Hello, music lovers and enthusiasts! Today, we bring you an incredibly enlightening conversation originally conducted by our friends at Plateforme Magik. The original interview can be seen here
They enjoyed engaging with the renowned Fabrice Rouzier for a deep dive into the heart of Haitian music. Fabrice, a legend in his own right, has provided an in-depth review and perspective of Zafem’s latest album, “LAS.
Fabrice illuminates why “LAS” resonates so profoundly with listeners worldwide in his candid and heartfelt responses.
So, allow us to transport you on this musical journey where melody harmonizes with poetry, creativity intertwines with authenticity, and an impassioned love for music provides a beacon of hope amidst turbulent times. Without further Ado, let’s delve into the first part of the interview.
Thank you, thank you, thank you so much for receiving me. I must tell you. Zafem has genuinely made me experience an excellent start to the weekend and a great start for the week. This is a product I greatly cherish. I won’t try to make a fuss about it in advance.
But let me tell you, everyone is asking themselves why this album has had such success, etc.
Let’s not go too fast. What was your first reaction? Help us understand what this tweet meant.
“Mèsi Zafem. Mèsi Dener Ceide. Mèsi Réginald Cangé Pè L’as. Nan moman ténèb sa a, Ayiti ap viv la, nou montre gen limyè kap vini. Albòm LAS la telman gen varyété ladann, li difisil anpil pou mwen di ki chanté mwen pito sou li.”
Listen, this is a hot reaction, but it is a reaction that came from my heart. My heart said is what I felt, and I can tell you that effectively Zafèm gave us a glimmer of hope in these dark times we live in.
Why is that?
They came up with another multifaceted proposition, meaning the message they are sending is powerful.
It is a message with poetic words, but words with double entendre also send a message. The message is a declaration of love for Haiti and Caribbean culture.
They did it without copying anyone, but you feel they are heirs to the ones that came before them. These guys project their future and present their dreams for Haitian musical culture.
This is the plan these guys have made a manifesto of and that they have proposed to us all. They are not just proposing to the musicians but to society in general.
I think it is a mark of incredible courage and generosity what these guys have done because they have been preparing this album for more than four years.
When I say courage, they’ve done something where they didn’t copy anyone. They tried to follow their path and took risks, which is the bravest thing to do.
And the generosity I will explain to you: you have two of the best Haitian musicians who come together to form a jazz duo. It has been done before. I’m thinking about Pipo and Richie, for example. There are a lot of great musicians who come together to form duos.
But these two guys are particular. Take a guy like Reginald Cangé. He is not necessarily a compas artist who can do everything but direct compas.
Take Dener Ceïde. Dener Ceïde is a guy who was recently the lead guitarist for Lauryn Hill, which means he could have been doing whatever he wanted in the American pop scene, let’s say, in the global scene.
These two guys dedicated four years of their lives to a project. This declaration of love that the guys gave to Haiti at a time when Haiti needed it the most. So, for me, it is a masterpiece and an incredible testament to and generosity that these guys have.
(Even if in your calendar list I see you didn’t put “mizik mizik,” I think mizik mizik is very present on this album, I think you know it too, you just didn’t put it, maybe out of modesty)
I don’t think it’s modesty. I will tell you what I think. Certainly, if Mizik Mizik is part of their inspiration, I am honored. I think it goes well beyond Mizik Mizik.
Zafem traversed all Haitian music in the recording, dating back to the 1940s. I’ll tell you, I won’t bother you with the research.
When you hear “Ti Roro”, you hear “jazz des jeunes.” You hear “Coupe Cloue.” You hear “Skah-Shah.” You hear the Magnum Band. You hear Harmonik. You hear Tabou Combo, and you hear everyone, not only those who are direct compas artists. You understand what that means. You don’t hear them, but you feel their presence you understand.
That implies no copies are being made, so the effort is outstanding. I’m telling you, I’m of an age where I’ve witnessed a succession of projects that, let’s say, changed the game in the Haitian music scene.
I believe one of the first projects I witnessed like this was when I was a child, but it’s one of the projects that, to this day, is one of the best compas projects ever made.
I am talking about “Skah-Shah” ‘s album Message. When this album came out, it was an album that amazed everyone, and at the same time, they were asking the same question that they’re asking now, do you think the guys will be able to pull this off live?
Well, the proof is “Skah-Shah” took its courage in both hands and made this album indeed a cornerstone,
some years later, let’s take Magnum Band’s first album, “La seule difference.”
“La Seule Difference,” the only difference was that it had the same effect on the entire public, meaning it was a new proposition. Still, it was a new proposition that people who were not necessarily able to play this unique proposition criticized vehemently.
But Magnum Band’s “La Seule Difference,” as we know, was an album that made the beautiful days of Magnum Band and allowed us to see Haitian music from another angle.
If we were to go further, we could take several albums like “Skandal,” for example.
But the last album that marked me in this way this album marked me is an album by a group called New York All-Stars called “Pour La Vie.”
New York All-Stars were a group of musicians who were among the very best at the time who came together, and the guys decided they would make a “compass” album.
Marc Arios Cesaire, Yves Abel, Welmy Jean Pierre, Armstrong Jeune, Kenny Desmangles, Eli Lapointe. So understand that it was the best of the best who made this album. Unfortunately, there’s one lousy outcome; the guys have yet to make it succeed commercially.
But I believe that the way Zafèm has gone off track is really a novelty, and I just hope that they can make as many people as possible benefit from the beauty.
(So, it seems like you’re drawing all this from your knowledge of bands like Magnum Band and others like Skah Shah. Maybe what makes the difference now is the presence of social networks that didn’t exist in those times. We now feel like we can see more than in previous times.)
I agree with you, Dave. Social networks have certainly helped, but at the same time, they have bad habits, too, such as ruining a product before it’s even released. I believe it’s essential to resist the distortions of social networks and stand up for the project’s quality.
Whether someone loves or doesn’t know what Zafem is, listening to it can’t leave you indifferent.
It means you cannot listen to this album without saying, “Wow!” This album is different. You need to find out what it is because it is entirely different from recent propositions, not to say it’s better than anyone else’s.
But here’s an entirely different proposition: It’s purely an artistic proposition that the guys are trying to have commercial success with.
(What do you think makes this album strong technically?)
Technically, what makes the album strong has several elements, and I will tell you how it impressed me.
Of course, as a musician, I appreciate musical powers, but they have a lifespan. The guys’ ideas primarily have a message. You can see a double entendre in their words. You can interpret them politically, erotically, or just humorously.
But at the same time, as elaborate as the music is, it’s also memorable.
Do you know how I see if a song impacts me? If I just listen to the song and remember the chorus of it, the moment I hear people singing the hook, I say, ‘That’s it, the game’s over.’
Once you’ve heard the songs, there are several like that. Of course, there are several songs the guys have made that don’t evoke this. There’s “Ati Sole,” for example, which is a masterpiece.
It’s not a song the guys will probably play, nor do they expect to have significant commercial success. But these songs are very effective when you take “Dlo Dous” and other pieces on the album.
Understandably, it has a lot of subtleties. Listening to it is a sure delight for someone, just like with “Coupe Cloue,” where the guys did it properly and with musical arrangements.
What’s interesting about musical arrangements is that they’re like the old music you used to hear. That means the guys took their time with the performances. Every time you listen to the songs, you’ll hear another detail.
And you know, I must tell you, at least six or seven times, as I re-listened to the album, I find an additional detail each time I listen again. Whether in how they played the music, how Reginald sang, or whatever, you see, the guys took their time to make the album. It’s enjoyable and commercially, to my ears, it’s a success.
(This is a masterpiece of an album. Listening to it hooks you, meaning you never arrive at a song and say, ahh, let’s skip to the next one.)
No, you can’t skip.
(I get in the car, I’m listening to it, and by the time I get where I’m going, I see I’ve finished, and I say, let’s go for another round.)
Guinard is the name of a friend. She went to work in a city in the United States. Before her flight, Guinard downloaded the songs onto her player and listened to them throughout the flight.
The music was so captivating that she rented a car and drove to the hotel, only to realize that she had left her suitcase at the airport.
Now she’s back at the airport with Zafem’s music, and she nearly forgot the suitcase a second time, so that’s a beautiful testimony.
(Fabrice, my question for you about this album is, is it purely a Konpa album?)
No, not, and I don’t think the guys conceived it that way, either. It has Konpa in it, but it also has several other things.
For example, the guys interpreted the song “Meridonale des Cayes,” which is causing debate too. Still, Dener emulates, in my opinion, one of the greatest American rock guitarists, Joe Satriani.
When you’re making such mixes, they are scholarly mixes. It means you have to listen to understand it. It doesn’t take anything away from the music. The music has its groove, and it’s a song that, in my opinion, can have a new life outside of Haiti too.
(So, Maestro, you’re talking about Zanmi Fanm)
Exactly.
(Maestro, this music, what’s the practical rhythm here?)
Well, the guys didn’t take the original rhythmic “Zanmi fanm” but adapted everything in it, in my opinion. It has a touch of rock in it at a certain point.
It has a feeling of West Africa. It has a little “Zouk” feel, but I think the guys are also looking for other markets to profit from.
(Can we say in this sense that “Zafem” is a band that plays Konpa, not necessarily a Konpa band.)
Why would you say that?
Let’s be clear about something. When, for example, a group like Tabou Combo made a song called “Kote Moun Yo,” a kind of “Rabòday” filled with Zouk, would you say Tabou Combo is not a Konpa jazz band?
There are a lot of groups that try to do the same thing. We (mizik mizik) tried to do several trends too. We made Rasin music. We tried several things. We did Twoubadou.
When you box in an artist or a group and say it’s a Konpa group, I resist that.
Let’s take groups like Klass. From time to time, Richie does something like Zouk or hip-hop, a series of things like that. Why not?
You can’t be a Haitian group proposing only Konpa. Zafem may have used this commercial strategy because the guys can do other things. They can also suggest them to the public.
(But Maestro, do you think the guys dared on this album?)
Enormously, they dared, and we haven’t seen half of all these guys’ talent yet.
I believe the guys have a commercial objective with the album. But I think they dared.
When I say dared, I mean they went off the beaten path, which means it’s not a group of guys making traditional Konpa.
You’ll find traditional Konpa; I guarantee you a song like “Dlo Dous” or several others that will hit the live scenes, and you’ll dance traditional Konpa.
You have that too, but that doesn’t mean it’s the only music you can sit and listen to. You accept not only the melodies but also the arrangements. You internalize the lyrics. I think it’s a beautiful piece, and it’s an exotic piece. It’s an exotic piece without being vulgar.
Listen, I have a lot of expectations, like everyone else, about how the group will present the product in live performances and how the group will be able to live from this beautiful work.
We know there are a lot of experiences where you have a series of albums that came out among the best records of Haitian music but did not have commercial success.
Some groups make beautiful records. We were talking, for example, about the New York All-Stars, perhaps the best Konpa record ever, but it was not a group that found success. I think I’m not exaggerating when I say that.
The Zafem album has probably been out for three days. If, in 3 days, there’s already all this engagement, I think the guys will have to do their homework. To come out as adults, you understand.
(But you just said something here. I noted it’s your expectation, but it’s not a doubt you have about what these guys can do?)
Not at all, Two musicians with tremendous experiences. I need to find out the rest of the group’s formation, but if I take the two leaders I’m talking about, Dener and Reginald, we’re clear on something: they have enormous experience in Konpa direct.
Dener and I practically went to the same school. If you recall, Dener was Tabou Combo’s guitarist for years. We don’t even need to talk about what he’s already done in Zenglen, what he did here in Haiti before he was a Konpa artist. These two guys have an enormous capacity to keep a crowd moving.
The most challenging thing—and I’m quoting Richie, whom I heard this morning in an interview—is that I agree with what he said. He said the most challenging thing is to make the music. The rest, bringing the music to the public, is the less complicated thing.
And I think the guys have the potential. They have an enormous capacity. They are two seasoned professionals. I do not doubt their ability to carry out the project well.
Now it’s the public’s response we’re waiting for. You understand, of course, that there’s a machine behind them and that their management team will handle the project.
That’s what I’m waiting for. That’s where I hope the guys find the key to their desired success.
(But Maestro, I noticed something on this album, but maybe I wonder if you will elaborate more on that or tell us if what I noticed is right. Some Konpa instruments are rarely used or absent in certain songs.
For example, take what they call the gong and the bell. They are not present. Then you take the conga. It doesn’t feel like 100% Konpa)
I believe you’re correct in what you heard. I think it’s strategy and research at the same time. I think the guys are trying to give their music essential production elements.
When I say essential, that doesn’t mean they will play lesser Konpa music. I think the guys are doing research, and I believe this research suggests they’re not using the drum as we used to “bidibidim.”
You understand what that means. They’re placing their percussive elements to complement each other in the rhythmic section and the arrangements they make.
You will also notice that only some songs have the typical Konpa strumming guitar patterns or low bass notes. Only in some of their songs does the guitar have a strumming pattern like Compas, or you will hear a low note, etc.
But when you listen, for example, to how Dener programmed the keyboards. I don’t know exactly. Maybe Nicky played them, but you’ll notice the percussion. I’m telling you there’s a genius in the conception too.
That means it becomes complementary, it doesn’t disturb, okay, of course, if you listen to contemporary music, if you say that what these guys call Konpa direct today, you’ll notice many of them you don’t hear the gong in them too.
You’ll notice it’s not necessarily bass playing but synthetic bass playing in them.
The drum, too, is not a drum that is present today. It’s not Harry Joseph playing. It’s not Wesner St.Louis; the cymbal is not 100% Konpa.
For me, this is research. There was a group that already did it. Several groups did it before them, but they’re pushing the research further.
I’m thinking of the group Kasav which did a bit of the same thing where they accepted music, and I’m thinking of the group Zeklè which did the same thing, trying to simplify the mix, all this to find a more catchy tune.
Let’s also call the youth because you feel that the guys are not only looking for older people like you and me. They’re also looking for the youth.
The guys are making a call to the youth, too. I think they’re making music with sounds that can attract a younger audience; despite their sounds, they have vibrant harmonies, but this is where I tell you it’s a work of artistic research but very subtle.
(Speaking of artistic work, did you notice the quality of poetry in their lyrics too?)
Unbelievable, unbelievable (and it’s all 16 songs.) Of course, we tasted this when the guys were doing “a la de ka and savalou”.
I believe you felt it too in the two songs that the guys composed – when you heard the song that Dener wrote for Zenglen, many people were impressed by rezilta, but this came from the power of the lyrics, the strength of their words. So once again,
I’m telling you again. It’s not just a simple “Ti manman cherie, mwen renmenw doudou”. It goes beyond that.
I can tell you that it’s another debate. Meaning to understand, You have to delve into its layers. You have to be courageous to read from people who have made Creole beautiful before you. I’m thinking about people like “Cito Cavé,” “Franck Etienne,” etc.
It’s almost as if they’ve put these guys’ works into music for specific compositions. You don’t have to look too far. You have to search for Castra. You have to search for our great poets.
To find this kind of poetic quality and not just any poetic quality, but a poetic quality with a message.
Which is essentially a declaration of war against what’s happening right now, too, if you dig into the words. It’s not only a declaration of love for Haitian heritage, but it’s a declaration of war against nihilism, against dumbing things down, and that’s what the guys did. And that’s why it also disturbs many people.
(But tell us, Maestro, we’ve said several times that the guys have paid homage to the elders. You mentioned music from Magnum Band, coupe cloue. There’s a song where I felt the presence of Tropicana’s drums. Do you agree.)
But you must understand. I know we’re apart. Dener is, first and foremost, a conga player. He’s a fantastic conga player, so it’s no surprise that he understands that the conga is the main ingredient of Haitian music.
I’m not talking about Konpa. If we’re talking about Tropicana, Septen, or Meridional Des Cayes, each plays in a certain way. You have to be a lover of our culture to be able to pay these homages, too, you understand.
It means he’s showing respect to these groups. That’s what makes it beautiful. It’s not a copy but a homage, which means you feel their presence in these songs. How many people listen to meridional nowadays?
Meridional holds significant influence in the south, while Dener hails from St Jean du Sud. This indicates that these musical styles deeply permeate his being, and he cannot help but express them.
Please hear me out. I underwent a comparable journey. It might have appeared like a simple imitation, yet we conceded that fact when we did a carnival known as ‘zoukoutap.’ We drew inspiration from a guitar groove of Tropicana. Such experiences seep into my being – music resonated with me, a melody I relished every afternoon.
So I can relate to Dener in the same way. Not all Konpa Direk includes a Konpa drum pattern. It went right into his vein, and he had to let it out without copying it.
(But Maestro, can we say the guys presented something new?)
In a way, yes. Why? Haitian music has been played the same way since the beginning of time. However, look at all of these new combinations, new harmonies, and new signatures that the guys are putting into their music now. Listen to me. I don’t think this is something many Haitian groups do.
If it’s about rhythmic signatures that change the idea of harmonies not necessarily heard on Konpa Direk, I could think of “Caribbean Sextet” and Magnum Band that did things like this.
But the particularity that these guys have is that they have commercial music that young people can sing. If people can sing it, whether you have 13th chords or double 6 with added 4. Well, people will sing it equally, meaning the melody remains commercial. In that sense, I think the guys have made a breakthrough.
Is it something completely new?
I think maybe it’s not entirely new. But it reminds society to say, ‘This is our culture. This is what it can be. That’s why I tell you it’s a light in the darkness we live in now.
It means when you take two young guys who decide that they’re going to show what the path can be, what beauty can be, while we have a country that’s tearing itself apart in our hands. It’s a declaration of love and nothing else.
(Do you believe Zafem will mirror current Konpa bands with five performances weekly, or will they follow the approach of Tabou Combo or Kasav, offering more inclusive shows that cater to a broader audience?)
I’m in the same position as you, but I’ll tell you. I’m looking at the project in its entirety. I’m looking at the first music that the guys released. I looked at it with a lot of attention like everyone else. Do you remember when the guys did a live show during the Covid period?
I reflected on the meticulousness they demonstrated in their work, even on the album cover, abundant in symbolism. It was about more than just two individuals preoccupied with the musical quality or the caliber of the lyrics.
Still, they also focused on the quality of the stage presentation for a holistic experience. The Grand Premiere had been scheduled at the Melrose Ball Room in July.
I’m telling you I’m very anxious about what this group will bring, but is it a group that can play the same as the other groups five times a week? That, I understand, but I don’t have that information. But now, do they have the material to allow them to do it? I think the material is there if that’s the choice.
Yes, but I can express a little doubt about this strategy. I think that such a group, for me, is a group that should concentrate on the Haitian market. I even think it’s a group that can succeed more on the foreign stages.
And now, will this be enough for their financing to hold up? Only time will tell.
(Don’t you think the aura of mystery surrounding the band’s formation, the delayed album release, and the anticipation of their performances could be a deliberate strategy to pique public interest in their creations?)
Glory, I think the same as you. Yes, I think the mystique is part of the package. I tell you, I’m following. I don’t have answers to that.
I’m not in the kitchen. I’d love to be a fly in the rehearsal room to watch what’s happening because I’m curious, just like you all. I think the mystique encourages all these things.
You understand when there’s no answer. It will enhance the surprise once we get to know the group. I do not doubt that these guys will carry the project to a successful end, I have no doubt.
(Could the appeal of Zafèm be attributed to several factors: firstly, their beautifully crafted music; secondly, the positive reputation of Dener and Reginald, who are recognized for their past successes and for remaining above any controversies; and thirdly, the selective appreciation of this band by a diverse audience, which includes both music connoisseurs and the general public? Furthermore, do you think these songs would have the same success from a different band?)
No, not, and I understand that too. Why, for example, Dener, who composed all these songs, didn’t propose them to Harmonik or didn’t provide them to Zenglen?
Because these songs are very dear to him, they express his soul. Yes, I think others can sing these songs.
It’s a pure expression of his feelings. When I say these guys are making a declaration of love for Haiti, it’s not a tiny thing. It means to sing these songs; you have to feel them. You can’t sing them without living the feelings expressed in the music.
I believe it’s all part of a package. Many artists, including Beethovas and others, have done it too. Beethovas has created beautiful music, but the true beauty is in how Beethovas performs it. Manno Charlemagne and Dadou Pasquet have crafted beautiful pieces that truly shine when they perform them.
Do you understand what I’m saying?
These captivating songs hold significant meaning; they are uniquely connected to the composers Dener Ceïde and Reginald Cangé.
This doesn’t negate the potential for other artists to perform them. However, I believe these pieces hold a distinctive charm when performed by these gentlemen.
(I don’t believe he would have reached out to everyone and chosen the less impressive ones for himself. Considering the music, he’s produced many hits.
I recall Alan Cavé’s last album, ‘Se Pa Pou Dat,’ and Richie’s ‘Happy Fifty Konpa,’ both hits. Arly Larivière made lots of such music too. The latest album, ‘Degaje’ from Harmonik’ was a hit. So, I wondered what attracted people to these artists.
It was vital for me to understand, from a social perspective, why people claimed to love and follow them.)
I believe it’s the package, Ado. I think the most exciting package is the package itself. As I told you earlier, it’s a complete package. As we discussed earlier, as Glory said, there’s a mystique behind these guys, which is part of the whole package.
Take, for example, the song ‘Dlo Dous.’ To many, it carries an erotic tone. However, it’s layered with double meanings. Many songs in the album could be construed as political commentary, but the creators have also embedded other elements into them.
All these things are part of the poetry. It’s part of a psychological game these guys are playing with the audience. That’s where it gets interesting.
It becomes an enigma. It’s like an artist who paints a picture and makes a green and a red line. Everyone says it’s a green line and a red line. And the artist says don’t you notice the motion in the green and red lines? Can’t you see it resembles a city?
Essentially, everyone interprets something unique in an artist’s vision when the artist can suggest such diversity of perception to the audience. When each discerns something distinct in the dream, the artist brings it to life – that’s where their strength lies. These guys are indeed formidable in this respect.
And I think people who know, let’s say, prominent literary figures say what attracted them to the project, they see it, they see the charisma, they see it’s a journey you’re making.
That means not everyone has to make the same journey in the record. Do you understand what I’m saying?
That’s where it gets interesting. That means I listen to the album in a way. Ado listens to it in a way.
Glory listens to it another way, Ti met listens to it in a way, and Captain Bill listens in a way.
That means we all have our appreciation of the record can influence us differently. My friend, these guys already have success. For me, it’s an album that has already made history.
(Maestro, I want to ask you again; pivotal moments always create a ripple effect. Do you think this could be a fresh influence for the following generation, or will these guys continue on their path while others stick to theirs?)
No, not. I think this album is part of a movement already.
Why is it part of a movement already?
Consider the number of albums released before the launch of Zafem, with a focus on young artists in particular. BIC, for example, may deviate from the Compas trend. Despite the complexity of his music, he prioritizes his lyrics.
Consider another emerging artist like Tafa. Her primary strength is not confined to her exceptional vocal skills but also encompasses the power of her message. This phenomenon is common among many other artists.
So, I believe many youths appreciate poetry, let’s say, the true form of art. Even though the fundamental structure of art rests on rhythmic compositions that we’re accustomed to, it can rely on what they enjoy calling ‘Rabòday’ or on Afro-pop. It can be based on ‘Troubadour’ or whatever else.
However, I am of the view that this album signifies a broader movement. It aligns with Dener and Reginald’s ongoing work since their time with Fasil and since Dener started collaborating with Harmonik, among other projects.
Yet, looking around, you’ll notice these young artists strive for music with text and poetry, even if they’re not working together. As a result, it is a pre-existing movement.
(Unless my colleagues have more questions, I’ll ask the final question: Can we consider this album flawless?)
“Listen, I don’t believe a flawless album has ever existed. Even the creators themselves would likely tell you there are flaws in it, but these flaws depend entirely on the listener’s perspective.
For instance, Ti Lou Jean-Paul is one person I enjoy exchanging ideas with because we have different appreciations of albums – not only recent but also older ones.
When I talk to Ti Lou, for example, we talk about this album, and Ti Lou needed help understanding how the choruses were recorded. He had difficulties with the choruses in the album, whereas I found them perfect.
I have no issues with them, but I must tell you that many times years later, when you’ll say, ‘Ah,’ there were some mistakes in the album.
Let me give you an example.
One of my favorite albums from Magnum Band is an album called “Pike Devan” – it’s one of the best-recorded albums in Haitian music, in my opinion.
I salute the memory of Janjan, the sound engineer who sadly left us, but Janjan used to discuss the album with me. He made me realize that the album had a bunch of recording errors, confirmed by Dadou and Tiko.
The album features two drum tracks recorded simultaneously, each vying for prominence. If one were to listen to it, one might not pick up on these nuances immediately.
That’s why I believe that certain small details only become evident several years later. But on the whole, this album has already significantly impacted the populace.
Well, it’s flawless to me.
(there’s a song that caught my attention, “Le Plen,” which has a very musical chorus, I just imagine Manno Obas on this track.)
My friend, I spoke with Manno, and Manno also loves the album. I must tell you, there isn’t a musician who wouldn’t find himself in this album.
You see, the only thing I will tell you is that when I listen to all the songs, I hear the details in the songs.
My friend, the musicians participating in Zafem have their work cut out for them. I doubt anyone would show up at a performance expecting it to be a breeze. Unless you’ve adequately prepared, I don’t believe you have a place in Zafem.
There’s no room for messing around. I think the songs are finely crafted and commercial. The singers who will deliver them from the first note to the last, the musicians on stage, trust me, they will be busy.
Good luck, and may God bless all musicians who will play in Zafem. Let’s say I’m not envious of the work they’ll have on their hands.
Our efforts are aimed at benefiting our country and enriching our culture.
I won’t dwell on the praises again, but it’s essential to emphasize the significance of our subject today, Zafem—my deepest gratitude for your remarkable contributions.
And so, we conclude this insightful interview with Fabrice Rouzier on Zafem’s latest album, “LAS.”
Fabrice’s valuable insights have indeed painted a vivid picture of Haitian music’s richness and transformative power, tracing its historical roots and illuminating its incredible potential.
The album showcases the musicians’ courage, generosity, and talent, revealing their profound love for music and deep-rooted respect for their Haitian heritage.
We owe a heartfelt word of thanks to Fabrice for his enlightening review, Zafem for creating such a remarkable piece of art, and Plateforme Magik for conducting such an inspiring interview.
As this conversation concludes, we invite you to continue exploring the depth and diversity of Haitian music through the timeless testament that is Zafem’s “LAS.
Please note that Plateforme Magik conducted the original interview presented here. The translation and presentation of the interview in English on Zafem.net are not a word-for-word interpretation but a careful retransmission, capturing the essence and meaning of the original dialogue as accurately as possible.
Our goal is to bring this enriching conversation to a wider audience, sharing the insights and views of Fabrice Rouzier on Zafem’s latest album, “LAS.” We express our sincere gratitude to Plateforme Magik for conducting the interview and allowing us to share it with you. All rights, acknowledgments, and credit for the original interview belong to Plateforme Magik.
