Alphonse
Piard Jr. (ALPI):
First of all,
let me start
by saying thanks
to you for accepting
so spontaneously
and graciously
to give KariJazz
this interview.
We really appreciate
that.
Jean
Caze:
You are welcome.
ALPI:
To introduce
yourself to
our listeners,
I would like
you to give
us quickly a
kind of synopsis
on where you've
been? What you've
done? And where
you're heading
if it's possible?
Jean
Caze:
Ok! Well! My
name is Jean
Caze. I was
born in Haiti
and I left when
I was four months
old. I grew
up in New York
City. I started
playing trumpet
when I was nine
years old. The
first music
school training
that I got was
in Public schools.
And I got some
outside training
at Julliard's
MAP program
which means
Music Advance
Program. After
that I continued
to play in High
School. It was
the first time
that that I
played in a
Jazz Band and
I was forced
to improvise.
While I was
in High School,
I studied at
Queens College.
They have that
program for
kids on Saturdays.
By the time
I graduated,
I had hung out
with Wynton
Marsalis; I
had played with
Chicago, the
rock group,
live on NBC.
I was given
some scholarships
and awards to
go to different
universities.
I made it to
the Grammy Band
which is all
American High
School Jazz
band. And once
you are in there,
a lot of colleges
which have music
programs are
scaling musicians
who play in
that band. I
gained a scholarship
and attended
Manhattan School
of Music for
four years where
I earned a Bachelor
in Music, Jazz
trumpet; I moved
to Florida and
I just finished
getting my master
degree in Music
at Florida International
University.
ALPI:
In what specific
area of music
did you get
your master
degree?
Jean
Caze:
In music performance.
I do arranging,
composing, and
a little bit
of keyboard.
I use it as
a tool to compose.
ALPI:
Let's talk about
the CD now.
The first track
of the CD is
a piece called
" Haitian
Peace Song "
Why this title?
Jean
Caze:
Why Haitian
Peace Song?
Ok. There is
an American
Jazz composer
called Charles
Mingus who wrote
a song called
Haitian Fight
Song. I use
to play this
piece when I
was in High
School. It was
very interesting.
It has a rhythm
ta-ta-ta-taaa…
ta-ta-ta-taaa…
you "kinda"
feel the war,
the revolution
in the music.
I wrote the
song not thinking
how I am going
to call it first.
But the mood
of it was very
peaceful, very
calm and happy.
I taught it
would be nice
to call it something
that reminds
peace. I just
came back from
Haiti at that
time. I was
deep into Haitian
music. I was
carried back
into that (re)learning
process about
my culture.
It was a great
experience.
So, I decided
to call the
song "Haitian
peace song".
ALPI:
You said you
learned about
Haiti. How long
it has been
since you have
not visited
Haiti?
Jean
Caze:
I went back
when I was 2
years old and
I went back
again when I
was 16 or 17.
I stayed for
two weeks. I
have been going
back three to
four times for
the last six,
seven months
to play with
Reginald Policard
and Mushy Widmaier
at festivals
and events.
Every time I
go back now,
I learn more
about who I
am, where I
have been and
where I am going.
ALPI:
Do you feel
that is something
deeply inside
that you have
to go back to
your roots?
Jean
Caze:
Definitively!
Actually when
I was younger
I did not want
anyone to know
that I was Haitian.
Not I was ashamed
but I was such
a shy kid. Anything
that would make
me stand out,
I would not
want anyone
to know about
it. Actually
my real first
name is Amedée.
Amedée
Jean Caze. First
day of School,
I would let
them call me
Jean (sound
it English).
I would not
have to be called
such a funny
name like Amédée.
Not because
it is Haitian
but, because
of its funny
connotation
taken in the
American elementary
school context.
Karl
Joseph:
When your name
is Jean, the
first thing
that comes to
people's mind
is: "he
must be Haitian"
Ah! Ah! Ah!
Jean
Caze:
When I went
to Haiti, I
got so much
pride in the
culture that
I told myself
that I am going
to make everyone
pronounce my
name right (French
Pronunciation).
Karl
Joseph:
I guess Jean
Luc Ponty must
have gone to
the same process
until he made
a few replies
and suggested
the right pronunciation.
How did you
become involved
in Haitian Jazz?
Jean
Caze:
I was not even
aware of that
big movement
about Haitian
Jazz until I
met Reginald
Policard and
Mushy Widmaier…and
the rest you
know it.
ALPI:
We are glad
you are on board.
A trumpet player
of your caliber
is always welcome
to this movement
and we should
expect more
projects carrying
this Haitian
pride. Shouldn't
we"?
Jean
Caze:
The very next
project is going
to be a Creole
jazz project.
ALPI:
Any particular
musician in
perspective
for this album?
Jean
Caze:
It is too early
to say. There
are speculations
at this stage
and I already
got the whole
concept ready
to go. I have
an idea of the
name… but
we will talk
about this when
time comes.
ALPI:
Of course! As
I have stated
earlier to you,
we (KariJazz)
want to be in
the forefront
of this movement
and essentially
document everything
that is happening
in this growing
movement of
Haitian Jazz.
Anything you
want to disseminate,
we will be glad
to put it on
our site or
play it on the
radio.
Jean
Caze:
Thanks.
ALPI:
Let's keep on
going with the
CD. I have noticed
that there is
a wonderful
keyboardist
whose support
is so effective.
Can you elaborate
more about him?
Jean
Caze:
His name is
Andrew Fisher.
He is 23. He
just finished
his degree at
University of
Miami. He is
the type of
musician who's
never satisfied
with what he
has as far as
sound. He is
always looking
for good sounds.
At this stage,
he is using
the moog which
is an instrument
musicians were
using a lot
in the seventies.
It is a phase
able recorder
that adds pitch
to your voice.
It gives also
a kind of twisted
sound like (weird
noise). So he
brought this
seventies flavor
to the recording
and also he
has this classic
piano sound.
With those two
sounds, he gave
a lot of support
to the music
and makes it
have that kind
of lush and
soft texture
as opposed to
playing in a
more rhythmic
and more open
style that would
make it mellower.
ALPI:
I have notice
that the general
tone of the
CD is mellow.
I have to confess
that I was expecting
something typical
of Miami when
I read the title.
This omnipresent
mellow tone,
is it something
you were looking
for?
Jean
Caze:
Well, the way
I play is very
melodic. I wasn't
exactly going
for mellow only.
When you rehearse
the music, things
happened naturally.
I guess the
musicians were
looking to me
to see what
I wanted. The
way I was playing,
that particular
day, may have
had an influence
on them. I was
not looking
for specifically
something mellow.
I was going
for music. I
try to write
music as accessible
as possible
to everybody.
ALPI:
What do you
mean exactly
by using the
term "accessible"
here?
Jean
Caze:
Accessible means
they can listen
to it and find
something in
it whether they
know anything
about jazz or
not. There are
so many musicians
who write things
that are so
complicated
or so far away
from what an
average listener
would be able
to understand
or appreciate.
And… what
they produce
becomes so exclusive.
ALPI:
Do you have
someone in mind?
Jean
Caze:
Yeah! Not to
put anyone on
spot, but a
musician like
Greg Osby whom
I listen a lot.
I love his music.
But I think
if I play his
music to folks
who are not
into Jazz, they
will probably
go like "What's
this?"
I write not
to be commercial
or not to appeal
to everybody
but I write
music in a way
that is universal
and anyone can
feel associated
with what I
am doing.
ALPI:
Can we say that
you are ready
to compromise
in order to
reach a certain
level of success?
Jean
Caze:
Not really.
If that was
the case, I
would be a singer
and I would
do pop and R&B.
(laughter).
I grew up listening
to what was
playing on the
radio before
going to jazz.
I enjoyed this
music although
there were not
a lot of folks
of my age listening
to it. Maybe
was it the melodies,
the rhythms?
One of the songs
that I remember
is Bobby Mac
Ferrin's "Don't
Worry, Be Happy"
and it is only
recently that
I realized that
only his hands
played the rhythm
in the music.
I did not know
that when I
was a kid. I
just loved the
music.
Karl
Joseph:
He has another
CD where he
plays live with
Chick Corea.
Just the two
of them…
A lot of "sounds",
so much of it
coming at all
angles.
ALPI:
I know! You
get the impression
there is a whole
band playing.
Jean, coming
to Jazz has
been something
natural to you
or, at a certain
time did you
have to make
a choice?
Jean
Caze:
No! It came
easy to me because,
I was taught
by one professor
who was teaching
trumpet and
a bunch of other
instruments
at the same
time. There
was only one
professor, one
time a week.
The way he taught
us was first
by ear. He was
just showing
us what to do.
I had a quick
ear to pick
out what he
wanted me to
do. Right way,
I was a step
ahead of everyone
in playing trumpet
just naturally.
Afterwards,
I started learning
music theory.
But really it
was about my
ear. Look at
what you suppose
to get. So,
I came to jazz
so… naturally…
I'd say.
Karl
Joseph:
Who is your
favorite jazz
trumpet player?
Jean
Caze:
I do not have
one favorite.
But to pick
some I would
say my earlier
influences were
Miles Davis,
Louis Armstrong.
I like Clark
Terry a lot,
Wynton Marsalis.
I like the two
guys who are
on the scene.
They've been
there for a
while now, Nicholas
Payton and Roy
Hargrove. I
do like Chet
Baker of whom
we spoke off
microphone.
There are other
guys but these
are the main
influences.
Actually I would
say N. Payton
has been the
main influence
these last three
to four years.
ALPI:
You mentioned
earlier the
name of Wynton
Marsalis. Has
he been a great
influence in
your music life
at that time
when you met
him? Describe
what happened
when you first
met with him…
Jean
Caze:
Okay. I had
a lesson session
at Julliard
School with
one of my first
teachers. Wynton
lived there
at that time.
My teacher took
me to his house
for the lesson.
Wynton came
to the room
and commented
"Whoa!
It seems that
he can play
a little bit".
When I heard
this and Wynton
watching me
play, I started
getting nervous
and messed up.
He said: "No
you are not
doing it right".
He picked up
my trumpet and
started playing
it and, of course,
he sounded amazing.
Then he walked
away and my
teacher said:
"you see
you could do
that. You can
be someone who
plays like this"
and we continued
the lesson.
After that I
went to Wynton's
house on my
own, hoping
out to run into
him and he would
let me in.
ALPI:
Did you succeed?
Jean
Caze:
Yeah, I was
very shy back
then. I am still
a little bit
shy. I was intimidated
by him too.
He kind likes
to weird out,
cool, wants
to know the
information.
We had informal
lessons. I will
ask questions
about music
and playing
trumpet. We
played chess,
we played basketball.
We hung out
together. I
wanted to see
just what kind
of person he
is. It is very
apparent that
hanging out
with someone
as serious and
determine as
Wynton Marsalis
brings so much
evidence on
what are the
key of success
in this field,
I mean…
those traits
of his character
are what makes
him so great.
He's worked
hard for it.
He is great
with students.
He will take
questions all
the way he can.
ALPI:
I heard of that.
I am also a
great fan of
Wynton. I have
a lot of his
CDs.
Jean
Caze:
Actually I do
not really like
the CDs that
I've heard.
I had the opportunity
to see him live.
I was backstage.
It is amazing
to see this
guy play live.
ALPI:
I've never seen
him live but
I know his music
through his
CDs. Most of
my favorites
jazz musicians,
I've never seen
them live. I
know them through
their CDs. My
Wynton's favorite
is "Black
Code".
Karl
Joseph:
I saw him live
while I was
in college. I
was passing
by the auditorium
and saw the
ad Wynton for
$5. You bet…
I jumped in.
Jean
Caze:
I doubt you
can find that
kind of deal
now (Everybody
laughs).
Karl
Joseph:
On this project,
about 8 of the
9 songs were
composed by
you, right?
Jean
Caze:
That's correct!
Karl
Joseph:
That's an interesting
point. I guess
you are going
to have more
coming. Your
next project
is going to
be a Haitian
Jazz project.
Do you plan
on doing your
own compositions
or are you going
to play the
traditional
Haitian songs
many Haitian
jazz musicians
are playing
nowadays.
Jean
Caze:
I am going to
do some traditional
songs, maybe
not the same
ones they have
done; two to
three of them
that all Haitians
know, but done
in my own way.
I think part
of being a jazz
musician or
an artist is
to enhance the
art, help it
develop into
new forms. You
cannot just
keep repeating
what was done
before. You
cannot keep
playing the
same music.
That's the reason
an artist must
compose. And
when you compose
you are playing
all your life
experiences
up to a certain
point and at
the same time,
you are making
something new
out of it. So,
the next project
will have mostly
my music played
in a Haitian
style, not the
same songs.
This movement
is not as big
as it could
be. I want to
bring my contribution
to help it grow.
ALPI:
That sounds
good to me and
that's where
we want to go.
We've been advocating
for this movement
for years. We
want you guys
to compose new
materials that
will probably
become standards
of Haitian Jazz
Music. Because,
when they turn
into standards,
others musicians
from other countries
will probably
start playing
them too and
put this Haitian
Musical Experience
to the next
level.
Karl
Joseph:
When should
we expect that
project? A couple
of years?
Jean
Caze:
No! Within a
year! (Laughter)
ALPI:
In December?
Karl
Joseph:
That would be
a nice Christmas
present!
ALPI:
Jean I know
you are very
busy and I really
appreciate that
you took the
time to come
here today for
the interview.
KariJazz wants
to wish you
good luck with
your CD and
your next project.
Keep us updated
on your progress
and any other
new endeavor
you might have.
Jean
Caze:
I certainly
will.
Karl
Joseph:
(shaking his
hands) Thank
you for
accepting our
invitation so
graciously.
Jean
Caze:
You are quite
welcome guys.
This is a valuable
work you are
doing for this
movement. Keep
it up.
ALPI:
Thanks.
KariJazz
June 3, 2007
