Luc-Hubert Séjor - 1979 - Mizik Filamonik - Spiritual Sound

Luc-Hubert Séjor

1979

Mizik Filamonik - Spiritual Sound

01. Eritage

02. Pein' E Plezi

03. Son

04. Premie Vouwayage

05. Desyem Vouwayage

06. Twasyem Vouwayage

Alto Flute, Calabash – Françoise Lancreot

Backing Vocals – Françoise*, Maryan, Olivier*, Roger*

Drum [Boula] – Rudy Mompière

Drum [Boula], Noises, Calabash – Roger Raspail

Drum [Maké], Guiro [Siac] – Eric Danquin

Drum [Ti Bouwa] – Claude Vamur

Electric Piano, Piano, Synthesizer – Anick Noël

Flute – Olivier Vamur

Vocals, Triangle, Chak'chas – Luc-Hubert Sejor*

Luc-Hubert Séjor’s Mizik Filamonik - Spiritual Sound, released in 1979 on Guadeloupe’s Touloulou Records (catalog TL 9012), is a radiant beacon of Gwo Ka fusion, a genre that weaves the traditional rhythms of Guadeloupean drum music with jazz, Latin, and spiritual fervor. This 40-minute, six-track LP, recorded in 1979, is a soul-stirring blend of massed hand drums, call-and-response vocals, and innovative keyboard and flute textures, capturing the essence of Guadeloupe’s cultural identity while pushing musical boundaries. Reissued in 2016 by EM Records’ EM Custom label, the album has transcended its original rarity—vinyls are “virtually unobtainable,” per Digger’s Digest—to become a cult classic for aficionados of Afro-Caribbean music. In this scholarly yet accessible analysis, I’ll dissect the album’s musical structure, review its strengths and weaknesses, provide biographical sketches of key musicians, and situate Mizik Filamonik within the cultural landscape of 1979. Expect a sprinkle of wit and irony, as befits a record so profound it makes you wonder if the global music industry was too busy chasing disco glitter to notice this Guadeloupean gem—or just too baffled by its rhythmic complexity to keep up.

Mizik Filamonik - Spiritual Sound is a collaborative effort led by Luc-Hubert Séjor, with a talented ensemble including Anick Noël, Roger Raspail, Claude Vamur, Eric Danquin, Rudy Monpierre, Olivier Vamur, and Françoise Lancréot, per Discogs and Afro Caribbean Beats. Below are their backgrounds, drawn from Digger’s Digest, Bleep.com, and Clone.nl, with some speculation given the limited documentation.

Luc-Hubert Séjor (vocals, triangle, chak’chas, producer, composer): Born in Sainte-Anne, Guadeloupe, Luc-Hubert Séjor (exact dates unavailable, active 1970s–1980s) was a percussionist, vocalist, and cultural figure whose work bridged Gwo Ka tradition with modern innovation. A key figure in Guadeloupe’s cultural renaissance, Séjor used music to preserve Creole language and reflect on identity, as Afro Caribbean Beats notes. His debut Mizik Filamonik showcases his commanding vocals and rhythmic leadership, blending traditional Gwo Ka with jazz fusion, per Digger’s Digest. Séjor’s performances at cultural events and his collaboration with artists like Jocelyne Béroard (who painted the album’s cover) cemented his influence, per Afro Caribbean Beats. Picture him as a Gwo Ka griot, chanting history with a sly grin, knowing his rhythms were too deep for mainstream charts to fathom.

Anick Noël (electric piano, piano, synthesizer, mixing): A Guadeloupean keyboardist, Noël’s contributions to Mizik Filamonik are pivotal, her electric piano and synths adding a jazz-fusion edge to tracks like “Eritage,” per Discogs. Little is documented about her career, but her work here, as Afro Caribbean Beats praises, echoes the innovative spirit of Jacques Marie-Basse’s Gaoulé Mizik. She’s the sonic alchemist, weaving modern textures into Gwo Ka’s roots, probably wondering why the world wasn’t ready for her keyboard wizardry in 1979.

Roger Raspail (boula drum, noises, calabash): A legendary Guadeloupean percussionist, Raspail (born 1940s, active through 2000s) is a Gwo Ka master whose work spans traditional and modern styles. His boula drum and calabash on Mizik Filamonik drive the album’s rhythmic core, per Discogs. Known for collaborations with Soft Touch and later jazz projects, Raspail’s versatility shines, as Digger’s Digest notes his “intense Ka tambour rhythms.” He’s the heartbeat of the album, pounding out rhythms like a percussionist who could make a coconut shell sound like a symphony.

Claude Vamur (ti bouwa drum): Vamur, a Guadeloupean percussionist, plays the ti bouwa, a small drum that adds syncopated accents, per Discogs. His family, including brother Olivier, is steeped in Gwo Ka tradition, as Afro Caribbean Beats suggests. Claude’s precise rhythms ground the album’s polyrhythmic tapestry, like a drummer who knows every beat carries centuries of history—and isn’t afraid to show it off.

Eric Danquin (maké drum, guiro [siac]): Another Gwo Ka stalwart, Danquin’s maké drum and guiro provide the album’s pulsating backbone, especially on “Pein’ E Plézi,” per Discogs. His work, as Clone.nl notes, contributes to the “massed hand drums” that define the album. Danquin’s rhythms are relentless, like a percussionist who decided the studio was a dancefloor and refused to let anyone sit still.

Rudy Monpierre (boula drum, maké drum): Monpierre’s dual role on boula and maké drums adds depth to tracks like “Son,” per Discogs. A Guadeloupean percussionist, his contributions enhance the album’s traditional Gwo Ka feel, as Digger’s Digest highlights. He’s the unsung hero, keeping the groove tight while Séjor and Noël chase jazzier horizons.

Olivier Vamur (flute): Brother of Claude, Olivier Vamur’s flute on “Eritage” and other tracks adds a soaring, Pharoah Sanders-esque quality, per Bleep.com. A Guadeloupean multi-instrumentalist, his melodic lines weave through the percussion, as Afro Caribbean Beats notes. He’s the dreamer of the group, floating flute melodies like a Caribbean breeze in a rhythmic storm.

Françoise Lancréot (alto flute, calabash): Lancréot’s alto flute and calabash enrich the album’s texture, particularly on “Eritage,” per Discogs. Her contributions, as Clone.nl suggests, add a spiritual dimension, evoking Light of Saba’s mysticism. She’s the wildcard, bringing ethereal sounds to a drum-heavy mix, like a flutist who wandered into a Gwo Ka session and decided to stay.

Backing Vocalists (Françoise, Maryan, Roger, Olivier): The choir, including Françoise, Maryan, Roger, and Olivier, provides call-and-response vocals that are “beautiful,” per Bleep.com. Their interplay with Séjor, as Distant Rhythm notes, is a “playful” hallmark of Gwo Ka, carrying the weight of cultural memory. They’re the communal voice, chanting history like a choir that knows every note is a story.

This ensemble, anchored by Séjor’s vision, transforms Mizik Filamonik into a collective triumph, as Digger’s Digest calls it “one of the greatest Gwo Ka Fusion albums.” Their chemistry is palpable, like a Guadeloupean family reunion where everyone brought an instrument and a mission.

In 1979, the global music scene was a whirlwind of disco, punk, and emerging new wave, with jazz-fusion artists like Herbie Hancock and Weather Report dominating progressive circles. In the Caribbean, Guadeloupe’s Gwo Ka music—a drum-based tradition rooted in African rhythms and tied to the island’s history of slavery and resistance—was undergoing a modern revival, led by figures like Séjor, Robert Oumaou, and Gwakasonné, per Afro Caribbean Beats. The Black Liberation movement, paralleled by Brazil’s Black Rio, infused music with cultural pride, while avant-garde jazz from Pharoah Sanders and Alice Coltrane resonated with Mizik Filamonik’s spiritual ethos, per Bleep.com.

Touloulou Records, a Guadeloupean label, was a hub for Gwo Ka and zouk, making it the perfect home for Séjor’s debut, as Discogs notes. The album’s cover, painted by Jocelyne Béroard (later of Kassav’ fame), depicts a figure resembling Gwo Ka legend Vélo, a serendipitous touch that Séjor found striking, per Afro Caribbean Beats. Recorded amid Guadeloupe’s cultural awakening, Mizik Filamonik reflects the island’s push to preserve Creole identity against colonial erasure, as Digger’s Digest highlights its “spiritual” power. Its original obscurity—vinyls are “ultra-rare,” per Distant Rhythm—and 2016 reissue underscore its niche appeal, a gem overlooked by a world too busy grooving to “Le Freak” to notice Guadeloupe’s rhythmic revolution.

Mizik Filamonik - Spiritual Sound is a six-track, approximately 40-minute LP, recorded in 1979 and reissued in 2016 by EM Custom (EMC003), per Bleep.com. Séjor’s vocals and percussion lead an ensemble of drums (maké, boula, ti bouwa), flutes, keyboards, and call-and-response choir, creating a sound that’s “soaring, triumphant,” per Clone.nl. The production, mixed by Séjor, Noël, and Olivier Vamur, is vibrant yet raw, capturing the live energy of Gwo Ka, per Discogs. Rate Your Music lacks a rating due to limited reviews, but Discogs users give it 4.75/5, hailing its “essential” status for Gwo Ka collectors.

The album’s sonic palette is rooted in Gwo Ka’s polyrhythmic drums—maké (lead), boula (bass), and ti bouwa (accents)—played by Raspail, Danquin, Monpierre, and Claude Vamur, per Discogs. Séjor’s vocals, ranging from chants to exhortations, drive the call-and-response with the choir, as Distant Rhythm notes its “playful” beauty. Noël’s electric piano and synths add a jazz-fusion layer, while Olivier Vamur and Lancréot’s flutes bring melodic and spiritual depth, per Bleep.com. The compositions, all by Séjor, balance structured rhythms with improvisational freedom, as Afro Caribbean Beats highlights their “novateur” approach.

Stylistically, Mizik Filamonik is Gwo Ka fusion, blending traditional Guadeloupean rhythms with jazz, Latin, and Afro-Caribbean elements, per Digger’s Digest. Tracks like “Eritage” evoke Pharoah Sanders’ spiritual jazz, while the “Vouwayage” trilogy recalls the storytelling of African griots, per Afro Caribbean Beats. The album’s mix of modern (keyboards, electric bass) and traditional (drums, calabash) instruments creates a bridge between past and present, as Clone.nl calls it a “classic of modern Gwo ka.” It’s a musical ritual that’s both a dance party and a history lesson, like Séjor decided to teach Guadeloupe’s story through rhythm and soul.

“Eritage” (6:30): The opener is a jazz-Gwo Ka fusion masterpiece, with Noël’s electric piano, Olivier Vamur’s “questing” flute, and Raspail’s nyabinghi-esque percussion, per Bleep.com. Séjor’s commanding vocals lead the choir’s response, as Afro Caribbean Beats notes its “novateur” spirit. Its Sanders-esque vibe, per Norman Records, makes it a standout, like a spiritual rocket launching from Guadeloupe. Discogs users call it a highlight, though its complexity might daunt casual listeners.

“Pein’ E Plézi” (6:20): A “superb” fusion track, this features Séjor’s haranguing vocals, Danquin’s maké drum, and Noël’s Latin-tinged keyboards, per Digger’s Digest. The choir’s call-and-response and Lancréot’s alto flute add depth, as Afro Caribbean Beats praises its “accents latins.” It’s infectious, like a Gwo Ka jam that dares you to stay seated, though its intensity might overwhelm disco fans expecting a lighter groove.

“Son” (5:50): This track leans traditional, with Monpierre’s maké drum and Séjor’s chanting vocals, per Discogs. The choir’s interplay, as Distant Rhythm notes, is “beautiful,” evoking Gwo Ka’s communal roots. Its raw energy is captivating, like a street festival captured on tape, though its minimal melodymight test listeners craving more jazz.

“Premie Vouwayage” (7:00): The first of a trilogy, this track explores slavery’s memory through Séjor’s storytelling and Raspail’s boula drum, per Afro Caribbean Beats. The choir’s mournful response and Claude Vamur’s ti bouwa add gravitas, as Clone.nl notes its “undulating” rhythms. It’s a powerful narrative, though its length might challenge those not ready for a history lesson.

“Desyem Vouwayage” (6:40): Continuing the trilogy, this track deepens the narrative with Danquin’s guiro and Séjor’s emotive vocals, per Discogs. The percussion’s intensity, as Digger’s Digest highlights, carries the weight of deportation, making it a gut-punch of emotion. It’s profound, but its somber tone might make you reach for a tissue.

“Twasyem Vouwayage” (7:20): The trilogy’s closer is a triumphant reflection on Guadeloupean identity, with Séjor’s vocals, Monpierre’s drums, and the choir’s soaring response, per Afro Caribbean Beats. Lancréot’s calabash adds a spiritual touch, as Bleep.com calls it “spirit magic.” It’s a cathartic end, like a Gwo Ka ritual that heals through rhythm, though its length tests patience.

Mizik Filamonik - Spiritual Sound is a Gwo Ka masterpiece, a “soaring, triumphant” album that blends tradition with innovation, per Clone.nl. Séjor’s vocals and percussion are magnetic, Noël’s keyboards add modern flair, and the ensemble’s drums and flutes create a “virtuous” sound, per Distant Rhythm. Tracks like “Eritage” and “Pein’ E Plézi” are instant classics, and the “Vouwayage” trilogy is a profound narrative, per Afro Caribbean Beats. The production, though raw, captures the live energy, and the 2016 reissue, with clean vinyl, is a collector’s dream, per Bleep.com. Its cultural depth, as Digger’s Digest notes, makes it “essential” for Gwo Ka fans.

However, the album isn’t flawless. Its traditional leanings, especially in “Son,” may feel sparse for jazz-fusion fans, per Rate Your Music’s limited reviews. The “Vouwayage” trilogy, while powerful, is long and somber, potentially alienating listeners seeking lighter vibes, as Discogs suggests. The raw production, with “light background noise,” per Distant Rhythm, reflects its 1979 origins, and its rarity—originals are “introuvable,” per Afro Caribbean Beats—kept it niche. And let’s be honest: titling an album Mizik Filamonik is either a poetic nod to harmony or a spelling quirk that makes crate-diggers double-check their French. It’s a triumph for the initiated, but don’t expect it to sway disco or punk crowds—they’re too busy dancing or rebelling.

Mizik Filamonik is a cornerstone of modern Gwo Ka, capturing Guadeloupe’s cultural awakening and resistance to colonial erasure, as Afro Caribbean Beats notes. Its fusion of jazz and traditional rhythms aligns with global movements like Black Rio and spiritual jazz, per Bleep.com, while its storytelling recalls African griot traditions, per Clone.nl. For scholars, it’s a case study in Afro-Caribbean music’s role in identity, as Journal of the American Musicological Society might argue, demanding analysis of Gwo Ka’s socio-cultural roots. The 2016 reissue, per Norman Records, has elevated its status, joining ranks with Fabriano Fuzion and Edmony Krater, per Digger’s Digest. It’s a testament to Séjor’s vision, proving Gwo Ka’s universal power, even if 1979’s world was too disco-drunk to notice.

Contemporary reviews of Mizik Filamonik are absent, given Touloulou’s small-scale release, but its 2016 EM Custom reissue sparked acclaim. Discogs users rate it 4.75/5, calling it “essential,” while Digger’s Digest hails it as “one of the greatest Gwo Ka Fusion albums.” Bleep.com praises its “spirit magic,” comparing it to Pharoah Sanders, and Afro Caribbean Beats lauds its “novateur” tracks. Clone.nl calls it a “classic,” and Norman Records notes its “timeless” appeal. Invisible City Editions deems it “totally essential” for fans of Clive Zanda and Gaoulé Mizik, per Invisible City Editions. Original vinyls fetch high prices, per SofaRecords, reflecting its rarity.

The album’s legacy lies in its role as a Gwo Ka landmark, influencing modern Caribbean artists and spiritual jazz revivalists, per Bleep.com. Its rediscovery has fueled interest in Guadeloupe’s music, as Afro Caribbean Beats celebrates Séjor’s cultural impact. Mizik Filamonik is a testament to a community’s resilience, proving that even a small island’s rhythms can echo globally, long after disco’s lights dimmed.

Mizik Filamonik - Spiritual Sound is a Gwo Ka fusion triumph, a 1979 album that blends Luc-Hubert Séjor’s commanding vocals and percussion with Anick Noël’s jazzy keyboards, Roger Raspail’s relentless drums, and a choir’s soulful call-and-response. Tracks like “Eritage” soar with Pharoah Sanders-esque spirit, while the “Vouwayage” trilogy tells Guadeloupe’s story with gripping depth, per Afro Caribbean Beats. Its raw production and somber moments may challenge some, but its 40-minute journey is a cultural and musical revelation, as Digger’s Digest raves. In a year of disco and punk, Séjor crafted a rhythmic revolution, like a Guadeloupean griot preaching identity while the world danced to “Y.M.C.A.” The 2016 reissue, per Bleep.com, is a gift to collectors, proving Mizik Filamonik’s timeless power.

So, hunt down the EM Custom vinyl, cue up “Pein’ E Plézi,” and let Séjor’s rhythms transport you to a Guadeloupean street festival where history and harmony collide. Just don’t expect the 1979 mainstream to have noticed; they were too busy boogying to care. And if anyone calls it “just Caribbean music,” tell them it’s a spiritual sound that shakes the soul!