XXXXXXXXX – ENGLISH TRANSLATION – XXXXXXXXXXXX
Since the masterful writing of “Listening Haïtiando” in March 2000 by former President Leslie Manigat François, the article “Toujou penny konpa” published in July 2014 by Vincent Joos in the daily newspaper port-au-princien The short story is, to my taste, the best I’ve read on the Haitian music. Since no human writing is immutable as the law of the Medes and Persians, so obviously I did not agree with everything Mr. Joos has so beautifully written. So I thought I would take a look positively and objectively on its text.
Yes, it is worth it to respond favorably to the presentation by Mr. Joos, especially since I have always chosen to respond privately on certain aspects of Haitian music more when I have to talk about “direct compass.” The reason is that, as a kind of local music, the majority of our young people do not know that one. On this point, no one can send them any reproach, since for nearly six decades, our leaders, too obsessed with clinging to power or drive out others, supremely despised the importance of cultural education and art in the classical education of our students. Also our young people think that, apart from the “live compass,” our country has no other kind dancing and danceable. Unfortunately, they do not know that we have at least 160 different types of music, some more dancing, more danceable, more languid than others. We need only think of our yanvalou and our meringue, the latter being our national music, according to the teachings of our best musicologists, music historians, musicians, anthropologists and ethnomusicologists. Include, among these: Jean Fouchard, Constantin Dumervé, Justin Elie, Ludovic Lamothe, Dr Franck Lassègue, Lamartinière Honorat, Raoul Guillaume, and I forget. Readership can refer to books “carving”, “History of Music in Haiti” and “meringue: national dance of Haiti”, respectively written by Dr Franck Lassègue Constantine Dumervé and Jean Fouchard.
It is even more sad that, for some time, a large percentage of Haitians, even the sixties, also tends to confuse and reduce Haitian music only “live compass.” But our music is centuries old, having emerged from the sordid holds of slave ships during the transatlantic slave trade. Best of all, apart from the sacred dances and songs, we also have “near-sacred songs or semi-secular, half-sacred, sometimes associated with religious services, sometimes for other entertainment events.” (Haitian folk dances, p. 48 Lamartinière Honorat). Styles profane as the “rabòday” the “zizipan” the “yanvalou”, the “petro” meringue are also dancing the “direct compass” or “cadence crawled.” In the 1950s, Issa El Saieh Orchestra, Jazz Youth and Orchestre Septentrional do they not played respectively Choucoune Hut, Green Grape and Rumba Night Club? Our peasants, for entertainment, do not they danced the minuet, the quadrille, the “twelve and a half”, etc.? Our young people, who, Saturday night, in the decades 1940 and 1950, could not get to Choucoune Hut, Miramar or other upscale nightclubs, do not they danced merrily “dyouba” and the “uncle-n you” Petit-Homme at Hermann (Hermann Bann)? Nowadays, it does say, “These are not the dances that are lacking, but the dancers. “
Too bad, since the fall of President Nicolas Fabre Geffrard (March 1867), which was established in 1860 the National School of Music, we have never had any government, except of course that of the Honourable Dumarsais Estime to develop and implement a cultural policy to spread a cultural vision for the benefit of Haitian youth! In order to achieve its objective, the President Estime was surrounded by educated citizens such as Jean Brierre, Jean Fouchard, Roussan Camille, etc. The festivities marking, in December 1949, the opening of the International Bicentennial of Port-au-Prince are the most eloquent proof Exposition. Let’s face it objectively that General Paul Eugene Magloire, willy-nilly, had assisted in founding in Port-au-Prince a conservatory of music pretty good reputation. To direct the President Magloire had appealed to the superb violinist and French conductor Marcel Van Thienen. Among the teachers, had distinguished Dutch composer Karel Trow, the célébrissimes Haitian musicians Carmen Brouard, Depestre Salnave, Solon C. Verret, Micheline Laudun, etc.
Because unfortunately most of our best musicians, poets, artists, educators and other fine heads had to flee the country in the coming to power of Dr. François Duvalier, the arts and culture of my generation (1960s) and education especially the following has not been made - or was poorly done. And, in my humble opinion, the situation has worsened in recent years. Result: we encounter nowadays people without training, without real knowledge of the history of Haitian music, which have never been any serious research on the subject to intervene so poor. Anyone who tries to bring a little light, a better sounding immediately becomes a bane. Then some, in the words of former Senator Emile St. Lot, refusing to “die in detail,” prefer to be walled in silence. Decision altogether unfortunate, since nature abhors a vacuum, often poorly improvised columnists and directors of conscience, then giving a wrong direction to our youth.
Now to the article by Mr. Joos. First, lower the author hat! However, although he rightly refers to Jazz Youth Orchestra and Issa El Saieh, if read between the lines, we see that it is essentially fixed his gaze on the “live compass.” Moreover, the title of the text is clear … “Toujou konpa penny.” Upon introduction, it says it all: “I’m a White hit a particular addiction: I can not live without my daily dose of compass. “So, I sketched a smile, and told myself that God has amply blessed Haiti musically. Mr. Joos then frankly reminds me of some foreigners in the 1950s, were very surprised at the richness of Haitian music. Include, in bulk: the American diplomat and professor Mercer Cook, Dr. Angel Fonfrias, university Puerto Rican Lisa Bauer were all fascinated by the music played by the Jazz Youth Orchestra and Issa El Saieh; pianist Donald Shirley who had seen demigods in Lina Mathon Blanchet, Ti Roro and Lumane Casimir; Burmese singer, delegate of the United Nations, Ma Than E Fend, who had remained gaga before the pieces of Haitian folklore; musicians and legendary artists such as Catherine Dunham, Lavinia Williams, Bebo Valdés, Billy Taylor, Budd Johnson, Lolita Cuevas, Diana Adrian, Celia Cruz, Daniel Santos and many others had also made hats before the meringue, our music national.
Yes, it is worth it to respond favorably to the presentation by Mr. Joos, especially since I have always chosen to respond privately on certain aspects of Haitian music more when I have to talk about “direct compass.” The reason is that, as a kind of local music, the majority of our young people do not know that one. On this point, no one can send them any reproach, since for nearly six decades, our leaders, too obsessed with clinging to power or drive out others, supremely despised the importance of cultural education and art in the classical education of our students. Also our young people think that, apart from the “live compass,” our country has no other kind dancing and danceable. Unfortunately, they do not know that we have at least 160 different types of music, some more dancing, more danceable, more languid than others. We need only think of our yanvalou and our meringue, the latter being our national music, according to the teachings of our best musicologists, music historians, musicians, anthropologists and ethnomusicologists. Include, among these: Jean Fouchard, Constantin Dumervé, Justin Elie, Ludovic Lamothe, Dr Franck Lassègue, Lamartinière Honorat, Raoul Guillaume, and I forget. Readership can refer to books “carving”, “History of Music in Haiti” and “meringue: national dance of Haiti”, respectively written by Dr Franck Lassègue Constantine Dumervé and Jean Fouchard.
It is even more sad that, for some time, a large percentage of Haitians, even the sixties, also tends to confuse and reduce Haitian music only “live compass.” But our music is centuries old, having emerged from the sordid holds of slave ships during the transatlantic slave trade. Best of all, apart from the sacred dances and songs, we also have “near-sacred songs or semi-secular, half-sacred, sometimes associated with religious services, sometimes for other entertainment events.” (Haitian folk dances, p. 48 Lamartinière Honorat). Styles profane as the “rabòday” the “zizipan” the “yanvalou”, the “petro” meringue are also dancing the “direct compass” or “cadence crawled.” In the 1950s, Issa El Saieh Orchestra, Jazz Youth and Orchestre Septentrional do they not played respectively Choucoune Hut, Green Grape and Rumba Night Club? Our peasants, for entertainment, do not they danced the minuet, the quadrille, the “twelve and a half”, etc.? Our young people, who, Saturday night, in the decades 1940 and 1950, could not get to Choucoune Hut, Miramar or other upscale nightclubs, do not they danced merrily “dyouba” and the “uncle-n you” Petit-Homme at Hermann (Hermann Bann)? Nowadays, it does say, “These are not the dances that are lacking, but the dancers. “
Too bad, since the fall of President Nicolas Fabre Geffrard (March 1867), which was established in 1860 the National School of Music, we have never had any government, except of course that of the Honourable Dumarsais Estime to develop and implement a cultural policy to spread a cultural vision for the benefit of Haitian youth! In order to achieve its objective, the President Estime was surrounded by educated citizens such as Jean Brierre, Jean Fouchard, Roussan Camille, etc. The festivities marking, in December 1949, the opening of the International Bicentennial of Port-au-Prince are the most eloquent proof Exposition. Let’s face it objectively that General Paul Eugene Magloire, willy-nilly, had assisted in founding in Port-au-Prince a conservatory of music pretty good reputation. To direct the President Magloire had appealed to the superb violinist and French conductor Marcel Van Thienen. Among the teachers, had distinguished Dutch composer Karel Trow, the célébrissimes Haitian musicians Carmen Brouard, Depestre Salnave, Solon C. Verret, Micheline Laudun, etc.
Because unfortunately most of our best musicians, poets, artists, educators and other fine heads had to flee the country in the coming to power of Dr. François Duvalier, the arts and culture of my generation (1960s) and education especially the following has not been made - or was poorly done. And, in my humble opinion, the situation has worsened in recent years. Result: we encounter nowadays people without training, without real knowledge of the history of Haitian music, which have never been any serious research on the subject to intervene so poor. Anyone who tries to bring a little light, a better sounding immediately becomes a bane. Then some, in the words of former Senator Emile St. Lot, refusing to “die in detail,” prefer to be walled in silence. Decision altogether unfortunate, since nature abhors a vacuum, often poorly improvised columnists and directors of conscience, then giving a wrong direction to our youth.
Now to the article by Mr. Joos. First, lower the author hat! However, although he rightly refers to Jazz Youth Orchestra and Issa El Saieh, if read between the lines, we see that it is essentially fixed his gaze on the “live compass.” Moreover, the title of the text is clear … “Toujou konpa penny.” Upon introduction, it says it all: “I’m a White hit a particular addiction: I can not live without my daily dose of compass. “So, I sketched a smile, and told myself that God has amply blessed Haiti musically. Mr. Joos then frankly reminds me of some foreigners in the 1950s, were very surprised at the richness of Haitian music. Include, in bulk: the American diplomat and professor Mercer Cook, Dr. Angel Fonfrias, university Puerto Rican Lisa Bauer were all fascinated by the music played by the Jazz Youth Orchestra and Issa El Saieh; pianist Donald Shirley who had seen demigods in Lina Mathon Blanchet, Ti Roro and Lumane Casimir; Burmese singer, delegate of the United Nations, Ma Than E Fend, who had remained gaga before the pieces of Haitian folklore; musicians and legendary artists such as Catherine Dunham, Lavinia Williams, Bebo Valdés, Billy Taylor, Budd Johnson, Lolita Cuevas, Diana Adrian, Celia Cruz, Daniel Santos and many others had also made hats before the meringue, our music national.
Indeed, as Mr. Joos, “I hammer: Haitian music is exceptionally good,” for once, the whole world was left “mesmerized” by the voice of Lumane Casimir Emerante Pradines, Martha Jean-Claude, Rodolphe “Dòdòf” Legros, Guy Durosier, Herby Widmaier, Joe Trouillot, Gerard Dupervil which transmitted divinely parts such as Isit in Haiti, peasant Declaration, Paper, Patience my girl, Lenglensou, Choucoune, Odan na sight, Mayflower, etc. In April 1951, on the occasion of the “Haitian Week” in New York, Guy Durosier, Jean Leon Intended, Lumane Casimir, Ti Roro, Ti Marcel and Alphonse Cimber had marveled at the New York audience at the Ziegfield Theatre on Broadway (The New York Times, Wednesday, May 9, 1951, p. 29). On the same date, it was the turn of Lina Mathon Blanchet and his band “Haiti Sings” let flabbergasted over 30,000 festival goers and tongue, of every race and nation on the banks of the Potomac, under the “Cherry Blossom Festival”. What about the incredible success some time later the Jazz Youth and National Folkloric Troupe at the opening of Havana radio station, the QMC! Felix Guignard, the first pianist in the Jazz Youth, remembers tearfully: “At one point, the audience came up on stage shouting: Des Jeunes! Youth! Youth! “(Interview of Louis Carl St. John LCSJ with Felix Guignard, May 3, 2008).
Frankly, I can not help but think of the brilliant maestro Raoul Guillaume, who had lamented our dance music in these terms: “It is deplorable that the direct compass is the only sort of played today by bands of helping countries … Their talent, musicians ought to explore and exploit other styles such as Candence crawled, the Ibo, yanvalou and especially the Haitian meringue … “(Interview with LCSJ Raoul Guillaume, October 7, 2004). However, this problem could be easily bypassed. I think quickly three solutions, among others. First, each year, the competent authorities (or private sector) could have a contest Haitian merengue and other folk songs. Would be awarded to the winners of “Price Ludovic Lamothe”, “Lina Mathon Blanchet Price”, “Price Antalcidas Murat”, “Price Augustin Bruno” … Then, the producers would have required bands incorporating at least one slow or piece of meringue and a semi slow the national folklore (this without the jazzy) in their drive. Finally, the National Radio and Television could offer a program in which the prime time, would be released, with serious comments, pretty pieces of Haitian meringue and other types of music of our land daily. Believe me, our youth, so curious and so hungry for knowledge, would eventually get used to and relishing.
So I am willing to look now on the subject of music “retro.” Let’s talk seriously, calm mind, good head screwed on his shoulders. To ensure these kinds of issue, first requires skilled columnists who know the history of Haitian music, our musical genres, the course of our former players, and having also – and why not! – A solid classical education. Give me mad or wise, you can not take the risk of entrusting the training of the youth of a country to people who have no culture. In my humble way, to talk about music “retro”, we must first consider the groups that existed before the 1960 – 1970 mention, for example, the Jazz Scott, Super Modern Jazz Guignard, Blue Baby Jazz the Jazz Youth, Issa El Saieh Orchestra, etc. So we could present less “old” groups such as Chouboum, Ensemble Latino, the Shleu Shleu, Shupa Shupa, The Gypsies, DP Express, etc.
In the 1940s and 1950s, this work was performed splendidly on the airwaves of HH2S (Radio Port-au-Prince) with the program “Time for Haitian Art,” hosted by Benoit Clement, those of the HH3W (Radio Haiti Progressive Ricardo Widmaier) with Wandha Ducoste Wiener, those of Petionville Radio and Radio Trade with Georges Duplessis. In print, the musical training of the Haitian was provided by Constantine Dumervé Roger Savain (Le Nouvelliste), Marcel Salnave (Haiti Journal), Jacques Large (Optical), Marat Chenet, the delegate dedicated and founder member of “Jeunesses Musicales Haitian. “
I applaud enthusiastically when Mr. Joos when he says so eloquently: “Technology has depleted music. “Not only has depleted our own, but also plunged our musical heritage in a relatively lethargic state that has lasted nearly six decades already. To revive him, three initiatives could be designed. First, significant changes should be made to the Haitian education system. It would be nice to foster in our students the appreciation of literature while developing in them the ability to speak well in our two national languages (Creole and French), both oral and written . This would have allowed us to do two things at once. On one hand, the public would become more demanding, eyeing all mediocre musical work. On the other hand, interpreted texts on musical selections become more drinking, thanks to good education would have received our future musicians and composers. We must encourage, even in 2014, the musical setting of words beautifully worked. It is nowhere stated that a piece of music, even popular, if not done for commercial purposes, must be poorly written. In fact, to repeat my former cute math teacher, Mr. Edner Saint-Victor: “Music should not be exclusively kidney; it should best be tailored to mind. “
It’s a good education and / or a natural genius that allowed wonderful poets Jean Brierre, Emile Roumer Maurice Casséus, Estrop Jean-Baptiste, Sylvain Marcel L., Louis-Jacques Roger, Henri Lormond … sublime and troubadours “simidors” Antoine Radule, Annulysse Cadet Antoine Hilaire Dòdòf Legros, Joseph “Kayou” Franck Remy Neptune, Robert Molin and other fabulous bards anonymous sculpting magic gems that have made or arranged music geniuses such as Antalcidas Murat, Raoul Guillaume, Guy Durosier Gerard Dupervil, Edner Guignard, Michel Desgrottes, etc. Masterpieces such as “Marabout my heart”, “Fanm Saint Marc,” “November Night”, “Evening lost”, “Disagree”, “As of old,” “Mayflower”, “My brown , “” Promenade “,” Denise “,” Esmerelda “and others may perfectly illustrate my meaning.
I applaud enthusiastically when Mr. Joos when he says so eloquently: “Technology has depleted music. “Not only has depleted our own, but also plunged our musical heritage in a relatively lethargic state that has lasted nearly six decades already. To revive him, three initiatives could be designed. First, significant changes should be made to the Haitian education system. It would be nice to foster in our students the appreciation of literature while developing in them the ability to speak well in our two national languages (Creole and French), both oral and written . This would have allowed us to do two things at once. On one hand, the public would become more demanding, eyeing all mediocre musical work. On the other hand, interpreted texts on musical selections become more drinking, thanks to good education would have received our future musicians and composers. We must encourage, even in 2014, the musical setting of words beautifully worked. It is nowhere stated that a piece of music, even popular, if not done for commercial purposes, must be poorly written. In fact, to repeat my former cute math teacher, Mr. Edner Saint-Victor: “Music should not be exclusively kidney; it should best be tailored to mind. “
It’s a good education and / or a natural genius that allowed wonderful poets Jean Brierre, Emile Roumer Maurice Casséus, Estrop Jean-Baptiste, Sylvain Marcel L., Louis-Jacques Roger, Henri Lormond … sublime and troubadours “simidors” Antoine Radule, Annulysse Cadet Antoine Hilaire Dòdòf Legros, Joseph “Kayou” Franck Remy Neptune, Robert Molin and other fabulous bards anonymous sculpting magic gems that have made or arranged music geniuses such as Antalcidas Murat, Raoul Guillaume, Guy Durosier Gerard Dupervil, Edner Guignard, Michel Desgrottes, etc. Masterpieces such as “Marabout my heart”, “Fanm Saint Marc,” “November Night”, “Evening lost”, “Disagree”, “As of old,” “Mayflower”, “My brown , “” Promenade “,” Denise “,” Esmerelda “and others may perfectly illustrate my meaning.
Secondly, I think the government, in conjunction with faculty, encourage educational institutions to introduce our students, from at least the age of eight, music, song, dance and our various artistic and musical traditions. It would be good to start for our young people good music schools, led by musicians and competent teachers, not our friends. In this sense, we never tarirons of praise for the visionary of the Ecole Centrale des Arts et Métiers educators, the Institution Saint Louis de Gonzague, the Petit Séminaire Collège Saint Martial (PSCSM), the Holy Trinity School, Ecole Frère Adrien Sacred Heart, etc. These are the educational institutions that have given us Raymond Sicot, Webert Sicot, Kesnel Hall, Alphonse Simon Gerard Dupervil … (Ecole Centrale), Serge Lebon, Raoul Guillaume, Guy Durosier, Ernest “Nono” Lamy … (Saint Louis de Gonzague) , Lyncée Duroseau Robert Geffrard Choisil Paul Raymond Marcel Joseph Arsene Durosèl Lionel Laurenceau … (PSCSM), etc.
The music, in my opinion, must fulfill two main roles: to have fun and that of form. This is especially true for the Haitian people that its leaders, for over a century, reduced to all points of view, in its simplest form. In the early 21st century, we can not allow ourselves to applaud those that Ernest “Nono” Lamy, virtuoso pianist, used to call just so the “music players” and praising the “woy – woy” indigestible which courroucent manners. I believe that music should be done by trained and / or those who have a natural genius for this art musicians. It is not at all a coincidence that in the 1950s, groups such as “Chouboum” and “Latino” have the joy of the country. What a delight listening later Ibo Combo! Guided by Herby Widmaier, this group, with amazing musicians such as Serge Simpson, Alix “Tit” Pascal, Andre Romain and others, we had presented a very high level of music.
Because there is no spontaneous generation, there is no wonder that a little later, we had seen the outbreak, with the means at hand, groups that history of Haitian music retained under the label of “mini jazz.” We always listen with thrill Ambassadors, The Fanciful Carrefour, Bossa Combo, Tabou Combo, Skah Shah Brothers Dejean, Magnum Band, etc. The Kiki Wainwright, Menelaus Ernst, Yves Marc Volcy, Raymond Cajuste, Andre “Dadou” Pasquet, Yvon “Kapi” Andre, Yves Joseph (called “Fanfan Ti bot”), Yves Arsene Apollo, Jean Elie “Cubano” Telfort, Mario Volcy and others (impossible to mention them all) have done an admirable job in texts that they put themselves in music.
Third, since “a prince in a book learn a lot of duty”, it would help to rebuild troops folk dances, folk choirs, a National Folkloric Troupe, rooms theaters that serve as temples of our culture . We can not think about the troops “Makaya”, “Lococia”, “Aida” at the National Folkloric Troupe The Chancel Michel Dejean and others. For example, it is the foundation in 1949 of the National Folkloric Troupe and Theatre de Verdure Massillon Coicou that allowed the public to discover our best singers, musicians, dancers and other artists and other global celebrities (Marian Anderson, Billy Taylor Ginney Mayhew, etc.)
What god has inspired him to write to Mr. Joos: “In sum, when Haitian music not eyeing to major international fashions … and it draws in folk specificities and Latino roots, it is at its highest level. “I have nothing to add to it nor anything taken. In short, the author has exposed the phenomenon of acculturation ankylosis the spirit of our youth, a Haitian youth always traditionally worn to the sublime things, this youth who once clung to idyllic literary circles, to loudly denounce the “cultural bovaryme.” I talk about this Haitian youth who had been guided by the writings of Dr. Jean Price Mars, who, with his “So Parla Uncle” had furnished the spirit of Antalcidas Murat, the Dòdòf Legros, of Guy Durosier, Raoul of William Gerard of Dupervil which have left us a legacy of sublime pieces of petro, the Ibo, congo, creole waltz and also Haitian meringue.
Mr. Joos wonderfully continues its momentum into thinking that “… Haitian music shined when it is far from international standards and was inspired by the folklore of Haiti […] The folk movement has endured and nativism s is strengthened. “A little later, he wrote:” … In France, the law requires that 40% of songs played on the radio are French. I have never heard a Haitian melody in recent years on French radio, while in Port-au-Prince, every time I take the bus, I hear Sinatra or Sardou … “
There, he reminds me of my friend George Bossous, Jr., one of the few Haitian intellectuals to have the courage to openly condemn acculturation in our musical traditions. In December 2013, in an interview with journalist Anthony Pascal (Filo said Konpè), Radio Tele Ginen, Mr. Bossous said bluntly: “The media have a responsibility to actively participate in the musical education of Haitian youth. It is inconceivable that foreign artists are much more familiar to the youth of the country as ours. At peak times, we should have made almost exclusively of Haitian music instead of poisoning our youth of foreign music … “
That said, I think Mr. Joos made three small errors in its text. The first thereof. When he writes that “Issa el Saieh has pioneered in this area by incorporating percussion and rhythms in his national jazz orchestra,” so here, “pioneer” is “innovative”, I do not believe that it is quite right. Without citing only the sets of “The Republic of Port-au-Prince,” I can report that the Body of Granville Desronvil Piacenza (1936 – 1937), the Surprise Jazz in Port-au-Prince (1936 – 1937), Jazz Capois (1941 – 1942) and still others, long before that of Issa El Saieh, had used the conical drum (or snare) in their instrumentation. (Interview with LCSJ Capois drummer Emmanuel Elysee, May 14, 2009). If we must speak objectively pioneer in the introduction of national rhythms in music ensembles Haiti, honor must surely go back to maestros Francis Alexis Guignard and Felix “Fefe” Clermont.
His second error is in the birthplace of Nemours Jean-Bapstiste. The latter was not born in the Place Sainte Anne (Morne-à-Tuf). Instead, he emerged to “Lakou Labissiere” near the Old Cathedral. So Mr. Joos had instead wanted to talk about the Cathedral Square (Bel Air). I note in passing that this is the same “Lakou Labissiere” which gave birth to Felix Guignard and Edner Guignard, two magicians piano. Moreover, it is their father, the unforgettable composer François Alexis Guignard (Father said Guignard), who introduced to music Nemours, brother of the latter, Montfort Jean-Baptiste, Dormelas Philippe and others .
Thirdly, I want to quickly point out to Mr. Joos the song “Kote Moun Yo” (Ibo Records, LLP 113), delicious rabòday arranged by the brilliant Antalcidas Murat, was sung rather by Emmanuel Augustus and not by Gérard Dupervil.
Incidentally, among those who are looking at the “Live compass,” Mr. Joos is one of the few to recognize the value of Webert Sicot, which was, in the opinion of all muscians years 1950 – 1970 (Louis Telemachus, Emilio Gay, Serge Simpson, to name a former band members of Nemours), by far a better musician and a better saxophonist especially that Nemours Jean-Baptiste. Unquestionably, Nemours was a better “showman” that Sicot, shy man, despite his indisputable genius.
In his conclusion, Mr. Vincent Joos wrote: “… I hope that in 2015 there will be in Haiti major cultural events to commemorate the thirtieth anniversary of the simultaneous disappearance of Nemours and Timanno …” Qu it let me ask a slightly deeper look at the expectation of the author. I called all my wishes the organization in 2015, 2016, 2017 … short each year of great cultural events to commemorate the nth year of the disappearance of Occide Jeanty of Nicolas Geffrard, Werner Anton Jaegerhuber, Ludovic Lamothe, Justin Elie, Luc Jean-Baptiste Augustin Bruno, Antalcidas Murat, Guy Durosier, Augustus “Candio” Pradines, Alexis Francois Guignard, Issa El Saieh, of Casimir Lumane , Roger “Ti Roro” Baillergeau, Lina Mathon Blanchet, Frantz Casséus … because if we want to talk more seriously, these extraordinary beings had done much to Haitian music, or rather, for the Haitian culture.
Ultimately, by referring to the wisdom of the great maestro Raoul Guillaume, and believing that Haitian music, because of its wealth, must be pretty guarded with a magnifying glass, I admit that, “I am in favor of the peaceful coexistence of all Haitian musical rhythms, whether direct compass, pace ranmpa, petro, the yanvalou, Haitian meringue, etc. “In any case, although we are” penny toujou konpa “Haitian merengue is the national music of Haiti!
About The Author: Louis Carl Saint Jean is a prolific Haitian writer based in New York and has written for several national and international magazines. He can be reached at – louiscarlsj@yahoo.com
The music, in my opinion, must fulfill two main roles: to have fun and that of form. This is especially true for the Haitian people that its leaders, for over a century, reduced to all points of view, in its simplest form. In the early 21st century, we can not allow ourselves to applaud those that Ernest “Nono” Lamy, virtuoso pianist, used to call just so the “music players” and praising the “woy – woy” indigestible which courroucent manners. I believe that music should be done by trained and / or those who have a natural genius for this art musicians. It is not at all a coincidence that in the 1950s, groups such as “Chouboum” and “Latino” have the joy of the country. What a delight listening later Ibo Combo! Guided by Herby Widmaier, this group, with amazing musicians such as Serge Simpson, Alix “Tit” Pascal, Andre Romain and others, we had presented a very high level of music.
Because there is no spontaneous generation, there is no wonder that a little later, we had seen the outbreak, with the means at hand, groups that history of Haitian music retained under the label of “mini jazz.” We always listen with thrill Ambassadors, The Fanciful Carrefour, Bossa Combo, Tabou Combo, Skah Shah Brothers Dejean, Magnum Band, etc. The Kiki Wainwright, Menelaus Ernst, Yves Marc Volcy, Raymond Cajuste, Andre “Dadou” Pasquet, Yvon “Kapi” Andre, Yves Joseph (called “Fanfan Ti bot”), Yves Arsene Apollo, Jean Elie “Cubano” Telfort, Mario Volcy and others (impossible to mention them all) have done an admirable job in texts that they put themselves in music.
Third, since “a prince in a book learn a lot of duty”, it would help to rebuild troops folk dances, folk choirs, a National Folkloric Troupe, rooms theaters that serve as temples of our culture . We can not think about the troops “Makaya”, “Lococia”, “Aida” at the National Folkloric Troupe The Chancel Michel Dejean and others. For example, it is the foundation in 1949 of the National Folkloric Troupe and Theatre de Verdure Massillon Coicou that allowed the public to discover our best singers, musicians, dancers and other artists and other global celebrities (Marian Anderson, Billy Taylor Ginney Mayhew, etc.)
What god has inspired him to write to Mr. Joos: “In sum, when Haitian music not eyeing to major international fashions … and it draws in folk specificities and Latino roots, it is at its highest level. “I have nothing to add to it nor anything taken. In short, the author has exposed the phenomenon of acculturation ankylosis the spirit of our youth, a Haitian youth always traditionally worn to the sublime things, this youth who once clung to idyllic literary circles, to loudly denounce the “cultural bovaryme.” I talk about this Haitian youth who had been guided by the writings of Dr. Jean Price Mars, who, with his “So Parla Uncle” had furnished the spirit of Antalcidas Murat, the Dòdòf Legros, of Guy Durosier, Raoul of William Gerard of Dupervil which have left us a legacy of sublime pieces of petro, the Ibo, congo, creole waltz and also Haitian meringue.
Mr. Joos wonderfully continues its momentum into thinking that “… Haitian music shined when it is far from international standards and was inspired by the folklore of Haiti […] The folk movement has endured and nativism s is strengthened. “A little later, he wrote:” … In France, the law requires that 40% of songs played on the radio are French. I have never heard a Haitian melody in recent years on French radio, while in Port-au-Prince, every time I take the bus, I hear Sinatra or Sardou … “
There, he reminds me of my friend George Bossous, Jr., one of the few Haitian intellectuals to have the courage to openly condemn acculturation in our musical traditions. In December 2013, in an interview with journalist Anthony Pascal (Filo said Konpè), Radio Tele Ginen, Mr. Bossous said bluntly: “The media have a responsibility to actively participate in the musical education of Haitian youth. It is inconceivable that foreign artists are much more familiar to the youth of the country as ours. At peak times, we should have made almost exclusively of Haitian music instead of poisoning our youth of foreign music … “
That said, I think Mr. Joos made three small errors in its text. The first thereof. When he writes that “Issa el Saieh has pioneered in this area by incorporating percussion and rhythms in his national jazz orchestra,” so here, “pioneer” is “innovative”, I do not believe that it is quite right. Without citing only the sets of “The Republic of Port-au-Prince,” I can report that the Body of Granville Desronvil Piacenza (1936 – 1937), the Surprise Jazz in Port-au-Prince (1936 – 1937), Jazz Capois (1941 – 1942) and still others, long before that of Issa El Saieh, had used the conical drum (or snare) in their instrumentation. (Interview with LCSJ Capois drummer Emmanuel Elysee, May 14, 2009). If we must speak objectively pioneer in the introduction of national rhythms in music ensembles Haiti, honor must surely go back to maestros Francis Alexis Guignard and Felix “Fefe” Clermont.
His second error is in the birthplace of Nemours Jean-Bapstiste. The latter was not born in the Place Sainte Anne (Morne-à-Tuf). Instead, he emerged to “Lakou Labissiere” near the Old Cathedral. So Mr. Joos had instead wanted to talk about the Cathedral Square (Bel Air). I note in passing that this is the same “Lakou Labissiere” which gave birth to Felix Guignard and Edner Guignard, two magicians piano. Moreover, it is their father, the unforgettable composer François Alexis Guignard (Father said Guignard), who introduced to music Nemours, brother of the latter, Montfort Jean-Baptiste, Dormelas Philippe and others .
Thirdly, I want to quickly point out to Mr. Joos the song “Kote Moun Yo” (Ibo Records, LLP 113), delicious rabòday arranged by the brilliant Antalcidas Murat, was sung rather by Emmanuel Augustus and not by Gérard Dupervil.
Incidentally, among those who are looking at the “Live compass,” Mr. Joos is one of the few to recognize the value of Webert Sicot, which was, in the opinion of all muscians years 1950 – 1970 (Louis Telemachus, Emilio Gay, Serge Simpson, to name a former band members of Nemours), by far a better musician and a better saxophonist especially that Nemours Jean-Baptiste. Unquestionably, Nemours was a better “showman” that Sicot, shy man, despite his indisputable genius.
In his conclusion, Mr. Vincent Joos wrote: “… I hope that in 2015 there will be in Haiti major cultural events to commemorate the thirtieth anniversary of the simultaneous disappearance of Nemours and Timanno …” Qu it let me ask a slightly deeper look at the expectation of the author. I called all my wishes the organization in 2015, 2016, 2017 … short each year of great cultural events to commemorate the nth year of the disappearance of Occide Jeanty of Nicolas Geffrard, Werner Anton Jaegerhuber, Ludovic Lamothe, Justin Elie, Luc Jean-Baptiste Augustin Bruno, Antalcidas Murat, Guy Durosier, Augustus “Candio” Pradines, Alexis Francois Guignard, Issa El Saieh, of Casimir Lumane , Roger “Ti Roro” Baillergeau, Lina Mathon Blanchet, Frantz Casséus … because if we want to talk more seriously, these extraordinary beings had done much to Haitian music, or rather, for the Haitian culture.
Ultimately, by referring to the wisdom of the great maestro Raoul Guillaume, and believing that Haitian music, because of its wealth, must be pretty guarded with a magnifying glass, I admit that, “I am in favor of the peaceful coexistence of all Haitian musical rhythms, whether direct compass, pace ranmpa, petro, the yanvalou, Haitian meringue, etc. “In any case, although we are” penny toujou konpa “Haitian merengue is the national music of Haiti!
About The Author: Louis Carl Saint Jean is a prolific Haitian writer based in New York and has written for several national and international magazines. He can be reached at – louiscarlsj@yahoo.com
