A conversation with Gifrants, Haitian Guitarist and composer

Reflections on the Decision to Pursue a Career in Music

I recently had the pleasure of interviewing this great musician and present him and his work; seasoned now and then with lyrics from his last CD “Serenade by Gifrants”.

Haitian Guitarist and composer Gifrants is among greater Boston’s little known and exploited giants of the current Haitian music scene. His name and work are well known in select Haitian and non-Haitian circles of Boston, New York and Haiti. I came to know of him through my own music teacher, Patrick Mottaz – a Berkeley graduate – who is among Gifrants’ group of elite musicians for live performances. Until that time I never considered anything which could be the equal of the sound of American Jazz until I heard his hybrid of Haitian and Brazilian sound which Gifrants calls Voodoo Jazz. The music and melodies, which this artist is capable of producing are amazing but even more amazing, are the sentiments which he verbalizes through his Voodoo Jazz. One would have to hear this music, as a few of you may already have, to understand my inability to do this musical concept justice with the few words I know.

On Childhood at Cap-Haitian and Early Experiences with Music

I was born in Cap-Haitian on the 10th of January 1957. My mother tells me that by the time I was three years of age I was asking for a guitar. It was not a welcomed request because as you may well know Haitian society looks at the musician’s calling as if it were a curse because there was no living to be made from playing music. Additionally, the stereotypes about musicians being uneducated and of little value were not categorizations my parents wanted for me.
At 13 years of age a cousin of mine who was an evangelical came to visit my parent’s home for summer vacation and brought a guitar with him. He demonstrated a variety of major and minor chords. He eventually taught me my first song “Les portes du Pénitencier”. I spent that entire summer learning how to play the chords on a cheap Island guitar, and my hand was eventually swollen from the task. I spent sixteen hours a day on the guitar and forgot about eating and taking care of myself. I left all of that up to my mother. The guitar became an obsession for me.

A Ballad for Mom (from Serenade by Gifrants)

Raising me was not easy,
But I never heard you complain
“Mother’s pain is the burden of life”
You used to say…
I can still hear you singing for me when I am far from you
And thinking about you.
In Cape-Haitian, there was a center for youth where Americans would come to volunteer. One could engage in sports, music and other recreational activities. At the center I learned how to play classical guitar, piano, and violin. I had more aptitude for the piano than the guitar. I liked the piano very much but I had none to practice with at home. The guitar was more portable and more practical. So I played and composed many songs and was influenced by French singer/songwriters like Charles Aznavour and Jacques Brel.
As I matured and became politically conscious, I left songwriting in French and began to compose in Haitian Creolel. I wrote music that had more of a political bent, “mizik engage”. I eventually moved to Port-au-Prince during my senior year of high school where my cousin Boulo Valcourt (gifted Haitian singer/songwriter/composer) introduced me to the music of a few late notorious and some leading Haitian musicians of their times such as Aldophe Legros and Ti Paris.  He also introduced me to the late and famous ethnomusicologist Gerald Merceron, and the comedian and journalist Richard Brisson among others. These meetings caused me to focus seriously on the Haitian musical tradition. However, when I played guitar, from the time I was 13, and because there were certain chords I had difficulty playing. My playing style sounded a lot like Brazilian Samba, even from the time I learned my first song, les Portes du Penitencier.
Haitian musicians were also exposing themselves to Brazilian musicians at that time. Many listened to artists like Sergio Mendez, Stan Getz, Tom and Carlos Jobim. So, my strumming was closer to Samba and Bossa Nova. During this time I began to study Law in Port-au-Prince. However, my passion was music. However, it was particularly difficult for me because I was not into the popular music of the day, so it was difficult to find a point of departure. A majority of the musicians of the era who had some learning incorporated Jazz and other European forms into their music to show that they could play, but played little of what they knew of Haitian music.

Early Successes in Music

In 1976 I participated in a contest sponsored by Radio National for Valentine’s Day. I won the first prize with my song “Bossa Valentine” (featured on the CD “Serenade by Gifrants”). As an aside, that particular song once it was recorded and made available on my CD Serenade by Gifrants caught the attention of a professor from Berkeley College of music and used for a film “ Last Chance for Paradise” which the school produced. The song was submitted without my knowledge and contested with 150 other CDs then being considered for the film and won. So, I am very proud of that accomplishment.

Bossa Valentine: (from Serenade by Gifrants)

St. Valentine, St. Valentine
Be my witness and tell her
How much I love her
Let my tears wash away the sorrow of the past
And bring her back to me
For I might die if I lose her
I continued to participate in contests and to win those contests for mother’s day and other festivities. I was eventually prevented from competing because I kept winning the prizes.

On The Decision to Pursue a career as a Musician

God had given me a gift for composition and I purchased books on playing the guitar and gave myself an education. During this time I entered my second year of Law school and began classes in economics. I studied law to appease my grandfather who was a lawyer. I personally thought I could be more useful to Haiti as an economist. I did not like the reputation that was associated with practicing law in Haiti. One was viewed as a thief.
I was uncomfortable with music also because, the musician was perceived as a “vagabond”. I had my cousin Boulo set up a meeting between me and Gerald Merceron and we met on February 9, 1980. We played music for an hour together. I wanted him to critique my music, but he found no faults with my progressions. I mentioned my ambivalence about my musical ability and he told me that if I was going to play music, then I should play it scientifically. It was that one word which caused me to continue with music to this day. I threw myself into serious study of music.
I studied the different scales and learned that much of Haiti’s popular music was based on the pentatonic scales. I learned the different rhythms in music and having learned those I no longer danced the same way again, which is to say like many other Haitians living in the cities. The decision not to dance like other Haitians was an issue, because the urban Haitian did not dance like the provincial Haitian. I had issues when I went to dance with women in concerts by popular bands like Orchestre Septentrional, not so much when I danced to Tropicana whose concerts were attended more by Haitian laymen.
I learned the rhythms of Haiti, I learned as much music as it was possible to learn in Haiti and I went to New York. In New York I met my friend and fellow musician Jean Baptiste Edouard.  He advised me to meet with Nichol Levy (pianist, arranger), who happened to be my first music teacher when I was in High School. We met in 1982 and formed the band, Sakad, which took us 5 years to prepare. The band came out in 1987 with a well-prepared album. However, due to business and political differences, I was soon no longer a part of the band.
Upon leaving Sakad, I delved once again into the study of music. I spent much time in New York’s Lincoln’s Library, which was all music documentation. I borrowed books left and right. There were times when my wife awoke at 2am to find me studying. My studies at the time resulted in my first album as a solo artist; an album entitled “Rara Mwe”. I went to Haiti to promote the album, but was unsuccessful due to the political environment of the time. So not many people know about that album at all.

On Gifrants Voodoo Jazz and music

I was once featured on a Haitian television program with another well-known Haitian musician. We were both asked to discuss Music. The well known musician said that music was solely about feeling… that he arranged his music in his sleep…etc. I was then asked to discuss music. I said that music was a science, that there was arithmetic in music that is first noticeable in the beat of any song and the varied duration of musical notation…that music is about math so much that it implies electronic applications. The mathematical possibilities give the musician choices in the available progressions of his song. These choices then can then accommodate one’s personal feelings.
I think it will take a long time for Haitians to appreciate the concept of Gifrants’ Voodoo Jazz. Many Haitians who claim to play voodoo jazz use American musical concepts with a Haitian beat or use Haitian rhythm with an American Jazz progression. The Gifrants’ Voodoo Jazz concept is completely integral and Haitian in terms of rhythm and melody. Most of the progressions can be unconventional somehow.  It is a dissonant concept of music that maintains the aggressive nature of Haitian music. It is a concept of which I am satisfied, though not many Haitians know of it. It makes me happy to have spent my life studying Haitian music. I don’t want to sound boastful, but I have done a lot with Haitian music.

On reception of his brand of music by the Haitian community

I have been playing music for 30 years. The traumatic aspect of this is that generally, when I appear before a foreigner, that person sees more potential in me than a native Haitian. I am playing Haitian music. I am playing Haitian music at a sophisticated level where it can compete with other high forms of musical expression.
I’ve thrown shows to display my music in New York and Boston and not too many Haitians showed up. Foreigners attended and asked themselves why given the quality of the music. It always made me shake my head with a smile because it has not been one foreigner who told me this but many from different countries.
Some of my own people do think I’m crazy. I’ve released CDs that most of them have not purchased and still have not heard. I have thrown shows and many did not attend. I was interviewed recently by “Haiti Focus” (a radio program) and asked where people can purchase my music. I had to tell the interviewer that most Haitian record stores have returned my CDs to me because they have been not sold. However, when I play in the subways, I sell anywhere from 10 to 15 CDs a day. I’ve even tried to discourage people telling them that, some of the songs they heard me play live might not be on the CD and they bought it regardless.

On the Current State of Haitian musicianship

Many Haitian musicians do not approach their music with the integrity it merits; many do not have the discipline to do the required research to play the music at a high level. Many do not say to themselves, “I am a musician and will do something serious with Haitian music”.
There are musicians who are working on this level. There are artists like Eddy Brisseaux who has come up with the concept of Rabop (mix of Rara and Bebop). He has been able to play Round Midnight (American jazz standard) in the Konpa style. When these quality works are produced, those who can expose this music say that Haitians are not prepared for this kind of music, so all of these energies are passing. These individuals wait until you’re dead to herald your work.
We, Haitians, have a responsibility to represent Haiti well on all levels whether it is through art and music, economics or politics as human and productive beings. The sphere of our culture is the one which is the most important because we have been brought to a point where the Haitian denigrates and most of the time rejects what it is his own. One can see this in the value which is accorded to the Haitian peasant who is often the butt of Haitian jokes. But it is the Haitian peasant who is the heart and soul of the land.

Rekonfò Djazi (from Serenade by Gifrants)

The story of the poor is always heartbreaking
For life should not be wasted
Adelisya, my sister
Your pain is my pain
Dance in my arms; let my music ease your pain

Many Haitians perform music to display their learning for applause but not with conviction. The lack of conviction in a work is always obvious. When you hear Magnum Band, you see there is conviction there, Beethova Obas, Batwel Rada, Les Difficiles de Petion-Ville, Bossa Combo, Les Frères Dejean. You see the young people trying to say something with their work. However, one can hear stupidity in the product of other better known acts.
One can listen to the SkahShah of yesterday and feel the point in time when the Haitian musician said to himself that he was going to make a conscious effort with the music. It is evident. You ask yourself why the individual does not hold on to that conviction as time passes. Why did they not pursue a certain standard, why is it that as soon as people began to applaud, he stopped there?
I have a lot of respect for the Haitian musician for doing what he can with what is available to him. However, I have issue with his complacency in not placing enough effort to pursue excellence. Everyone knows what needs and has to be done. The question is why the work was not well done. There is no excuse for this. This is what life is all about. If you did not do it, you cannot count on someone else to do it.
Generally, I appreciate all the efforts of the Haitian musician. Regardless of how one looks at it, resources have been expended and something has been done. My issue is with the integrity of the work. One does not have to see things my way. Not everyone sees music as a cause. However a musician can look at Haitian music and ask himself what it needs. It is nice to see a Haitian guitarist incorporate Jazz solos in Haitian music but does Haitian music ask for the incorporation of Jazz as bluntly as most Haitian Jazz players are currently doing it?

On Serenade by Gifrants and his Brazilian influences

All of my musical projects (albums) sound different. I am conscious of my musical tastes, and can play and sound like what and whom I want. Now, having researched music, coming to an understanding of myself, then understanding what I want to do with music, I know how to achieve my objective after 30 years. I can hold my guitar and play swing Haitian style hence my song (“Aladeriv”, song title on “Serenade by Gifrants), I know Haitians enjoy Spanish music and can do it with a Haitian style, hence my song “Trajedidemonkè.”  I enjoy Brazilian music and can show the differences between Brazilian and Haitian music, hence my song “Marasa”.
One can critique me for incorporating Brazilian music in Haitian music. However Brazilian music is closer to Haitian music than other styles and I can demonstrate where Jazz fails Haitian music. Macumba and Vodoo share a lot of similarities. I feel that the choice of Brazilian music is a positive one for the development of Haitian music without questioning the technical prowess of Jazz, which is the best of all. It is an opinion that I can back up scientifically because I know the sensibilities of Haitian music. The music of the peasantry of Haiti.
One cannot listen to the music of Gifrants and think immediately jazz. Because I don’t prioritize jazz. One cannot listen to Gifrants and think Brazilian music, because I don’t prioritize Brazilian music. I prioritize Haitian music. Yes, you hear jazz and Brazilian influences but the work is not prioritizing jazz or Brazilian music.

Marasa (from Serenade by Gifrants)

A Samba is playing softly
Haitian and Brazilian music
Sound similar in my ears
Samba helps me understand that Voodoo and Macumba are twins…
We seduce our audiences and make them happy, yeah!

As a musician I do not solely work from inspiration. I am strongly aware of what I am doing. I am well oriented in what I am doing (with music) and can guide the direction of my work.

On The Importance of Conviction in Music

I don’t compromise on performing every weekend. I often perform in Harvard Square. If I cannot make it there, I perform for myself at home for any from 8 to 12 hours. The routine allows the music to really live inside of me; without that the flow is not the same. The charisma I am able to take to the stage comes from this practice of consistent performance. It does not work without practice.
All things in life demand conviction. When one looks at the established American musician, that person has gone through significant misery to achieve their status. I think of Madonna and what she went through is scandalous. A person who at one time had one dollar in her pocket and had to choose between a chocolate bar and some popcorn.
Music even seems to ask to destroy the musician even. It destroys you in a certain sense. If you do art for art’s sake, the effort it takes is enough to destroy you as a person. If you do it for fame there are compromises which can be made. But the others are almost destroyed. In my case, I believe, it is my spiritual formation that has kept me together. I neither drink nor smoke and I take music as a cause. I live and die for this cause.

“L” Pou Lanmou (from Serenade by Gifrants)

A Strongly built sanctuary hosts an intense flame
I close my eyes and I am looking for it
Under this roof shines my destiny
I close my eyes and I’m being guided to it

On Street Performance and Subway Performance

If a musician does not play solo, he does not know his value as a musician. When a person comes down to the T. He or she did not intend to come down and listen to a musician per se. There is a certain energy that one must expend to gain the attention of that person. This energy is conveyed through communication. Can you reach the individual from what you are singing? It is a huge task. The meter of success is this, the person pays no attention and your little box stays empty. But if most commuters like your music, they will show their generosity and kindness by giving you money and expressing their delight with words of appreciation and good wishes. But money is not the issue. The person communicates to you that you are doing something good and you deserve compensation for it. It is the greatest experience you can have. It is there that you will know what you are worth as musician.
I have played in Harvard and Davis Square train stations and the train conductors throw money as the train is moving. The train inspector comes by and says to me, “you are among the best street performers we have in Boston”. They ask me, “what the hell are you doing down here?” I sing in English and in Creole and receive a response. It was not always like that. Playing in the subway taught me how I could do something and reach people.
I have paid my dues. On the T platform, it can be very noisy since the trains are riding back and forth. Some commuters may ignore me. But it is a great feeling when someone approaches me and asks “can I buy a CD”?
Some may not be so kind and scream at me sometimes “I want to hear Blues, I want to hear Reggae”. This city has a lot of educated people, and they hear me singing and don’t understand what I’m saying, and yet understand that I am conveying something. When I switch to English, now he or she is sure that I was saying something. I think that this is the greatest experience. The minimum I make now is $150 after 6 hours of playing.
When Haitian commuters hear someone sing in Creole on the T, most of them are happily surprised, and still wonder whether I’m a Haitian native or not. I sing in Creole and they appreciate it. Sometimes, they would let me know that the first time they heard such a guitar playing. 

On the Upcoming CD Vèvè

The new project is a summary of all of my work in music. You will hear Racine (Haitian Roots music), you will hear Konpa in my style, and you will hear the interplay between Caribbean music and Zouk in my taste. You will European music in my taste. I am taking Haitian music and approaching the other cultures. I have been living in the United States for 20 years and it is clear to me that I have to interact with American culture.
I have children here and I would like them to be able to say that, “my dad did this in this culture”. It will be good for Haitians who will look upon this work and see it as testimony of our presence here. The more we age, the more our responsibilities increase…. If a man has 20 years in a place, you owe a certain contribution to the place where you live.
I have a song called Tears of the Sea, which discusses the overall immigrant experience. Yes, many Haitians came to the States by boat but we are not the only ones. When I play it in the subways, there are those who feel moved by the lyrics. There are also those who tell me to shut up! It is a song that has a lot of emotion and some can’t handle too much emotion. I write about the experiences of the Irish, about the fact that many people have been lost to the sea in trying to come to America.

Reflections on the Decision to Pursue a Career in Music

This is an issue which has caused me to look back and reflect upon the trials, sacrifices and tribulations I have had to go through. The pursuit has cost me, because I am currently divorced. In 1980 when I made the decision to pursue a career in music, I made it a cause for myself. When one has a cause, then one does not neglect that cause. I am a man who has suffered a lot in the decision to pursue music. I believe that I have met my obligations as a father and husband. However, I know that I would not neglect my chosen cause.

Aladeriv (from Serenade by Gifrants)

You’re lying next to me
But you’re so far away
I’m holding you in my arms, but I’m not feeling you…
Like water in the palms of my hands,
You’re slipping away, you’re slipping away, you’re slipping away

I maintain balance with much sacrifice. Music is something for which I’ve suffered. I don’t expect anyone to understand the struggles I’ve undergone because of it but for me music is a cause. And this cause is one that ends when I lay in my coffin. I am clear on this because it was what I could do for my country and I do not compromise on this cause. I cannot compromise my musical capacity after all the time I’ve spent understanding music.
I cannot look at Haiti after two hundred years in which we’ve only gone backwards as we are currently continuing to go backwards and satisfy the needs of people bent on compromising the culture. Most Haitians accept many outside musical influences but when they are presented with what comes from the Mother Land, they think it is trash.
I would not be surprised if it is twenty years after my death that my work will be seriously considered. I think that is a tragedy but it is my destiny. I cannot prostitute myself. I want to be able to look at myself in the mirror and admit that I have suffered much but did work with conscience. Frank Sinatra has the song, “My way” which depicts that there are those who live with a sense of conviction. One may not like the person, one may not agree with the person. However, one sees that the legacy of that person was achieved with conviction.