Born on August 19, 1953, André (“Dadou”) Pasquet, whose importance is poorly measured, is undoubtedly one of our greatest living musicians, in all respects, one of the most innovative. The sensuality of his music resorts to speed, the joy of life or unhappy feelings, without complacency for the public. He is an entire, authentic creator. His five-year experience in the Tabou Combo in the early 1970s is the very first one: together with Shoubou (Roger Eugène), Yvon “Biassou” Mondésir, he formed an impressive vocal trio that contributed, as a composer and arranger only as a guitarist, to the success of four iconic albums (Sugar Cane, Respect, 8th Sacrament, The Masters). All Haitian music lovers felt seduced, even the most difficult, even the most traditional, the most grouchy, the most closed.
The dynamic feeling of the Haitian soul found there a culmination and a new breath. If this experience left him with a bitter taste – his early talent and guitar virtuosity, shaped by his uncles Dodof (Rodolphe), Richard and Alexandre Legros), have been enriched and appreciated by discerning and demanding audiences. The Taboo Combo by Herman Nau, Yves “Fanfan” Joseph, Dof Chancy, Ernst Marcelin, Yvon Ciné, Yvon “Kapi” Andre Jean Jean Jean was already a label of high aerobatics! A gifted guitarist whose potential was dazzlingly noticed by famous predecessors (Raymond Sicot, Raoul Guillaume, Richard Duroseau), become the most avant-garde of Haitian guitarists, he founded on June 24, 1976, his own group: “Magnum Band” (The only difference).
The conquering space of Magnum Band would give back to Dadou Pasquet, who studied at Staten Island College (USA), his ambitious dimension: the power of his creativity, his seductive volubility, his experimental charism influenced both by the tradition local or Caribbean rhythms (reggae, calypso) and modernity from jazz, blues, funk, etc. But he was able to make an astonishing work of fusion between a bounding rhythmical konpa and equally meaningful words, particularly eloquent: “Experience”, “Jehovah”, “Grann”, “Chèche lavi”, “Island”, “The best in town “,” Without Borders “,” Okay “,” Revelation “,” Adoration “,” Pure gold “,” Congo nan Vodou “,” Paka pala “,” Dife “,” Pike devan “,” Ashdei “, and I forget it. The cause is heard, but the obsession of this satanic perfectionist is to make the mediocrity of some more spectacular, the disguised and superficial stars still more detestable, and to forget all that through his music, worked and catchy, yes, dancing to death! In the album entitled “30 years / Magnum Band, the only difference” (2007), published after the album, “The archives of Dadou Pasquet” (1998), we find many successes mentioned above. The quest is long.
It is not a small task to make appear the work of Dadou Pasquet in its panoramic succession and to highlight a dazzling richness where, success after success, turned after the tour, one perceived only exploded pieces, attempts incessant, adaptations and interpretations to the satiety of foreign success, staggered prowess. As these mystics fascinated by several religions and/or divine manifestations (Christianity, voodoo, Islam), impregnated with feverish visions, Dadou Pasquet, whose method is to refine everything, represents himself a being in the making, a prophet in his country. Listening to current musicians, many of whom are not real artists, we often have the impression that high-speed sound is only the alibi of certain generational cretinism, and thematic infantilism, the result a regression without makeup.
