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Moses St Louis

Moses St Louis

PORT-AU-PRINCE (Reuters) - A Haitian politician and former coup leader was arrested and extradited on Thursday to the United States, where he is wanted for alleged drug trafficking and money laundering, authorities said.

New Video Release by Cruz La: Ou Dous Pou Mwen

PORT-AU-PRINCE —
Haitian businessman Jovenel Moise was expected to be declared the official winner of November presidential elections in the impoverished Caribbean nation on Tuesday after an electoral tribunal ruled out allegations of massive fraud at the polls.


Moise, who ran for former President Michel Martelly's Bald Heads Party (PHTK), won with 55.67 percent of votes cast in the November 20 election, while his closest rival, Jude Celestin, received just

    Despite his furious eyes, he drove with dexterity all percussion instruments. His solo bongo and rolling cases constitute a kind of balm for the wounds of the psyche. Renowned drummer, Daniel hit his sticks everywhere, from Jazz to Ideal Choucoune Jazz Jazz Jazz Guignard Ideal Citadel Jazz up with Young in 1954. His research in

 

    Avin Valdemar, arranger, composer, jazz trumpeter emergency Des Jeunes, received his first notions of music at the Central House Of arts and crafts. Teachers, and Augustin Brunot Myrtil Anson he had knowledge of music theory and trumpet in 1947.

   

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André is the first trumpeter of Des Jeunes in 1943, but its presence in the company of these teenagers has been of short duration. Ferat replaced by Pierre August 1, 1943, the first trumpeter of Des Jeunes continues his musical path with his trumpet by spreading joy throughout the country. Charles Dessalines assured me of having to meet the Petite Riviere de

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    Composer, lyricist, arranger, Antal is perceived as the Prince, championed several music genres. He has a special sense of melody, a vocabulary of sounds and intarrissables images. His inspiration came from the folklore of women and nature. His arrangements of popular tunes as Ibo Grand Moun. Aroyo John Petro, Congo and folk Maroka more "The Broken Chains" reflect its desire to improve the perception of others vis-a - vis peasant music. He was the first to introduce the vaccines in the Haitian popular music with jazz in 1962 -1963 Celina and Kote Moun Yo (IBO 113).   

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Miss Fatima Genise Durand Altieri, or FATIMA, as she introduces herself, was born in Port-au-Prince, Haiti on September 20th, 1993. She’s known since childhood she was going to be a fashion or music star and started  singing at 6 years old.

Since starting her music career, Fatima’s passion for music outgrew the one for fashion and collaborated with numerous musical artist such as  Eric Virgal, Fabrice Rouzier, Keke Belizaire, Izolan, Baky, Wendy, O-Gun, Cruz La while having a few hit songs of her own like her international Kreyol hit single “W Abandone M”, translating to You Abandoned Me, which came out in 2015.

FATIMA is doing what she can to be one, if not the most renown Haitian songstress of the 21st century.

Aside from her music Fatima still model, and hosts her own TV show, Culture Lakay, nicknamed the Fatima Show, on Télé Éclair, and gets to present in her own words what she feels is interesting about her Haitian Culture. There is no doubt that Miss Altieri will continue to strive for greatness

I sat with Fatima for  a little chat: 

 

HB: I saw you perform during the Labor Day Weekend in New York, was that your very first performance in New York?

FA: Yes It was my first performing in New York, and it was a great experience.

HB: What got you involved into music in the first place?

FA: I first started singing at church when I was a little girl. I was always the soloist in the choire in front of the stage, that motivated me at a young age to pursue my talent.

HB: Have you been to the States before?

FA: Yes I've been to the States before, mostly for vacation and I also performed in Miami last Winter.

HB: Walk us through what it’s like to be Fatima right now, being a young female Haitian artist living in Haiti?

FA: Being a young female artist living in Haiti is a very big challenge. Every day is a fight to achieve your goal. Our industry is very hard, especially for women..As you know we can count on our fingers how many females artists we have. They mostly get discouraged, which I can totally understand, sometimes I want to give up too, but I do have a dream and will work hard to make it come true.

HB: What is the music scene like in Haiti?

FA: The music scene in Haiti had made a lot of progress. I can tell, we're still late though ... but we're not where we need to be.

HB: How would you describe your music to a stranger?

FA: My music is very poetic and soulful…it has  no limit

HB: Do you write your own music?

FA: Yes, I wrote my own lyrics to my songs, songs like “W’abandone’m”, “Femme”, “Destine”, I worte them all.

HB: What other talents do you have beside music?

FA: Beside singing,, I write stories, I do some modeling, I paint sometimes and I also do some  acting.

HB: Wow, very impressive. Do people compare you to any other female artists?

FA: I don't know if people compare me to other artists, but they sometimes compare my music to other music like "Femme" they say it's like an Emeline Michel Song 

HB: Do you come from a musical family?

FA: Yes, my grand mother used to sing, my dad  played some instruments (not sure), my great grand  uncle Dorival Altieri was one of the pioneer of troubadour’s tendency in Haiti. You may know some of his songs “Tica”, and  my little brother sings as well.

HB: I’m glad I asked that question, did not know that Dorival Altiery was your uncle. How much talent do you have?

FA: I don't know how much talent I have but I do know that if I have a good platform and a very good team I can do big things.

HB: How do you feel about the internet in the music business?

FA: The Internet can be very beneficial in the music business, it is a very huge platform for artists. They just have to know how to use it to their advantage.

HB: Who are your musical icons/influences?

FA: It’s a mixed bag, it’s a lot, but what comes to mind is, Michael Jackson, Ginette Reno, Yanick Etienne, Sia, Jessie J, Whitney Houston and many others…

HB: My topical day I'll wake up very late lol , I'll take a long shower

FA: I'll stay in bed eating healthy snacks and read a good book. Or I'll just wake up early and go to work and do the routine.

HB: Favorite food?

FA: My favorite food is “fritay” lol but I'm a foodie so I love everything that taste good in my mouth

HB: Favorite drink?

FA: My favorite drink is water lol, I love Jp Chenet ice edition champagne 

Moet and some good wine

HB: One thing you can’t leave home without?

FA: I can't leave home without my phone lol

HB: A bad hobby?

FA: One of my bad habit is actually spending too much time on my phone or my laptop. It's kind they call me antisocial for that

HB: One thing people would be surprised to learn about you?

FA: One thing that people would be surprise to know about me is that I like to get close to people so I can smell them. it's scary I know...but I love to smell people lol

HB: Talk to us about your new music video?

FA: My mew music video was a great experience with Lux Media. ,I  had the privilege to work with Abdias Laguerre as director. “Destine” is a success in my eyes cause I challenge myself, I act, I push the limits,  I'm pretty much satisfied.

HB: How do you prepare for a studio session?

FA: For a studio session I sleep for 8 hours I drink some tea in the morning and eat a good meal ,and I'm ready to spend the day in the booth.

HB: What are your plans for the future?

FA: I have a lot of plans, one of the them is going back to the studio, because I got some Good inspirations going right now.

How can a fan follow your music?

https://m.facebook.com/FatimaTheModelTheSinger/

http://instagram.com/fatiful

https://www.youtube.com/channel/UC_Bp7PdHcujGqoGd6y-V20Q

 

 

01

Kleré Yo | 5m34s | 110 BPM

— The horns are nowhere near stellar enough to play the starring role in the intro.  Get rid of the intro completely and jump right in with the [I]“Yo di’m fè”[/I] vocals.  I don’t have too much of an issue with the Kréyòl lyrics, BUT I do question Gazzman’s English singing.  Dude, get training to lose the accent, or give it a rest.  I want to like the screaming guitar, BUT better panning should have been used to avoid conflict with the horns.  [I]Puisque vant haïtien pap plen si yo pa jwenn bon kout siwèl,[/I] they got their mandatory portion at 3m20s.  For an opener, this title track is unexpectedly respectable, BUT they should have wrapped it up by 4m20s or so; everything thereafter is rubbish.  Here’s the [B][URL="http://bit.ly/2bvd5R9"]edited version[/URL][/B]; it's more radio friendly.  You're welcome, fellas!  

 

 

02

Heartbreak & Misery | 6m31s | 84 BPM

— I hear this is “adaptation” of [B]Labrinth[/B]‘s [B]Jealous[/B].  A quick visit to YouTube [every Millennial's go-to music collection] was necessary to familiarise myself with the original.  Bleh!  If there’s one commendable aspect in dISIP’s rendition, it’s the Kréyòl translation — though I also hear the Kréyòl equivalent of the phrase “All you found was heartbreak and misery” is still in the works.  I'll keep y'all updated, [I]oké?[/I]  Perhaps a more subdued/quieter vocal delivery would be better suited for a song such as this.  With its slow electronic Zouk beat, it's not a bad effort, yet I still had to check out at around 3m35s; more tedious [I]siwèl[/I] is not what the doctor ordered.  

 

 

03

San Manti | 5m57s | 98 BPM

— As evident here, Dener Ceide’s guitar chops are indisputable, but his singing voice [decent] won’t be the subject of many music discussions.  And for someone who’s already being heralded as a Super Producer, I must say, this track does little to justify the distinction.  Unless you consider the quirky not-quite-konpa rhythm during the first 1m15s [suggestive of Zenglen’s Rezilta], this is as generic sounding as anything I’ve heard from the recent crop of Haitian basement producers.  Of course, no Konpa album would be complete without your “pèp la” “péyi a”, “soufri”, “ti moun yo”, “pouki” “fòk sa chanjé” lyrics. San Manti might be good enough for its intended audience, but it’ll likely secure a spot on everyone else’s pile of evanescent Konpa songs.

 

04

Fòt Papam | 5m53s | 88 BPM

— You know, when I want stories of incest and polygamy, I’ll watch documentaries about the Fundamentalist Church of Latter-Day Saints.  That’s what the dozen or so Discovery channels are for, yes?  However, if Konpa lyricists must get all topical and tackle those issues in cringe-inducing péyizan style, I ask that the music be of an elevated calibre. You see, no matter how deep/important you fancy the words to be, they will not be life-changing for anyone, nor be the only factor in purchasing decisions. So again, the music must always be Top Priority. Lyrically or musically, Fòt Papam is ill-conceived and poorly executed in every sense. To put it politely, sé mizik moun mòn.

 

05

Pa Pozem Kesyon | 5m13s | 106 BPM

— Good news: this track will be banging when played loud; bad news: it will not reach such level of goodness for me because I don’t want neighbours come knocking and asking questions.  More goods news: I dig the keys solo [shocker!] – just a couple of delightful repeating phrases, no pretentious vagaries.  I do wish they had used a better sound [surprised?].  Final news: I don’t care for the “I don’t care / I don’t give a damn” hook.  Why couldn’t it be done in Kréyòl? If I were in the business of predicting “hit potential” or “song that will do damage live”, I’d throw some weight behind Pa Pozem Kesyon.

 

06

It Doesn’t Matter | 5m34s | 88 BPM

— I recently heard [B]Jessye Belleval[/B]‘s [B]Je M’envole[/B] album and thought her voice was [I]aight[/I], but nothing special. Her performance on this duet with Gazzman is unlikely to make listeners seek her other work.  And whatever freshness she may have brought to the table doesn’t matter anyway; the entire track is mercilessly eviscerated by yet more retarded ear-piercing [I]siwèl.[/I] [I will petition Apple for a [I]siwèl[/I] emoji.] Why in the world won’t Haitians banish these kitschy elements from their music??  There has to be something wrong with the water supply down there in Miami which only affects Haitians. Seriously, how can one group of musicians be so sonically challenged? Arrgh!!!

[I][I feel the onset of another Konpa rage episode. Time for a Talenti break…][/I]

 

 

07

Cette Fois-ci | 5m34s | 92 BPM

— I can’t be the only person who finds Gazzman’s constant “Hmm” or “Hm-um” extremely annoying, can I?  This is slightly above average Konpa with [I]Larivieresque[/I] Kréyòl and English hooks — the sort of heartstring-tugging material that Gazzman fangirls can’t wait to sing their poor little heads off to at the next dark-room dISIP [I]bal[/I].  That is, if they’re not too busy getting reborn in his sweat. Oh, and any Haitian male caught singing along to [B]Cette Fois-ci[/B] or saying “Gazzy” ought to have his Man Card promptly revoked.  

 

08

Defi | 5m54s | 115 BPM

— I see a certain [B]Billy Da Kid[/B] credited with the music; I’m betting this is some form of debt payment to Gazzman.  [I]M’ba Billy Da Kid défi gadé moun nan zyé pou’l di [/I][B][I]Defi[/I][/B][I] sé yon bèl chanté.[/I]  But then again, [I]haïtien tèlman gen zyé chèch;[/I] he probably will do it.  Nevertheless, there’s no way [B]Defi[/B] should have made it on to this album, or be on any other album, for that matter.  [I]Si’m Gazzman, Billy Da Kid dwé’m toujou.[/I]

 

 

09

Lanmou Pi Fò | 5m56s | 90 BPM

— A good amount of exxagerated lead vocals supported by great amount of discordant background vocals where female voices sound more like guys on helium.  When it's not a problem of transgen…[never miiind], there's some guy taking way too much delight in fingering his keyboard.  Complete turnoff!  This is another illustration of Haitian musicians believing their lyrics and ample [I]siwèl[/I] are enough to stimulate listeners.  Lanmou Pi Fò is a needlessly long, sloppy, and namby-pamby Zouk attempt; even the staunchest of disciples might turn their noses up at it.

 

 

10

J’ai Brûlé Les Etapes (Etap) | 5m46s | 90 BPM

— In terms of style, these are undoubtedly the best lyrics on this record. I’d love to listen to a version of this track where I don’t hear “Nou sé dISIP”, “Gazzman Couleur”, “Well”, “Etap”, “Bonjour”, his buddies’ names, or his annoying laugh.  [A pair of dirty football socks might do the trick.]  I’d want said version to have a much longer guitar solo; repeat this one if you have to. As usual, the [I]siwèl[/I] was a pinprick, but [I]m’séré dan’m[/I] and dealt with the pain to get through this promising number.  In the end, we have ourselves a fantastic composition that I may not listen to again. Why, you ask? Listening to my Konpa shouldn’t feel like I’m treading an auditory minefield.  Not liking a tune because of the music is quite normal, and I’m okay with that. But when I have to dismiss it due to knuckleheaded technical mistakes that should have been avoided or remedied, it’s infuriating and unforgivable.

 

 

11

Aparans | 5m54s | 90 BPM

— That analogue synth in the fifteen second intro gave the impression that [B]Aparans[/B] might develop into something worthwhile.  Not the case!  If this were my song, I’d find ways to make good use of that sound throughout the arrangement, especially for the solo at 2m00s.  Come to think of it, I probably would have deep-sixed the track altogether; not every song started needs to be completed.

 

12

Limena | 5m50s | 115 BPM

— I don't expect to like every song after just one listen.  What I do expect is to be able to further explore it down the road and hopefully warm up to it.  This Limena succeeds only in robbing me of that option.  Even if I wanted to give the music another go, I'm not willing to sit through these off-putting background vocals any more than I already have.  My ears are far too precious to me to keep subjecting them to these outrageously shrill keyboard sounds.  Only folks ensconced in the Dark Ages could still find those aspects of Konpa acceptable and enjoyable.  In any event, if I'm ever in need of a Limena, I'll dial up Da[r]benz and System Band # xxx instead.

 

* *

:: The Sun Always Shines on TV ::

 

-- In today’s Konpa, even when albums do contain some decent tunes, reviewing them is too frequently an unpleasant undertaking. They don’t offer much in terms of creativity/imagination, good/interesting sounds, good production, or professionalism. Instead, we’re bombarded with so many odious elements, it’s total sonic mayhem, a continuous assault on the ears. How often must we hear Gazzman watermark songs with [I]“Nou sé dISIP”[/I]? How many times do we need to hear him laughing? How many times should we hear him mention his own name? How many [I]“slogan”[/I] are too many? How much asinine [I]siwèl[/I] can an album handle? In serious musical milieux, such provincial antics are considered distasteful and distracting; they interfere with our ability to enjoy music; they appeal only to those with poor taste and low expectations.  And here’s the kicker: These are pretty much the same complaints I wrote about for dISIP’s previous album.  

 

If I were the one entrusted with the task of picking songs to include on Kleré Yo, only these would make the final cut: 1, 2, 3, 5, 6, 7, 10, 12. But since I was left out of the loop, the remaining crappy four [4, 8, 9, 11] will have to be counted in the final score. At the end of the twelve tracks, you can’t help but conclude that Kleré Yo is musically average, at best. That’s the danger with overabundance, innit?. If you’re requiring listeners to sit through seventy minutes of music, you better make darn sure all your material is up to scratch. Now, if magnanimity got the better of me and forced me to grade solely on the merits of the eight better tracks, then the light would definitely shine brighter on Kleré Yo. Even then, it wouldn't offer the full experience I require of an album; even then, I wouldn’t see a future where I’d want to hear it again.     

 

To Gazzyens™ ak Gazzyennes™, a recommendation is obviously moot. To neutrals, do yourselves a favour, spend the money on a pre-Aristide album instead. I can't imagine any self-respecting Konpaphile™ wanting to trade a Konpa record from that era for Kleré Yo.

 

 ::  Musicians  ::

 

Gazzman Pier: Lead vocal

 

Jean Baptiste Louis: Drums, Background vocal

 

Mackenson Saint-Fleur: Guitars

 

Jean Archil Clairsainville: Percussion, Background vocal

 

Jamesley Durva:Bass

 

Rene Gardere: Trombone, Background vocal

 

Michel Bernadin:] Congas, Background vocal

 

 

 

© 2016

 

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