The Compas direct from plural currents adapts to the trends of the moment. We understand well that the point of view of Schaeffner and Paulme (1989) who evoke “music as an art of the moment”. While the emerging Compas direct was criticized for its break with the Haitian folk tradition, over time it returned to the sources in terms of rhythm. Indeed, the Jazz des Jeunes and the Issa El Orchestra Saeh drew on traditional rhythms (congo, ibo corn, nago, p&eacu
