Herman Nau, established himself as one of the most characteristic drummers of his time. Raised in a musical atmosphere, it is rather the accordion which was his bedside instrument, the family instrument, with a certain interest for the drum. However, it was rather the trumpet that he gave his preference to the Fanfare of the Lycée de Pétion-Ville, where he had as classmates the brothers Lyonel, André and Fred Déjean who themselves became adepts of the brass. Between school constraints and musical passion, it is rather on the drums that Herman will set his sights; after discovering the great drummer Antoine Osselin, during a fair at Cabane Choucoune. At this stage, he already knew where he wanted to go to illustrate himself later, as one of the local representatives of contemporary drums. Besides,
Until the adventure changed for good in 1968, when Herman and Albert decided to go beyond amateurism, for further musical exploration. This is how “Incognitos” became: “Tabou Combo”; for a new group that will shake up so many received ideas. With the “Taboo”, it was an explosion of melodious strings and a rock & rollant rhythm. For this ” string band ”, Herman became the mobile striker who took care of all the harmonic grains, watering everything with his flourishing flights. With completely unorthodox parameters that allowed the group to take the music scene by storm, but made up of teenagers, the “Taboo” hastily erupted when the majority of the musicians left for abroad. Subsequently, the group was reconstituted in New York where HN became the sole leader, after the withdrawal of Albert Chancy. Indeed, Herman inspired for more than thirty years during the existence of the group, to direct the maneuvers, among others, to concoct the rhythmic elaborations and the various innovations, until the making of the costumes, and “trade marks” which had. shaped their image of “super stars”. In addition, the various orientations that the group had successively explored during a journey spanning several decades. It was through these changes that he established himself as a model metronome at the end of the cycle, post-mini jazz. and “trade marks” which had shaped their image of “super stars”. In addition, the various orientations that the group had successively explored during a journey spanning several decades. It was through these changes that he established himself as a model metronome at the end of the cycle, post-mini jazz. and “trade marks” which had shaped their image of “super stars”. In addition, the various orientations that the group had successively explored during a journey spanning several decades. It was through these changes that he established himself as a model metronome at the end of the cycle, post-mini jazz.
From the claimed tones of the premises of konpa-popcorn, to the internalization of the zapaton rhythm of the “ masters ”, passing to the funky accommodation of the mabouya cadence, until the replenishment of the late 1980s to the source of konpa dirèk. To say that if “Dadou” is the most emblematic figure that the group has known. ” Shoubou ” remains the vocal factory there, no one other than him and the guitarist Pyronnau represent the rhythmic structure and the harmonic language of contemporary “Taboo” so much. Conventional drummer, his style powerful in density, is characterized by rolls of the bass drum, with an impressive array of percussions, double cymbal ” high hat ”, a complex and dominant cymbal turn etc.
. With the “Tabou Combo”, however, it was the metronomic approach that prevailed, with the allure of the “kadans mabouya”, the rhythmic trademark of the group, made of incessant calls of cymbals. And ” breaks ” and crates that intersect. In fact, in a generation that has given so many ” cracks ”: with the super Tico Pasquet, the pillar Arsène Appolon, the talented: Touco Bouzi, Armando, JR Jn. Pierre, Janjan Laraque, Tico Sylvain, Smith Jn. Baptiste, Ramponneau, de Volcy among others; Herman made himself the most singular by establishing himself as a guide of a particular genre, combining style and substance, galvanizing the outpost with blows of sticks and vocalizations.
However, apart from ambient and dance music, he is also a musician with a great musical culture, who has acquired during his long career, assets such as: priority to rigor, infallible tempo, striking force. , singular punctuations. So many traits that singled him out closer to the “rocker” than to the “timbalero” compared to the Latin style that distinguishes most Haitian drummers. In addition, he was not satisfied with being the “drummer”, by investing in multiple functions of master of the measure, the one who announces the pieces which follow, while bringing his vocal contribution. At the dawn of half a century of service, we will have placed this master of the sound environment, among the most emblematic modern drummers of the region.
Finally, the one who will have explored a lot of practical and academic knowledge to identify as many rhythmic diversities: jazz, bossa-nova, pop, up to traditional Haitian rhythms. Capabilities that he had demonstrated in his production, solo “At the source”, released in the joy of the thirty-something of “Tabou Combo”; all this brought to light a Herman Nau in his cantors made of exaltation. Installed Secretary of State for Youth Sports and Civic Affairs in 2001 under Aristide’s second administration, Herman faced the greatest challenge of his public life. Time to prove that he was a real convenience store, or not? It is true that as a rhythmic creator of “Taboo”, one cannot afford the risk of doing without one’s mark, at the risk of losing oneself.
