ARTIST/BAND /GROUP INFORMATION
| Occupation(s) : | Bassist |
| Genres : | Compas Direct |
| Solo/Band/Group : | Shleu Shleu |
Procreated through the musical trends that prevailed in the first half of the 1960s, Léon Millien took off in the euphoria of the yé-yé wave; with corollaries rock, twist, boogaloo among others. Between the wanderings of jazz and bossa-nova; while the konpa from Nemours, the kadans ranpa from Sicot and the modern meringue from Raoul Guillaume led the dance; while “Jazz des Jeunes” is still active. It is in this flow that Léon worked to shape himself an enterprising style of bass player; having authorized it after the round of the small obscure groups, to be admitted within the “Manfoubens”. Small group from Bas-Peu-de-Chose to Avenue Christophe, which is an initiative of the brothers Smith and Frankie J. Baptiste. In which Léon performs alongside his friend and neighbor on Avenue Muller, Serge Rosenthal.
And when it was necessary to take an additional detour, the ensemble was renamed “Les Shleu-Shleu” in the spirit of gogo and mini fashions. From there Léon took his art to a higher level in the eurhythmic elaboration of 4/3 and the tidal wave that triggered this singular page of Haitian music that is the mini-jazz epic. Indeed, the fever of the ”shleushleuton” will constitute the catalyst of a filiation claiming its own identity. The group will have rewarded him with hits: holidays, Alfredo, Maria del alma, Haiti my country, Haiti land of sun, Ti Carme, Maille, in life, Boutilliers, café au lait, guess etc. who have represented true anthems of ancestry. And that Léon knew how to halo with his precision and a touch that knew how to connect the intervals.
However, after having shown the way to a whole generation in two albums representative of the moment, Léon and “Shleu-Shleu” simply needed to breathe elsewhere. What has remained a constant throughout the ”sixties”; during which all segments of society were forced to flee the ”papadocracy”. Thus, after the departure of the singer Peddy who consolidated the place of Zouzoul and that of the maestro Tony Moise replaced by Fito Sadrac, the group, with the exception of the guitarist Rosenthal and Zouzoul, settled in 1970 in NY, following a tour. This is where Léon and his colleagues rebounded to rally a growing community in the album: ”Grille ta cigarette” which was the first work from the ”state” to break the house in the country; after the initiatives of Pépé Bayard.
Consequently, Léon maintained musical studies in his journey with the group. By fulfilling didactic developments and increasing his talent. And at the same time with “Shleu-Shleu” which have undergone a change in relation to soul music and pop. It is especially the time of sporadic returns to the country, where in his house not far from mine, he received friends such as: Jeannot, F. Courtois and others. Coming to acquire techniques brought from elsewhere; while realizing his tremendous progress. Meanwhile for the Original “Shleu-Shleu”, between two or three albums which allowed them to stay the course. It is the imposition of the “Tabou Combo” which has become the favourite. Then, “Skah-Shah” became the darling.
It is therefore the end of cycles for the first mini-jazz whose members are dispersed in other associations. Whether they are: “Essence” with Tony Moise, “Mystic” with Peddy, “Thamad Fever” with Smith. As for Léon, he continues to cultivate his double bass, while becoming a regular at the New Muse School of Music. A sort of temple to jazz and other ethno-cultural manifestations in Brooklyn; between Bedford ave, and Eastern P’way. Where jostled between the end of the ”seventies” until the beginning of the 1980s, musicians and enthusiasts eager for musical notions, under the benevolent attention of prof. Alexandre Etienne (Sansann my teacher, guide to my first steps in New York, and my friend who passed away on Sunday September 20, 2020 around 11 a.m. PM). When Léon embarked on extravagant jazz spells;
Then, succumbing to the temptation of the ambient ”groove”, he reconnects with the konpa within the new formation ”Sham Sham” in the ”eighties”, and which did not have the expected echo. While continuing to collaborate in other collective projects. Including the work: ”Exodus\Le zouk” by the tandem Gary Résil and Kapi. Before taking a long sabbatical that turned into a permanent eclipse in a corner of Florida. Retreat land for musicians
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