Chronique no. 36 | Chronique Index

As previously announced in this venue, Emeline Michel released her newest CD. Indeed, it had been a while since we had heard anything from her and folks, every minute of her CD, Cordes et Âme , was worth the wait.

Right from the start, Ms. Michel defines the orientation of her CD. Gone are, as on previous records, the zouk rythm or your classic Haitian ballads. She pointedly decided to remain much closer to her roots than usual. I do not mean to say that she had abandoned it, but what she chose to do was to use instruments which reflected exactly what she felt inside. The result is a wonderful combination of Ms. Michel's soothing, but powerful, nuanced and accurate voice grafted on traditional instruments like the conga, the maraca, the bandjo etc. In fact, the only modern instruments are the Hammond organ and the piano. Throughout the album, I hear echo of Ti Paris, Martha Jean-Claude, as she is strongly supported by an excellent cast of musicians such as Yves Albert Abel (Tabou Combo), James Germain, Makarios Césaire (Ska Sha and others), Vladimir Jean-Félix (Kilti-chòk), Beethova Obas, Vivianne Rangon and many more. Emeline Michel proves to be quite a composer, as she wrote the words and the music for six of the fourteen songs on the album.

It took a second round of listening to discover the hidden treasures on this CD and catch the different nuances weaving the music. Ms. Michel introduces the album with a short interlude and later in the middle reaffirms the "natif natal" character of her work with another interlude. And this is a wonderful feeling. In the first tune "Fo m ale", Ms. Michel sings to Haiti, expressing how she aches to go back home. For her, there is no place like home, a feeling that we all identify with. The song is played on a rhythm reminiscent of the famous Haitian troubadour, the late Ti Paris. The second tune "Mwen pare", could have been a Konpa dirèk, but Ms. Michel keeps it closer to Coupe Cloue. I particularly like the fourth tune "Pè Letènèl", a nice, melancholic tune in which the nostalgia is enhanced by such nice violin work and subtle piano lines arranged by Frederic Las Fargeas. Through her wonderfully expressive style, Ms. Michel poignantly expresses feelings that we all are familiar with as she reflects on the trouble that is plaguing both sides of the island of Hispaniola. I like La Fargeas' touch on the piano. The rhythm is still troubadour's style. As usual, Yves A. Abel provides steady support. The fifth tune is a wonderful tribute to the mother, maybe Ms. Michel's mother. The music is written by Jericho Boura, the congo player on this tune whose play prevents you from standing still. You derive equal pleasure whether listening or dancing to the tunes on the album.

The second interlude is followed by another excellent tune written by Ms. Michel "Banmwen lanmou". Listen to the interplay between Ms. Michel and the Hammond organ played by Philippe Pierre. The combination of the organ and traditional Haitian rhythm is very well done. Tune No. 8 "Respekte n" is a kind of Haitian "rabòday" composed by Ms. Michel and accompanied only by the guitar and conga. Just wonderful! Not only because of the rhythm, but also of the melody. Tune No. 9 is one of my favorites written by Vladimir Jean-Félix from the CD "Kilti chòk". Ms. Michel 's arrangements and French and Creole lyrics are simply a treat. And how about tune No. 10? What a beautiful melody and profoundly meaningful lyrics. Accompanied by none other than Beethova Obas, Ms. Michel sings about the emotional, physical and mental suffering that the Haitian cane cutter goes through in the Dominican batey, and the ensuing dismemberment of his family. Ms. Michel makes us feel what we cannot see in the batey.

The last three tunes on the album where Ms. Michel sings with very little accompaniment, gives you an idea of the richness of Ms. Michel's voice and of her capacity to introduce a wide range of emotions in the music. The album closes with a wonderful melody sang in English and French by Chinua Hawk and Ms. Michel respectively, with very nice background vocals.

You may think I am raving about this album, but I really love it. The lyrics are excellent, the mixing is excellent, Ms. Michel's voice is out of this world, the musical arrangements are such that at no time is the singer overwhelmed by the instruments, as it happens sometimes when the arrangers forget that there is a singer. The presentation of the CD is also worth noting. It is very attractive. I have one criticism though. In reproducing the lyrics of the songs, the person responsible seems to have forgotten to reproduce the lyrics for tune No. 10, or was this done because of a lack of space? In any case, that is unfortunate, because the music and lyrics are by Jean-Claude Martineau (Koralin) who does not need any introduction.

As I said in my introduction, the wait was worthwhile, although I hope we do not have to wait that long before we get another gem like this one. But do not take my word for it, make yourself a small glass of cremas, put on the CD, listen and enjoy. It is a relaxing, thoughtful, and lyrical album, which makes you reminisce.

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I had been anxiously waiting for this next CD and my expectations were entirely met. Aganman is the latest CD by Serge Duviella. In my previous Chroniques, I had reviewed two of his CDs, "Synthèse" and "Aquarelles". If there is a common denominator among all those CDs, it is that they are all relaxing, contain wonderful music and beautiful arrangements. However, Aganman goes way further. It is obvious that Serge Duviella wanted to send a message that you can take Haitian folkloric music and its diverse rhythms and turn them into easy listening music. That is exactly what he has done in arranging traditional songs, composing his own tunes and interpreting songs by two of his favorite artists: Beethova Obas and Michel-Ange Bazile.

From the first tune "Plezi Mize", you are not sure whether to dance or to just listen. The slow rara beat is infectious and begs you to dance, yet you want to listen to the arrangements and the ingenious way in which Duviella uses the many electronic instruments which he plays himself. So what you do is to "balanse en plas". Tune No. 2 is a nice, haunting melody played on a yanvalou beat and written by Duviella. The sound program used here enhances the steady beat provided by the electronic rhythm box. But what a nice job he does with Tune No. 3 "Wangol" which every Haitian musician must have played at one time or another. If you ever wondered what else could be done with this song, listen to this interpretation while paying attention to the second and third voices added by Duviella. This is creative and wonderful work. And what about the beat! As would say James Brown, you get ants in your pants! Another treat is Duviella's arrangements of this other Haitian classic, Tune No. 3 "Fey o". Just exquisite! I also like "Zig Zag", a Michel-Ange Bazile's composition enhanced by the piano.

Tune No. 8, "Aganman", the title tune, has a kind of grandiose introduction that reminds me of Yanni and, later it switches to a rara beat, with bamboo sound. I wished that the song lasted longer though, so that we could have more time to enjoy it. Tune No. 10, "Bolero" written by Duviella is also a nice melody enhanced by the flute program. The CD closes with "Man Pemba", a solid rara tune that makes you get up from the couch in a hurry.

As I said earlier, Haitian Rasin music does not have to be noisy; Duviella proves it. It can become easy listening music: in that respect, Duviella has largely succeeded. This is an album that will provide background music for your guests chatting in your living room or having diner. The cover of the CD contains a superb "Vevê" designed by Carl-Henri Vilfort and setting the tone for the whole CD. If you already have "Synthèse", or "Aquarelle" or any of his previously released albums, I recommend "Aganman", because it will be quite a valuable addition to you collection of Haitian easy listening music.

Serge Bellegarde