INFORMATION
| Born In : | New York City |
| Occupation(s) : | Singer, Producer, Song Writer |
| Genres : | Konpa |
Armstrong Jeune is the lead singer, composer, unrivaled lyricist and co-founder of the now disbanded group, DO-LA. He collaborated on numerous projects with some of the biggest bands and solo artists of the old and the new Konpa generation: Tropicana, Tabou Combo, Skah shah, Djet X, Eddy Brisseaux, Sweet Micky, Phantoms, Nu-Look, and Zenglen just to name a few.
Armstrong was a co-founder, lead singer, and songwriter of the New York All-Stars. This band stamped the industry with 2 classic albums, with major hits like: “Ti Bato”, and “Pou La Vie”. In his search to bring something new to the industry, Armstrong delivered a classic Jazz album entitled “Dial J for Jazz” in early 2006. This album confirmed once again that his talent as a lyricist, vocalist and composer are undeniable. Currently, he is working on a solo project, which will be distributed under Soley Sound Records based in Haiti.
Armstrong Jeune – Lead/backup singer for the New York All Stars.
Some critics see singer/composer Armstrong Jeune as one who has already, within his very short career span, established himself among the very few Konpa singers who one day deserve to be inducted into our yet to be Konpa hall of fame. His caliber is already being paralleled to those of legendary Konpa singers “Ti Manno” and Cubano.
This talented young man entered the music arena late in his teens. During one of his after-school piano lessons, his teacher, Dernst Emile, heard him sing for the first time and promptly encouraged him to consider taking singing lessons. He gladly took the advice and laboriously worked on his newly discovered skill. It was while hanging around guitarist Rousseau Telfort and pianist Philippe Pierre that he quickly developed into a skillful singer able to perform various musical forms, including jazz, salsa and Konpa. He lists among his influences Cubano, Guy Durosier and Joel Widmaier.
Armstrong’s strong presence in the Konpa industry simply cannot be ignored. He has in a short period of time collaborated on more than a dozen records. DjetX, Shleu Shleu, Tabou Combo, Zenglen, Skah Shah, Eddy Brissot, New York All Stars, and several others have stamped his distinctive voice on their albums. On the road, he has performed with groups such as Metrosonic, DjetX and New York All Stars.
Recognizing the value of an education, Armstrong obtained an associate’s degree in Social Work at the College of Staten Island and has spent four years working for the NYC Human Resources Administration. He is looking forward to a career change into the business field and plans on going back to school for his bachelor’s degree.
In the meantime, his immediate plans include the release of his first solo album and the continuation of his growth as an accomplished singer among his talented fellow NYAS musicians.
Armstrong, for his part, was enamored with musicality from early childhood. And therefore, acclimatized to music by his parents who imbued with his attachment handed him over to the expertise of Professor Dernst Emile for piano lessons. Yet it is his voice that will attract the attention of the ” master ” who also encourages him to cultivate it. From there began his apprenticeship of finding with as models bards as distinct as: Guy Durosier, Cubano and Joël Widmaïer. Although we can sense this similarity with Ralph Thamar. Thereafter, AJ came under the supervision of two instructors accomplished musicians such as guitarist Rousseau Telfort and keyboardist-vocalist Philippe Pierre with whom he explored the underside of jazz, from gospeland among other parameters, the konpa which will become its most favorable form of expression and revelation.
To begin with the “Metrosonic” small community group. Before joining a “Djet X” at the end of the cycle. Then, Smith J. Baptiste’s “Shleu-Shleu” “The Tradition Continues” . Who put it to another level; representing the click of its trajectory. Having been the one who allowed him to come out of anonymity. By highlighting his sparse tone, infused with spleen and scat. In addition to a scenic presence and a flamboyance symbolized by its lock in a ponytail ( ponytail ); that make her look like a super star. Obviously, requests did not take long to pour in, followed by performances in: ” Extra Zenglen ” by Brutus, ‘Mini All Stars’, ‘Tropicana’ ” 40 thAnniversary ” , Eddy Brissaux, among those who rushed on this aerial pitch with a delirious tempo.
On this momentum, he teamed up with a group of seasoned seraglio musicians such as: Shedley Abraham, Yves Abel, Makarios and the Welmyr colony, Assel and Kennely Jn. Rock. While Jeune is himself in tandem with Kenny Desmangles at the outpost. Composing a duo of singers with varied nuances within the newcomer “New York All Stars” who boasted of his bloated workforce. And with which AJ was able to highlight his skills as a composer, arranger and lyricist. Putting his mark on the band’s only album; offering particularly hits like : pou lavi, tibato and others to the repertoire of an ensemble which after a boisterous start, did not seem to have the makings for the vagaries of musical competition.
FORCING YOUNG TO RETURN TO HIS NEW YORK HOMES. WHERE HE HAS A NEW OPPORTUNITY TO BOUNCE BACK; BY BEING ASKED TO TAKE THE PLACE LEFT VACANT BY KING KINO AT THE “PHANTOM”.
Thus, after a brief journey, the “NYAS”, whose members seemed to have other priorities, dispersed. Turning Armstrong into a ‘freelancer’ who got involved in ‘stints’ with the ‘Taboo’, ‘Skah-Shah’. And at this point, he is tipped to be the replacement for Gracia Delva who has just been expelled to the country within the “Zenglen” of Miami. But, after a few test performances, the audience of the Coast Brothers let it be known that they wanted something else, a little more regionalist. Forcing Young to return to his New York homes. Where he has a new opportunity to bounce back; by being asked to take the place left vacant by King Kino at the “Phantom”. However, after accepting the offer, AJ subsequently changed his mind in the face of this challenge which would have put him back into orbit at the time.
But, without respite he rallied to the new formation “Dola MIzik”. With which he had a mixed journey; taking part in only one production of this group to which he delivered the piece brase, before spinning in the English way, lack of reception. In the next phase, he released a collection of his pieces in: ” The best of Armstrong Jeune ” with: pou lavi, korije m, Angelique, ala tipitit danse, ti bato, que c’est long, laughs komèsyal, homage to joe , and others. Subsequently he decided to reorient himself towards a solitary career. By reinventing itself in a more cerebral genre through the work: ” Dial J for Jazz ” containing:avan kew te pati, yon fanm ke mwen renmen, mwen tande yon mizik, cheri wap touye mwen, maladi damou, Léogane, or chanje, or pran nan pèlen etc. Which represented for him a sort of return to the source of his first initiations; in jazzy effusions and furtive elaborations.
BUT ABOVE ALL, THERE IS THE ARTIST! AND EVEN IF THE FLAMBOYANCE OF THE ” PONYTAIL ” HAS CRUMBLED, THE HEART IS STILL A MUSICIAN.
Showing a different aspect of Armstrong who kindly reinvented himself from major angles. But alas, did not get to touch the average fans of the bacchanalia; which are nevertheless its preserve. In addition to being incessantly frustrated by the production and distribution agents who have shown themselves to be incompetent in their task. Finally at his wit’s end, he decides to take a step back from the performing arts. With the idea of carving out new perspectives. What propelled him into entrepreneurship with the opening of a bistro in Flatlands Avenue, Brooklyn. Where he recovered, spending most of his time taking care of his new clientele. As well as old links that allow him to maintain his artistic impulses. While demonstrating that his musical flair and creativity remained intact.
What he tried to illustrate through the successive opus: ” Armstrong Young: Elements ” including: ou se sel fanm, rele m cheri, m’ta vle, Ayida . Then : Elements Pt 2 ” with : Jojo, fèm ankò, same love, rantre . And : ” Bon Konpa ‘ ‘ endowed with : farinen, deklarasyon, it’s so good, Armstrong bolero, Justinand others. Which have certified his determination to avoid anonymity. Even though the days of stardom are long past for Armstrong. The important thing is to be able to maintain your creative vibrations, while putting the works on time. Without however departing from its original source. Which is decisive in the perpetuation of a musical legacy. In addition to the characteristic features: vocals bursting with an off-tempo zest, infallible stage presence, the ups and downs. But above all, there is the artist! And even if the flamboyance of the ” ponytail ” has crumbled, the heart is still a musician. And that’s the main thing!
