Open today: 08:00 - 18:00

By continuing your navigation on this website, you accept the use of cookies for statistical purposes.

Ayizan
Dilijans

Dilijans
DilijansDilijans

Artists

Ayizan

Catno

COMET 118

Formats

1x Vinyl LP Album Reissue

Country

France

Release date

Jan 20, 2023

Dilijans is the lone album released by Ayizan, the brilliant Haitian ensemble founded by guitarist and composer Alix Pascal. Recorded in New York in 1984, Dilijans presents a powerful combination of Black American jazz and rara, a Haitian musical form that is played to accompany processions in street festivals, religious ceremonies, protests, and beyond. Sung in Haitian creole, Pascal’s songs throughout Dilijans comment on complex sociopolitical realities. His lyrics were cloaked in metaphor as a means of avoiding a direct critique of (or confrontation with) the repressive U.S.-backed Haitian government.

The album opens with “Deblozay,” which is built upon a percolating rhythm and call-and-response choral vocals. Felix “Fefe” Etienne’s bass playing on here is especially fluid and dexterous, anchoring the band rhythmically, melodically, and harmonically. As the band’s intensity builds, Pascal’s lyrics warn the community that if they don’t speak out about the political issues of the day, chaos will overtake them and their country.

“Pwoblem” opens with subtly swinging rhythm before Pascal’s lead and the backing choral vocals take center stage. Etienne once again guides us through the song with some nimble, melodic basslines and unexpected changes that shift the entire emotional tone whenever they occur. The interplay of the musicians here is impossibly intricate and the song’s relentless, hypnotic groove makes the nearly eight-minute runtime fly by. The title track is an anthemic call to action with an entrancing vocal melody. The guitar, bass, and percussion are so inextricably locked that the musicians seem to move together as one cohesive unit. Ayizan show off their jazz chops on “Tribiilayson.” The song’s intro section consists of an electric piano and saxophone briefly playing around one another before the bass, drums, and vocals join in to flesh out the tune. Alix “Bouyou” Amboise’s saxophone playing is a standout element of “Tribiilayson” as he solo’s with fire and inventiveness. In the song’s lyrics, Pascal tells the story of a man who has grown old, only to perish before getting his affairs in order.

Much like jazz, rara is a social music, inextricably linked to the community that produced it. Ayizan exhibited this by putting together a collection of songs that speak to the shared experiences and immediate concerns of Haitians everywhere. The result is an album in which the politics, music, and spirit of the Haitian people coalesce beautifully.

Media: Mi
Sleeve: M

$59*

*Taxes included, shipping price excluded

A1

Deblozay

8:40

A2

Pwoblem

7:49

B1

Dilijans

6:19

B2

Tribilasyon

6:44

B3

Tèm (Ayizan)

0:32

Other items you may like:

To enter the world of Sally Townes and Roberta Vandervort is to be swept away into a dimension of unique sound. Embellishments of smoldering jazz funk, seductive soft rock, breezy AOR, and misty folk, all paint a picture of the worlds which they inhabited; from the endless flat expanse of Dallas, the hot and humid bustle of a Bourbon Street night club, to the late night buzz of a Los Angeles studio session.While Sally Townes and Roberta Vandervort never crossed paths in our reality, their supernatural union on this compilation feels like the meeting of old, yet familiar friends, set in a parallel dimension with lives intertwined. The songs feel like old friends, too — a comforting time capsule of the popular sounds of the era, yet offering something completely new. Bridged by the striking similarities in their musical confidence, vocal conviction, and boundless creativity, both women encapsulate an uncompromising passion for living, loving, and creating on their own terms.
It’s now pretty obvious that Disco influence has not only been powerful in western clubs. It has also influenced musicians all around the world, from France to Brasil, as Favorite Recordings proved it with the previous volumes of the "Disco Boogie Sounds" compilations. West-Indies islands are no exception to the rule.Indeed, at that time in the Caribbean territories, local musicians and producers seized the sound of their US counterparts, and make it their own, melting-up disco, funk, and boogie (even early rap) elements with some more traditional or local styles. Besides, the important size of the Caribbean diaspora in the US, Canada, or in the UK, has certainly played a huge role in making those two musical worlds meet. At the end, West-Indies Islands have not only tried to reproduce US dance hits locally, they also bred their own version of Disco.Apart from some obvious titles which made it to the charts ("Trinidad" by John Gibbs to name one), very few was known on these productions until recently. Most of it has remained obscure, being only played by a handful of record collectors & DJs. Having grown up for most of my childhood and teenager years in a small island from the Indian Ocean, I was immersed in the “sun & sand” vibes at an early age, which helped molding my musical tastes. If the sound of the Caribbean Islands is very different from the Indian Ocean's one, it’s anyway no surprise that I have been attracted quickly by the West-Indies’ 70s music productions, as a DJ and record collector.From an initial pre-selection of 40 tracks, Favorite Recordings and I teamed up to narrow down the actual tracklist. With no pretention to be exhaustive, this selection represents a tiny sample of a broader ocean of quality Caribbean Disco/Boogie tunes. It will take you to various places like Virgin Islands, Jamaica, or Trinidad, as well as a couple of Western major cities, where West-Indies diaspora is strong (New York, London).The soundtrack of this journey goes from Disco/Rap sounds, with the obscure "Macho Man" by Eddie & The Movement, to weird Afro-Disco/Funk influenced songs, such as “My African Religion” by Jamaican singer Paul Hurlock. Also featured here are a couple of personal secret weapons such as instrumental "Bermuda Triangle" by Musicism, or "Going to the Party" by Barry Bryson.