Interview with Smith Jean-Baptiste

              Haitian Diaspora Oral History Collection
Interview with Smith Jean-Baptiste
Pembroke Pines, Florida, September 10, 2011
Interview ASM0085000004
Interviewed by Kevin Mason
Recorded by Cory Czajkowski and Tim Roach
Outline by Kevin Mason and Xavier Mercado
Length: 25:05 minutes
Interview with Smith Jean-Baptiste, the influential percussionist in the band Les Shleu Shleu. Started in 1966, the band rose to fame playing after volleyball games in their local high schools. In this interview, Jean-Baptiste speaks about the seminal days of konpa until the band moved to New York in the 1970s. Today, South Florida is the capital of konpa music, with at least 10-15 well-known Haitian konpa bands in Miami-Dade and Broward counties, including Les Shleu Shleu. The band members all live in South Florida, which Jean-Baptiste considers the “Capital of Konpa Music.” During the interview, Smith Jean-Baptiste covers the historical roots of the band, its transition in the diaspora, and their upcoming performance. The interview also includes a live demonstration of his kalisembal (riding the cymbal) technique.
This interview forms part of the Haitian Diaspora Oral History Collection of the University of Miami Libraries Special Collections.
This oral history expresses the views, memories and opinions of the interviewee. It does not represent the viewpoints of the University of Miami, its officers, agents, employees, or volunteers. The University of Miami makes no warranty as to the accuracy or completeness of any information contained in the interview and expressly disclaims any liability therefor.
Copyright to this interview lies with the University of Miami. It may not be reproduced, retransmitted, published, distributed, or broadcast without the permission of the University of Miami Libraries Special Collections. For information about obtaining copies or to request permission to publish any part of this interview, please contact Special Collections at asc@miami.edu.
Smith Jean-Baptiste 2
September 10, 2011
INTERVIEW OUTLINE
- 00:00:12: Introduction.
- 00:00:58: You will also be playing at Casa Champet tonight? [before playing Big Night in Little Haiti]
- 00:01:24: These are two shows you’re playing nowadays, but back in 1966 your music was tied into the social scene of volleyball.
- 00:02:42: Who would be some of the teams that would hire you to play?
- 00:03:17: Did you have a particular favorite team at the time that you’d root for?
- 00:03:31: So if they won, it would be a big deal, wouldn’t it?
- 00:03:50: Who were some other groups that played the volleyball circuit with you?
− 00:04:15: So you played mostly in Pétionville?
- 00:05:04: So in the case of a win or a celebration, they would rent out a big house or it would be someone’s house?
- 00:05:22: Do you think it was youthful fun?
- 00:05:54: There’s such a connection to South Florida for Haitian musicians and Haiti. There’s a big community here, and there’s Big Night in Little Haiti, and that doesn’t really exist in other places, like New York on Montreal. Miami is almost capital of Tenth department. That lends to a music community, so it’s fertile here, do you think?
- 00:07:09: You went to New York in the 1970s and there was Marc Records [putting out Haitian music]. Who else was putting out records?
- 00:07:26: And there was also Shleu Shleu Records.
- 00:07:45: Did you ever put anything with Marc Records?
- 00:08:46: How was working with Ibo Records? Did you find that you needed to create Shleu Shleu Records because they not distributing enough?
- 00:09:52: How have you interjected you influence into the konpa music in general?
- 00:11:29: Who was your original sax player?
- 00:13:56: Would that be in the style of mini-djaz?
- 00:14:33: Who were some of the other mini-djaz groups that you liked?
Smith Jean-Baptiste 3
September 10, 2011
- 00:15:15: First it started out with mini-djaz and it was mostly guitar, and then the sax became more prominent and now the keyboard became very prominent. But in behind it’s your rhythm, it’s still there. Even though there are different leading instruments, the backbeat is still the same. They still use the kalisembal.
- 00:16:38: What were some tours you did throughout the Lesser Antilles, and you certainly played in New York. What were some of the fun places you played at?
- 00:17:31: I think you were very influential in spreading konpa with your group, but I guess around ’85 or so it was zouk that started taking form?
- 00:18:11: Up until then konpa had a huge influence on zouk music. When it was being performed in the Lesser Antilles they adapted with more keyboards. Do you think it [the keyboard] had an influence on the konpa?
- 00:19:29: Who is your current lineup? Who will be performing tonight and Friday?
- 00:20:53: So you have nine members now? Like the original line-up, just with a keyboard.
- 00:21:47: For Friday, what songs do you have lined up?
- 00:22:46: If you could just explain, how your style was different in a sense [as a konpa drummer]?
- 00:24:31: [Drum sequence by Smith Jean-Baptiste]
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- 00:25:05: END OF INTERVIEW.