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Much appreciated by music diggers over the world, and rediscovered thanks to the 2015 Heavenly Sweetness reissue of his Ti Jan Pou Velo project, Guadeloupian author, composer, singer and trumpet player Edmony Krater now unveils his new project, which remains true to his musical vision: using gwoka rhythms to trace a new, universal and contemporary musical map.

For lovers of Caribbean music, his name evokes a sea of hands beating on drums. Since the end of the 1970s when he participated to the formation of the band Gwakasonné, Edmony Krater has been the undisputed master of gwoka, a Guadeloupian tipical sound with ka drum and percussion, linked to the island’s historic relationship to slavery. Avant-garde musician, percussionist, singer, trumpet player, Edmony has for decades done his utmost to make gwoka music evolve, enhancing it with his influences and concerns and with the zeitgeist.

Despite working with Bernard Lubat and Claude Nougaro, and despite releasing a large number of recordings and authoring prize-winning children’s books, Edmony Krater did not achieve real recognition until the reissue of Ti Jan Pou Velo, his 1988 album with the group Zepiss — a record collector’s dream, owned and known by only a happy few. Among them, Julien from Digger’s Digest. With the help of Heavenly Sweetness he brought it back in 2015 with an acclaimed reissue, immediately sold out.

Today Heavenly Sweetness is proud to present an entirely new album produced in collaboration with Edmony Krater. Along with pianist Franck Souriant, Edmony puts improvisation — one of the founding pillars of gwoka — at the center. An Ka Sonjé features songs whose conventional structures — verse/refrain — gradually set free with solos that bask in the sun.

Guided by a desire to create and enjoy the moment, and with the great ear of his long-time partner Tcharly Guillou helping to capture musical notes and percussive vibrations, Edmony and his group (Pascal Bilongue, Kulusé Souriant and Julian Babou) renew the sound of insurgency. The group powerfully expresses its Guadeloupian identity, with jazzy colors mixed with keyboard riffs, electric pianos, trumpets, and funky bass lines.

The ka drum beat is the motor that puts the other elements in motion. The rhythm gets loose when the party starts, but then stiffens when it’s time to fight. Edmony wants his tree to grow more branches, while carefully preserving its Caribbean roots.

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