About 7 years ago, I invited "Haitiando" vocalist, Boulo Valcourt, to play guitar with an Afro-Cuban band at a club in Manhattan.  His improvised solo was so good that after a choral break they invited him to solo again.  It was then that we spoke of doing someday a project called "Haitiando".  Since it was to be simultaneously Haitian and Afro-Cuban, it would therefore be very different from the salsa sound of New York, in whose performance, the band is little more than background for the singer and the spaces for improvisation and groove essential to African-Based dance music are taken out.

Haiti and Cuba had a long and little known history of musical collaboration.  Two historical periods stand out and make up the essence of "Haitiando" In the 1790's some French and Haitian musicians running from Haiti's war of independence left Saint-Domingue to find refuge a few miles west of Cuba in Oriente.  They brought with them the "Contredanse", and the "Charanga-Fancese", a classical ensemble of flute, violins and timpani percussion.  In the about 130 years it took to develop the modern Charnga, the kettle drums were replaced by the Afro-Cuban rhythm section, and the 'Contredanse' flowed into the 'Danzon'.  Thanks to legendary musicians like Antonio Romeau and flutist "Arcano y sus Maravillas" a charnga band that included the Lopez brothers that included the Lopez brothers: Orestes on Cello, and the living legend "Cachao" on bass, "Haitiando" was born.  They kept the classical paseo introduction, and the slid into improvised "tail" of mambo, cha-cha, and son-montuno, Cuba's sensous marriage of Spain and Africa.  

In the 1920's Haitian migrant workers went to Oriente to cut sugar cane, and this time they brought something back: the guitars, maracas, claves, bongos and the sweet 'son' of artist like: Miguel Matamoros, Los Compadres, Compay Segundo and Cheo Marguetti.  Haitian musician like "Etolies du Soir" and "Coupè-Clouè" used it to create their 'son' drenched compas hybrids, and country 'siwel' music. Throughout the years, and especially with the advent of radio, Haitian musicians have kept an ear on Cuban music.  From their 'Contredanse", edged of Danzons like "Almendra", by big bands like septentrionnal and Jazz des Jeunes, to original Afro-Cuban tracks by groups like Frères Déjean and Los Diplomaticos de Haiti, the music of Cuba is no stranger to Haiti.  

"Haitiando" is the sum of all this and more.  In one CD you get the riffing violin and flute-Charanga swing, and the sensuous guitar driven 'son' of Oriente.  You can hear the influences of charangas like "Orq. Aragon" and "America del 55", and the guitar and trumpet laden "Septeto Nacional" and "Septeto Habanero", In short, it's a true look at Haiti's long and ongoing experiences with Cuban music.  "Haitiando" keeps the "tipico-sabor', and gives us a Haitian flavored taste of the music that enchanted people like Coupè-Clouè.  This is music for the ear, imagination and soul, built from the dance floor up.  Aside from Boulo's soul-full and plaintive vocals, "Haitiando" Features some of the best Latino musicians to be found in Miami: Guitarist Juanito Marquez, flutist Rene Lorente (Orquesta Aragon), and Haitian pianist/arranger Eddie Prophete of Montreal.  Across-the board menu of slick bolero and cha-cha, a riffing charanga 'groove'; and son-montuno, is the work of producer Fred Paul.  His secret is to start arranging as soon as he has the right vocalist in mind for the project and then ask him whether he would want to participate.  Of course Boulo said Yes! As did all the other talented musicians on this album.  By Al Angeloro.