8th Sacrement

Tabou Combo | Format: Audio CD

Product Details

• Audio CD (January 1, 1974)
• Number of Discs: 1
• Label: CDBY
• ASIN: B00005O3W6
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #791,905 in Music (See Top 100 in Music)

Editorial Reviews

About the Artist

"Rhythm is the essence of Tabou Combo," says Tabou Combo's drummer Herman Nau. The infectious rhythm of Haiti's national dance music, Konpa (con-pah), has propelled the country's preeminent dance band around the world. The 12 members of the band have covered many territories since leaving Haiti and relocating to New York City in 1971. By that time, Tabou had already established itself as Haiti's number one group, and as the "Ambassadors of Compas." Tabou Combo now has worldwide fans and followers from London to Paris, Holland, Switzerland, Japan, South America, throughout the Caribbean and in North America.

It is easy to understand why. Tabou Combo's relentless and high-energy style of Compas dance beat knows no language barrier. Singing in English, Spanish, French or their native Creole, Tabou serves a hot mix of grooves and textures with roots from around the world. You will hear a strong dose of the Dominican Republic's national dance music, meringue. The Dominican Republic and Haiti share the island of Hispaniola. In addition, there is Haiti's dance-till-you-drop carnival music, rara, the hypnotic drums of Haitian voodoo rituals. Add to that quadrilles and contra-dances from Haiti's French colonizers and funk from the American soul era to James Brown for good measure.

Tabou Combo got started in 1968 in Petion-Ville, a town just outside Port-au-Prince, by Albert Chancy and Herman Nau and some friends, all in their teens. They began by naming themselves "Los Incognitos", because they were unknown at that time. They changed to Tabou Combo in 1969, in order to bear a name closer to the Haitian culture. That year, the band won first prize in a televised talent contest, gaining a national reputation in Haiti, and by 1970 it was one of the island's leading band. Then the Chancy's parents stepped in, and Albert, the band's guitarist and original leader was sent to college in Montreal, and gave up music. The band dissolved and its members drifted to the United States. Early in 1971, however, an unexpected meeting led to a Tabou reunion with Jean-Claude Jean as a leader and the band has been together, with a few changes, ever since.

Drummer Herman Nau is responsible for the incorporation of Brazilian samba and rock rhythms into Konpa. The mixture of all these influences makes for a serious bass line that brings new meaning to the word bottom; layer upon layer of accents courtesy of drums, percussion and congas; the constant intertwining of two guitars with the feel of West African Soukous topped with bright piano riff and the brassy sound of a 4-man horn section. All the men on horns are Americans. Tabou started the practice among Haitian bands of using foreign horn players due to the lack of formally trained horn players in Haiti.

Haiti has no shortage of great singers and TABOU COMBO features some very best. Out front is lead vocalist Roger M. Eugène (Shoubou), crooning with the best of them and switching gears with ease to generate excitement and electricity. Shoubou loves interacting with audiences. He often imitates dancers in the audience and has been known to give on stage Creole lessons as he invites people to sing along. Joining Shoubou, doing back vocals in the call and response tradition is Yves Joseph (Fanfan). As Tabou's main songwriter, Fanfan says he often hears himself in dreams singing the songs that he writes for the band. Doing double duty in Tabou Combo's vocal section is Herman Nau who dominates the rhythm with the hard drumming that has earned him the reputation as Haiti's strongest drummer. Herman quotes "The richest rhythms in the world come from Africa and the Caribbean. In Haiti alone, there are 71 different rhythms and each has different meaning." On stage, Herman constantly is! surprising band members with his rhythmic variations and shadings always with the kick that gives Konpa its drive.

Also doing back vocals while he adds still more punctuation to Herman's rhythm is percussionist songwr

Customer Reviews

Most Helpful Customer Reviews

4 of 4 people found the following review helpful:

5.0 out of 5 stars After 25 Years of Dancing to this Album ..., October 16, 2001

By 

Han List (S Carolina) - See all my reviews

This review is from: 8th Sacrement (Audio CD)

After 25 years of dancing to this album I still think it is the best around. It never fails to get everyone off their chairs. I first heard it during Carnaval in Eindhoven (the Netherlands) and I am sure it can be heard all over the world, wherever people want to have a party. There is one love song on side two that you can use to catch your breath, but every other song on the album is guaranteed to keep you moving, jumping, shaking, shouting, and then some.

5.0 out of 5 stars "Anybody got a whistle out there? Soul . . . Soul!!!", January 23, 2012

By 

The Delite Rancher (Phoenix, Arizona) - See all my reviews
(TOP 1000 REVIEWER)    (VINE VOICE)   

This review is from: 8th Sacrement (Audio CD)

"8th Sacrament" is a Compas classic. It's arguably one of the strongest recordings in the Afropop-Caribbean pantheon. While the album proudly hangs 1974 on its sleeve, the vintage production will always sound great. This was a fantastic and all too brief time period for the group in light of how they assimilated the international influences du jour. James Brown style funk and main land psychedelia is well infused into this live set. The psychedelic guitar and smokin' snare rhythm is worked into lengthy, hypnotic jams. In this deep trance, it is almost impossible to stay seated. This music comes with an unspoken ultimatum: get up and dance! The polyrhythms cook and the breaks are hot. "8th Sacrament" is no journey into ethnomusicology; this music is accessible and the songs are catchy. The audience is heard yelling in joy at the climaxes. Following the smokin' title track and 'Pace Domine,' 'Come Back My Love' offers a relaxed breather from the Carnival bliss. Spoken in English, 'Come Back My Love' is a soul ballad with a crooner swagger. 'Respect > Zapaton' is one of the album's highlights with its mind-expanding guitar work, Haitian rhythms, funky bass and sweet accordion. These guys are brilliant at taking a musical groove and slowing it down to eventually snap it back to life and throw in dozens of exciting breaks when least expected. 'New York,' 'Courai,' and 'Education' repeat this formula with the same high energy. Tabou Combo's best albums were their earliest, predating syths and the assimilation of pop music. "8th Sacrement" (also released as "New York City") stands along "Respect" and "A La Canne à Sucre" as the heavy weights. I have to imagine that even if you're not that into Haitian music, "8th Sacrement" has enough cross over elements to appeal. Take your "8th Sacrament" but read the warning on the side label: "May cause tired legs after hours of jubilant dancing!"