Michel Corvington, another who briefly marked the sound upheavals of the 1960s. Instilled with multiple trends: big-band, Latin combo, quartet etc. frequented in expressions of jazz, bossa-nova, blues, rock among others, in addition to the various approaches of the soil. So many parameters available to feed the first steps of young Corvington. Which applied himself as an autodidact to exploring the expressive facets of the guitar in order to infuse the climate biotope with his complex claws. And, it is with these strengths that he is installed at the head of the group “Les Corvington”, to damn the pawn of the most fashionable competitors. And mark in their own way an era from which arose the tonal utterances which will be the genesis of future sounds.
Composed of Alix Corvington on bass, Jean-Jean Laraque and Bobby Denis on drums, Mario Larco on percussion, Camilly Philipe on drum, Pantal Guilbaud vocal, Paul Gonel on accordion, Serge Guerrier singer (these two will supply after the line harmonic and vocalizations of the “Tabou Combo”), and Michel as a maestro guitarist is involved in all the sequences, providing an impromptu sound; galvanizing the whole with picturesque finger strokes. In a fused music which wants to be a condensed between the sophistication of an “Ibo Combo”, in the measure of its jazzy invoice. With nevertheless its particular characteristics of a pinned swing and its reduced format; having preceded the conquest of mini-jazz. And even with his reserved manner, Michel has been able to go the extra mile, as a solo guitarist and eurythmic, imbuing the whole music with an innovative touch.
EVEN WITH HIS RESERVED MANNER, MICHEL KNEW HOW TO WORK DOUBLE, AS A SOLO GUITARIST AND EURYTHMIC, IMBUING THE MUSIC OF THE WHOLE WITH AN INNOVATIVE TOUCH.
The excellent and very competent Musical Critic, Dr. Roland Léonard, in the Nouvelliste dated May 8, 2002, gave us an adequate sketch of Maestro Corvington:On a personal level, the playing of the leading guitarist Michel Corvington has influenced many practitioners like Pierre Boncy and so many others. Good zigue, Michel was very generous and it is thanks to him that many learned their first dissonant chords like the sixth, the major seventh, the minor and dominant seventh, the ninths… etc… Informal teaching, without didacticism, without excessive pride or “pedantry” or pedantry. The greatest kindness, the greatest simplicity, a remarkable absence of aggressiveness and insolence; quite the opposite of a Tit Pascal at the time admired and charismatic. An eclectic culture, adding to the aforementioned influences those of Indian music of the Arab scales ” .
A whole cocktail that constituted the tonal parameters of the band à Michel, including a few pieces: Django, Lesly, gwoup flannè, mini skirt and others; have had time to pack a whole generation enamored of shortcuts and the assessment of sound intensities. So many distinctions that inspired other groups of the time. While illustrating him as one of the first to uninhibit the guitar to make it an accessible instrument. Yet the rise of the “Corvingtons” was episodic despite their considerable impact. Because, the sixties it is the kickoff of the brain drain and the capacities fleeing the insane duvalierism, which was going to erode the country. This is how Michel bowed out to an audience that is acquired to him.
When he arrived in New York, he did not remain inactive. Having the time to take part in the launch of Yannick Coupet’s record: ” Natif natal ” , showing the measure of his flair and his know-how. While joining the ” Topical Sextet “, along with Jean T. Donnay, Pat Coby, Carlos Ramirez, Manno Mathieu and Gary French. In a collaboration that has delighted bistro enthusiasts, for more than a decade in the state . At the same time, he also participated in French ‘ ‘ solo ” works , as well as in Carole Démesmin’s first production: ” Maroule ”, continuing to inject his exclusive touch into the creations of others, always with discretion.
But the late 1980s saw Corvington relocated to the ‘ sunshine state’ , where he resurfaced in a Latin combo ‘Los Tropicales’; then, played with the “Miami Hit”, alongside Carlos Ramirez on keyboards, Gary Dubois on bass, vocal Marc Ferrère and Corvington on guitar offering the dimension of his virtuosity and creativity. Exploring the various Afro-Caribbean, Brazilian, Latin rhythms etc; at the Chic Restaurant, enchanting the residents of Broward County, Florida. Possibly to other occasional associations including a recent ” stint ” with the ‘PNP’ of Florida, acronym of ‘ ‘ Plezi N ap Pran ”,with: Loubert, Zouzoul, Ronald Smith, Guerrier, Pantal etc. Demonstrating to various generations that it has improved over time.
