienne|
|Music of Martinique|
|Nationalistic and patriotic songs|
|National anthem||La Marseillaise|
|Part of a series on the|
Kadans is the French Antilles cadence, a modern Haitian méringue popularized by the talented sax player Webert Sicot in 1960s. When Sicot left Nemours Jean-Baptiste compas music band he called his music cadence rampa to differentiate it from compas; however, either compas music or cadence is a méringue.
Haitian musicians to Dominica & the French Antilles (Guadeloupe and Martinique) brought with them the kadans, a sophisticated form of music that quickly swept the island and helped unite all the former French colonies of the Caribbean by combining their cultural influences.
Kadans is the creole term for cadence.
Raymond Sicot (Wébert Sicot's brother) travelled the island of Martinique in the late 50's and formed a group called Tropicana. Tropicana was engaged with introducing the Haitian rhythms to Martinique, especially the cadence-rampa. Nemours and Sicot's groups from Haiti toured the French Antilles on an almost annual basis and Haitian musicians started to work in music bands of Martinique, Guadeloupe and other islands of the French Antilles.
Webert Sicot, the originator of the first cadence band, recorded three LPs albums with French Antilles Promoters: two in Guadeloupe "Cilini disques" and one in Martinique "Balthazar". Often the band had a six months-contract to perform every week in Guadeloupe and Martinique. Many Haitian artists have since toured the French Caribbean on a regular basis with their powerful méringue (compas or cadence) for the great pleasure of these friendly people, nice public who have since adopted the dance and the music style.
Haitian bands were asked to integrate Antillean musicians thus Haitian influential Les Guais troubadours had French Antillean musicians. Guais troubadour, with influential singer Louis Lahens played a very important role in the schooling of Antillean to the méringue compas music style. The band that recorded more than 3 albums in the French Antilles, was also the a coaching band for the French Antilleans to the style.
From the 50s-60s, talented Haitian artists and leading bands such as the Sicot brothers (Webert and Raymond), Joe Troillot, Nemours Jean-Baptiste, the very talented Maestro Michel Desgrottes, Garry French, Emile Volel, Ensembe Les guais troubadours with the popular Louis Lahens, orchestre Citadelle, jazz Guignard, etc. introduced their méringue (compas or cadence) to the Caribbean. Boa des iles and la Bananeraie would be favorite night-clubs for these bands. In Martinique, several music groups became popular with Nemours' compas tunes. Ensemble Abricots (Bienvenue, festival-compas), Les Djoubap’s (Isabelle), Combo Jazz (electronique compas, pa gadem sou cote), Georges Plonquitte (vini danse compas direct) etc. have all within a year conquered the public with the many tunes or compositions of Nemours.
From the 60s-80s, les Vickings, Les loups noirs, les ambassadeurs, les shleu shleu, ibo combo, Etoile du soir, les difficiles de Petion, les Gypsies de Pétionville, Tabou combo, Les Freres Dejean, les blousons verts, volo volo, Jet-X, Afro combo, Toto necessite, Rodrigue Millien, Coupe Cloue, Shougar combo, Les skah shah, Magnum band, Tropicana, Septan Trional and a great many have all toured in these Islands to coach artists. These were followed by the Antillean mini-jazz bands like Les Gentlemen, Les Vikings de Guadeloupe, Les Leopards, Tabou # 2...and bands like Exile One, la Perfecta, Simon Jurade, kassav, etc.
Cadence-lypso (Dominica kadans)
Cadence-lypso is another name for cadence/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 calypso music from the English speaking Caribbean and the cadence rampa from Haiti with influences of Dominican traditional music. It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim.
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 exported kadans music to the four corners of the globe: Japan, the Indian Ocean, Africa, North America, Europe, The Cape Verde islands.
Aside from Exile One, other bands included the Grammacks, Black Roots, Black Machine, Naked Feet, Belles Combo, Mantra, Black Affairs, Liquid Ice, Wafrikai, Midnighte Groovers and Milestone, while the most famous singers included Bill Thomas, Chubby Marc, Gordon Henderson, Linford John, Janet Azouz, Sinky Rabess, Tony Valmond, Jeff Joseph, Mike Moreau and Anthony Gussie. Ophelia Marie is a popular singer of cadence in the 1980s.
Musical features of cadence
Cadence music is characterized by a constant up tempo rhythm, hence the name cadence. Its percaussive aspect come from the drum, an accentuated use of cymbals and, to a lesser extent, the high hat plus a distinct beat of the cowbell, tok, to-tok, tok-tok-tok, and conga drum beating a dash of méringue.
- Ensemble Webert Sicot
- Exile One
- Experience 7
- La Perfecta
- La Sélecta
- Les Aiglons
- Les Bookélos
- Les Gentlemen
- Les Leopards
- Les Vikings
- Les Typical Combo
- Maxi Twenty
- Puissance 8
- Simon Jurad & Opération 78
- Steel Jazz
- Super Combo
- Super Sterne
- Tabou N°2