Lataye

Take everything you love about African, American, and Irish –Hillbilly music traditions, kick
off your shoes, lean back, and learn: Haiti and New York-based musicians Dadi and Marjorie Beaubrun join with their American friends and jam sessions to present TOU MANBRE, a CD with music as ancient as Mali and as new as New York City Reptile rap.
Although you may be tempted to get up and dance (and why not?), TOU MANBRE is serious listening music. It is not for the complacent nor for the blamers, those who are intent on saying that the ills of Haiti are all the fault and responsibility of governments of other countries. “We have to stop lying to ourselves,” says Dadi. “It is our fault, and our responsibility to live up to the sacrifice of our ancestors.”

Composer and lead vocalist Daniel “Dadi” Beaubrun, brother to Marjorie (second lead vocalist)and Lolo (co-founder of Boukman Eksperyans, the first Haitian band to be signed to an American label) and son of the celebrated Haitian comedian Languichatte Débordus, whose obituary appeared in the NEW YORK TIMES, brings the CD to life in the first track (Alegba Papa Pyè) with the morning sounds of his native Haiti: a rooster crowing, an asson rattling, and an appeal to the Great Father Spirit, Danbala Wedo, the vodou god of creativity and motion. Represented by the same sacred serpent that adorned the shield of Moses crossing the Red Sea, Danbala also entwines the caduceus, symbol of healing in the Western medical world.

Dadi laments the lack of motion in development and healing in Haiti, two hundred years into its Independence, calling upon virtually every spiritual force (Tou Manbre): Western, Eastern, or individual, especially within the Haitian people themselves to remember their heritage, to understand and take pride in their history, in the worth of those who founded and fostered this first Black republic. “Looking for the perfect government and leader has been the downfall of Haiti so far. I want to go back to the essence, the spirituality of the Haitian people, remind them of the power of the Lakou: the community life, the sharing, how good it is to function as one big unit instead of individuals. It’s obvious that the problem in Haiti is bigger than the politicians. No matter who has been in power we have faced the same problems, so it has to be the system,” says Dadi.

It is the resurgence of this awareness and energy, the return to the consciousness and habits of the Lakou that the music of TOU MANBRE –every member of Haitian society off-island and on – addresses with fervor and fascinating rhythms from all over the world.

The music of this CD is a wonder, with Vodou roots rhythms alternating with those of ancient Mali and affranchie. The sweeping bow of Joan Wasser’s violin also evokes Ireland and Appalachia on track 11 (Sayila); the def poetry of tracks 3 (Edike) and 10 (Sa w Fè Pou Yo) are witness to the cadence of American rap and the richness of Haitian Kreyol. Track 16 (Pwofèt la) represents a special inspiration and smile from Languichatte, Beaubrun’s father. Throughout, the steady, muscular drumming of Markus Schwartz, crossover maven, and Tiga Jean Baptiste underlines what is meant by World music.

Like many of the Haitian diaspora, Dadi has learned the musical language of New York and adapted it to the world. Unlike many shaking their heads at the conditions in Haiti today, he uses music of all times in TOU MANBRE to urge those who care to apply Haiti’s noble past to today, to transcend the present and take responsibility. “We need to educate our youth so they don’t wait for a handout to be productive, “ says Dadi. “We can do it, if we just remember what we once were, and respect ourselves and each other. We didn’t ask for our freedom, we took it. People will respond to us if we start demanding that everyone in Haiti does the right thing. It’s a turning point for Haiti. “
- Kathleen Burke

New York, NY – September 27, 2005 – Riding the wave of the August release of their explosive debut album, TOU MANBRE, Haitian World Music Group, Lataye will perform live at Satalla on October 15th at 10pm. As the album title suggests, Lataye is locked and fully loaded to move Mizik Rasin (Haitian Roots Music) onward and upward. Daniel “Dadi” Beaubrun’s musical genius leads these seasoned musicians in a gut wrenching, heart-filled performance that is engaging, awe inspiring and extremely personal. He deftly leads the audience down the path of self discovery and self love (the essence of Roots music) with soul filled vocal tones and sweet melodies all couched on a bed of traditional Haitian and African drumming and angelic choruses.

From the opening crow of the rooster in Alegba Papa Pye, calling upon the spirits, audiences are privy to a performance like no other. Songs such as Edike – the artist’s story of self discovery as well as the importance of knowing your roots and Dakout Sa, the “Get up Stand up” song of the record calling for planting seeds of progress and change, are eye openers. In Sayila, audiences are treated to a seamlessly fusion of Celtic violin strokes, masterfully executed by Joan Wasser and the traditional Mambo rhythms guided by Dadi’s soothing bass.

Vodou rhythms are blended with rock, jazz and soul throughout the performance with danceable grooves such as Kafou, the funk rhythms of Sa W Fe Pou Yo and M Viv Ave Yo, and the Carnavaleque, M Pwale.

Undeniably, the triumph of the evening comes in the simplicity of a stool, the artist and his guitar in the soulful, touchingly poignant song Viv La Vi W, driving home the timely, socially relevant message of living in the present, for tomorrow is not promised. Take a stand before it’s too late.


- SJM Media

FOR IMMEDIATE RELEASE
July 26, 2005, New York, NY- Hypnotic sound and a positive message are the formula for the long awaited new album "Tou Manbre". This Haitian Vodou Rasin (Roots) style album is the product of the socially conscious group "Lataye". Lataye's music reflects the spiritual essence of all the positive elements found in Haitian Vodou culture. Based on a humanitarian prospective, the lyrics convey a message of social change, unity and love.

Lataye is led by Daniel "Dadi" and Marjorie Beaubrun, founding members of the acclaimed World Music group "Boukman Eksperyans". Among Dadi's many accomplishments is the 1992 Grammy nominated album of the year in the World Beat category, "Vodou Adjae", which he co-wrote and produced. As one of the pioneers of the "Rasin" (Roots) music, his original style has taken Vodou music out of Haiti giving it international recognition. This kind of forward-thinking lead him to be commissioned by Grammy Award Winners, The Fugees, to produce and write the songs "Fugees Debake and Yon Chans" under the Platinum Columbia recording label in 1997. Dadi also co-wrote two tracks with the internationally recognized solo artist Wyclef Jean, "Diallo and Thug Angel” on The "Ecleftic" Album.

“Tou Manbre’s” sound is a fusion of Dadi's unique flair. The music is a mélange of Haitian Vodou rhythm with other elements like Rock, Reggae, Jazz and West African flavor. It brings forth a new vision of cross culture distinction for "Rasin" (Roots) music with an intense and pulsating groove. The music is founded on the three traditional Haitian drums then comes a racing bass line. It's like a forth drum carrying the rhythm pattern. The track (13) "Kafou" is an accurate sample of this technique, adding edgy electric guitar building-up to a call-response into hi-tech undulation. Daniel explains: "The music and the lyrics are one. Haitians use the same terminologies and proverbs to express something different. Some of the choruses from the soundtracks are from traditional Vodou songs. The charm is that anyone can give it's own interpretation of what’s being said. That’s the reason why the Rasin music was label as being political, but it’s much deeper than the every-day politics. The message is usually base on spirituality, even when we are talking about our daily life. In Vodou everything is connected. Like a wise man once said “we must spiritualize the materials and materialize the Spirit".

Daniel "Dadi" Beaubrun producer/songwriter is back to reclaim his music on his own terms. He states: “This is the accomplishment of an important project. It’s my heart, soul and spirit. I wanted to share my music, my culture and the message of unity that the earth needs right now. I wanted my people to know that some of us still care for the well being of Haiti and this CD is my contribution towards it. The lyrics are my thoughts. It’s the way I see certain things. It’s a reflection of personal experiences. Sometimes the people’s voice can’t be heard, so I write about things they would want to say so the world could hear their plea". This album is an echo a stream-of-consciousness. “Kay Inan” track (7) while layering percussions with a textured rock guitar feeling aims to transport the listener to a place of cultivated awareness. And “Edike” track (3) calls for the education of Haiti’s children of their ancestors; the music is built on a driving drum rhythm where a boisterous dance reggae hook is added.

The vision of this record goes beyond the sounds of Vodou culture. Although the album deal mostly with spiritual and consciousness concept, it still remains an undeniable dancing opus.


- Cynthia Karaha

On the roots side of Haitian music, the big news is the August release from Lataye (Dadisound) led by two founding members of the seminal band Boukman Eksperyans, Daniel "Dadi" Beaubrun and sister Marjorie. Entitled Ton Manbre the album is a
well-crafted work that represents both a progression and a refinement of the rasin (roots) style they helped to create during a period in the late '80s when hope for positive change and artistic creativity flourished in Haiti. At the time, perhaps a dozen or so bands had begun to delve deep into their country's palette of traditional rhythms and to create a musical synthesis incorporating modern elements such as rock guitar. Of these only a handful (like Boukman, Rara Machine, Kanpech and Ram, to name a few) ever became known outside of Haiti.
Since leaving the band he co-founded with brother Theodore "Lolo" Beaubrun, Daniel has worked with such internationally acclaimed artists as Peter Gabriel, Youssou N'Dour and Jimmy Cliff, and even contributed tracks to the Wyclef Jean album Ecleftic and more recently Kreyol 101. The new album represents a culmination of several years of work, the title track being a desperate cry to all members and groups of Haitian society (tou manbre = all members) to work together to rescue the country's soul from its downward spiral. Be prepared to hear some of the same deep trance-inducing vodou rhythms and impassioned vocals you'd expect from Boukman Eksperyans but with a few surprises like the resonant gospel-inspired harmonies of the title track and on "Bonzanmi."
A standout cut is the soulful "Kay Inan," a sad but beautiful reflection on the problems Haiti faces today (with lyrics like "our Mother is in great danger") backed with some nice guitar lines and a strong female chorus. The same goes for "Rekomanse" where Dadi contributes some burning churning lyrics to a reggae beat reminiscent of the anthem-like "No Woman No Cry." "Sayila" is an interesting instrumental cut which mixes a vodou rhythm with Celtic violin matched by a fretless bass playing a classical counterpoint. The last cut of the album, "Pwofet La," actually transcends Haiti and speaks of today's egocentric religions, each one claiming to be better than the rest but doing nothing to promote harmony in the 2000 years since the Prophet's last return. [Check the band Web site at www.lataye.com ]


Interview with Daniel "Dadi" Beaubrun

Brian Dring: Since the days of the original Boukman Eksperyans, there was the departure first of Eddy Francois after Vodou Adjae followed by you and your sister several albums later. In your case, was the departure caused by musical differences or the need to pursue a solo career?

Dadi Beaubrun: Marjorie and I departed after Libete Pran Pou Pran I which was Boukman Eksperyans' third cd. I wanted to take a break because I was very tired. It was a lot of work for me. I was the co-writer, arranger/producer of the group. After the long tours when the rest of the group took a break, I would be preparing the next album...from 1989 to 1996 it was like that. I was doing productions for other artists also. Musically we also grew apart which I think was good, because it gives everyone the opportunity to experience new stuff. As you can notice on the cd Boukman released after my departure, they sounded totally different. I felt that the group was strong enough to carry on without me.

Q: With my limited knowledge of Creole, I thought I read in the album liner notes that you dedicate this album to your brother Theodore and that you have also worked with Eddy Francois since his departure. So there is a mutual support between you?
A: Actually, the album was dedicated to my dad Theodore Beaubrun Sr. He was our inspiration. Without him, the rasin movement wouldn't be the same. But Lolo always supports everything that I do and we are very close. Eddy is like another brother, we do keep in touch.

Q: I hear some harmonies like the song "Tou Manbre" or "Bonzanmi" that remind me of the gospel feel of some South African music. I recall hearing similar harmonies on Kalfou Danjere. Is that a coincidence...! mean did you and Marjorie


THE BEAT VOL. 24 #6, 2005


THE OTHER CARIBBEAN

Q: I don't hear too many deep harmonies like that in most Haitian music today, whether it is compas or rasin... Does a tradition of vocal harmony exist in some Haitian churches as it does in the American Southern Baptist Church or are they derived from traditional songs?
A: Oh yes, it's there in our churches. Especially now with the influence of the modern gospel, the youth are into it. We have some excellent singers in our churches. In the countryside you will hear the traditional influence in their singing.

Q: How did the idea of adding Celtic violin to "Sayila" come about?
A: Well, ever since I started to work on that song I kept hearing a violin. I wanted to create a contrast. Because the rhythm on this track is originally very aggressive - Brian Dring - The Beat Magazine

Contributed by: ARomero
Haitian Music, Alive and Well
Some of the best Haitian music is being produced in the United States, thanks to the vibrant expatriate communities. Lataye is a new band, but the musicians are veterans in the Haitian music scene. Lataye is led by Daniel 'Dadi' Beaubrun and Marjorie Beaubrun, founding members of the much-admired Boukman Eksperyans.
Tou Manbre follows the Haitian Vodou Rasin style, showing that Lataye is one of the finest acts in the category. Their sound is rootsy and well polished, staying away from pop simplicity. In addition to Haitian roots, Lataye incorporates other world sounds, such as African rhythms, rock, and reggae.


Producer and songwriter Daniel 'Dadi' Beaubrun states: 'This is the accomplishment of an important project. It's my heart, soul and spirit. I wanted to share my music, my culture and the message of unity that the earth needs right now. I wanted my people to know that some of us still care for the well-being of Haiti and this CD is my contribution towards it. The lyrics are my thoughts. It's the way I see certain things. It's a reflection of personal experiences. Sometimes the people's voice can't be heard, so I write about things they would want to say so the world could hear their plea.'
- World Music Central

Lataye: Tou Manbre, Dadisound Productions, 2005
www.myspace.com/latayemusic
Rating: A

If Boukman Eksperyans' Libète is comparable to The Beatles' Sgt. Pepper, as someone has claimed, then consider Lataye's Tou Manbre as the answer to the Paul McCartney & Wings disk Band on the Run. That's a compliment, offered in appreciation of the interesting juxtapositions and musical adventure of both albums.

Daniel "Dadi" Beaubrun was a leading figure in the aforementioned acclaimed Haitian band, but like Paul McCartney, he eventually had to use a different musical vehicle for expression of his creativity. Thus he founded the group Lataye. Good news: the new band is terrific. Its music is warm, tuneful and rhythmic, eclectic in taste and rich in talent.

The album starts with a short, pretty ballad, strongly African in its inspiration. That same flavor proudly dominates the next track too, propelled by polyrhythms, an incredible joie-de-vivre, and what sounds like a whole village joining in at times. Then a French Creole mode takes over for "Edike" with a lead vocal that would be at home in Cajun country. The world-weariness of "M Viv Avè yo" gives way to the fast dance beat, wailing electric guitar and feverish complexity of "Dakout Sa a."

And so it goes. Vodou rubs against reggae. Schmaltz from France and textures from Africa, reinforced by American vigor and European tunefulness. All held together by Haitian musicality. An a cappella piece takes us to Ladysmith Black Mambazo territory. A lovely, vibrant violin solo transports us into the world of classical music. With an acoustic guitar we're suddenly in singer-songwriter mode. The tempos range from furious to rollicking to lively to casual to thoughtful. Altogether, it's an enticing mélange.

The old Boukman Eksperyans made music for the ages. It seems that with Tou Manbre, Lataye has announced its intention to do likewise.
- Jahworks

Date: Sun, 25 Dec 2005 23:01:30 -0500
Chacun devrait se rappeler comment, dans les années 80, le haïtien catapulté par Eksperyans célèbre de Boukman de groupe enracine la musique (Mizik Rasin) sur la scène internationale, cassant toutes les barrières sociales au Haïti et permettant à Mizik Rasin d'occuper son endroit légitime sur la scène sociale et culturelle haïtienne. Si vous aimez Boukman Eksperyans, ainsi volonté vous le nouveau groupe sur le bloc, Lataye et son CD récemment libéré ont eu droit Tou Manbre. C'était pendant l'une de mes incursions musicales dans les magasins haïtiens de musique que je l'ai trouvée et ce qui une trouvaille ! Il devrait dire que, juste comme c'est le cas avec Boukman Eksperyans, cette marque de Mizik Rasin est tout à fait différent par exemple de Koudjay, ou de Tokay. Ce qui est le plus apparent sur ce CD est la variété de rythmes qui est offerte et c'est la plus agréable pour écouter. Daniel Beaubrun montre la polyvalence énorme en tant que l'arangeur et producteur de ce CD et en tant qu'auteur de la majorité des 16 chansons sur l'album. La musique s'ouvre avec une invocation joyeuse au papa Pyè Dambalah, suivi de l'air Tou Manbre de titre. Les voix de fond font un travail merveilleux. On devrait également noter l'excellente fonte des musiciens qui la font toute se produire, notamment, Makarios Césaire, un de mes guitaristes préférés, dont le jeu discret augmente subtilement la chanson au bon moment. Sur le tambour haïtien dans 5 des 16 chansons, nous trouvons Markus Schwartz (de Mozayik), alors que James "Tiga" Jean-Baptiste est décrit sur le numéro 15 d'air dans le battement furieux de Rara. Ces deux messieurs sont omniprésents dans des expositions de musique haïtienne de Rasin et de cet album pourquoi. Vous n'entendrez pas une meilleure section de rythme. J'ai toujours trouvé la musique de Boukman pour être une expérience éducative des rythmes folkloriques haïtiens que Lataye est dans la même tradition. Chacune des marques de chansons vous découvrez un rythme différent. Mon expérience avec ce CD est que plus j'écoute lui, plus j'entends que quelque chose de nouveau et ceci enrichit absolument. Détectez à l'oreille l'exemple aux nombreuses variations accordent dedans le non 3. C'est merveilleux ! En tant que joueur vocal et bas de fil, Daniel Beaubrun fait un excellent travail. Il y doit tellement écouter sur ce CD que les mots ne sont pas assez pour le décrire. La richesse de cet album réside également dans le lyrique superbe dans toutes les 16 chansons. Si le reggae de la Jamaïque est une musique avec une conscience, au Haïti, des chutes de ce rôle à Mizik Rasin. C'est le milieu par excellence par quelles réclamations sociales et politiques sont aérées. N'importe laquelle de ces chansons est preuve de cela. Vous pouvez apprécier par exemple l'intensité du lyrique dans le numéro 7 Kay Inan d'air. C'est un cri suffri le martyre pour que la nation regagne son calme, pour ses personnes, jeune et vieux pour réaliser ce qui est erroné dans la société et pour la changer, autrement le Haïti mourra. La jeunesse est préoccupée, il est à la recherche de son identité, de sa fierté.... C'est un message puissant qui ne peut pas être ignoré. Pwofèt La d'air de fermeture, nous invite convenablement à saisir le moment pour faire bien, parce que le temps qui passe ne revient pas ; des occasions qui sont perdues sont allées pour toujours.
- Sweethaitiana

Lataye — World Music From Haiti
Buy it from InSound Get this on iTunes
Haiti world music group Lataye invite us along for a spiritual and soul-searching journey set to the tune of Haitian music. Driven by Haitian Vodou rhythms pulled together by Daniel “Dadi” Beaubrun, a world-renowned composer, producer, songwriter, and musician, Lataye offers elements of pop, jazz, soul, and blues in each of their incredibly tight songs. Fusing these sounds together is a trademark of Dadi’s and he offers up some mystical arrangements here that will befuddle genre-phobes. Terrific!
- SMOTHER.NET J. Sin

Review from Dirty Linen
(125 August/September 2006) page 65

Lataye Tou Manbre
Dadisound Productions (2005)

The music on this disc is about as far from the concept of Vodou (sometimes spelled Voodoo) music as is possible – at least, the “voodoo music” we have heard played in Hollywood films. The rhythms are tempered and augmented by not only the drums, but also guitar, bass, and most notably, the voice. Some of the vocal refrains are spiritual and at times almost ethereal in sound. This disc is predominately the product of Daniel “Dadi” Beaubrun’s musical vision, and he is aided here by his sister Marjorie and Alex and Sheila Tanisma. “Dadi” is the founder and leader of highly praised and acclaimed Haitian world-music group Boukman Eksperyans and the new venture is intended to expand his musical vision by musical vision by infusing Vodou with rock, pop, and blues-even a bit of an Appalachian or Irish sound, as on “Sayila”. This disc is a synthesis of the positive and spiritual essence of Haitian Vodou. It is a strong new statement by this talented and visionary artist. Try it and be pleasantly surprised by the graceful beauty found in the rhythmic music. (BG)
- Dirty Linen