Another galvanizer who has propelled himself into a waterproof leader; by establishing itself as a spearhead in the tonal epic of the pastoral meringue. And the vertiginous breakthroughs of one of the most legendary groups of the native land. Musician imbued with charisma, after his first hikes set with a vocation as a versatile artist. He still ended up abandoning a promising football career to get into music. It was in the second part of the 1960s that “Tiblan ” immediately took the outpost of a “Tropic”, then dominated by pioneers such as: Emmanuel Turenne, Charlemagne Pierre Noel, Yaffa François, Jean Norti, Pierre Lesca, Hervé Casséus, not to mention Parisien Fils Aimé, singer and trademark and the essential Giordany Joseph unalterable vocal imprint.
And among others, Gérard Jean-Baptiste, then promoted arranger and innovator of the group, and in whose shadow “Tiblan” refined his subjects on the job. The latter, whose harmonic innovations have allowed the group to get out of the ” champétrale ” rut and the groping of the kadans plake. And whose arrangements have introduced more accessible rhythmic parameters for urban dance. So many ingredients and atmosphere to authenticate the “Gold Rocket” Meringue . However, John the Baptist is quickly coveted by “Septent”,the city’s heavyweight orchestra. This is how Cinna Octavius has since found itself at the heart of a heritage which establishes it as the most emblematic figure of the “Tropic”. He also distinguished himself as a self-taught conductor and as one of the best saxophonists in climate music.
A licensed virtuoso, for five decades he put his stamp embalmed with voluptuous chants on the various excursions of the fetish ensemble of the north. Which has improved considerably under his leadership. First as a maestro and also as a reference in an orchestra that has always been his. This is the reason why the door has always remained wide open to him, even after fleeting fleets (including a brief stint with the “Skah-Shah” without Loubert). And when Louis Jean Lubin had to stay the course during his absence. Dru with a phosphorescent sound, instilled with bravado; which highlights a colorful execution of the standards. It is true that “Tiblan” has known everything with the ” TropicanaWhich gave it back. For his part, we have no right to have doubts about his love for the “Gold Rocket”
Which, he gratified with some caliber compositions. While remaining the iconic star who has distinguished himself as a true legatee to the first predecessors. Like the one who worked to elevate his art of playing and living within the reach of a community. And which imposed itself with its singularity, its personal and radiant phrasing; who have maintained and nurtured the musical and fundamental standards of a group that clones it like a kaleidoscope. With this contagious madness, this versality projecting a plural touch: igniting country and patronage festivals, enthroning the solemn ballrooms of the diaspora, enlivening the atmosphere in the four corners of the island. And in remote corners of the planet. Sometimes with class and sometimes in the debauchery of the konpa-hounsi. But still with absolute tube vibrations:Adrienne, Mizè malere, Doux Tropic, Yolande, Maria, Pa meprize m, Byen chape, Pran Pasyans, Lavi dwol, Rekonsilyasyon, Viv lavi, Ti Jocelyne, Limonade, indiscipline, Superstition, Chache konnen, La famille, Angélique, Chèche pa w , Gason ak fanm, Pa fè sa, Nou refize granmoun, Mwen renmen Tropic, Twenty years, I would never have believed , are successes to which are added the hits of the last twenty years. Which all went under the corrective fingers of Claude Charles. We also do not forget that he has rewarded solo works such as “Tiblan and his sax ” which highlights his uniqueness in nuance. Following a variety of excursions and a sound similar to that of Wébert Sicot who played with the group in his first formation, under the name of “Caribbean”.
Composer, arranger, musician imbued with his art and talented saxophonist. His velocity, accuracy and virtuosity make him one of the most prominent instrumentalists over multiple generations. In addition to being the fetish maestro of a contemporary “Tropicana”. But who, thanks to his mastery, still remains one hundred percent Tropic today. Always surrounded by young people who must appreciate that he is still at the post to direct the antics. To be a guide who knows the road well. While continuing to spread his breath and his air tempo in the frenzied meringue of Haiti’s “Gold Rock” of which he remains the eternal pillar and also one of the most consistent blowers of Haitian music.
