KariJazz: In a few
words, can you introduce Buyu to KariJazz listeners?
Buyu: My name is Alix Ambroise, Jr. The name Buyu was
given to me by my grandmother when I was very young.
I come from a family whose tradition is deeply rooted
into the arts. I grew up listening to both classical
and popular music. I heard my dad playing the piano,
accordion, and harmonica around the house where
we lived in Port-au-Prince, Haiti. That always brought
joy and excitement in me. My cousin Paula Ambroise,
also a well-trained classical pianist living in
the same complex where the entire family lived,
used to enthrall me as well. I used to listen attentively
while she practiced her piano. I was startled by
her discipline, talent, virtuosity, and dedication.
She left an early musical impression in me. For
the first time, I remember, the thought of me one
day playing crossed my mind.
It was not until I turned fifteen that I formally
began playing music, while attending George Wingate
H.S. in Brooklyn, N.Y. I first started on the flute,
and then switched to the alto saxophone. The saxophone
was the leading instrument in the Haitian bands
that were surfacing during this period. I heard
Tony Moise, the sax player with Shleu-Shleu, and
fell in love with the horn. I wanted to mimic every
breath he took on his instrument, but I didn't have
a mentor to teach me the phrasings and techniques
of playing konpa music. Later on, I began to listen
and acquainting myself with more Haitian jazz oriented
sax players like Lionel Volel (Ibo Combo), Edgar
Depestre (N.Y. Ibo Combo/Caribbean Sextet), and
Guy Durosier.
Upon graduating high school, I somewhat abandoned
the saxophone or music altogether. I didn't want
to pursue a career nor found any interest beyond
the high school jazz band experience, of which I
was part during my junior and senior years there.
Two years after H.S. graduation, I purchased my
first tenor saxophone. It was during that time I
met Ernst Marcelin, an old colleague from high school
who was experimenting with jazz music on the piano.
We enthusiastically decided on collaborating by
pursuing a common goal - that of learning jazz music
and a study of the Afro Haitian musical heritage.
Thereafter, I committed myself deeper into studying
music. We attended many workshops, concerts, jam
sessions, and kept close contacts with many jazz
musicians in the NYC area.
I joined the Jazz Mobile Program in Harlem, where
I studied jazz composition, harmony, theory, and
improvisation with Frank Foster (Count Basie Orchestra)
and Jimmy Owens. I also studied music at City College
under the guidance of John Lewis (Modern Jazz Quartet).
In the 1980's Ernst Marcelin and I cooperated in
founding two bands: Ayibobo in the early 80's and
Freefall in the late 80's. Both groups were jazz
combos which fused musical elements of traditional
Haitian folklore.
By the mid to late 1980s, I also joined the group
Ayizan, led by Alix Tit Pascal. I traveled and recorded
with the group.
By the early 1990's, I met Edy Brisseaux, a trumpet
player (Caribbean Sextet); Lionel Oriol, bassist
in earlier times with Ibo Combo; lead vocalist Gary
French (Pepe Bayard and Tropical Sextet), Joel Theodore,
vocalist once with Bossa Combo, to found a konpa
group in New York. The band, Metrosonik, became
very popular but did not record professionally.
After a four year-stay with Metrosonik, I went into
a hiatus. I attended school to become an educator.
I stopped playing music completely. It was not until
a few years later that my cousin Patrick Plantin,
rescued me and asked me to get my horn out of the
closet and get my chops together. He wanted me to
perform again, but in the jazz tradition. Irresistibly,
I then formed The Alix Ambroise Quartet, with Eric
Lemon, a bassist and colleague from school, who,
too, encouraged me to pursue music.
In 2004, I was approached by Patrick Plantin, Ader
Leroy, and Alan Epstein who proposed that I record
my music. The opportunity was instantaneously welcome.
It was a dream comes true. Blues In Red, which is
the name of the project, was born.
KariJazz: Another album
after two years? Why now? Is it difficult to put
together such complex projects?
Buyu: This idea of this new album (CD) Marasa
was conceived as early as the summer of 2005. The
seeds of this project were always germinating and
growing. I actually wanted to begin recording right
away. However, it was wise to wait for some time,
by planning ahead, before releasing this new one.
Sometime, the market dictates the events and the
calendar. In a marketplace that is very narrow and
highly competitive, one would rather nurture the
project until it reaches maturity; then it can be
published. There are so many variables to settle
before an artist decides as to when to release his/her
art to the public.
It is always a complex experience in putting together
any recording project, especially if you are a meticulous
worker. Once you have your musicians on board who
are able to understand the foundation and direction
of the project, the complexity of your project is
already 90% done. The remainder is much unproblematic.
With the myriad of new Haitian jazz releases in
2006 (Omicil, Policard,
Widmaier,
Theodat),
this CD, I hope, will shed a fresh voice in the
directions that the collective of Haitian jazz artists
are scrupulously pursuing in promoting this new
genre of music in our community and beyond.
KariJazz: Marasa, this
is a very suggestive title. Can you succinctly talk
about this choice?
Buyu: Marasa means twins in Haitian Creole.
It also means duality. In traditional Haitian culture,
marasa symbolizes abundance. This title was inspired
as result of a long introspection as an immigrant
living in North America. I see myself living in
two separate worlds co-existing harmoniously in
two cultures. On the one hand, is the physical self
- the immigrant living in North America - ; the
other, my spiritual world, which Haiti has left
its indelible mark on my DNA. I greatly retained,
cultivated, and cherished all the fruitful Haitian
traditions passed on to me by my family and the
Haitian society at large. Living here in the United
States for so many years has also shaped my views.
This marasa is made evident through my music which
synthesizes both cultures. In sum, I guess it reflects
the Haitian-American phenomenon of being essentially
multicultural.
KariJazz: Blues in
Red is a very poetic name for a band. Is it a quest
or an affirmation of identity?
Buyu: It's both. First, it is a quest in
searching for the common tongue left by our elders
as a heritage, which I believe, is essential in
continuously defining and re-defining us, as a people,
and a culture. The first CD, Blues In Red, begins
with a tribute to my ancestors with a rendition
of the Dessalinienne, and ends with Konviksyon,
a piece written by Manno Charlemagne, depicting
the resilience and hope of the Haitian people, in
spite of their political suffering and misery. Second,
Blues In Red is also the color of Haiti's flag (blue
and red). This CD was a tribute to Haiti's bicentennial,
in 2004. Ever since the artist Wyclef Jean appeared
on TV draped in the Haitian flag, at a music award
ceremony, The Haitian colors have increasingly become
more visible as the icon used to identify ourselves
in the Diasporas.
KariJazz: What is the
purpose of revisiting our traditional standards?
Buyu: I think it is essential for Haitian
artists (but not necessarily the rule), no matter
where they are in this world, to show Haiti through
their art, even if it is done as a sidebar reference.
There is so much wealth in our culture that yet
remains untapped; (especially in the realm of music
and dance). The more Haitian artists record the
traditional songs, the more likely that these songs
will become standards to be emulated.
KariJazz: Where do
you see yourself with that album that you just released?
Buyu: There is so much I'd like to do with
music. I have other projects in mind for the future.
For now, I am very happy to release my second CD,
Marasa. It is an outgrowth from the first CD (Blues
In Red). I am hoping that people would have a chance
at listening, appreciating and critiquing this second
collection of songs that I have just released.
KariJazz: We at KariJazz
fell in love with this rhythmic section, the dazzling
horn arrangements and the endless flows of this
very skillful pianist. Can you talk about the band
briefly?
Buyu: Thank you for your kind words. The
band is, in essence, a sextet format. Sometimes
the band is augmented to a septet or an octet for
concert performance by adding a trombone, an additional
percussionist, or both. The musicians I work with
on this CD are assiduously committed to their crafts.
I have been collaborating with Lou Rainone, a jazz
pianist whom I met in 2001 while working together
in a group that was formed in the aftermath of 9/11.
He has been an active and central member of my group
since 2005. He is a very skillful pianist. I have
been fortunate to work with some of the best pianists
in the business. Frederic Las Fargeas, who recorded
with me in the first CD, is another outstanding
musician who also captured the essence of my music,
and was one of the musical architects working close
with me. The trumpeter is a young Haitian living
in N.Y. His name is Gil Defay. He is a very talented
musician, who also has joined the band in 2005.
He is a great sideman. The bassist is Paul Beaudry.
He is originally from San Francisco and a product
of the Berklee School of Music. He has been with
the band since 2004. He is an exceptional inventive
player with qualities that are multi-dimensional.
He is also a fine percussionist. In this project,
he often approaches the bass as a percussive instrument.
James Tiga Jean-Baptiste, a young drummer, whose
specialty is Haitian rhythms, is one of the most
talented young musicians I have worked with recently.
He drives the band with such pulsating beat, that
at times one wonders how many hands does he possess.
Eliazer Berrios, who is from Puerto Rico, is the
youngest member and latest addition in our group.
He has joined the band during the fall of 2005.
He is a very dynamic musician who has studied drumming
with Haitian percussionists here in N.Y. Sean Phekoo,
another drummer who was an invited guest on this
new CD.
The combination of these musicians makes for a dynamic
rhythm section, which is the quintessential effervescing
force that drives the band.
KariJazz: On this CD
you have some compositions from Ansy Dérose,
Albert Chancy, Bethova Obas, a superb version of
"Dilere" and a subliminal take of Wayne
Shorter's footprints. Can we say that Buyu have
found the magic formula?
Buyu: I don't know if there is a winning
"magic formula" in music. I tend to think
that if you claim that you found this "formula
that works", the tendency would then be for
the artist to stop going beyond the endless possibilities
which are further than the horizon. To me, music
is an infinite experience. Just make sure that you
do it with all humbleness, an open heart, and with
intellectual probity.
KariJazz: Thanks for
your time. KariJazz is proud to promote the wonderful
musician you are. Thanks to you and to Blues in
Red for populating our dreams with such colorful
sounds.
Buyu: On behalf of the Blues In Red musicians,
I graciously thank you for giving me this opportunity
to express myself in your program.
KariJazz
December 6, 2006
