Nemours Jean Baptiste (February 2, 1918 - May 12, 1985) was a Haitian saxophonist, writer, and band leader. He is credited with being the inventor of Compas, a style of Haitian music.
However, the early history of Haitian music begins with the formation of big band orchestra and folklore musicians and/or groups which included Jazz Des Jeunes, Septentrional, Atomic, Tana, Titato, Maison Ante, Zobola, Diabolo, SAE orchestra, Les Etoiles, Ti Paris, Nirvana, Altchery Derival, Lumane Casimir, Yvon Luissain, and Meridionale des Cayes to enumerate just a few. The majority of these bands were interpreting Latin ( Rumba, Tipico, Jazz, Bolero, Meringue and salsa ), French, American, and European music.
Konpa Direct, the most popular of Haitian music originated in 1955 by Nemours Jean Baptiste, a saxophonist (born in 1914) and Weber Sicot, a saxophonist (born in 1934). Nemours and Sicot founded Coronto International on July 25, 1955. The original band members featured Nemours Jena Baptiste, Weber Sicot, Julien Paul, Anulis Cadet, Mozard Duroseau and Colber Edzer Duroseau.
Long before Nemours and Sicot became well known in Haiti, they struggled to find their individual identity. Both musicians had a different vision of what the music should be or sound like . As such, Nemours and Sicot were not able to coexist within the same band. In 1958 Webert Sicot left Coronto to pursuit his own dream. He later founded the the group "Latino". Nemours remained with Coronto International.
When Nemours and Sicot were part of the same band, they were in direct competition with groups like "Jazz Des Jeunes", a popular Haitian folklore and traditional band in the 50's. And the group Septentrional Du Cap Haitien , whcih was founded in 1948, was playing a mixture of Latin and French hits that appealed to a larger audience. "Ti Paris and Altchery Dorival", the inventors of Haitian troubadours, were idolized by Haitian peasants of the countryside. As Nemours and Sicot traveled acorss Haiti 's small provinces, they saw the opportunity to unify all Haitian musical styles. Both musicians adapted some of the most popular tunes from the groups and incoprotated into their repertoires.
This was a period of excitement for the Haitian music scene; konpa music, folklore, troubadour, began to be heard on the radio in some part of the country. Nemours Jean Baptiste and Weber Sicot were on the scene and a better position to record their music( on vinyl and/or A track). This period also makered the beginning of ballroom dancing in Haiti.
In 1958 Nemours Jean Baptiste took over as maestro of Coronto. He introduced the electrical guitar, timbale, cowbell, and tom-tom floor to the band. Nemours changed the name of the band to "Enssemble Nemours Jean-Baptiste". Nemour's group featured the talents of Julien Paul, Pierre Blain, Louis Lahens, Arthur Louvelass, Leconte Vilvaless, Louis Layance, Jean Claude Paul, and Willy La Croix. After dissolution of the group Latino, Webert Sicot -- in an attempt to balance the equation, established his own band called "Enssemble Webert Sicot" with its home-base at "Au Calbasse" nightclub, whereas Nemours' band performed at "Au Calbasse" nightclub. As the Nemours' band popularity grew, they began to travel outside of Port-Au- Prince. In 958 Enssemble Nemours Jean-Baptiste was invited to perform at Palladium with Tito Punte in New York City. The tour was a total success for the group. Nemours and his group was said to have memorized the international audience, said Julein Paul.
After Nemours and his group returned to Port -au-Prince, they now had to face a better and more organized competitor "Enssemble Webert Sicot". As the music spread throughout Haiti, konpa become the root of 20th century music. Although Nemours Jean Basptiste and Sicot did not get the recognition or the money they deserved for unknown reasons.
Although the union between Nemours and Sicot did not last long (as members of Coronto internationa and Ensembles Aux Calbassesl), but the individual members' musical pedigrees and talent ensured that konpa would become the root of Haitian music in the tweenty century.Their fierce competitive nature and creativity contributed significantly to the richness and evolution of konpa music.
As times passed people realized that there was no major difference between Nemours and Sicot musical styles. So, in an attempt to distinguish himself from Nemours, Sicot came up with his own style called "CADENCE RAMPA?. While Sicot?s music was more sophisticated, the Haitian elite were not receptive to the style. Nemours' music was based on improvisation, simple with an easy rhythm flow. As a result, It became easier for student and musicians to follow.
While Sicot and Nemours were fierce rivals as musicians, but privately they were best friends. According to published reports, Nemours and Sicot met regularly to discuss musical strategies. Sicot and Nemours created an interest never seen before in the Haitian music scene, these two individuals with their respective groups captured the spirit of the entire Nation (Haiti).
Webr Sicot and his group was the first band to participate in the Carnival in 1967 ( In addition to the ?band a pied? (street bands). Nemours followed suit in 1968, and in that same year Haitian music saw the emergence of the ?mini Jazz? bands. These bands included Les Fantasies de Carrefour, Les Shleu- Shleu, Les Embassadeurs, Bossa Combo, Les Gypsies, Les Difficiles, Tabou Combo, and Les Freres Dejean.
In 1968, Sicot left Haiti to tour the United States and Europe. Nemours stayed behind to entertain a nation that embraced Konpa with their heart and soul. After leaving Haiti, Sicot left a void in the musical scene. In 1971, he returned with his first solo album, ?Just For You.? However, it was too late for him to recapture a public that religiously fell in love with Konpa Direk. Nemours permanently imposed Konpa as the dominant form of music in Haiti. This was evident based on the fact that most upcoming bands seemed to adapt to Konpa Direk rather than Cadence Rampa. For instance, Les Shleu-Shleu, a very successful band in the 70?s era, followed Nemours? trend and performed with him on several occasions.
During the 60's and 70?s, Nemours and Sicot traveled often to the United States and the Caribbean to expose Konpa to the international community. In the meantime Shleu-Shleu, Bossa Combo, Les Loup Noirs, Tropicana, Septentrional and others bands were making their presence known in Haiti. Due to their absences, Sicot and Nemours became less visible in Haiti and the mini Jazz took over the industry.
Despite their tremendous contributions to Haitian music, Nemours Jean Baptiste and Webert Sicot never really benefited from the creation of their craft. Both musicians died in poverty. While producers and records companies continue to reproduce and sell their works, nothing is being to preserve their legacy . Nemours Jean Baptiste and Webert Sicot were two musical icons. Their music brought joy to an entire nation.
Sicot and Nemours are to Konpa what Beethoven and Mozart are to classical music. They were the heart and soul of Haitian music across the globe in the 50's, 60's and 70's. They were not just musicians, inventors, entertainers ( in the class of Frank Sinatra, Charles Aznavour, Sammy Davis JR), but were they idol of entire nation.. According to Mario DeVolcy, one of Konpa's most famous drummer, ?Sicot and Nemours were the true ambassadors of the Haitian music at home and abroad?.
