Le Grand Baton

by Grand Baton

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1.
2.
On bel machpyé douvan lapòt pa ka di vini Yo di hadi gannyé, hadi pé pran so dékekfwa Bel dan dewò pou souri yo pa ka di zanmi Mi ta hadi yo bay dan pou i té akwèy andwa…yéyéléla Atoupannan, atoupannan ou la ka palé Ni sa pou tann, ni sa pou tann ou pé pa kouté…yélélélala Atoupannan, atoupannan ou la ka palé Ni sa pou tann, ni sa pou tann ou pé pa kouté Alèkilè, alèkilè siw pa ka véyé Ni sa pou vwè, ni sa pou vwè ou pé ké gadé…yélélélala (Sé on bel ti mòso tè ou ka doubout asi-y Toupatou ou kay ou tay, chimen-la ka bout anba ay Isit dènié-la ki swé pa menm di sé ta li Ou vini pran on chans, sé di mèsi tolérans) Pè la ou touvé lew vin antravè ay pou di Ou konprann sété taw, wouvè ti bwen zyé aw Sé pas i té ni yonn la dakò pou prétéw li Ou vini pran on chans, sé di mèsi tolérans
3.
Filé 03:41
Mach ! Vomyétan ou fè… lach Evèw mwen pou yenki fè… pach Chyélakous pou paré koud- -wòch la Chapé-kò panga ta- -wach Koulbich si tèt, véyé ka- -bèch Tòbòk, tap, tchòk, kalòt plich alòs wochi! Douvan ka- -touch Anmenm pou sòti an bouch Filé, mi kréyol mannyè byen filé Bèl pawòl on jan byen filé mi kréyol mannyè byen filé. Mach ! Vomyétan ou fè… lach Evèw mwen kay enki fè… lèch A vè, rip a bwa, krazi a tè… la Chiktay boyo payé en ka- -tich Plichi, rongni, zobèl, tach Alòs siw té vlé paré… krach… lasa wochi! Douvan ka- -touch Paré pou sòti an bouch
4.
5.
I Sav sew Ou sav sey ki la I po’o vwèw Ou tann’ palé dey onfwa Adan on batzyé Zotdé ké rantré an Zafè, zafè a koulè la Zafè a koulè la, zafè a koulè la Ola, di mwen ola ou ka méné an la Pa mété an an zafè la I Sav sew Ou sav sey ki la I ankrédi aw Ou anbondyé ay konsa Avan zot palé Zot ké ja rantré an Zafè, zafè a koulè la Zafè a koulè la, zafè a koulè la Ola, di mwen ola ou ka méné an la I météw adan’y Vou menm enki pran’y an zafè la I météw adan’y Vou menm enki pran’y an… Zafé, zafé a koulè la Zafé, zafé a koulè la
6.
Gran Rivyè 05:57
Woulé anba mòn Désann san vwè fon Chayé lapenn si chimen Salé Pou an ravin vèsé Kité li alé. Mi on pèz si kyè Fannkann an rivyè On mové lidé chapé Pran pè Pran dlo, pran najé Gadé li alé. Lanm pa dèyè lanm Kon asi mové lanmè, nanm aw. Ti grenn pa ti grenn Tout on gran chaplé enki déwoulé. Owa gran rivyè Mwen té kay sizé Pou vwè lanmizè Chakjou ka pasé. Mwen vwè taw pasé….
7.
An Mitan Pit 05:41
Ay mi tan mwen Ay mi tan pou mwen ay fè genm An mitant ay, an mitan, mitan ay menm Apa garé mwen garé Mwen savé trè byen la mwen yé Sé an mitan menm An mitan pit lasa menm. An mitan ay menm Apa garé mwen garé Mwen savé trè byen la mwen yé Sé an mitan ay menm An mitan ay mèm Sé tan mwen, tou an mwen ou tann ? Tan pou desann an tou, pa pou atann Alantou ay menm. An ? An ? In the pit, right in the pit. Ès ou ké sav pèsé ? Sapé ou pè pèd, sapé ou pè dépasé An mitan ay menm. Anh, right in the pit now. Ridésann pari, désann an mitan menm. Ay mi tan mwen Ay mi tan pou mwen ay fè genm An mitant ay, an mitan, mitan ay menm Apa garé mwen garé Mwen savé trè byen la mwen yé Sé an mitan menm An mitan pit lasa menm. Ès ou ké pé lès pasé larès, pasé tout èspésyalis, Mèt fent é vis, jès an trèt, tout èstil masko, lès pasé, Tout mès a vyé kòk, ès ou byen gyòk, mèt a mannyòk. Élas ! ou las, ou ja pèd fas, Ou pis anplas pou blès épi kou, Kou épi blès, ou pèd vitès Pani lasyès, lévé! Nòstròm, ou anlopyòm Asé fè dyès ou tròp alèz S’on kaskou douvan gran lakou Pa fè bas, ou pòkò ni ras Ou pa fanngas pou bay bwè tas Ou té vini rété lenj pwòp Enki soti, ou ja antwòp. An ? An ? Right in the pit now In the pit right in the pit now
8.
Manzèl 04:05
Mi, rivé Manzèl Bel toutwèl alakèl Pou lavwa bay alèmenm Ay ! Jézimarijozèf, lésen, lézanj, monsényè ! Répondè ! Manzèl, Manzèl ! Ka ou ni pou mwen Manzèl ? Manzèl, Manzèl Di syèl, di syèl Ay, bondyé di syèl ! Manzèl Plimaj é manmèl byen bèl Ka ou ni pou mwen Manzèl ? Chœurs : Ka ou ni pou mwen Manzèl ? Lapli oben lakensyèl ? Lanmò pasé lagoni Di mwen Manzèl ka ou ni ?(x2) Manzèl, ka ou vini poté pou mwen Manzèl ? Sé louanj ozana oben fann zèl Sé zuil, sé zwèl, Si sé laswa anba twa O swé, swé anba lakwa Si sé sosé an bénityé myèl Dé alé, revin onsèl Alè di mwen, sé dé ka fin onsèl ?
9.
10.
Toutlè dépi dé jou Konpè aladriv, chè Ozabwa i alantou Ka fè onondipè Gay sa yo fè, yo fè Gay sa yo fan divini A pa mizè, mizè A pa mizè adimi Anmwé konpè, konpè, Sa pli rèd pou nou jodi Mi boug an mwen (pa) pran on so, trapé on léta, enki fè kolè lè mwen réponn’ li kon sa Toutlè dépi dé jou Toutlè dépi dé, dépi dé, dépi dé jou Konpè ka babyé, ka babyé, ka babyé, chè Ozabwa i alantou Ka fè onondipè Ki moun, ki lès Ki few ki jès, Ki lak, ki près Ki pranw an wòl la Ki dyab détrès, Dévenn, tristès, Ki chans, ki rèspé ou pa ni la On nas yo té, yo té, Yo té ké fè san goulon Es i té ké , té ké, Es i té ké pran pwason Ki senn ki pé, ki pé, Ki senn si pé pa chiré Ki zanma pa, pé pa, Ki zanma pé pa lagé Ki zanma pé pa lagé, lagé Ki zanma pa, ki zanma pé pa lagé, lagé
11.
Ki Zanma 00:38
Ki zanma pépa lagé, lagé? Ki zanma pa... ki zanma pépa lagé, lagé? Ki zanma pé’é jen lagé, lagé? Ki zanma pa... ki zanma pa ka lagé, lagé? Ki fil ki pépa lagé, lagé? ki zanma pa... ki pépa janmè lagé, lagé? Ki kòd ki pé'é jen lagé, lagé? Ki kod ki péké janmè, janmè lagé, lagé? Ki zanma pépa lagé, lagé? Ki zanma pa... ki zanma pépa lagé, lagé? Ki zanma pé’é jen lagé, lagé? Ki zanma pa... ki zanma pa ka lagé, lagé?
12.
13.
(Creole) Dépi i ni jou ka wouvè Sé pou i fè mwen vwè Pasé pòkò dèyè. Asi soufè i ni soufè Doulè dèyè doulè É dèyè jou i ni jou ankò. Mwen té ké di solèy sa: "Pa kléré mwen konsa!" "Si ou té pé ay touné pa on dòt koté!" (French) Et les jours s’allongent Oui mais pour quoi faire Tout ce clair supplémentaire Réduit mes songes, révèle ma misère. Et les jours s’allongent Juste après l’hiver Et pas plus qu’hier Je n’ai besoin d’y voir plus clair C’est un mensonge qui me soutient pas une prière. Et les jours s’allongent. Et l’astre traître peut bien faire Sa lumière sur l’affaire Je ne comprendrai pas Que les journées qui s’étirent Bien plus dures à remplir S’écoulent si bien sans moi. Mes cheveux tombent en rideaux Sur un piètre tableau Où des couleurs passées Sont délavées dans l’eau. Les heures me durent des plombes Et entre temps, le temps tombe… en panne.
14.
Epilog 01:25

about

First Grand Baton album, project of french Caribbean native guitarist composer and singer Jean-Christophe Maillard (aka Mbutu), well known for his work in Gwoka music (traditionnal drum music from Guadeloupe); it is a powerful fusion of this heritage with rock music.

For the first time, electric overdriven guitars are combined with the mighty goat skin "slave drum" known as "Ka" for a steady ethno-rooted-pop rock with unusual rythms and melodic lines... the "Rude Ka" music is born.

Mike Keneally (Frank Zappa...): "Damn, "File" sounds fantastic. Congratulations, great stuff here!"

Lyle Workman (Sting, Alice Cooper...): "every now and again, I'll find music that is really cool - this is one of those times. Great music!!"

Ronan Chris Murphy (King Crimson...): "Wow! Very cool music!... I mean..c'est tres cool!!"

Marco Migliari (Peter Gabriel, Deep Purple...): "Bloody great work! I really like it, great playing and I like the album concept. Very, very interesting, and different, too."

Metal Express Radio: "Maillard can be considered as a pioneer regarding this combination of various genres... (his) music brings out the best from his world and the Rock world... (his) purpose in his composing is brilliant and he has a lot to give to the music industry."

Progressive Ears: "Groundbreaking…It is a truly unique and captivating style of music...an impressive new force in the world music scene that has received warm accolades from many well-respected members of the musical community."

Sea Of Tranquility: "The drums, combined with electric guitar and the strong, often-falsetto voice of Jean-Christophe Maillard deliver a universal message...a rhythmic sensibility that will rattle your ears and shake your brain... King Crimson gone tribal, or a more kinetic Peter Gabriel, or maybe a less frenetic System of a Down.

Rockserbia: "A well-experienced musician and author... there's no doubt that he deserve only respect for his author's work and evident original views... could be a one of most original product released during the previous year."

Ectagon (Norway): "Mbutu's music is strong and energetic, with catcy melody lines... makes this album grow from the first time you put it on. Recommended."

Proggnosis: "Le Grand Baton is an excellent album to seek out for listeners of "World music" with a rock edge."

Progressive Rock & Metal (Brazil): "Highly recommendable... a collection of musical contrasts, characterized by ambitious lyrical themes."

Progressor (Uzbekistan): "The compositions get more and more fascinating as one adjusts to this rather unique stylistic expression... worthwhile investigating for liberal-minded followers of rock music that feel a variety of styles, moods and genres is a treat."


With songs ranging from 3 to 8 minutes, one would say this is world-pop music (listening to the carnival percussion ensemble in the song "Filé",similar to Brazilian drums occasionally featured in Michael Jackson, Paul Simon, Peter Gabriel, Milton Nascimento's songs) or a progressive rock experiment (in the spirit of King Crimson, Yes... talking about the freedom of expression of a song like "Toutlè Dépi Dé Jou" with its electro style intro "Dé Jou Avan").

Songs are written mostly in Creole language.

The Gwoka music:

Initially permitted because it sustained the morale of the slaves, then forbidden because it allowed them to assemble and encouraged a revolutionary spirit, the Ka drum was long a representation of degrading slave conditions – a shameful scar to be hidden. It is perhaps for this reason that it has now been reclaimed as a symbol of the identity and the independence of a people. In the 70s, the Ka drum was as much weapon, of speech and of song, as were the bombs at the time. Now rescued from history, its seven rhythms, with no polyrhythmic form, are what remains of the long journey from Africa.

Rock in the Caribbean:

It had to happen here - because of the unique geography of the Caribbean, under the direct influence of the colonizers’ metropolitan centers and their urban culture, and with the United States next door. These rebel and rural territories, fertilized by a rich blend of ethnicities, have given birth to many major musical styles and rhythmic pulses, each proving that mixing does not mean losing identity. Like the elders who adapted traditional European ballroom dance to their instincts, creating the Biguine, the Plena, the Son, so will the Carribean have its way with Rock.

credits

released June 12, 2007

Pascal Rey: Drums.
Philippe Makaïa: Ka drum and some spoken words.
JC Maillard (aka Mbutu): lead vocals, Ka drum and all guitars.
guests on bass guitar: Etienne Mbappé and Cyrile Nobilet.

Recorded and mixed from April 2004 to August 2006 in Guadeloupe (Caribbean), Claret (France) and Paris (France) at "The Living Room", by Gilles Olivesi and Mbutu.
Mastered by Eric Chevet at Masterdisk Europe.
Producing and artwork by Mbutu.

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about

Grand Baton New York, New York

Grand Baton is the brainchild of JC Maillard (aka Mbutu), a multi instrumentalist, vocalist, composer and producer based in New York city, native of the French island of Guadeloupe renowned for is works around the Ka, the traditional hand drum from Guadeloupe. “Le Grand Baton” and “Carnal Carnival“ stand at the crossroads of afro-caribbean music, progressive metal and electronica. ... more

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