The famous Haitian saxophonist Gérard Daniel aka “Le préfet de Brooklyn” With Les Shelberts, Les Pachas du Canapé Vert, he started in the Konpa genre. He later joined the third generation of Shleu Shleu directed by Serge Rosenthal. Returning to New York with Les Shleu Shleu in 1974, third generation, he decided to stay with his mother and other parents. Saxophonist of an extreme sensitivity who shows respect for his elders; he often pays tribute to his contemporaries. When in 1994 Tony Moise, maestro des Shleu Shleu, first generation, printed the CD ‘Shleu Shleu meets Joe Trouillot’, he called me at Moman Kreyol’s studio to tell me how soft, vibrant the sound of the saxophone in ‘Premiere Chanson’ is. is another Tony he said; it’s Stan Getz. Just after this conversation, Gérard’s compliment was passed on to the maestro. He also highlighted from time to time the saxophonists who, like him, received the dynamics and tessitura of the sax and clarinet of maestro Saint Arroman. Examples include the names of Réginald Rock, Lionel Dorlette, Deslhomme Jeune and Jude Maurélus, all saxophonists from the Lycée Toussaint Louverture band. To improve its mouth, he spent hours of training in order to master the muscles that control the air column of the instrument and coordinate his movements to reach the right note and also to master his timbre whatever the volume (1994). The fallout from these exercises produced juicy fruits which allowed it to produce a beautiful melodic finesse and an expressive and sensual sound.
Son of Gérard Daniel father, a Haitian / Dominican, returned to Haiti around the age of five and from a Haitian woman named Miralda Noel Daniel, Gérard Daniel fils is from Port-au-Prince Haiti where he lived until 18 years old. Her sister, Jacqueline, was a member of the Lycée Des Jeunes Filles marching band; she also played the clarinet. His uncle, Raphael Daniel of the MBC was also a trumpeter of Cadence Rampas occasions during the three fat days.
Gérard reports that he had just come from school when he received in Brooklyn the visit of Lesly Lavelanet (the drummer) who proposed to him to create a musical group. During this same week, he met Alix Jacques, Roger Jean Baptiste (Ti Yale) who asked for nothing better than such an initiative. Meanwhile, Alix Jacques called on Panthal Guilbaud, Eddy Chatel, Jean Robert Jean and lo and behold, the group was ready to venture out. These musicians launched their first disc without being known to the general public in the middle of 1975 and on August 12 of the same year, they had won over the clientele of the prestigious night club ‘Olympia Palace; the rest is notorious.
Member of the Fanfares of Lycée Toussaint Louverture and of Alexandre Pétion, Ti Gérard during his melodious day sailed from fanfare to fanfare, from mini Jazz to mini jazz to stop at Djet X ‘La Douce Qui Vient ”where the melodies and the metronome emit inexhaustible sources of joy. He composed Pardon, Zanmi, Pou rezon nou, Rossignol, Mizè malere, Bambauche 84, love To Love etc. Gérard was not the only composer of Djet X. In collusion with F Fleury, to protest against the label ‘carrier of the germs of AIDS’ awarded to the Haitian community by FDA and his acolytes, he endowed us with April 20 ( Pon An Souké) to mark the Haitian presence on the Brooklyn Bridge which vacillated this structure. Indeed, Alix Jacques, Eddy Lavelanet, Max Badette, Luckner Dor,
