Emosyon

Nos déboires, nos souffrances terribles, nos luttes interminables, nos déceptions en tant que peuple ont fini par causer un traumatisme collectif lequel semble paralyser même les plus braves parmi nous.
En tant qu’artiste Haïtien, je me suis donné le devoir de ne jamais me détourner de ma mission–préserver notre musique dans la mesure de mes moyens et possibilités, mais surtout la jouer d’une manière compétitive sur la scène mondiale de la musique. Comme je l’ai mentionné en maintes fois, notre musique est une musique sophistiquée, issue des dieux parmi nous, les lwa ou plutôt les ginen aussi dénommés dans le Nord de notre pays où je suis né.
Le Blanc, il faut le dire clairement, ne veut pas que la République d’Haïti existe. Elle est la preuve tangible qui dément leur suprématie. Ce qui cause aussi la terreur sous laquelle nous, les Haïtiens, avons vécu et nous continuons de vivre depuis 1804.
Mais le potentiel Haïtien existe, demeure et s’éternisera aussi longtemps que cette planète demeure vivante et nous abrite tous car nous ne sommes pas les enfants d’un Dieu moindre. La nation haïtienne est une nation légitime aux yeux des dieux et de Dieu.

Emosyon




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Yanvalou Ginen

Le rythme “yanvalou” est l’un des rythmes le plus célébré dans notre folklore et dans notre musique. La sensualité et la grâce dégagées dans la danse issue de ce dernier reflètent aussi l’exaltation des mélodies inspirées par les compositeurs et jouées par les musiciens.
Ce rythme semble mouler l’âme collective haïtienne pour permettre une unité plus que cohérente dans l’expression de notre identité et de nos émotions. Puis-je vous rejoindre tous dans ma composition pour piano seul intitulée: Yanvalou Ginen.




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First piece for piano

My determination to explore Haitian music and to express with the best of my abilities defines, besides my faith, the reason of my existence down here. Music is a gift I have received from God, my Father, as He anchors one of his best sources of inspirations in my soul. But, it is you who have given me the privilege to share it with you. Please, enjoy if you feel music as I do! Peace!

Arôme musical




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One of my best musical arrangements

Yep!
“Latibonit o” is among the most famous Haitian traditional songs. I originally arranged it for clarinet and piano. But, on this video clip, it is being played by a cellist and a pianist. Enjoy!

“Latibonit o” est l’une des chansons traditionnelles haïtiennes les plus connues. Je l’avais arrangée d’abord pour clarinette et piano. Mais, dans cette video, elle est jouée par une violoncelliste et un pianiste. Bonne écoute!

L’un de mes meilleurs arrangments musicaux!

Latibonit o

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Divine Origin, a God from God I am

Divine Origin, a God from God I am–100$

This piece lasts about 1 hour 43 minutes with an introduction of 49 bars, and 7 parts 147 bars each with a different tempo and meter for each part. It is a testimony of my faith, the science of divinities and my journey to the Central Isle of Paradise.


Divine Origin, a God from God I am, Part 3




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Divine Origin,a God from God I am, Part 7




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Prayer of the faithful

We embrace the beauty, the goodness and the purity of the love of God, our Father, the First Source and Center, who has been living forever in the Central Isle of Paradise. We are not your foot soldiers, my Lord, and we pass no judgement as justice and vengeance do not pertain to our rights.
We hear the painful screams of the children of this world. They are experiencing and enduring the worst of our humanity. Have mercy, Michael of Nebadon, our Father-Creator, and strengthen their souls so they can open their hearts to love and brake the circle of violence on this planet. Have mercy also for those whose violence is the prime directive in their quest for self-gratification.
Forces of love, harmony, peace, goodness, mercy and compassion move our souls, hearts and minds.
Gloria in excelcis Deo Patris, Filii et Spiritu. Amen !

Terra Mater, Ex Innocentium Sanguine ut dolor tuus consolatus sit!




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Terre Mère, que tu sois soulagée du sang des innocents !

We are so powerless, aren’t we?

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From the “natif” concept

Here are two examples where the “natif” concept is in full effervescence.

First, the link to the chart of “Fonde.” Click on the title in red below in order to see the scores.

Fonde

The “play” button to listen to the song.




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Kote moun yo




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The talent of Makarios Césaire

I had a great privilege to meet with Makarios in 1990. My very longtime friend Rigaud Simon introduced us. It was with great pleasure that he came to the recording sessions of my “Rara Mwe” project produced by Robert Aaron at the Wave Lab Studio of David Gervai. Oh! Boy! What a time! During Makarios’ guitar solo in this song, Robert Aaron’s body was shaking without interruption while he was screaming: “He is killing me!”

Thanks, my man!

Siwèl




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written by Gifrants, arranged and produced by Robert Aaron.
Rythm Guitar and lead Vocals: Guitar
Lead Guitar: Makarios Césaire
Back-up vocals: Nadia Pressage, Michou Angus and Emmanuela Paul.

Pote M Sou Kè




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written by Gifrants, arranged and produced by Robert Aaron.
Rythm Guitar and lead Vocals: Guitar
Lead Guitar: Makarios Césaire
Bass: Bobby Raymond
Back-up vocals: Nadia Pressage, Michou Angus and Emmanuela Paul.

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Remembering Boulo Valcourt

Boulo Valcourt was one of the most Haitian talented musicians. He happened to be my cousin. We first met when I went to Port-au-Prince, the capital of Haiti, for the official Baccalaureate exam, Part I. We had the French schooling system at that time. Since we were the only ones who wanted to embrace music as a career, we clicked right away. So, when I came back to enter Law School, he invited me to stay with him and we lived under the same roof for at least four years before I left Haiti and moved to the States.

In this clip below, I talked about how he introduced me to Brazilian music and his music influenced me. The music starts around 3 minutes of the clip.

Omaj a Boulo Valcourt

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Two tracks of konpa music

Imagine this!

I just found 2 tracks of Konpa music which I have recorded around 1997: “Aladeriv”–an adaptation of the version released in “Serenade by Gifrants” and “Lanmou Blayi Sou Tchè Mwe” at the time I was leading my band “Vèvè.”

So many memories:
This version of “Aladeriv” was recorded by Ronald Félix in his studio. He also played bass in this song,I had Bonga on congas, Makarios Césaire on lead guitar (a marvelous solo) and Donald Guillaume, the former drummer of the Fugees on drums. Of course, I sang, played the guitar, keys and did the arrangement.

Aladeriv




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“Lanmou Blayi Sou Tchè We” was recorded by Alberto Netto and he also played drums. I had a Brazilian bassist called Jorge on bass, Ken Cook on keys, Patrick Mottaz on guitar, Eddy Brisseaux on trumpet, Bob Pilkington on trombone. I cannot remember the name of the tenor sax player.

Lanmou Blayi Sou Tchè We




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Enjoy! Those 2 tracks will be available for sale online soon!

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Gifrants Konpilasyon Volim I

Gifrants Konpilasyon Volim I

My latest cd is out! It is a compilation of 17 songs from several albums. Digital versions are available online. But, people can get the physical album only from this site below, or click on the front and back cover pics.
The price is $ 20 (Canadian dollars). Mailing and handling fees included–only for North America: US and Canada.
Gifrants Konpilasyon Volim I/

Back cover

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Article du Nouvelliste le 23 Juillet 2017

Le lien à cet article sur mon parcours en musique:

Gifrants et l’âme musicale haïtienne

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“Latibonit o” for clarinet and piano

This song is one of the most famous Haitian folk songs. I have arranged it, used it as an example in my book Kantik Natif, Volim I, in order to codify the “natif” concept. It is also one among a few others that I will arrange with this instrumentation–clairnet and piano. All exclusive rights have been assigned to the “Société de Recherche et de Diffusion de la Musique Haïtienne” (SRDMH) based in Montreal. All archives are held at UQÀM (Université du Québec à Montréal). Anyone interested in having those scores should contact Mr. Jean-Claude Nazon, the current President of the SRDMH.

I invite you with great pleasure and pride to listen to this version. Peace!

Latibonit o




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Writing for a marching band

I have been approached many times regarding arranging or writing for a marching band. I have been very reluctant to do so since I do not believe that we should consider that “rigorous military underlining” for music, specially in our culture. For example, I do not think that the anthem of Haiti, my Motherland, reflects and reveals the soul of our culture, belief and traditions. So, for most Haitian peasants not to know their national anthem has nothing to do with illiteracy, but rather with that strong missing link that unifies all segments of the Haitian population–our own identity. That identity is being lost with the education offered by foreign institutions that were in charge of education, and the importance of “ruling” the Haitians despite the independence of Haiti. Once must not forget this accrued pressure of acculturation that crushes constantly traditions for the “development” or “modernization” or “westernization” of countries that were former colonies, or dependent of technology for the progress of their peoples.

That piece below entitled “Kote moun yo”, which is a well known Haitian folk song has been arranged for a marching band with the following instrumentation: 3 flutes, 3 clarinets, 2 alto saxes, 3 tenor saxes, 3 trumpets, 3 trombones, 2 tubas and a drum set.

Once again, it is an illustration of the “natif” concept and I’m very proud that I can show the beauty of our music and the sophistication of the possibilities offered in the area of musical arrangement.

Kote Moun Yo




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Divine Origin–a god from God I am

From the longest piece I have ever written, this 3rd movement is written in 9/4–the telling of my origin and my final destination.

A testimony of the ties between God, my Father, and me!

Divine Origin, a god from God I am

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