ON GOOGLE there is a    FRAUDULENT  Link.    At the same time, the organization is using our  "legitimacy" to capitalize.  We are not associated with any Charitable Organization, and the the Nemours Jean-Baptiste, Jr. Group of NEMOURS POULARD
 








1911 :  Naissance de Rodolphe (Dodophe) Legros. ( I do               not  have any biographical info on him yet)
1913 :  Naissance de Barateau Destinoble aux Cayes.
1918 :  Naissance de Nemours Jean Baptiste a Port-au-                Prince, Haiti.
1919 :  Naissance de Issa El Saieh à Petit Goave.  
1920:   Naissance de Victor Flambert
1925:   Naissance de Félix Guignard
1926:   Naissance de Kesnel Hall  
1926:   Naissance de Gesner Henry  - Coupe Cloue1930:   Naissance de Wébert Sicot (Maestro Difficile)            Il meurt en 1985 55 ans
1931:   Naissance de Guy Durosier
1933:   Naissance de Ti Paris à Jacmel.(Achil Paris)

1942:  Nemours séjourne Aux Cayes où il rejoint       Destinoble Barateau avec qui il appris certaines techniques musicales notamment du saxophone.

1942: Création du Trio Des Jeunes à Mornes à Tuffe.

1942 : Webert Sicot est admis à l'école centrale des arts et métiers.

1943 : Le trio Des Jeunes prit le nom de Jazz Des Jeunes.

1918 : Nemours Jean-Baptiste 
Naissance de Nemours Jean-Baptiste à Port-au-Prince. Nemours est déjà le musicien haïtien qui révolutionnera la musique haïtienne radicalement et en profondeur. Né de famille modeste, il n'a pas la chance de bénéficier très tôt d'une éducation musicale. Il pratique le métier de coiffeur tout en jouant le banjo.  

1919 : Issa El Saieh 
Naissance de Issa El Saieh à Petit Goave, en Haïti.  D'origine libanaise, Issa va étudier la musique à Boston où il décroche un diplôme en musique à Burkley. Il retourne en Haïti, crée l'orchestre Issa El Saieh au début des
années 40. 

1924  : Lamy Ernest  
Lamy Ernest  est né à Port-au-prince le 28 décembre 1924  Il est le benjamen d'une famille de cinq enfants.  Dès son enfance, il montra de l'intérêt pour la musique. Ses talents musicaux furent découverts très tôt.  Il maîtrisa
l'Accordéon, l'orgue et le piano parfaitement.  

1933 : Ti Paris (Achile Paris)
Naissance de Ti Paris à Jacmel Haïti.  De son nom Achile Paris, c'est à l'âge de 17 ans, en 1950, qu'il va abandonné le toît familial pour se rendre à Port-au-prince simplement avec sa guitare et sa voix faussement rauque. Là, il mènera la vie de bohème, la vie de troubadour, de buveur invétéré. Il fera du Portail Léogane, son port d'attache.  


                       Nemours Jean-Baptiste  February 2, 1918 - May 18, 1985

 (WRITTEN BY DOMINIQUE JANVIER, THE LAST MANAGER OF NEMOURS JEAN-BAPTISTE) 






From left to right:  Dominique Janvier, Last Manager of Nemours Jean-Baptiste, son, Yves, N. Jean-Baptiste, Jr.,  M.D., daughter, Yvrose Jean-Baptiste, M.Ed.

Nemours Jean Baptiste, guitarist, saxophonist, and bandleader was one of the most vigorous composers of Haitian music.  He dedicated his life to the evolution of Haitian music.  After composing his music, he arranged them, scored them on music sheets and distributed the sheets to the members of his orchestra for limpid executions.    Former pupil of Saint Louis De Gonzague and Jean Marie Guilloux, he started composing music at a very young age after his parents, Clement and Lucie Labissière Jean Baptiste passed on.  Dynamic, realistic since a young age, in honest ways, it would be necessary for him to earn his living.     His music career is marked out by happy and historic events that he always shared with the people of Haiti.  Unfortunately, he was not able to enjoy the same honors as musicians of his caliber who evolved abroad.
    Maestro of Jazz Atomique, Atomique Junior, Orchestre Citadelle, Cojunto International, the Ensemble Aux Callebasses, and the Ensemble of Nemours Jean Baptiste and of Top Compas, Nemours did honor to Haitian art.  He did honor to Haitian art by creating a rhythm that is easy to dance to.  To this date it is evident and obvious that after fifty years, he remains the only Haitian who was able to create a rhythm, a musical impression that dominates Haitian art, teases the Spanish, and exhilarate the Japanese and the West-Indians. Let us quote as examples the various musical groups that gathered success by interpreting the compositions of our loved maestro. In Martinique, the Compas Direct made it possible the following groups to conquer the public with the compositions of Nemours Jean Baptiste. 
I.  Les Djoubap with "Isabelle"       II.  George Plonquit  “Vin' N dances Compas Direct”
       III.  Electronic Compas  “Pa Gadem Sou Kote”       V.  Abricot  “Festval Compas & Bienvenue”Endowed with an overflowing sensitivity, of a fertile imagination, an extraordinary way to create melodies that is pleasant to the ear.  Nemours worked without slackening during his years and due to his tenacity, his zeal of fire and the blessing of the Master of the universe, Compas Direct lives today.   Phase by phase, he introduced suitable instruments to embellish, modernize this rhythm, this dance, this form of music which we all consider to be a slice of our cultural cake.   His trips abroad contributed much to the embellishment, evolution, and the enrichment of the heritage that it bequeathed us. Maestro Nemours Jean Baptiste unearthed throughout his works an undeniable originality. It is probably, the reason for which he was allocated the title of representative of old and new generation of our country.  Nemours Jean Baptiste is a simple name but in this name all Haitian music and dance resounds.  Making good music, elevating the prestige of Compas Direct were the goals of our idol “Nemours”.  He was the professor and it’s up to us his pupils, his fans, his friends, children and little children to preserve this heritage that he gave us.  Nemours, you are the savior of musicians around the whole world. 

                                 DOMINIQUE JANVIER

 ON GOOGLE     there is a    FRAUDULENT  Link.    
We are not associated with any Charity Organization. 

        
  FBI  iS   INVESTINGATING   this matter.

                List of Dead Musicians 
(Source) News@Univ.of Toronto - Arts and  Humanities
57 YEARS OF KONPA