Haitian Music on Broadway (Compas on Broadway)

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For months the Haitian Academy for the Performing Arts presented to us a challenge they’ve embarked on; the challenge to take Compas to Broadway. It seemed almost impossible that this was going to take place as many industry insiders expressed concerns, disbelief and even skepticism vis-à-vis the event even before the nomination list was made public.

The time had finally arrived on Sunday April 12, 2009 and the scene for the inaugural Compas on Broadway Haitian Music Awards ceremony was the Avery Fisher Hall at the Lincoln Center in Manhattan. OpaMizik.com was there on the red carpet to cover this long anticipated event.

The red carpet was rolled out in style for the Haitian music industry at the Carnival Center For The Performing Arts on Sunday, April 12, 2009. The 2nd Annual Haitian Music Jazz Festival witnessed a parade of esteemed guests, including political figures, DJs, promoters, comedians, artists, and musicians. Among the attendees were Tempo, Septentrional, Zin, Mass Konpa, Saida of Hangout, Zeklè, Josminah Boisrond, Will Sylvince, Evens Jean, Larose, Kreyòl La, Melky, Gary Perez, City Councilman Eugene Mathieu, Delta Airlines Reps, Rodney Noel, DJ Whoo Kid, and Boukman Eksperyans.

The star-studded event saw many artists dressed to impress, with beautiful dresses and sharp suits gracing the red carpet. However, the members of Boukman Eksperyans drew some criticism for their lack of effort in dressing appropriately for the occasion, given their esteemed status.

The musical performances began with Tempo, who set the stage for the night, followed by Kreyòl La. Boukman Eksperyans, Nu-Look, and Zeklè followed suit, with Zeklè closing the festivities. While most bands delivered solid performances, there was a notable lack of spectacle or showmanship. Boukman Eksperyans started off strong with their well-known Carnival song “Kè’m pa sote,” but they struggled to maintain the momentum. Conversely, Nu-Look captivated the audience, who demanded an encore, solidifying the band’s dominance as they swept most of the awards they were nominated for.

A highlight of the event was the touching moment when the family of Nemours Jean-Baptiste accepted the “Lifetime Achievement Award” on behalf of the late legend, recognized for creating the Compas Direct genre. The academy also honored Maestro Ulrick Pierre-Louis of the legendary Orchestre Septentrional d’Haiti with the “Living Legend’s Award.”

Despite the great sound system, the event faced some logistical issues. The absence of a stage curtain and floor lighting made it difficult for performers to see the audience, which affected the overall experience. Additionally, media access was limited, making it challenging to obtain comprehensive footage of the event.

While the organizers aimed to showcase musical diversity, they fell short, with no gospel or Rap Kreyòl artists performing despite having nominations. Representing each nominated genre would have added to the event’s inclusivity.

In conclusion, the 2nd Annual Haitian Music Jazz Festival was a commendable effort with significant room for improvement. The organizers presented a great idea that requires fine-tuning to reach its full potential. Musicians must also step up to enhance their performances, considering the significant investment made to promote Haitian music and culture. Despite some shortcomings, the event was good, with hopes for an even better second edition in the future.