Definitions by Negre Marron Records
NMP
NMP is a Public Performance Rights Management Organizations that collects Public Performance Royalties for the public broadcast of live performances on Youtube, and similar platforms that streams live performances. and pay it directly to the band members and their collaborators such as: (Features "Feat." Guest Artis/Rappers/MC/ Sidemen/Session musicians/Hypeman or even DJs)
Unlike other organisations that only collect composition, (digital) performance, and mechanical royalties and pay it to the songwriters, artists, and/or the labels .
Unlike other organisations that only collect composition, (digital) performance, and mechanical royalties and pay it to the songwriters, artists, and/or the labels .
I wonder how many band members are signed to NMP for their public performance royalties of their live videos that's being streamed on YouTube every seconds?
NMP by Negre Marron Records November 11, 2018
KomParody
KomParody is the Haitian Kompa music style of the Pariody which is a "counter-song", an imitation with a twist designed to ridicule another original song
It refers to a reworking of a composition into another in which musical ideas or lyrics are lifted into a different
Musical KomParodies imitate or
make fun of, or comment on an original work or the style of a kompa and Beat artist, or even a general style of Kompa music.
KomParody usually has humorous, even satirical intent it also often utilises incongruous elements of Haitian Pop culture for comedic effect.
It refers to a reworking of a composition into another in which musical ideas or lyrics are lifted into a different
Musical KomParodies imitate or
make fun of, or comment on an original work or the style of a kompa and Beat artist, or even a general style of Kompa music.
KomParody usually has humorous, even satirical intent it also often utilises incongruous elements of Haitian Pop culture for comedic effect.
This song is a KomParody of the french song (Si J'étais Président) which means in English (If I was President) by Gérard Lenorman.
KomParody by Negre Marron Records November 6, 2018
KomTèks-Oral
KomTèks-Oral, is the French/Creole Style of Texte Oral, a ompositions that combine Haitian Kompa and Beat music with spoken text.
It can including poetry readings, prose monologues and comedy routines.
Charactetized by Electromechanical Instrument which include:
Electric keyboards/Keyrar, Electric Guitar, Percussion, Synthesisors, Electrical Bass, EWI (Electronic Wing Instrument), repeated riffs, Flute and violin, Backing track, samples sounds, and Spoken Text
It can including poetry readings, prose monologues and comedy routines.
Charactetized by Electromechanical Instrument which include:
Electric keyboards/Keyrar, Electric Guitar, Percussion, Synthesisors, Electrical Bass, EWI (Electronic Wing Instrument), repeated riffs, Flute and violin, Backing track, samples sounds, and Spoken Text
Yo son! I just watched this KomTèks-Oral song on Youtube a few minutes ago, it kinda sounder like poetry recited aloud over music -the words really stood out, though none of them rhymed.
KomTèks-Oral by Negre Marron Records November 2, 2018
KomPaoké-Dirèk
KomPaoké-Dirèk is the Haitian style of the Karaoke , characterised by amateur singers singing along a recorded Kompa and Beat music (a music video) using a microphone.
Lyrics are usually displayed on a video screen, along with a moving symbol, changing color, or music video images, to guide the singer.
The music is typically an instrumental version of popular Kompa and Beat and KomPassion songs - sung in Kompaoké Bars & Lounges by Haitian, Martinicans, Dominicans (Dominca) and Guadeloupean amateur Singers in French/Creole or sometimes Crenglish (Cranglais) as well as Frenglish (Franglais).
The only difference is, unlike other regular Karaoke, you can just play the popular game called "Kamikaze Karaoke" or "Karaoke Roulett" .
As Our genres are limited to just Kompa and Beat and KomPassion music.
That said, participants cannot call up an Zook or Rasin eongs that none of the participants can sing..
Lyrics are usually displayed on a video screen, along with a moving symbol, changing color, or music video images, to guide the singer.
The music is typically an instrumental version of popular Kompa and Beat and KomPassion songs - sung in Kompaoké Bars & Lounges by Haitian, Martinicans, Dominicans (Dominca) and Guadeloupean amateur Singers in French/Creole or sometimes Crenglish (Cranglais) as well as Frenglish (Franglais).
The only difference is, unlike other regular Karaoke, you can just play the popular game called "Kamikaze Karaoke" or "Karaoke Roulett" .
As Our genres are limited to just Kompa and Beat and KomPassion music.
That said, participants cannot call up an Zook or Rasin eongs that none of the participants can sing..
Are you going to the Kompa Room Live to sing KomPaoké-Dirèk with us tonight Annabelle?
I heard they gonna let the audience sing for an hour before their regular show start?
I heard they gonna let the audience sing for an hour before their regular show start?
KomPaoké-Dirèk by Negre Marron Records November 2, 2018
Gimpsy! Gimpsi! Gimpsé!
Gimpsy! Gimpsi! Gimpsé! is a collective of Kompa and Beat session musicians based in New York City.
The band derives its name from Guemps, the first name of Negre Marron Records CEO and Label director Rene, Guemps who started the band and thought it had a nice ring to it.
The crew is composed of Lead Guitarist, Rithym guitarist, Steel Guitarist, Bassist, Drummer, Percussionists, Gongist, Pianist, Keyboardist, Keytarist, Back up vocalists Trompet player, Trombonist, Flutist, Violin Player, Congist, Saxophonist.
The musicians are used as "ghost players" on many Kompa recordings.
Their music's are used in almost every style of Haitian Kompa recordings, including Backing tracks, Haitian film scores, Intrumentals, Tracks, Haitian advertising jingles, Haitan television theme songs, and many subgenres of Kompa Music.
Most of the players associated with the Gimpsy! Gimpsi! Gimpsé! had formal backgrounds in playing, Haitian Kompa Dirèk, Zouk, Ragga, and Rasin music (Haitian roots music) and have been active in the Haitian Music Indistry (HMI) music scene for at least 3 years.
The band derives its name from Guemps, the first name of Negre Marron Records CEO and Label director Rene, Guemps who started the band and thought it had a nice ring to it.
The crew is composed of Lead Guitarist, Rithym guitarist, Steel Guitarist, Bassist, Drummer, Percussionists, Gongist, Pianist, Keyboardist, Keytarist, Back up vocalists Trompet player, Trombonist, Flutist, Violin Player, Congist, Saxophonist.
The musicians are used as "ghost players" on many Kompa recordings.
Their music's are used in almost every style of Haitian Kompa recordings, including Backing tracks, Haitian film scores, Intrumentals, Tracks, Haitian advertising jingles, Haitan television theme songs, and many subgenres of Kompa Music.
Most of the players associated with the Gimpsy! Gimpsi! Gimpsé! had formal backgrounds in playing, Haitian Kompa Dirèk, Zouk, Ragga, and Rasin music (Haitian roots music) and have been active in the Haitian Music Indistry (HMI) music scene for at least 3 years.
Did you know that a lot of Haitian musician hired
Gimpsy! Gimpsi! Gimpsé! to record their albums for them, before having their own band members?
Gimpsy! Gimpsi! Gimpsé! to record their albums for them, before having their own band members?
Gimpsy! Gimpsi! Gimpsé! by Negre Marron Records October 25, 2018
Kompa-Room-Live
Kompa-Room-Live is the Haitian style of the Boiler Room (a global online music broadcasting platform commissioning and streaming)
The difference between the two are: Kompa-Room-Live only showcase up and coming Haitian DJs and only play the latest Kompa and Beat hits in front of a live audience on an open dance floor.
During the live Kompa-Room-Live session the DJ is filmed and recorded using an Omnidirectional_camera which shoots in 360° format that's connected to a personal computer which broadcast to Haitian and Beat Music fans on Youtube and Facebook Livall over the world.
During Kompa-Room-Live the attendees are positioned in front of the DJ booth while dancing, which is really the main attraction at Kompa-Room:
The difference between the two are: Kompa-Room-Live only showcase up and coming Haitian DJs and only play the latest Kompa and Beat hits in front of a live audience on an open dance floor.
During the live Kompa-Room-Live session the DJ is filmed and recorded using an Omnidirectional_camera which shoots in 360° format that's connected to a personal computer which broadcast to Haitian and Beat Music fans on Youtube and Facebook Livall over the world.
During Kompa-Room-Live the attendees are positioned in front of the DJ booth while dancing, which is really the main attraction at Kompa-Room:
Kompa-Room-Live by Negre Marron Records October 23, 2018
Vodoun-Pop
Vodoun-Pop is musical style that combine elements of traditional Haitian Vodou ceremonial and folkloric music with Euro-American Pop music, that's played without any Verses just Ostinatos (Vamps), Hooks, Choruses and Scats
It is often referred to simply as "Pop Vodou" in Haitian Creole.
It is used as background ambient music in Folk Dance classes, Haitian Lounged, Restaurants and Voodoo temples (Peristyles), from mainly the French-Creole and Crenglish speaking countries of the Caribbean, such as Haiti, Martinique, Dominica, Guadeloupe as well as Canada, France and Western Africa and Haitian communities in the Untited States.
Typical instruments are:
Rada and petro drums, tanbou, rara horns, electronic keyboards/Keytar, electronic drums, electric guitars, electric bass, Percussions,drums, piano, strings tumpet, flute, Backing tracks, E-Synthesizer, personal computer, Singable melodies) Humming, Whistling, and Drumming.
The tracks are predominantly instrumental, and are usually play and dance to a RADA rithym, which usually starts slowly and burst into a feverish pitch.
The dance is characterized by the hands being placed on knees or thighs, and has several main variations: Yanvalou debou (upright), Yanvalou do ba (crouching), Yanvalou zepòl (a "shoulder dance"), etc."
A notable label of this kind of Vodoun-Pop is Negre Marron Records which was foundef in New York City 2018 by René Guemps.
It is often referred to simply as "Pop Vodou" in Haitian Creole.
It is used as background ambient music in Folk Dance classes, Haitian Lounged, Restaurants and Voodoo temples (Peristyles), from mainly the French-Creole and Crenglish speaking countries of the Caribbean, such as Haiti, Martinique, Dominica, Guadeloupe as well as Canada, France and Western Africa and Haitian communities in the Untited States.
Typical instruments are:
Rada and petro drums, tanbou, rara horns, electronic keyboards/Keytar, electronic drums, electric guitars, electric bass, Percussions,drums, piano, strings tumpet, flute, Backing tracks, E-Synthesizer, personal computer, Singable melodies) Humming, Whistling, and Drumming.
The tracks are predominantly instrumental, and are usually play and dance to a RADA rithym, which usually starts slowly and burst into a feverish pitch.
The dance is characterized by the hands being placed on knees or thighs, and has several main variations: Yanvalou debou (upright), Yanvalou do ba (crouching), Yanvalou zepòl (a "shoulder dance"), etc."
A notable label of this kind of Vodoun-Pop is Negre Marron Records which was foundef in New York City 2018 by René Guemps.
Our Vodoun-Pop dancing class intructor Marlene finally taught us the meaning behind the Yanvalou dance this after noon.
Vodoun-Pop by Negre Marron Records October 20, 2018