Jean Amédé Cazé is one of the most recognizable musicians on the contemporary Jazz scene. After beating out other competitors in the Thelonious Monk Jazz International Jazz Competition in 2007, Caze launched off a career that brought him on the stages of “The Today Show” to playing with Caribbean Sextet, to touring with Michael Bublé and performing with Roberta Flack. Cazé is hard at work on his second opus, a follow-up to Miami Jazz Scene, a 9-piece album that practically had some touting Cazé as a Haitian Miles Davis. Tracks like “Caravan” recalled the moods of 1960s Jazz with a little bit of contemporary thrown in, while the bouncy “Love, Love”, fused classic Jazz with just—just—a hint of pop. Cazé has been touring practically non-stop, while overseeing the recording of his second album (which he plans on dropping prior to the Fall season), but made the time to do this charming little interview.

Of all the instruments in the world, you chose the saxophone and the flugelhorn.
When I was 9 yrs old, my teacher asked me if I wanted to be in the music program. I accepted and was given a choice between the trumpet, saxophone, or trombone. I looked at the saxophone and thought to myself, too many buttons to press, seems hard. I looked at the trombone and I thought, it’s too big to have to carry around. Then I saw the trumpet and thought, oh cool only three buttons to press, how hard could it be? Then it took me days before I figured out how to make a sound!

It’s been said that childhood turbulence is a prelude to the lives of most musicians. Was that the case with you?
No. I grew up with minor issues. I grew up without a father but never felt like I needed one. I grew up poor but I come from a very loving and supportive family. Looking back it wasn’t so bad.

In 2006, you recorded your first album Miami Jazz Scene.
Yes, Miami Jazz Scene is the name of my self-produced debut album which I released independently while studying at Florida International University. The title is a joke, since the jazz scene in Miami barely exists. The music on the album reflects the kind of music I would perform at venues while living in South Florida.

You teach music as well. What is your approach to teaching music?
I help my students develop skills while trying to keep it fun for them. I expose them to great works of art to keep them inspired and I perform for them during the lessons so that they have something to strive for. I’m very honest when it comes to telling them about what it takes to be a professional musician.

After having to wait a number of years following your debut CD, what can fans expect from your second CD?
It will be worth the wait. The 2nd CD I’m finishing up now is at least 10 times better than the first. It features a lot of great artists. Reginald Policard, Mushy Widmaier, Dener Ceide, Martine Marseille, Melanie Charles, Obed Calvaire, and many other talents. My compositions are also more upbeat and interesting. The sound quality is superior. It will also be my debut as a vocalist. I will sing on several tracks in English and Creole. Syto Cave and Ralph Boncy wrote the lyrics of the songs with Creole lyrics. The reason for the long wait is that I’ve been very busy touring and I needed time to develop as a vocalist.

Most jazz musicians didn’t experience their first taste of success until they were well into their 30s or later decades, whereas you, the acclaim started when you were still in your late teens and early 20s.
What can I say? I’m blessed! Not only did God give me the talent but he put people in my life that recognized the talent and gave me chances to grow. A career in music isn’t easy. You have to have faith and discipline.

Out of all the accolades that you’ve gotten, is there one that stands out for you?
There is no one accolade I can pick out. I am grateful for every accomplishment. Being a professional musician who can support himself is an accomplishment. I’m a much happier person because I love what I do for a living. Work doesn’t feel like work. I put all of my plaques away in the closet because I don’t like to be reminded of what I’ve done. I’ll do that when I’m old. There’s way too much work to be done, I’m always looking forward.

Who really is Jean-Amédé Cazé?
You might have to purchase more space on the site if I fully answer that question! Hehehe. For now I’ll pretend you’re just asking about my name. Not too many people know this, but my real first name is Amédé. Jean is my second name.

What was your parents’ reaction when it became obvious that you wanted to be a musician for a living?
They supported me. I got scholarships to fund my education. I never left it up to my parents to fund my education. I think everyone should be encouraged to do what they are passionate about. Who says you can’t be successful in the arts. One of my teachers told me, “Nobody can take your dream from you……you give it up”.

With such a busy touring schedule, not to mention teaching and freelancing, how do you find a balance and avoid burnout?
Great question, it’s a constant struggle. I go to see other artists who inspire me. To be reminded of the powerful effect of music can have. I also try to schedule time to get away from music. I make time to be alone, hang out with friends, watch movies, read, exercise, etc. The more of a life I have outside of music, the more life experience I have to put back into the music. I’m a Libra so I’m always looking for that balance.

Who’s your dream collaborator?
I can’t say I have just one. Quincy Jones is the first person that comes to mind though.

Where do you see the music industry going? It’s obvious from developments in the past couple of years, that consumers are rejecting traditional channels, labels are losing their past influence, making some fear that the music industry is on a downward spiral.
I’m not sure where the industry is headed, but as long as the real artists continue to do what they were put here to do, there is a chance that they will inspire a change for the better.

If you should die tomorrow, before you wake, though we hope not, what would be your biggest regret?
My biggest regret would be that I took time for granted. I know I haven’t reached my full potential. I’m just getting started.

The legendary Alix “Buyu” Ambroise Jr’s journey has been different to say the least. It took him from Port-au-Prince, Haiti—where he was born into one of Haiti’s aristocratic families—to Africa, and then New York, where he currently resides.

During Ambroise’s early years, he found himself inspired by the music of saxophone great Charlie Parker, John Coltrane and the pianist and composer Thelonious Monk, just to name a few. Initially attracted to the flute, Ambroise eventually picked up the saxophone. He would go on to play the sax for different bands, and actually founded several—including the jazz-folklore bands Freefall, Metrosonik—but it would take years for him to go the solo route. When he did so, in the early 2000s, it was almost as if some musical waterfall burst through. His latest disc is the creatively-titled Jazzpora. That album has a track called “En Vacances” that’s very piano-heavy, with nostalgic chords meant to evoke the sun-drenched summers spent in Haiti that Ambroise recalls ever so well. The foundations of the opening track “Fifth House” were obviously laid on African-styled rhythms. The track ends with the tamed last minutes sounds of a wild Caribbean carnival of sort.

Ambroises’s other previous release Marasa was the perfect outlet for him to vomit out all the different influences that he’d been absorbing since childhood. The percussion-driven disc displayed Ambroise’s penchant for dramatic bass lines, and made use of harried west African-inspired rhythms, and yielded an overall eclectic sound.

Blues in Red, released in the mid-2000s, contained 10 tracks—mostly traditional songs from Haiti’s traditional song repertoire like “Kote Moun Yo”, “Kouzen”, and “Caravan”. The latter was a piece that bemoaned and celebrated the endless odyssey of Haitians, who pack and roam with all their cultural possessions with multiple stops. On the album’s cover, Ambroise’s downcast face is set in sepia Nephilim-like proportions, the only brightness is the Haitian flag bandana wrapped around his head. He doesn’t clutch his saxophone, but holds it away from his face, as if it’s something he’s reluctantly embracing. Happily, the cover for Jazzpora has Ambroise clutching to his instrument like a long-lost love found, and blowing passionately into it.

Passion is a trait embedded in Ambroise’s performances from the stage of the Montreal Jazz Music Festival to the New York Blue Note Jazz Brunch series. One of his latest appearances was at the Jazz Mobile, late this summer. His roots-drenched music can be heard from the performing stage of La Caye, a Haitian venue near the Brooklyn Art Museum.

Q & A

What sort of man is Buyu Ambroise?
I am an artist, parent, and educator. I have spent my life fulfilling all these roles. All of them require a full-time commitment. Sometimes I give priority to one role over another. However, the artistic me always takes precedence and has been and continues to be the guiding light that shines the pathways of my life.

You left Haiti as a child. Do you have any memories of the time you spent there?
I vividly remember my childhood years growing up in Haiti during the heyday of the Duvalier dictatorship which would later impact both my adolescent and adult life. As a child of the 1960’s era and growing up in Haiti, I attended the Petit Séminaire College St Martial—a liberal Catholic school in Port-au-Prince which prepared me academically and later helped shape my political views. Being part of a middle-class family back in those days, one easily could become a political target of the Duvalier regime. Any opposition to the government then could cost one’s life or exile. Some members of my family were targeted and became victims. Therefore, during my youth years in Haiti—as far I can remember—fear was a common denominator in my daily routine. Government terror impacted Haitian life. I first left Haiti to join my dad who was working as an educator in the Congo. I would later return to spend two more years in Haiti, but repressive political events in Haiti along with the disappearance of close relatives, brought the family to an exiled residency in the U.S. My childhood in Haiti was short but my memories limitless. As any other young boy in my neighborhood, a lot my leisure time was spent playing soccer, listening to music, exploring nature, visiting family members. I am fortunate to have been born in a family of artists. At home, there was always music. That was the seed of my music apprenticeship.

How did you get the name Buyu?
It was given to me by my grandmother, Reine Taluy. It has stuck with me since.

You spent a considerable part of your childhood in The Republic of Congo, also known as Zaire. What do you remember of those years?
My dad, who landed a job in the newly independent Congo would later have the family join him there. As a child, I attended school. The 1960’s was a period of social change for the Congolese. There was a growing sense of nationalism. Haitian educators and other professionals were recruited by the Congolese government to replace the fleeing Belgians, who once colonized that country. Our family lived in Leopoldville, the capital, which later was renamed Kinshasa. I intermittently lived there for two years. I have fond memories of the time spent there with my parents and siblings. It was a new experience as any immigrant would feel anxiety, longing for one’s country, language barrier, adaptation to a new environment, etc. However, the transition for me was somewhat smooth. There was a niche of Haitian immigrants living in the Congo. That small community somewhat bonded and was able to create a support system which was useful to the Haitian compatriots. I remember listening to African bands playing music. My dad used to go listen to live music performances by Congolese groups. It was good dancing music. It had, surprisingly, elements of Afro-Cuban influence, but with a style dominated by guitars and horns. I remember spending time listening to the radio and records that my dad would buy for his home collection. He was an avid listener and a passionate musician. He played the piano and would perform solo piano concerts for the school where he worked or wherever he could find the instrument. He would play all the Haitian repertoire that he had learned back in Haiti.

Was there a big Haitian Community in the Congo?
Yes, there was a considerable amount of Haitian professionals living in the Congo during the time I lived there. Among them, the illustrious Maurice Sixto, the great raconteur whom I had the privilege to meet. I also met Raoul Peck, one of the best Haitian filmmakers of my generation.

Later of course, following the time in the Congo, your parents moved to New York.
With Mobutu being in power in the Congo, my dad felt the need to relocate elsewhere. He decided to migrate to the United States. I moved to New York as a young adolescent. The biggest shocks? Having to adapt to a new language; a new school curriculum. It was a period of social unrest in the U.S. African-Americans were leading marches and fighting for their civil rights. The assassination of Reverend Dr. Martin Luther King; the Black Panther Movement was rampant in my neighborhood in Brooklyn; the Vietnam War; the Hippies; etc. were events that shook my world. The late 1960’s and early 1970’s were a period of major changes which happened so quickly. Being a young adolescent immigrant, I was unprepared. I was not able to understand the complexities of my environment, let alone understand the social, cultural and political phenomena which would later fashion my political, social and cultural views as an adult. I was just beginning to listen to jazz. It was also a period in which young Haitians attending school were stigmatized and being called Frenchies or immigrants. Many of them were unable to defend themselves due to language and cultural barriers. Young Haitians formed gangs. They roamed the streets of Brooklyn protecting their turfs. It was a highly combustive period where everything happened too fast but I was able to grasp a tiny bit of everything.

What attracted you to the saxophone?
I first began to play the saxophone while I attended George W. Wingate H.S. in Brooklyn, N.Y. I started while in the 10th grade. It was the time when Haitian bands like Shleu-Shleu, Fantaisistes de Carrefour, Shupa-Shupa, Les Ambassadeurs etc. were becoming popular. All of these bands were led by a saxophone. This instrument became very popular. I used to listen to their music and pay particular attention to the horn players. But the choice of playing the saxophone was purely a coincidence. I started on the flute and later switched to the saxophone because the flute had mechanical problems. The music instructor suggested that I choose and play another instrument. That’s how I began playing the alto saxophone.

Blues in Red is a rather intriguing title, and it was the name of your first musical baby. [Can you please discuss the album? The recording process of it?
There wasn’t really a plan to record an album. It began with Haiti’s Bicentennial Celebration in 2004. My cousin Patrick Plantin suggested that I form a group and do a musical tribute to our country by recording a jazz album. I agreed with the idea and followed his suggestions. In 2004, I recorded and released the CD entitled Blues in Red. It was named after the colors of the Haitian flag.

And why after playing the saxophone for such a long time on other artists’ albums, you finally decided to do one of your own?
I guess it took time for me to feel confident enough to do a recording as a leader.

Jazzpora is your latest work. Do you care to discuss it?
Jazzpora is my third CD as of date. It is a continuation of the first CD project Blues in Red. It is a collection of works that rest upon small jazz combo arrangements and compositions. I am constantly in search of a new approach in my musical journey. Obviously, the title expresses our experience of life in the diaspora through the sounds of music.

Do you think that Jazz music as you know it will die in years to come?
I don’t think so. Jazz and classical music will always be around. Jazz is not a transient form of music. It continues to evolve in so many ways and is still a popular form of music. So many young jazz artists are pushing the envelope and making a name for themselves.

Jazz greats Frank Foster, Jimmy Owens and John Lewis have all been inspirations to you. What are some of the things you learned studying under these talents?
Under each of these instructors I learned a lot: jazz theory; jazz harmony; saxophone techniques; reading music, and other music fundamentals and rudiments.

Just like you looked up to them at one point, some look up to you now. What advice do you have for the aspiring jazz musicians?
Becoming a jazz musician requires a full-time commitment to the art form. Many universities and specialized programs nowadays offer jazz curricula where one can learn and earn a degree in music. It is the best route to take.

From Marasa to your current albums, you always manage to gather a talented assorted bunch to work alongside you. How do you get them together?
Fortunately, living in New York gives one a great advantage since this is an arts mecca. There are so many talented musicians living here in NYC. Having played so many years in so many different places, my Rolodex cards are filled with names. I tend to select a bunch of great players who can respond to the music I strive to play: Haitian Jazz.

Do you think that Haitian music has influenced American music, as in music in the United States, more than most people might think?
The United states and Haiti are the two oldest republics of the western hemisphere. These two nations are intertwined in music. It is well documented by historians that Haitian slaves were taken by their owners to Louisiana during the revolutionary period of St Domingue in the late 18th century. Those slaves were said to have brought their musical heritage with them which later influenced the music which played at Congo Square. Congo Square music later became the seed that germinated and flourished into a style of music that is today called jazz.

Is the use of drugs as pervasive among musicians in the music world, as some seem to assume?
I have seen very little use of it in my circle of musicians.

You have collaborated with a great many Haitian artists. Which collaborations have been the most fruitful and satisfying in terms of musical chemistry, and output?
My musical collaboration with pianist Ernst Marcelin and guitarists Alix “Tit” Pascal, D’Ernst Emile and Albert “Beti” Ambroise were very fruitful in learning Haitian music of all genres.

As someone who was born in Haiti, and yet has spent practically an entire lifetime in the United States, when you go there now, what’s the feeling you get, what’s the vibe?
For each time I go home, I experience a total natural makeover of myself. When I perform in Haiti, I feel replenished, renewed, and a feeling of nourishing my heritage. Haiti is the reservoir of my inspiration.

When was the last time you were there, by the way?
The last time I was there was in October 2011. I did a tour that took me to the north of Haiti. I performed on the grounds the famous Sans-Souci Palace in Milot.

Let’s give our love and support to our Haitian artists. Get more acquainted with Buyu Ambroise, his music, and the latest on his performances.

There is this serenity in the music of Canadian-Haitian jazz duo Bel and Quinn. Perhaps it’s because one of their influences is 1950s singer Sam Cooke. Or perhaps it’s because the pair are actual sisters, and have their sisterhood on autopilot.

The sisters are hot as winter fireplace wood on the Montreal music scene. They can be seen performing at hot spots such as Club Balattou, O Patro Vys, Casa Del Popolo, and La Marche d’à Côté. The daughters of a Haitian couple, they perform in English, French and even Haitian Creole.

Quinn is up first! Follow our conversation!

Kreyolicious: Were you exposed to Haitian music growing up?
Quinn: Yes, we were exposed to Haitian music growing up. I always liked seeing my parents dancing konpa in the living room when we were younger. If they saw us watching them dance, they would stop! It was beautiful to see. I developed a taste for Haitian music listening to Rodrigue Millien and Ansy Dérose.

Kreyolicious: A lot of teenagers find themselves withdrawing into music as a refuge. Was the case with you growing up?
Quinn: Yes. I would even say that music saved my life. Bel and I have experienced extremely difficult things and mental illness has been and is still very difficult. Music has literally saved us from these difficult times.

Kreyolicious: What’s it like working with Bel in the studio?
Quinn: Bel and I often spend time together and it is as if we communicate without saying words. Bel is very patient and at the same time very perfectionist when we’re in the studio because she wants things to be perfect! Also if I’m not sure I played a song well, she encourages me. We are a team.

Kreyolicious: Let’s say you’re working on a track. What do you do?
Quinn: We try as much as possible to take ideas from both sides. If it doesn’t work we leave the song aside and we come back on it the next day or a few days later. But Bel and I are very well connected and our ideas come together quite often.

Kreyolicious: Canada being a bilingual country…do you think that certain songs are better done in French than English and vice versa?
Quinn: I think so. Some songs are better expressed in French, English and even in Creole. Some things are better expressed in some languages. Sometimes, the feeling of a song is meant to be in a particular language so you just have to follow your inspiration and creativity.

Kreyolicious: When you’re on the stage, all eyes are on you. When do you feel the most beautiful?
Quinn: I feel beautiful when I play my guitar solos. As a jazz guitarist – jazz guitar is a man’s world – I am proud to be a jazz woman guitarist. I feel beautiful when I do solos and when I can express myself with melodic phrases.

Kreyolicious: Have you been to Haiti? What did you think?
Quinn: I have never been for different reasons but it is in my plans. Let’s hope for the best [next year].

Kreyolicious: What should we expect from you next?
Quinn: We plan to record a few songs[this year] possibly in French and Creole. We’re thinking about an EP. We’ll keep playing in various venues to share our art.

This is the interview with Quinn! Be on the lookout for the interview with Bel! Stay connected with Bel and Quinn and their music!

VISIT the sisters’ website| Bel and Quinn on Facebook | Bel and Quinn on Twitter

Bel is one-half of the Canadian Jazz duo known as Bel and Quinn. The Canada-born singer-songwriter and her sister-partner has wrestled with depression to become of the hottest acts on the Canadian scene. Read our exchange below!

Kreyolicious: You’re a Canadian of Haitian descent. What was it like growing up with that dual identity?
Bel: It’s something that I really treasured as an adult. When I was a teenager, this dual identity was unclear. I sometimes felt that I could not express my Haitian origins. However, when I reached adulthood, I asked myself more questions: who am I? Where do I come from? To understand who I am, I need to understand my origins, history and it’s a search that I have not completed to date. This is an important pursuit.

Kreyolicious: Which artists did you grow up admiring?
Bel: I listened to various bands such as The Beatles, The Smiths, Rolling Stones, Isley Brothers, Fugees etc. Growing up, I discovered artists who inspired me in an incredible way. I’m talking about Nina Simone, Billie Holiday, Sarah Vaughan, Al Green, Marvin Gaye and so on.

Kreyolicious: What made you and Quinn start the group?
Bel: Music has helped us overcome great difficulties such as illness. Without music, I can not even imagine how we would have survived. It gave us a voice. The voice we didn’t have when we were younger.

Kreyolicious: Now you are part of a group with two leading members. How do you handle creative differences?
Bel: I have to say, it works pretty well. I write lyrics and Quinn composes the music. If there are differences, we take the time to discuss them and we always manage to find common ground.

Kreyolicious: You been to Haiti yet?
Bel: Not yet, but I have to go. I want to go [this year] if possible.

Kreyolicious: When do you feel the most beautiful?
Bel: When I’m on stage, I feel beautiful and confident. Being able to sing and share my music gives me incredible strength. I’m not afraid of anything.

Kreyolicious: What’s the music scene like right now in Canada?
Bel: Right now, there are different things going on. If I talk about the jazz scene, it’s not accessible. It’s not easy. It lacks opportunities for artists of cultural diversity. By cons, there are multiple festivals. During summer, Montreal vibrates with music.

Did you miss my interview with Bel’s other half? CLICK HERE to read the interview with Quinn!

VISIT the sisters’ website| Bel and Quinn on Youtube | Bel and Quinn on Twitter

Also…

CLICK HERE to read other interviews and features with Canadians of Haitian descent!