Elektra of Phantoms

More than 100 Community Awards and Acknowledgemts from the music Industry . - Phantoms Handbook

2010 Female Honoree - 5 Continents Award

2003 best female artist of the year - Tanbour Battant,

Moving on the Haitian sound, Phantoms have taken a new approach to reclaim their title as “Haitian musical icon” with the release of the single “Danger/Danje”, a high-energy melange of traditional compas with r & b and dancehall. Perhaps the biggest new phenomenon on the scene back in the ‘90s, this band, led by vocalist King Kino and Cassandra Joseph,(Elektra) promises something interesting when the new album is ready for release, so watch for it.

- Beat Magazine, June-July 2006

Phantoms' Reunion at club Avalon was an incredible success. Fans in attendance witnessed a historical event and a musical triumph as Phantoms brilliantly demonstrated that they are still the Kings of live Haitian concert.

The "Reunion Concert", held on April 20, 2006, at Avalon night club in New York, which featured Phantoms original cast, King Kino on vocals, Captain Jean on Keyboard, Rudolph on guitars, and Jensen Derosier on drums, rekindled an old flame as Phantoms burned down the house for two hours of nonstop infectious konpa groove. They were joined on-stage by Hip Hop superstar Wyclef Jean, producers Jerry Wonda, rising R&B artist Brite, and the talented konpa group Carimi.

Sharon and Captian Jean Dazzled the audience (more pic soon)

For many long-suffering Phantoms, the evening was like a dream come true. The concert reunited their favorites artists and original members - Sharon Burton on vocals, Lemy Raymond on guitar, Cassandra and Medina on vocals, and many more. The last time these musicians performed together was nearly three years ago. Phantoms' triumphant "Reunion Concert" was something to be seen for both those who love making Konpa music and those who love listening it.

As expected, Carimi kicked off the "Reunion Concert", the crowd was a bit thin on an early Thursday night, nonetheless that did not stop Carimi from giving a solid performance. The night really belonged to Phantoms, which benefited from a larger audience toward the end. Approximately twelve hundreds Haitian Music fans poured into lower Manhattan, New York, traveling from all corners of the Tri-State area to witness the re-croening of a king.

King Kino and Phantoms certainly did not disappoint the fans, the atmosphere was electric and the group's pulsating rhythm generated tremendous excitement from faithful fans. They opened the historic night performing the song " So Real", a sensual konpa tune from Phantoms' last album, "Fwet Kach". Ms. Electra a.k.a Cassendra, a Phantoms' loyalist, and Medina dazzled the crowd for over twenty minutes, then the faithfuls were rewared with a special performance from Sharon Buton. She was explosive. It was obvious that the fans missed her for they were screaming out her name from they heard her inimitable voice until well into her performance. "It is nice to know that you guys missed me and I missed you too", said Sharon.

Sharon's voice was soaring over the loud speakers like a breath of fresh air, her delivery was timely and effortless. It was as if she was never away from the music scene. She performed four songs, and her second set included the classic combination of "Pression Lanmou "and " 14 Fevrier." The coupling of the two songs brought back precious memories for long time Phantoms fans, reminiscent of the glorious days of the early 90's.

Fans in attendance at Avalon witnessed Haitian Music history on Thursday as King Kino, Sharon, and 16 other Phantoms musicians took over lower Manhattan, at least for one night. King Kino, Phantoms' charismatic lead vocalist, set Avalon on fire. I've seen Kino and Phantoms perform at greater venues (such as MSG and Roseland Ballroom) over the years, but never with such passion, emotion, and high-energy of this night.

The festivities were also highlighted by an unexpected visit by Wyclef Jean and Jerry "Wonda" Duplessis who co-wrote and co-produced Shakira's hit song " Hips Don't Lie". Wyclef Jean and King Kino was a lethal combination on stage, they performed a thunderous version of " Haiti en Cowboy", a classic Phantoms' anthem denouncing the social and political situation in Haiti. By this point into
the run, both Kino and Wyclef pumped up the crowd as they ran through a number of sets together. This was truly a remarkable and historic event.

More than 100 media representatives covered the event including representatives from Heritagekonpa Magazine, Tempo MTV, Billboard Magazine, Regard Creole, Sylvestre Video show, and many more.

www.heritagekonpa.com

Phantoms's Musical Triumph at Club Avalon
By Rene Devis, Heritagekonpa Magazine.
Friday April 21, 2006

Copyright © 2000-2006 Heritagekonpa® Magazine, Inc. All rights reserved.


Heritage Konpa Magazine, Inc.
PO BOX 1362, Valley Stream, NY 11580
- heritage konpa Magazine, Friday April 21, 2006

On Friday, August 30, Konpa’s foremost concert band, Phantoms, officially kicked off the Labor Day Weekend festivities by representing Haiti in “CARNIVAL THE SHOW” at Madison Square Garden. It was the first staging of what sponsor, MGM Funding Corp. plans to hold as an annual event to warm up the Caribbean revelers before the weekend climaxes with the west Indian Day Parade on Eastern Parkway. By holding the show in a Manhattan venue, the event organizers were able to attract Spanish and white Americans who were curious to find out about the “jump-up” and “whine-down” thing that locks up the borough of Brooklyn every year on the first weekend in September. The event, which gathered some of the best performing bands and legendary artists from the Caribbean was hosted by WLIB on-air personality, Trevor.
With top-billers like Sparrow, Arrow, Calypso Rose, Anslem, Sugar Asloe and Soca King anchoring a superstar lineup, many “non-Haitians” where surprised by the energetic and brilliantly choreographed performance by Phantoms, led by the multi-talented King Kino. Known for their famed light show and smoked-filled platform, Phantoms dazzled the crowd in their all white garbs. Though the band’s performance was sandwiched between scores of half-naked and sultry West Indian dancers in their Parkway-ready costumes, Phantom’s two sexy stars, Cassandra and Medina Sanchez sported breathtaking outfits and placed an exclamation point on the group and their skill depth and talent as compared to their highlighted counterparts.
Kino, along with Phantoms’ new background vocalist, singer Marcus Erie (a.k.a. DJ Coolie), enticed the Soca-loving audience into a mesmerizing crowd participation backed by a Konpa groove. Before long, the Trinidadian-deep concert-goers were stomping their feet and jumping out of their seats to Jensen’s Konpa beat. “ Pray for me, I’ll pray for you,” Kino sung as the Caribbean multitude replied back in harmonious melody uniting all the islanders and setting the stage for a September 11 remembrance. The fact that 75% of Phantoms’ set was in Kreyol did not deter the audience from enjoying a sizzling performance that revealed a well-rehearsed and well-thought out playlist. While many billers simulated the playing of an instrument or just outright performed on playback, the Phantoms segment anointed the word “live” to life.
In the end, “CARNIVAL THE SHOW,” was more than just a “show”—it was an award-filled night that celebrated the 41st anniversary of the independence of Trinidad and honored “The Mighty” Sparrow,” and “Soca Queen,” Calypso Rose for their contributions to the cultural heritage of Caribbean music. Trevor introduced and described Phantoms as an icon of Konpa music and a representation of a proud and arrogant nation who were the first people of color to gain their freedom from slavery and their independence from colonialism. After the band’s performance, the diverse audience recognized the group with a rousing tribute for introducing them to the history of Haiti through the flavor of Konpa.
For all the fanfare of Phantoms, and the charisma of King Kino, spotlighting on the Madison Square Garden stage was just the start of a coming out party for a band that has been seemingly lost on the CD market since “Pa Bouje.” After a V.I.P. food fest of rice and beans and jerk chicken, Phantoms officially announced the release of their new album “FWET KACH” during an MSG press conference attended by both Haitian and non-Haitian media.
The CD release party was held at Cenegal Nightclub—“the home that Kino built.” New York All stars opened up the night for the home band as the Cenegal staff, (Foe, Tanya, and Polo) who supported and helped organized Phantoms’ appearance at MSG, had the Brooklyn club laced with balloons and bubbly ready for the celebration. As copies of the new CD were sold and signed, Kino and Phantoms held center stage for their excited fans until 5:00 AM

- Haiti Observateur- Sept 11, 2002

PHANTOMS: 'REZIREKSYON' Phantoms

Not quite the Haitian equivalent of the Beatles' "White Album," but almost. "Rezireksyon" ("Resurrection"), by Phantoms, one of the best young Haitian bands, is a double CD that wanders around, perusing the modern musical scene. The group, whose members now live in New York, bases its music on the supple and undulating grooves of compas, the main Haitian pop style. But it borrows from American gospel, Jamaican reggae, rap, rock and the Haitian carnival rhythms called rara.

Unlike many of its contemporaries, Phantoms is not a roots band. It's a pop dance band, which means that behind the borrowing and cross-cultural experimenting lie gorgeous pop melodies, well-crafted choruses, and nonstop dance grooves. It's music that was built from the dance floor up and, as a result, the songs, even the longer ones, sound too short. Precise horn sections give way to choirs or single singers, both male and female. The lyrics, in Creole, French and English, tackle everything from politics to partying.
PETER WATROUS

- The New York Times, Feb 11, 1996

For two months now, ever since President Jean-Bertrand Aristide returned from exile, one particular song has been playing everywhere in Haiti: on the radio, in the dance clubs, on the streets, in the fields. Called "Reconciliation," it has become a symbol of the mood of hopefulness that now prevails here.

But until this week, the Phantoms, the group that wrote and sang this infectious anthem of the new, democratic Haiti, could not themselves be found anywhere in their homeland. Like the president they admire, they had been forced into exile in the United States, and recorded "Reconciliation" there during the summer, hoping that their vision of peace would actually come to pass.

To Haitians, therefore, the return of the Phantoms and other performers who had had to leave the country, including Boukman Eksperyans and Manno Charlemagne, is also a sign that the worst is finally over. After three years of a brutal military dictatorship that routinely used censorship and intimidation as weapons to control artistic expression, Haitian music is flowering again.

Songs and videos that were banned because of the coded political messages they contained are once again being broadcast on radio and television. Bands that could not perform in public because of assassination threats against them have resumed playing to enthusiastic audiences. Record companies that had to shut down because of an economic embargo, which meant they could no longer import tape or press compact disks, are back in business.


Photo: King Kino, lead singer of the Haitian group the Phantoms, which recorded a song that has become an informal anthem for their country. (Patrick Douge for The New York Times)

"The police aren't dragging people out of our shows at gunpoint any more, it's safe for us to rehearse after dark, and I've even gone two or three weeks without scanning the crowd for weapons," said Richard Morse, lead singer of the voodoo rock group Ram, which had several hit songs banned from the airwaves by the military but chose to remain in Haiti. "It's a wonderful feeling, but I almost don't believe it after the trauma we've be through."

The creative resurgence here comes at a time of heightened interest abroad in Haitian music. Several compilations of Haitian music have been released by labels in the United States that specialize in the "world beat" sound, a Ram song, "Ibo Lele," was included on the soundtrack of the movie "Philadelphia," and a Haitian band opened for the Rolling Stones at several stops on their recent "Voodoo Lounge" tour.

But for Haiti's seven million people, the restoration of free expression through music is seen as an essential part of the democracy they hope to build. In a country where three out of four people cannot read, songs are more than a form of entertainment: they are one of the principal means by which ideas and opinions about politics, society and religion are disseminated and debated.

"As a top Haitian band, we're in a position to teach Haitians what democracy is all about, what human rights and education are worth," said King Kino, lead singer of the Phantoms. "The problem in this country is one of information and how to get it to the people, and that is something we have a duty to do."

Many Haitian bands have routinely sought to play that role, and it was that habit that got them into trouble with the military authorities in the first place.For Boukman Eksperyans, things got particularly difficult after they wrote a song called "Dangerous Crossroads," which includes such lyrics as "if you're an assassin, get out of here, if you're a thief, get out of here," to protest the September 1991 overthrow of Father Aristide.

"The military never attacked us directly, but a colonel told me never to go out at night," said Theodore (Lolo) Beaubrun, founder of the group, which is named for the leader of an 18th-century rebellion against French colonialism. "There were shows we did where we felt we were near death, but nobody in Boukman was happy when we left Haiti," he said.

As a Haitian band well known abroad, Boukman Eksperyans was able to leave the country to perform pretty much at will. This year, the band had just finished a European tour when the economic embargo against the military regime was broadened to include travel restrictions on Haitians, and the group found themselves unable to enter the United States, where they were scheduled to play about 20 concerts, or to return to Haiti. On May 21, Michel Olicha Lynch, a percussionist and bass player in the group, died of meningitis in Haiti, in part, Mr. Beaubrun said, because the embargo made it difficult for him to obtain medicine he needed.

"We are not angry at anything that has happened to us, because we are people of the spirit, and we think of all of this as just another experience," Mr. Beaubrun said. "Other people suffered more, and that gives us courage to sing to our people."

Just about the only Haitian musician of note who still has not been heard from is Manno Charlemagne, a singer and composer whose fiery songs of social protest have led him to be compared with the early Bob Dylan. Mr. Charlemagne, who did not respond to requests for an interview, has visited Haiti since the dictatorship fell, but has not performed in public here, limiting himself to occasional shows in Miami, where he has been living in exile.

"Manno didn't like the American invasion," said a friend of the singer, referring to the landing of 20,000 United States troops here three months ago, which paved the way for the restoration of Father Aristide. "He does not want to have to criticize Aristide, so he is not saying anything at all."

The Phantoms, however, are eager to return to the fray and make up for lost time. Interviewed recently in Miami, where the group has a large following among Haitian exiles and Haitian-Americans, King Kino said that just the thought of returning home had inspired a new burst of creativity and enthusiasm among the band members.

"No one should have to be in exile," he said. "It's very frustrating to have a country and know you can't go there. Everyone belongs in their own country, because in a foreign country you feel like an alien from space. Everything is new and strange, and you never really get used to it."

The only positive aspect of exile, the musicians agreed, was the opportunity to expand artistically. Boukman Eksperyans spent the last few months before the fall of the military in neighboring Jamaica, recording a new album that is to be released in the United States early in 1995 and forming friendships with the reggae performers Jimmy Cliff, Ziggy Marley and Third World.

"We met a lot of great people and learned a lot about how to make records while we were there," Mr. Beaubrun said. "Those Jamaican engineers are great. We loved the sound they get for the bass and drums, and that has changed the way our music sounds."

Haitian music has always been open to foreign influences, but new records being released here reflect the increased exposure to the outside world that has taken place over the last three years. Splashes of reggae, rock and rap are now commonplace, merging with the traditional lilting beat of Haitian compas music and the heavier rhythms of voodoo in fascinating and unexpected combinations.

Many of the new records also have a strong political content, expressed through parables and allegories. The military dictatorship may be gone, and it may no longer be quite so dangerous to speak out, but musicians say they want to make sure that their audience does not become complacent.

"People may want to think everything is all right now that Aristide has returned," Mr. Beaubrun said. "But we have to go further than that, and not let the politicians divide the people again. It is really important for us to be here and feel what's going on and talk about what we feel, to awaken the people and change the system."



- The News York Times, December 1994