Gaëta Records, a Division of Bekeke Entertainment, is proud to announce the birth of Simi Klasiko, under the portfolio of Kantik Publishing Company and its collection of Haitian Classical music written by Gifrants.
Konfyolo
Greetings!
“Konfyolo” is the title of the piece I’m posting today. It means “konplo, tripotay” in Creole, “complot” in French and “plot” in English. This piece, one of my compositions to be released in my next book, reveals the “plot” between the strings in their effort to outplay each other. They create a “Rara” atmosphere where the harmonization lays out the wide intervals of the vaksin and the dissonant aspect of our music.
By now, for those who have listened to some of my classical pieces, you may have realized that our music sounds differently from Beethoven’s, Bach’s, Chopin’s, Mozart’s, Debussy’s and many other great European composers’ music . Indeed, it should be. I am not discounting our history and the cultural symbiosis between our people and the Europeans and specially the French, since they were the ones who colonized Haiti after defeating the Spanish and the English on the West side of this Island. I would rather emphasize that our freedom should immunize us from a servile mentality which prevents our cultural identity from being tinted or spoiled at its core.
This is the reason why I spent more than 20 years digging our music and continue to do so. Such effort has been met with the realization
1o) “natif”, precisely based on the movements and intervals of the vaksin. It is an attempt to conceptualize authentic progressions to our music which is played mostly on percussion
2o) “Chantrèl”, an adaptation of chamber music with pieces written for a quartet
3o) Mizkla—Mizik Klasik Ayiysen, pieces written for a philharmonic orchestra
4o) Sètfwasèt—pieces written for a 7 string orchestra
“Konfyolo” brings a certain melodious freshness to the soul. It teases the ears with very delicate and subtle voicing while images of joyful musicians and dancers captivate the mind. As a composer, I wanted the violin to have a Haitian touch the same way the fiddle has its Jewish and Irish touch, or the violin its European and gypsy touch. I do believe that I have achieved that.
I hope you enjoy that piece as I do.
Peace!
Audio–Konfyolo
Atonal it is
“Enkantasyon” or chanting is one of the most sophisticated genres in Haitian music.
Here are its characteristics:
1) Atonal—jumping from key to key. No dominant 7th chord for tension and resolution
2) Strongly based on calls and responses
3) Strong emphasis on pentatonic scales—major or minor
4) Besides the “ason”, which sounds like a shaker, there is no other percussion
5) Heavy use of microtones, which I did not insert in this piece
“Pryè Tanprisouple” can be translated as “Supplication.” It is the first piece in my next book entitled “Pinnalaganash, Chantrèl III”, to be released in a few months. It does have a strong flavor of “Enkantasyon” and the arrangement did present some challenge for me. I did not put a lot of emphasis on chords and this 2 voice harmony for the 2nd violin and the viola was a little tricky since the phrasings of the cello must really support the whole arrangement of the piece.
I really love this piece. I did ask God, my Father, to allow me to listen to the music of the Angels. As a “sèvitè”, listening to the music of the “Zanj Ginen” may be a prelude and taste of what I could hear near the magnificent spheres of those gracious Beings created by the Holy Spirit, our Divine Mother.
It takes me to a very peaceful place where I can see with my eyes shut.
I hope it brings you also those marvelous moments of internal peace.
Ayibobo!
Audio–Priyè Tanprisouple
P.S. I have looked for the meaning of those words which compose “Pinnalaganash”—Pine à la ganache. Pine means “penis” in French. Ganache has numerous meanings—a) lower part of the mouth of a horse b) someone who is not quite intelligent c) old friend d) an alcoholic beverage. In Creole, in the Northern of Haiti, where I’m from, Pinnalaganash means “Danble” or “d’emblée” in French—M’sye kanpe pinnagalanash. It means he is strongly determined to do what he wants to do.
“Danble” means strong or strongly minded in Creole.
Soubreso fatig
It does not sound like Creole, but, folks, it is Creole. While today many Haitians seem to be so proud that one of us has been “immortalized” by his nomination as a member of the Academy of French Language, I have been trying to preserve our maternal tongue for the last 30 years. With at least 17 albums and all songs written in Creole, I will never stop appreciating the beauty, the simplicity, the spiciness and the abundance of allegories and imageries in our language, the latter being the “daki” aspect of it which confused the French so much during the struggles of our ancestors for freedom.
The lyrics of my songs can be found on www.gifrants.com/lyrics.
We do need to preserve our language. Still, I do not want to believe that I’m among a dying breed.
“Soubreso” derives from the French word “soubresaut” and means “convulsion” not to be confused with “blip” which is a sound emitted by a device or a machine. In creole, it refers to an emotional state resulting from a trauma.
“Fatig” derives from the French word “fatigue”.
Soubreso Fatig—can be translated as being emotionally down from the hardships of life.
On a personal note
Many of my songs and compositions do convey some personal aspects of my life, and this piece is no difference. I have never experienced betrayal with so much pain and so much cruelty. This piece reveals not only my anguish but also my determination to move on. For some reason, I feel more comfortable expressing myself with my classical compositions though I am not short of words.
Peace.
Audio–Soubreso Fatig
Summary of my works till 2014
Dieu, mon Père, m’a créé à son image et au barème de sa suprême intelligence. Je ne suis pas de ceux qui se contentent de prouver aux autres ce qu’ils peuvent faire. J’explore simplement et très profondément avec humilité mon potentiel durant mon passage sur cette terre.
God, my Father, has created me in his own image and with the scale of his supreme intelligence. I am not among those who prove with complaisance to others what they can do. I’m just exploring very deeply and with humility my potential during my time on Earth.
On this page, one will find a summary of my works—links to different projects from Haitian folk, pop, voodoo jazz, natif and classical music in different genres
Chantrèl (Haitian approach to chamber music)
Mizkla (Haitian classical music), pieces written for a philharmonic orchestra
Sètfwasèt, new genre conceptualized with a 7 string instrumentation—2 violins, 2 violas, 2 cellos and 1 double bass divided in 2 quartets, and 7 movements of 49 bars each in which the melody played by the lead violin is being approached differently by the 2 quartets
.
Have fun watching and listening! Peace!
Here is the link to “music library” on my site. Most of my works are available on cdbaby.com–more than a dozen cd’s. They are my principal vendor. Please, remember, you are not buying from me, you are buying from cdbaby.com . They are linked to my site.
You may experience a slight delay of 10 seconds at least for cdbaby’s site to pop up.
www.gifrants.com/music library
For projects released as illustrations of the natif concept, one can listen to “Fonde” and “Zagribay Pa Fèsten” or buy them which is even better, and for Visual, the following link to my Youtube video—Pyè Aleman Lèmiso Batala.
For Audio on this site under the natif umbrella, an interpretation of the song “Vive Haiti” written by the late diva of Haitian folk music, Lumane Casimir
Audio—Vive Haiti
My classical pieces are not recorded yet. But, my 6 books listed below are available—
I ) Kantik Natif, Volim I contains scores of Haitian folk music written using the Natif concept. I have deconstructed the commonly used ii-V-I progression and new progressions have been suggested in this book.
II ) Pa Amou/Because of Love—14 original compositions of Chantrèl; 12 written for the violin and 2 for the flute
Video—Dyalòg executed by the DaPonte String Quartet
Video–Mizik Demafwa
Audio—“Bèl Souvni” was recorded during one of our rehearsals for my concert on April 28, 2013 at the Center for Arts at the Armory: Eve Boltax, lead violin; Serena Eades, violin; Christian Hoschek, viola; Scott McColl, cello.
I do take great pride in inserting the audio file of the first ever classical piece I have written and which was inspired by my muse Nicole E. This version of “Pasyon Fou” is uncut but , the intro of the piece has been re-written for technical reasons though I do believe without a shadow of a doubt that do exist many violinists who should be able to play this introduction with their super-dexterity and their talents as virtuosi. The tempo of the piece is 88. It can be slowed down to 82 but no less.
Audio–Pasyon Fou (Mad Passion)
III ) Kòman M Tande Flit La/How I hear the flute—14 original compositions of Chantrèl written for the flute
Audio—Kabicha Nan Yon Ti Lombray
Audio—Dje Tankou Pipirit
Audio—Miserere Nobis
IV ) Mizkla—4 pieces written for a philharmonic orchestra
Audio—Souf Zanj o
Audio—Inde We Pote, Souple. Chay La Lou
Audio—Lanmou San Limit
Audio–Pazapa
V ) Sètfwasèt–Konbinezon No. I
(This piece has been divided in 2 because of the maximum bytes upload allowed by our site)
Audio–Sètfwasèt–Konbinezon No. I. Mouvman I-III
Audio–Sètfwasèt–Konbinezon No. I. Mouvman IV-VII
VI ) Requiem Pour Richard Brisson—written for a philharmonic orchestra
Audio—Requiem Pour Richard Brisson
VII ) Pinnalaganash, Chantrèl III–pieces written for the violin
Audio–Dezagreman
Audio–Kantik Nan Fon Bwa
Audio–Konfyolo
VIII ) The Imaginary Cellist–Solo pieces written for the cello
Audio–Patris Gloria
Audio–Blue Moonlight
Audio–Broken Steps Along My Way
Audio–Debonnaire’s Flair
Feel free to contact me at promo@bekeke.com if you are interested in buying any of these books. Your comments are welcome!
A piece of classical Rara music
Haitian music, our music, is just damn beautiful!
1. Afro
2. Djuba or Djumba
3. Ibo
4. Kongo
5. Kongo Gonayiv
6. Kontredans
7. Kwazelewit
8. Matinik
9. Mayi
10. Nago
11. Ochan (Anonse)
12. Parigòl
13. Petro Fran
14. Petro Makaya
15. Petro Ti Joslin
16. Rabòday
17. Ranpono
18. Ti Kita
19. Yanvalou
20. Zepòl
I have been told that there are as many as more than 64 Haitian beats. Now, who wants me to forget about all of them and learn other people’s music? Do not worry about it! I may and I say “I may” only after I dig everything my ancestors left me.
Here is a “Rara Kout Dlo Cho, Kout Dlo Frèt.” As I said it many times, the possibilities are endless with the “natif” concept. What a charm! Those wide intervals of the “vaksin” on the cello!
Psst! After you listen to this piece, you may have a hint about why Haitian men and women are so spicy! HA!
Click here to listen. Peace!
Mes meilleurs vœux
Sur cette marche cavalière, je vous souhaite tous de bonnes fêtes de fin d’année et mes meilleurs vœux pour le nouvel an.
La micro-tonalité ou le micro-ton est rarement utilisé dans la musique de nos jours. Mais, il est l’un des éléments les plus marquants de la musique haïtienne quant à la voix des chanteurs. Puis-je me permettre de vous taquiner un peu aux oreilles avec cette pièce que j’ai écrite pour sceller ma détermination de vivre ma vie en surmontant les épreuves de ma destinée.
Cliquez sur le lien ci-dessous pour écouter.
Gason Vanyan
Serendipity
Memories of my youth, specially the sweetest ones remain vivid in my mind and move me still when they flash in front of me. When I was 16, I and my girlfriend decided one day to go to Poirier. It is a small and quiet beach located next to Bande du Nord, in Cap-Haitien, just before Cormier Beach. At that time, there no was no road but a trail that takes you there. In the middle of the woods , we could hear that “hounsi” voice sneaking through the whisper of the leaves of the trees and singing a very mesmerizing song. We followed the echo of that angelic voice and hidden in the bushes, we could see that woman seating on a rock next to a water-spring, singing while she was washing her clothes. I and my girlfriend were shivering from a quiet joy as we stood there in silence listening to this “zin” (goddess of the river) for at least ten minutes. Unforgettable moment of the past, serendipity that comforts the soul!
I have tried to convey the emotions of that marvelous experience in the following classical piece—Kantik Nan Fon Bwa. Please, click here to listen
“Dezagreman”
As a composer/songwriter, I have been writing for more than 40 years. No song or piece has ever fired up my passion for music such as “Dezagreman”. It demonstrates a level of “hearing” for which I want to thank God, my Father in the Central Isle of Paradise through His Creator-Son, Michael of Nebadon, my Creator. I know it is a long way to go, but I hope to hear the music of the Angels through the doors of their kingdom.
Gloria in excelcis Deo! Angele Dei, me viam patefaceas!
Please, click here to listen to this marvelous piece which will be published soon in my next book “Pinnalaganash, Chantrèl III.”
Dignifying the peasant and his music
During all those years of playing music, though I speak French fluently, not a single composition in French is to be found on more than a dozen cd’s I have released.
When I moved to Boston, I took part to many community festivities such as the River Street Festival in Cambridge, the Art Beat Festival in Somerville, the Diversity and the Heritage Cultural festival organized by the Boston Art Council, and countless other activities.
I have been invited by White folks to perform at some festivities where most “Haitian intellectuals” would be invited also. I can tell you that many were disgusted to see me perform at some “prestigious events.” I’m pretty sure that they would have been much happier to see Sweet Micky naked on stage cursing like a hooker at the corner of the street. If today, President Michel Martelly should be seen and this, without the shadow of a doubt, as one the best Presidents Haiti has ever had so far, one must admit that as an artist one would not suggest that he represents Haiti. However, he became millionaire and I can tell you, he did not get a penny from me because I never went to his gigs.
On that note, I’m going to reveal why my music is not quite appreciated in our community.
You see, if you go on this link: http://www.gifrants.com/natif , the pic of the banner with my old hat is very revealing. It is not for a show. The music I’m playing conveys the soul of the peasantry and I’m proud of it. I’m and I was never afraid to say that I’m a Ginen. Oh! Yes, I embrace the belief system of my ancestors and I have kept and I have been trying to evolve with the heritage they left me
1) The language. Not only, all my songs are in Creole, but yet at 14 years old, I was writing my girlfriend in Creole while I was attending one the most prestigious schools in Haiti—College Notre Dame du Perpétuel Secours
2) The belief system—Lèsen pa Bondje, men Lèsen la.
3) The country—although I left Haiti, my dedication to our music has been non-negotiable and uncompromising.
Why most Haitians living in the cities, who went to schools, get a degree or diploma, despise so much the peasant? Why must he be a Jezifra or a Papa Bicha, a bouffon, a Bouki Malis would always try to screw? Is that the only way we can see our Haitian brothers and sisters who live in the countryside without water, electricity, in deplorable conditions no human being should be living in. Dispossessed, humiliated, they are strangers in their own country and outcasts on foreign lands.
I lived in Miami for some time. I was disgusted to hear and see how Haitians living in Pembroke Pines, Kendall, Palm Beach, Aventura, Davis, Hollywood, and other surrounding areas were looking down on Haitians living in Little Haiti. Guess what? Though I lived in Hollywood, I was going there all the times to eat—Bon jan mayi moulen ak zaboka, ak manyòk.
Let me tell you a story. I went to Haiti in 2011. I went to my Lakou. On my way back to Cap-Haitien, on the “karetèl”, (small trail), I met two peasants who just came from their “bitasyon”, “plantation” with two horses whose “djakout”, (bags) were filled with sugar cane. I told them that I have not eaten sugar cane for a long time and ask them to give me some. Not only, he peeled one string for me, he gave 2 more. I drew my wallet and handed him a $ 100 bill. HE REFUSED! I begged him to take it. HE REFUSED! Those were his words:
Bòs la, w di w genyen kèk tan, w pa manje kann. Enben, mwen gen kann la, mwen ba w ladan!
(Boss, you said you did not eat sugar cane for a long time. Since I do have some, I’m giving you some.)
Men moun nan nèg lavil pa vle wè a!
(Here is the human being, most Haitians who are educated and better off despise so much!)
I know that between the scores of John Coltrane, Thelonius Monk, George Benson, Chick Corea, Charlie Parker and Gifrants’ scores, 100% percent of knowledgeable Haitian musicians will unavoidably grab the Americans’. Why?
1o) Blan an fò tout bon
2o) Ki sa Gifrants konnen la? In fact, one famous guitarist who has performed with famous American jazz musicians said it straight to my face: W pa fè anyen nèf la! Amen!
3o) Sa se mizik peyizan. They say they cannot relate to it. Even my lyrics seem to give them some headache. Amen!
4o) Although many of them repeat proudly that “Quincy Jones says that Haitian music is great”, they will buy and adulate his scores. But, do not ask them to study and learn about our music. Sa se vye bagay peyizan!
But, with me, there is another problem! I stand proud and I dare prove that they are wrong! To make matter worse, though I was never invited to perform at any major Haitian festival produced by Haitians, though my music can hardly be heard on Haitian radios, this “pongongon” called Gifrants keeps producing!
And I said it loudly—The Haitian community at large and except a group of Haitian taxi drivers in Cambridge and Boston during a certain period has never bought my cd’s.
The peasants are the keepers of the Haitian collective soul. We are right now at a very crucial moment of our history where there are tangible efforts to rebuild our country. This rebuilding must start from the bottom up. It is time to go back to our roots and the best way to learn and to understand who we are is to put the peasantry, which has been left behind for so long, at the center of it all.
Natif is a palpable proof that the music he plays intuitively can be standardized, presented scientifically and is as sophisticated as any well recognized genres such as jazz and can be even more challenging.
Gifrants, Unplugged–Ayizan Nan Lapenn
Artists are always moved by their personal experiences and touched by their surroundings. The latest killings of our Haitian brothers and sisters have inspired me this song. I have embraced the faith and belief system of our peasants as well as their philosophy of life. I share their struggles and embrace their hope so I do feel their pain. As an artist, I have tried to convey those feelings while I’m exploring our voodoo and folk music from which the “natif” concept has derived.
Ginou Oriol. In Memoriam.
I was introduced to Ginou in Hollywood, Florida by my dear friend RC des Ruisseaux. She was the first famous Haitian musician ever to call me “Maestro.” I was shocked. We started talking and she was among the few though so talented who did not buy the crap that is going on right now either among those who believe that they are the best musicians around or about the so called jazz movement itself. She knew very well who was excellent, good or not so good just like I know.
It is 2:30 in the morning and I just read this sad news. Our mortality does not teach many of us almost nothing for many among us do not give a damn about their own life so they can care less about others’. Or simply many of us just care so much about their own life that they can put themselves at the center of the world with an empty pride and just for self-gratification.
Ginou Oriol was much bigger than many of us might think. This nasty and filthy environment of the Haitian music world has been preventing many, many great talents with humility and integrity from blossoming among us the way it should have been. Ginou Oriol, with so much talent, could not make a living as one of the greatest vocalists we ever had and that’s really, really, really sad.
One must understand why before I also leave this world behind to pursue my journey above I will do everything that is morally compatible with my faith in order to contribute to a better environment in the Haitian Arts World. I can assure you that I won’t fail. Take it from me. I know that it is a major struggle and achieving this goal is against all odds.
This viral animosity and obvious hypocrisy against artists and musicians who are true to themselves coming from other musicians and some Haitian audiences because of this ferocious tribal mentality and repugnant prejudices, which the colons themselves used to inflict to our ancestors, should not be dignified in any civilized society. But it prevails with an unseen and unbelievable acceptance in our society by snob subjects with only apparent tastes for the foreign just to make an extremely superficial class distinction.
From Ti Coca to Barikad Crew to Herbie Widmaer, I’ll go straight to Ti Coca and Barikad Crew. They convey the soul of my people. Herbie Widmaer projects only the taste of a social class. With Orchestre El Saeh, he was part of a movement, a temporary one that did not survive only for one reason—c’était la mode du temps. With the resources held by the bourgeoisie, had it been a true movement, it would have not only survived, but also it would have reached the masses. It would not have been for “la crème.”
One man alone cannot stand among the midst of such a disgusting chaos. But what is the life of a man without a cause? As I have said many times, I did not embrace music as a career in order to be famous, I did it for a cause. Then, today those who have been putting so much dirt on my good name must understand why I’m standing still and standing strong.
Ginou Oriol did not receive an award among us. That should and could have been done while she was alive. What saddens me the most is the fact that she did not have the chance to release her project which she wanted to do so badly. I’m pretty sure that on her last breath, that might have been her greatest regret.
You know, Ginou, how much many shared your pain. But, those who really know you will always remember you for who you really are—a star among the Gods.
The “Natif” logo
Black to identify the essence of our identity. Green for hope and continuum. Long Live “Natif”!
The motto of the “Natif” movement
Let’s go back to our roots in order to dissect and understand them,
accept and reflect them with a tamed soul and informed mind
without betraying them, so we can reveal the new beings we have
become and are proud to be!
Clips from the “Strings of Hope” concert
The first clip is about my own performance with my band, the second one the execution of “Mizik Demafwa” from my book “Pa Amou/Because of Love, the third one the execution of “Reflèksyon” from my book “Kòman M Tande Flit La” or in English How I hear the flute.