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The First Haitian
Jazz Festival Packs the House --Wows the Crowd By
Tequila Minsky & Rene Devis
Through
the years Haiti has been home to many great Jazz musicians. Jazz first
achieved popularity in Haiti in the late 1930’s with the formation of legendary
groups such as " Jazz Des Jeunes, Orchestre Citadel, Edner Guillaird, Haitian
Army Jazz, "Orchestres" Symphonia, and Issa El Saieh to name few. Contemporary
Haitian Jazz takes its influences from American Jazz, Haitian folklore, and many
other musical traditions including Latin and African. YELLOW
BIRD, made famous by Harry Belafonte, has its roots in an old Haitian Jazz ballad,
Choucunne. The song was later recorded by Arthur Lyman in 1961. The track sold
more than 11 millions copies in the U.S and proved to be a turning point for both
Lyman and American music.
Yet, Arthur and RCA record have never given credit and recognition
to Haitian music. Haitian
Jazz has a long history of success. It is now more and more a general accepted
fact that Haitian Jazz is the forerunner of today's konpa. The first vinyl album
recorded in Haiti was a Jazz record. In 1955 Ricardo Widmaier, a German-Swiss
immigrant, recorded Jazz Guinard (Haitian Jazz) at 78 rpm in his radio station
HH3W, Port-au-Prince. With
the rise of Konpa music in the late 20th century, however, this genre has largely
been ignored. Indeed, on October 8, world music club, SOB’s in Manhattan,
agreed that the time had come for Haitian Jazz to return to its rightful place.
Thus setting the stage for "The First Annual Haitian Jazz Music Festival"
in New York City organized by John Jube Altino " Papa Jube", SOB’s
music director, and associates. Diehard
Jazz enthusiasts and Haitian music lovers packed SOBs' to listen to the shades
and variations of Haitian jazz.
Fans
traveled from Maryland, Pennsylvania, points north and the metro area with tickets
purchased well in advance . By 7pm the line was stretching well below Houston
street in lower Mahanttan. Only 75 tickets were available at the door, which immediately
sold out--a few scalper tickets offered to hopefuls. The
festival showcased a wealth of established and emerging young talent and a variety
of jazz styles from Haiti. In front of the stage—the area usually reserved
for dancing—jazz devotees were now seated at tables--Jazz club style-- while
others surrounded those sitting anxious for the show which began at 8:30pm. Fans
savored nearly six nonstop hours of Haitian Jazz music. Perhaps a larger venue
would have been more conducive for the Haitian Jazz Festival, but SOB’s offers
great comfort and an intimate setting to relish jazz music.
The
festival began with an explosive number by
Buyu Ambroise & The Blues in Red Band; performances by acclaimed Haitian
artists:
Emeline Michel with Makarios Cezaire, Mozayik, Reginald Policard w/ Richard
Barbot & Joel Widmaier, Boulo Valcourt, Beethovas Obas, Jowee Omicil awed
and amused with his alto sax virtuosity—so into it he flew off the stage
into the laps of the front row. No one was hurt. Half of those performing traveled
from Haiti for this historical musical event. There were probably as many musicians
in the audience as those on stage along with producers, actors, other performers,
and music enthusiasts. Wyclef
Jean riffed an impromptu jazz number—surprising some in the audience-- with
his bass player Jerry Wonder and Donald Guillame. The
music never stopped and even after the last group performed, New York- based Mozayzik
returned to the stage for a last dessert number. Reluctantly fans left after 2
am. It is obvious there is an audience for this kind of event. Mozayzik’s
Marcus Schwartz opines, “this is just the beginning."
Profile
and Biography of some Haitian Jazz Artist BLUE
IN RED, Buyou Ambroise Blue
in Red is the offspring of a long search for a common tongue displaced African
People. Haitian Popular musicians have taken an interest in American jazz for
many decades, evidenced by the flowering of dance bands sporting the word "
Jazz" in Haiti of the 30's and 40's ( Jazz de Louis Scott, Super Jazz, and
so forth). A fusion of Haitian traditional music and big band jazz followed in
the 40's under Jazz Des jeunes and Orchestre El Saieh- and the group Ayizan and
Faula and others updated these experiments in the 80's- but there has never been
, to my ears, a more successful marriage of those profound musical styles than
in this groundbreaking album by Alix "Buyu" Ambroise and friends. Amboise,
his quintet, and guest artists bring an extraordinary musically, a lightness and
sophistication with the idiom of jazz that is often missing from otherwise well-intentioned
fusion efforts. .. Full
article Haiti’s
Emeline Michel Carries the Flag of a World Without Borders Emeline
draws on the roots and history of Haiti—the world’s first Black republic—in
many ways. The intertwined rhythms of the manman tanbou, boula, and katabou—Haitian
drums—provide the foundation for original lyrics peppered with Haitian proverbs
and positive messages. “Everybody knows that Haiti is in trouble,” she
says. “Sometimes I feel like I should be there helping! This album is my
way to be there. It’s my chance to show a side of Haitian culture that is
positive.”..
Full Article Beethova
Oba, King of Modern Haitian Troubadour Over the last decade, Beethova OBAS has
built an international reputation as one of the most important and compelling
young musician from the Caribbean. This modern troubadour is a core of a new generation
of musicians who have combined the traditional Haitian music such as Compas, Rara,
Voodoo music with conscious lyrics and a whole range of musical influences. In
Beethova's case, he often fuses Haitian rhythms with tempos and harmonies reminiscent
of and Jazz chords. By the sweetness, the quality of his melodies, his caressing
voice, his rhythmic ballades, Beethova charms ..
Full Article
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