Les Loups Noirs – A Paris,Editions Cleopatre

Les Loups Noirs, front, cd size

Yesterday I came home from a two day recordtrip to Paris.
I use to visit one of my favourite recordshops in the Quartier
Latin. I always meet there with my man Franck who is one
of a kind when it comes to knowledge of worldmusic.
He specially helps me out selecting music from his home-
country Haiti. I don’t listen to Compas very long yet and can
use a little advise. Do you know this Soundway_Release ?
A highly recommended album, with great music from the French Antilles.
The LP I post for you tonight is by Les Loups Noirs, who also
appear on it. Franck says he helped out Soundway Records too in
selecting the tunes for this fine album. I had to promise him to
write in French for this occasion and eventhough it’s been a long
time since I did, I managed to squeeze out a few lines.

Cette semaine j’allais a Paris pour acheter des disques 33. Il y
un ans déja que j’avais été lá. Je toujours vais a la même magasin
dans le Quartier Latin. Je ne veux pas dire leur nom. Aussi toujours
je lá rencontre mon ami Franck qui est un connaisseur de la musique
du monde. Je lui promettais de ecrir en Français, une chose que je
normalement jamais fais. Alors Franck, mon ami, merci beaucoup,
tu m’as aidé enorme, a partir de aujourd’hui, j’ apelle toutes
postes compas, ‘Franck’s Selection’.

Let’s use this good vibe to think of the people of Haiti.

tracks;

1 Rencontre
2 Chaque jour
3 Aye Doudou
4 Lydia
5 Echec
6 Bonsoir ma cherie
7 Demain je t’attends

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27 thoughts on “Les Loups Noirs – A Paris,Editions Cleopatre

  1. Thanks for posting this! Les Loups Noirs was a really popular Haitian band, not only among Haitians but also in the Antilles. Loups Noirs could play compas, boleros, and chacha. They even adapted to Antillean styles such as mazouk and biguine.

  2. Thanks for posting this! Les Loups Noirs was a really popular Haitian band, not only among Haitians but also in the Antilles. Loups Noirs could play compas, boleros, and chacha. They even adapted to Antillean styles such as mazouk and biguine.

  3. good post for bad french writing!!!
    let’s try it anyway…
    it’s been a while since i didn’t go into the shop you are talking about,i don’t live in paris anymore.i used to buy reggae music here!!something to do with a crocodile i guess??

  4. good post for bad french writing!!!
    let’s try it anyway…
    it’s been a while since i didn’t go into the shop you are talking about,i don’t live in paris anymore.i used to buy reggae music here!!something to do with a crocodile i guess??

  5. This recording is also known as “A New York 6eme Anniversaire” and its original release was in 1972.

    @Andrew
    Indeed, Les Loups Noirs was one of the most versatile of the groups from the Mini-Jazz era. They are most notable in the variety of textures they used in their arrangements, often switching roles between solo and accompaniment among the electric organ, guitar, and saxophone. To this day, the guitarist/bassist Laurent Ciceron remains one of the authorities on traditional styles and continues to develop creative ways to authentically integrate them with contemporary styles.

    It should also be noted that, while it isn’t always reflected in the recordings of this era, most ensembles were expected to play a variety of styles at the “bals” (dance parties) — an evening was not considered complete without a few boleros, merengues, son montunos, R&B, or even a selection of ska or calypso or two thrown into the mix.

    @joe
    One of the most complete and accurate discographies of Haitian music can be found here:

  6. This recording is also known as “A New York 6eme Anniversaire” and its original release was in 1972.

    @Andrew
    Indeed, Les Loups Noirs was one of the most versatile of the groups from the Mini-Jazz era. They are most notable in the variety of textures they used in their arrangements, often switching roles between solo and accompaniment among the electric organ, guitar, and saxophone. To this day, the guitarist/bassist Laurent Ciceron remains one of the authorities on traditional styles and continues to develop creative ways to authentically integrate them with contemporary styles.

    It should also be noted that, while it isn’t always reflected in the recordings of this era, most ensembles were expected to play a variety of styles at the “bals” (dance parties) — an evening was not considered complete without a few boleros, merengues, son montunos, R&B, or even a selection of ska or calypso or two thrown into the mix.

    @joe
    One of the most complete and accurate discographies of Haitian music can be found here:

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