Born Pierre Féquière Joseph, on October 17, 1937 in Terrier-Rouge, “Gros Monsieur” adopted the name of
Giordany given by his godfather, Jolicoeur Joseph. He made it his stage name, his artist name. Like many
stars, he exercised his talent in the church choir and shone in a theatrical performance as the main actor in
the role of sentry.
At the age of 15, he returned to Cap-Haitïen to continue his studies and continued to sing in the choir of his
church. A little later, he joined the Citadelle du Nord orchestra under the direction of Jacques Montpremier
and Jean Martel Dorsainvil. It was in this group that he met his friend Hervé Casséus, who used to play with
the Tropicana orchestra when he needed an accordionist. When the Citadelle du Nord orchestra
disappeared, Hervé definitively joined the Tropicana orchestra. He later invited Giordany to join him. He
hesitated. Charlemagne Pierre Noël and Emmanuel Turenne, respectively musical director and maestro at
the time, managed to convince him.t so in March 1968, Giordany Joseph made his entry into the Tropicana
orchestra of Haiti and distinguished himself with French songs, boleros and especially pot-pourris.
medley was “solamente una vez”. Among the great Capois singers, Giordany was a sure reference, his voice
filled the orchestra in all its compartments. He had become a singer of charm with the French songs and his
boleros, of which only he had the secret. In his style, he was unique. The artist was an extraordinary lyricist.
He added memorable texts to Tropicana’s repertoire such as: “Rosemarie”, “Marie Madelaine”, “Rosie” and
“Philomise” that Charlemagne and Larivière had orchestrated. His favorite text was “Le Nègre”, arranged by
professor Jean Janvier Muselaire.
An institution is worth nothing without people. Its fame and existence are conditioned by the discipline,
performance and experience of its members. Over the years, it is called upon to renew its executives to
maintain a certain standing, fight against competition and improve the quality of its services to the population.
No institution can go through two generations with the same team. Certain changes are indeed necessary;
others are occasioned by death, illness and also from personal conviction.
You don’t know an institution if you don’t know its history. We do not know the latter if we do not know that of
the men who compose it or who gave birth to it. We must permanently return to this glorious past to
encompass these different actors, who are the pride of the people of the North, and Tropic fanatics in
particular.
Turning 50 years old today, the orchestra started from scratch with people with no experience, but with a
desire to learn and a willingness to serve. Along the way, they have turned out to be studious and efficient
students to the point of becoming stars that shine everywhere. Interchangeability of the actors did not modify
anything in the framework and the striking force of the orchestra Tropicana, which wants to be the Orchestra
of all the generations.
These pioneers who started and who by necessity are no longer in charge, we must talk about them. You
should not consume the juice without talking about the fruit. These youth who are chasing the Tropicana
orchestra must know those who started, those who laid the foundation stone of this citadel that we all revere.
Tropic has a story, it has to be written. The history of these stars which shone one after the other until their
disappearance must also be written.
Nobody is nobody without nobody. This publication was made possible thanks to the combined efforts of
several personalities, including the hub Mrs. Emila Hilaire, who harmonized the reports despite the
difficulties; the tireless engineer Joubert Constant, who spared no effort to achieve this goal; our friend Rilou
Hilaire, who put all the logistics at our disposal with his technical advice and the “Phébé” (important piece)
boss Paul Pierre my very dear godfather, a man of the field who escapes nothing and who has does all the
coordination.
And finally to the artist himself who spontaneously cooperated in the production of this text. We say thank
you to him for lending his voice during all these years to tell us about scenes from everyday life that made
the Tropicana orchestra one of the very first in Cape Town, and for helping to bring it to life. emancipation of
Haitian art. Giordany Joseph, you deserve the homeland. May your name be engraved in gold letters in the
annals of the Tropicana orchestra of Haiti and on this cultural heritage, which is also your work and may
future generations know that you were one of the pillars of this colossal work that is the Tropicana Orchestra
which has survived two generations with honor, pride and merit and which is preparing to face many more!
To everyone who has allowed us to highlight, on the one hand, the Tropicana orchestra which has performed
relentlessly for 50 years and which has achieved a certain notoriety in Haitian music and, on the other hand,
to the he artist Giordany Joseph, a monument that we tend to forget, which enjoys our esteem and which
represents one of the ancient glories which is the pride of the orchestra, we say thank you. May they find
here the expression of our deep gratitude!
