The Birth of a Visionary Sound
Petion-Ville, Haiti – The short yet extraordinary history of the original Zenglen is inextricably linked to the journey of its founder, Patrick Martineau. Between 1987 and 1992, Martineau led one of the most innovative and daring musical experiments in modern Haitian music. What began as a string of fortunate coincidences, small gigs at weddings, communions, and local parties, would evolve into a cultural movement that transformed the way Haitians danced, listened to, and celebrated music.
In 1987–1988, Patrick first partnered with Ti-Syto Cavé, forming a group called “Tono”. Their mission was modest: entertain the crowds at private events and keep the music alive. “Tono” did not last long, but fate intervened in another way. Patrick crossed paths with a gifted vocalist, Gary Didier Perez, whose presence would prove decisive. By 1989, the seeds of Zenglen were planted. Within a few short years, the group would dominate the airwaves and dancehalls, with their iconic hit “Fidel” later recognized as Album of the Year.
Reinventing the Beat
Patrick Martineau was never content with imitation. In an interview reflecting on Zenglen’s early days, he described the restless creativity that drove him to break the mold. While he loved the energy of mini-jazz, admired the precision of Kassav, and cherished the rhythms of konpa, he refused to follow their patterns simply.
What frustrated him most was the two-chord structure, the familiar “One-Two” progression that defined much of Haitian dance music. To Patrick, it had grown repetitive and stale. He wanted something richer, something that reflected the vibrancy of Haiti’s culture while incorporating the broader sounds of the Caribbean.
With bassist Jean Hénock Dugué, known as Fanfan or Ti-Fanfan, Patrick began experimenting. He eliminated the gong, added a kata percussion line, borrowed the petro drum and shaker from rasin music, and integrated zouk’s distinctive snare. At first, Fanfan resisted. Patrick urged him to study reggae albums, showing him how a bassist could anchor dance music without falling into monotony.
The breakthrough came during rehearsals when they unveiled a variant of konpa infused with zouk and rasin elements, built on at least four basic chords. This bold innovation, combined with the new rhythm section, gave birth to the unmistakable sound of Zenglen. It was their fingerprint, their calling card, and ultimately, the foundation of their meteoric success.
A Breakthrough on the Airwaves
Zenglen might have remained a hidden gem if not for the keen ear of Félix Lamy, the legendary host at Radio Nationale. Felix Lamy reported to Patrick in a private conversation that the first time he heard Fidel, he was driving to work. The sound was so fresh and original that he doubted it was even a Haitian band.
Intrigued, he invited Patrick for an interview. Convinced of the group’s potential, Lamy personally championed their music. His support reached its peak during the 1990 World Cup, when “Fidel” became the unofficial anthem of the tournament in Haiti. Radio Nationale played the song during every match broadcast and intermission. Overnight, Zenglen had become a household name.
The Voice of Gary Didier Perez
At the center of Zenglen’s rise was the voice of Gary Didier Perez. His vocals blended seamlessly with the orchestra’s sound, enchanting fans across Haiti. But behind his talent lay a mercurial temperament. According to Patrick, Perez often succumbed to mood swings, sometimes throwing his microphone violently to the ground in frustration. Years of smoking damaged his voice, and alcohol led to uneven performances.
After repeated warnings, the group suspended him for two weeks. Soon after, Perez left the band on impulse, a decision that shocked many. Bassist Ti-Fanfan followed him in solidarity, declaring, “Mesye se Gary ki te menmen m isit la a. Li ale, m ale tou.” (“Gentlemen, Gary brought me here. If he goes, I go too.”) Patrick Martineau Reported.
Perez would go on to form his own group, Ozone, leaving behind what many fans still refer to as the “haunted shadow” of his collaboration with Patrick. This memory remains etched in the golden pages of Haitian music.
The Breakup of 1992
By 1992, Zenglen stood at the height of its glory. They had been crowned Band of the Year in 1991 with “An nou alèz” and had a packed summer calendar of graduations, parties, and a promised North American tour. Promoters from the U.S. courted Patrick and his partner Carl-Henri Desmornes with offers of a grand coronation.
Then came the betrayal.
Without Patrick’s knowledge, the band secretly accepted a promoter’s promises and boarded an Air Canada flight to Montreal. Only singer Sandra Desmornes refused to abandon ship. According to Patrick Martineau, in an interview with Evens Jean, he discovered the treachery when he showed up for a routine Tuesday rehearsal, only to find that every musician had gone. They had used visas obtained for the tour to leave Haiti, sparking a storm of rumors about the sudden disappearance of the city’s most beloved band.
At the time, Zenglen was among the “big three” of the new generation, alongside Sweet Micky and Papash. Their absence left a void and a cloud of unanswered questions.
Aftermath and Reinvention
The deserters faced their own struggles. Without work permits in Canada, without the promised instruments, and without U.S. entry visas, they lived precariously before finding stability abroad. Meanwhile, Patrick, heartbroken but resolute, chose not to revive Zenglen or create a new band, even though he had all the equipment to do so.
Instead, he made the difficult decision to sell everything. He kept not a single keyboard, not even a guitar. Returning to his pharmacy, Patrick slowly redirected his boundless creativity into photography and painting. Today, his artistic works, displayed across his social media, testify to the same vision and imagination that once gave birth to Zenglen’s revolutionary sound.
The musicians who left eventually made their way into the U.S. music scene. Jean Derissaint Brutus reinvented the Zenglen name and nurtured a new generation of stars: Gracia Delva, Jean-Herrard Richard “Richie,” Réginald Cangé, Nichenson Prudhomme, and the creators of modern successes such as Mass Konpa, Klass, and Harmonik.
Legacy of a Maestro
Although short-lived, the original Zenglen, under the leadership of Patrick Martineau, remains a legend in Haitian music. It was a band that dared to experiment, to push boundaries, to break free from formulas. It was a band that rose from weddings and communions to the world stage. And it was a band that carried both brilliance and betrayal, triumph and tragedy.
Patrick Martineau’s story is not just about music; it is about resilience, reinvention, and the unshakable spirit of an artist. His paintings and photographs continue to inspire, but his most incredible legacy will always be the genius behind the original Zenglen, whose echoes still reverberate on Haitian dance floors and in the memories of fans.
Thank you, Patrick Martineau, for this monumental contribution to Haitian music. The legacy of the original Zenglen will live forever.
