The talented singer/songwriter and former Nu-Look front-man, Gazzman Couleur, has unleashed his highly anticipated release with new band, “Disip”. The album hosts 13 original compositions and was backed by Miami based Tropikal Records. The announcement of Gazzman’s sudden split with his former Nu-Look band mates in early 2010 shook the Haitian music industry to its core. While it was known among insiders that there were strained relations between Nu-Look’s leaders, no one foresaw the extent of Gazzman’s dissatisfaction with co-leader and vocalist Arly. Apparently, Gazzman had long been planning his exit strategy as no sooner did he announce his departure from new look, rumors soon surfaced that he was well underway to forming a new group with yet another former Nu-Look member, guitarist – Gabriel Laporte. Soon thereafter the name of the group was broadcast on industry websites and promoters jumped at the chance to capitalize on the interest generated by the dissolution of one of the industry’s most popular partnerships.   “Mission” takes aim at the best Konpa-Direk releases. The album’s laid back lead track sets us off nicely as  Gazzman’s accentuated vocals blend well with Laporte’s fine touches on guitar, sparse horns, a set of decent choruses and a good synth solo from Miami’s gifted, Michelot, aka, “Billy tha Kid”.  The heated, “Kolon’n” armed to the teeth with strong grooves, catchy if predictable horn arrangements and a fine melody is certain to be among the album’s popular tunes.  The well versed, “Koupab” also stands among the albums memorable tunes because of its message and captivating lead and backing melodies. Disip’s nod to Haiti’s lost “Bolero” tradition in the song, “My Angel” features the album’s best work on horns and congas for all of two minutes before ascending into a sweet Konpa-Manba styled dance section. Other memorable tunes include the seductive “A Dieu” , the aggressive, “Ouve Barye” and Laporte’s melodious, “Kwe Mwen”. Disip’s “Mission” is a decent first effort. The album has a few good songs but nothing at this time that embodies the fire needed to catapult Gazzman and Co. among the industry’s frontrunners. Many songs start off well but seem to run out of instrumental steam at the halfway mark. Wordy songwriting and long winded melodic progressions stifle otherwise good ideas in other tunes. Laporte and Gazzman are in good form in their respective roles but there is work to be done in strengthening the rhythm section and backing synths. There is much these fine musicians could learn by studying every bit of the fine arrangements of the old school – Gemini All Stars, Freres Dejean- to orchestrate  more dramatic progressions to their compositions. Mission is a decent album overall. It’s a first step in a journey that is sure to lead to better and better releases in times to come. If you’ve been missing that Gazzman and Lapuerta combo, this one’s definitely for you! Rockfam Pa Gen Pase’n One of the respected progenitors of the Kreyol Hip Hop movement, Rockfam recently released its sophomore effort “Pa Gen Pase’n” (None beyond us). The album is a 17 song long collection backed by the Venus Records label. Delmas based Kreyol Hip-Hop group Rockfam took shape in November 2004. Led by Haitian youths in neighborhoods surrounding Port-au-Prince, the group’s members took their inspiration from the leaders of the American Hip-Hop scene, including the likes of Wyclef Jean, whose early success merging Haitian Kreyol and Hip-Hop beats peaked the interest of many young Haitians who might have otherwise considered such a notion a far reach. In three short years, Rockfam garnered modest underground fame in Port-au-Prince and released their first album, the very well received “Sa’w Paka Konpran” (What you can’t understand).  Three years and a few controversies (with main rival Barikad Crew) later the group is back with a new set of tunes. The album “Pa Gin Pase’n” is more of what fans of the Haitian Hip-Hop scene fell in love with on their first release. The beats on most of the album are heavily influenced by the American South while the lyrical flow of the MCs is linked to East coast trends. This is readily apparent in tunes like the ruff-neck anthem, “Delmas-Fia” where the crew flaunts its flare for strong melodic hooks and great writing to a beat that feels fresh off the stockpile of some Miami or Atlanta based producer. The politically charged rhymes of, “Sa’m vin Pale’w” is set against a fine Haitian Rara rhythm where one feels the MCs  more at ease, taking chances with the rhythmic delivery  and placement of their verses. The talented Haitian MC Full Bass makes an appearance on the tune “Pran fom ko’w” where his sophisticated chorus supports some skillful exchanges among the rappers.  Other highlights include, “Lanmou Lekol” featuring singer “Stanley Georges” and the intensely performed “Tout Kote”. The overall production of the album brings back the sound of Hip Hop’s early years where young producers struggled to make traditional recording facilities serve their needs. The beats aren’t as strong or accentuated as they should be but they are cleverly arranged and serve the MCs well. One problem the crew will have to confront is that of  rhythmic diversification when it comes to placement and timing of their rhymes. In too many instances the rappers used the tried and true flow that has become a mainstay for most practitioners in Kreyol Hip Hop. They’ll have to study how Slick Rick or Kanye West for example found ways to place their verses in places that were uncommon in Hip-Hop and were thus able to keep things interesting for the average listener.           If you’re a fan of the Rap Kreyol movement, you won’t be disappointed. The Reporter Thanks: Patrick St. Germain of International Perfumes and Discount at 860 Morton Street Dorchester, MA (617) 825-6151.