BY Tequila Minsky, Heritagekonpa Magazine.
The 2nd annual New York Haitian Jazz Festival drew the talents of extraordinary Haitian jazz musicians hailing from Haiti all the way to Montreal. Beethova Obas, Mush Widmaier, Ginou Oriol, and Reginal Policard were among the nine featured acts.
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Last year's Festival packed SOB's like sardines during rush hour so shifting the Haitian Jazz Music Festival to the larger Irving Plaza in Manhattan for the December 23 extravaganza was a really smart move.
Director/producer Jube with musician/producer Gashford Guillaume put together a stellar line-up of jazz performers with nine major acts, a musical feast. Musicians rarely heard in New York City, from Canada, Miami and Haiti, along with locals, showcased their talents. And, like once more meeting new friends, it was a pleasure to again hear some performers that had played last year. It was equally pleasurable that the Festival was no mere repeat clone; this year, one third of the nine acts were new.
The cheapest standing-only tickets in Irving Plaza's mezzanine offered the best acoustics and great stage views and although the venue was a bit drafty the music was hot for over 500 music lovers feasting on this musical bounty.
And what is Haitian jazz? Extremely simply put, it's melodies and rhythms taken from Haitian popular music and embellished with Latin and jazz orchestration and harmonies
Starting about 9:30pm, the Altino Brothers rendition of the Haitian national anthem opened the event followed by Jowee Omicil with his alto and soprano sax virtuosity.
From the seasoned guitarist Chardavoine to the blending of Afro-Haitian rhythms with the instrumentation, melodic/harmonic sensibilities and jazz improvisation of Mozayik, the distinct styles of each group shone.
Vocalist Ginou Oriol traveled from Haiti and sang beautiful and extraordinarily arranged jazz numbers opening with the Haitian traditional Yoyo and followed by Complaint Paysanne and My Funny Valentine. She was the only woman musician on the program. Although technically speaking James Germain might not be referred to as a jazz singer, he was welcomed and embraced by the audience during his two solos. Germain dedicated the song Soley to Tiga (Jean-Claude Garoute), the well-known Haitian painter and visionary who just passed away.
Simultaneously energetic and mellow, fusion musician Beethova Obas crooned his smooth vocals, combining Haitian music, jazz, and Brazilian rhythms to a loving reception. Pianist Mush Widmaier and his group, which included brother and drummer Joel, gripped the crowd especially during the highlighted solos of the musicians.
Last, but far from least, was music pioneer pianist Reginald Policard, one of the original members of the earlier groups that fused Haitian music with jazz. While the crowd clamored for more from all the musicians, Policard, the last on the program--almost at 2 am, got short shrift. Disappointedly, he gave a truncated performance-- three numbers, with the pressure to wrap it up. A little more equity in stage time was needed.
The music-loving crowd had its share of appreciative musicians reveling in the wealth of talent. Saxophonist Buyu Amboise, who played in the first Festival commented, "I'm hearing new stuff and it's all exciting. I think a few years from now; Haitian jazz will be a greater piece of the music scene. At this festival I see more younger musicians playing this style."
Amboise made a special note of two young musicians with Mush's group, guitarist Dener Seide and trumpeter Jean Caze. He added "Caze has a beautiful sound and is very selective with the choice of melodies that he improvises with."
There are still some kinks to work out producing an event of this scope. During the evening, more than once there seemed to be a communication problem from back stage to the front; acts were introduced well before the stage and the musicians were ready. Also, although the classically trained and well-received Altino Brothers performed pieces with a jazzier nature than last year, their presence on a jazz program still seemed out of place-- explained only by being family to the producer.
Carolle Charles, who attended last year's festival, sat at a long table in front of the stage with nine other friends. She found the talent superb. "My only complaint is that some of the groups didn't have enough time to play. A festival like this needs to be longer so that all the musicians have enough time on stage." Referring to the well-attended event she said, "It's clear there is an audience for Haitian jazz. You have a substantive group of people who are interested in this music."
The Jazz Festival will be traveling to Miami, playing Carnival Center on April 21.
