Chronique no. 33 | Chronique Index

Shock or syncretism? A Haitian-Japanese happening!

We are all familiar with this truism : the language of music is universal . If one had any doubt about this, you just have to listen to the CD Kilti-Chòk * Culture-Choc * Culture-Shock, the latest musical collaboration between Haiti and Japan. Folks, you have to listen to this CD recorded live at Seifukan Hall in Saitama, Japan. Michiko Tatsuno, the pianist, is a Japanese musician in the purest tradition of classical jazz and the musicians, Jimmy Jean-Félix (guitar), conga player Gaston Jean-Baptiste "Bonga" (Haitian drum with cord), Jean-Daniel Beaubrun (bass) , Francois -Sergo Décius (conga) are Haitian in the purest tradition of Haitian Roots music (Rasin) . The result is Rasin-Jazz in its purest form and I already consider it a classic in this genre. I must confess I had not heard of Jimmy Jean-Félix before and what a good guitarist! From time to time, I hear shade of John McLaughlin or of the late Charlie Byrd in his style.

The treat starts right with the first tune Gede Nibo composed by Jean-Baptiste. I found it very thoughtful that the producers took the time to indicate for each song the rhythm on which it is played, as well as the origin of the song. Gede Nibo played on a "raboday-rara" beat, it is a very infectious melody . Listen to the bass line and the different improvisations and you do not know if you should listen or get up and dance. In those cases, you just rock in place, just like the audience must have done. The pianist reminds me sometimes of Chick Corea. Listen to the way Jean-Félix introduces his guitar solo. Haitians will recognize in his solo the conga lines that he translates into notes on his guitar, while underneath , the conga provides wonderful support to the music.

I think that tune No. 2 Koute'm is probably my favorite tune on the album. (I say probably because every time I listen to the CD, I seem to change my mind as to which one is better). But this particular song is played with such lyricism! Listen to the interaction between the guitar and the piano, it's just exquisite. And the rhythm session is right on the money. It seems that Jean-Daniel Beaubrun is "talking" with the bass to the other musicians and that makes beautiful sound. The conga solo toward the end fits like a glove.

The improvisations on Tune No. 4 Minis Azaka showcases the creativity of pianist Michiko Tatsuno and frankly, I did not know there was so much hidden in this song. My hats off to this musician whose first trip to Haiti was in August 1999!. Listen to how she moves so freely through the song and the kind of work she does with her left hand on the piano. Her only composition on the CD entitled Souvenir d'Haiti is a nice, lighthearted melody which I found conveys well the nice time she must have had there. I am sure she must have discovered like many before her that all is not negative in Haiti. It is played on a Haitian Kongo beat. Jean-Félix playing the acoustic guitar on that tune definitely reminds me of Charlie Byrd. His solo is just melodious. And what about the roots interpretation of Jerome Kern's classic All the things you are. This shows how versatile these musicians are and how rich Haitian Rasin music can be. The bass line on this song is so nice.

You probably realize by now that I am having a hard time deciding which song is really the best on the album, particularly after you listen to the very nostalgic Konplent peyizan (tune No.7) highlighting Tatsuno's piano and Jean-Félix's guitar. This is just fine music and my only criticism is that it was just too short. How about Jean-Félix's composition Kouman na fè on a "Djakata" beat.

The last tune Ayiti cheri is a real conversation on the conga and the guy makes the conga talks, really. Which tune is the best? Well let us say that you have an album where you can literally choose any one of the 9 tunes and thoroughly enjoy it. I would like to see this Haitian-Japanese group work on another album in the same vein, exploring our roots even more. If you like jazz, there is more than enough to satisfy you; if you like Haitian Roots music, you will love it; if you want to hear what Rasin-Jazz should sound like, you have an excellence sample with this CD. My hats off to the dynamic Haitian Ambassador in Japan, M. Marcel Duret, who has been playing an instrumental role in bringing together Haitian and Japanese musicians, bridging cultural gaps among the two people. What better ways to do it than through music! One final advice: go buy this CD by any means you can, it is worth it... Enjoy!

Serge Bellegarde