The Rich Musical Legacy of «Dadou» Pasquet
By La Rédaction · Port-au-Prince · · 3 min read · Updated 24 April 2026
Translated from French — AI-assisted and reviewed by the editorial team. The French version is authoritative. Read the original · About our translation policy
Creator of an eclectic musical texture, even perceived as too substantial, André «Dadou» Pasquet passed away on November 23 in the United States. Elegant until his last breath, he made sure to call a few loved ones, notably Nostor Azerot, his collaborator of forty-five years, to say goodbye. A look back at the musical legacy, as rich as it is diverse, of the erudite Haitian musician.
By Pierre-Raymond Dumas
Born on August 19, 1953, André «Dadou» Pasquet – whose importance is hard to fully grasp – is undoubtedly one of our greatest musicians, and certainly one of the most innovative. The sensuality of his music employs speed, joy of life, or unhappy feelings, without complacency for the public. He is a complete, authentic creator.
His five-year experience with Tabou Combo in the early 1970s was the very first summary of this: alongside Shoubou (Roger Eugène) and Yvon «Biassou» Mondésir, he formed an impressive vocal trio that contributed, as a composer, arranger, and guitarist, to the success of four emblematic albums (Canne à sucre, Respect, 8th Sacrement, The masters).
All Haitian music lovers felt captivated, even the most discerning, the most traditional, the grumpiest, the most closed-off. The dynamic feeling of the Haitian soul found its culmination and a new breath there. While this experience left him with a bitter taste, his precocious talent and guitar virtuosity, shaped by his uncles Dodof (Rodolphe), Richard, and Alexandre Legros, were enriched and appreciated by knowledgeable and demanding audiences.
Herman Nau's Tabou Combo, with Yves «Fanfan» Joseph, Dof Chancy, Ernst Marcelin, Yvon Ciné, Yvon «Kapi» André, and Jean Claude Jean, was already a high-flying label! A gifted guitarist whose dazzling potential was noticed by illustrious predecessors (Raymond Sicot, Raoul Guillaume, Richard Duroseau) and who became the most avant-garde of Haitian guitarists, he founded his own group on June 24, 1976: «Magnum Band» (La seule différence).
Magnum Band's conquering space would restore Dadou Pasquet, who studied at Staten Island College (United States), to his ambitious dimension: the power of his creativity, his captivating volubility, his experimental charisma influenced by both the tradition of local or Caribbean rhythms (reggae, calypso) and modernity stemming from jazz, blues, funk, etc.
But he managed to achieve an astonishing fusion between a bouncy rhythmic konpa and equally significant, particularly eloquent lyrics: «Expérience», «Jéhovah», «Grann», «Chèche lavi», «Island», «The best in town», «Sans frontière», «Okay», «Révélation», «Adoration», «Pure gold», «Congo nan vodou», «Paka pala», «Dife», «Pike devan», «Ashdei», and many more.
The case is clear, but the obsession of this damned perfectionist was to make the mediocrity of some more spectacular, the disguised and superficial stars even more detestable, and to make all that forgotten through his music, which was crafted and catchy, yes, incredibly danceable!
In the album titled «30 ans/Magnum Band, la seule différence» (2007), released after the album «Les archives de Dadou Pasquet» (1998), many previously cited successes can be found. The quest is long. It is no small feat to present Dadou Pasquet's work in its panoramic succession, and to highlight a dazzling richness where, success after success, tour after tour, one only perceived fragmented pieces, incessant attempts, adaptations and interpretations to satiety of foreign successes, and offbeat prowess. Divine Manifestations Like those mystics fascinated by several religions and/or divine manifestations (Christianity, Vodou, Islam), imbued with feverish visions, Dadou Pasquet, whose method is to refine everything, represents a being in constant evolution, a prophet in his own country. Listening to current musicians, many of whom are not true artists, one often gets the impression that high-volume sound is merely the alibi for a certain generational cretinism, and thematic infantilism, the result of unvarnished regression. Once again, we are dealing with one of those passionate purveyors of moments of pleasure and grace, this Dadou Pasquet to whom posterity will undoubtedly reserve a prodigious legacy. *This text by our collaborator Pierre-Raymond Dumas was originally published on August 28, 2014, in Le Nouvelliste (Haiti)
In the album titled «30 ans/Magnum Band, la seule différence» (2007), released after the album «Les archives de Dadou Pasquet» (1998), many previously cited successes can be found. The quest is long. It is no small feat to present Dadou Pasquet's work in its panoramic succession, and to highlight a dazzling richness where, success after success, tour after tour, one only perceived fragmented pieces, incessant attempts, adaptations and interpretations to satiety of foreign successes, and offbeat prowess. Divine Manifestations Like those mystics fascinated by several religions and/or divine manifestations (Christianity, Vodou, Islam), imbued with feverish visions, Dadou Pasquet, whose method is to refine everything, represents a being in constant evolution, a prophet in his own country. Listening to current musicians, many of whom are not true artists, one often gets the impression that high-volume sound is merely the alibi for a certain generational cretinism, and thematic infantilism, the result of unvarnished regression. Once again, we are dealing with one of those passionate purveyors of moments of pleasure and grace, this Dadou Pasquet to whom posterity will undoubtedly reserve a prodigious legacy. *This text by our collaborator Pierre-Raymond Dumas was originally published on August 28, 2014, in Le Nouvelliste (Haiti)
