Interview Outline |
Save page Remove page | Previous | 1 of 2 | Next |
|
Haitian Diaspora Oral History Collection
Interview with Yves Joseph
Hollywood, Florida, June 9, 2012
Interview ASM0085000021
Interviewed by Kevin Mason
Recorded by Kevin Mason
Outline by Kevin Mason and Xavier Mercado
Length: 28:03 minutes
Interview with Yves “Fanfan” Joseph, manager and vocalist for Tabou Combo, the most commercially successful Haitian band. Joseph has been with Tabou Combo since August 1968. In this interview, he explains the commercial origins of the band and how they faced adversity in collecting royalties in international markets. After selling half a million records of their 1976 single “New York City” and not receiving royalties, Joseph began studying the music business as a means of protecting the group from record label exploitation. Joseph describes Tabou Combo’s creative encounters with Carlos Santana, who covered their song “Mabouya.” He also provides an overview of the band’s international travels as the first Haitian band in Japan, throughout Africa, and the Lesser Antilles. Tabou Combo was one of the several mini-djaz groups influenced by French popular music, the Beatles, and the Rolling Stones, among other international styles built on top of their traditional konpa music. Joseph describes the longevity, repertoire, and fan reception of the group and how they utilize SACEM to retain royalties. The band has increased its international presence, reaching into new territory in Gabon and Angola.
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.
Yves Joseph 2
June 9, 2012
INTERVIEW OUTLINE
− 00:00:12: Whenever you’re ready if you’d like to just say your real name and a little bit about yourself? [Can you give us a bit of an introduction to your work with Tabou Combo?]
− 00:00:45: So could you talk about maybe back in the day when you guys used to play after volleyball games?
− 00:03:18: And the style you guys started out with was the influence of The Beatles song, so yeye was the style that Tabou Combo was playing?
− 00:03:48: Well that’s appropriate because you guys have been called the Rolling Stones of Haiti…and why do you think that comparison is accurate?
− 00:04:35: Wyclef most recently said it at a Donna Karin benefit for Haiti, but it was Ralph Boncy who initially said it.
− 00:05:02: And you’ve been called the most versatile member of Tabou Combo, can you talk about how you are versatile as manager and also as a musician?
− 00:06:28: For people who don’t know what SACEM (Société des auteurs, compositeurs et éditeurs de musique) is, could you explain what that is and how it has impacted the Haitian music industry?
− 00:07:40: Tabou Combo is the most internationally successful commercial outfit and you helped managed that. When was it that you transitioned to SACEM and started getting proper royalties?
− 00:08:18: Have you utilized it for any personal projects that you’ve done as well?
− 00:09:33: So before any other Haitian acts, whether it be Emeline Michel, Erol Josué, or Les Shleu Shleu, playing internationally, you guys kind of set the bar and introduced the Haitian community to international music markets.
− 00:10:05: And that started very early in the 1970s?
− 00:10:15: Can you talk about you guys moved to New York? Were you the first one to move up there?
Yves Joseph 3
June 9, 2012
− 00:12:30: So there, that led to Canne a Sucre [at the club in New York], which was a big record for you guys.
− 00:12:57: Was that like a Ti-Petionville [Little Petionville] in a way? Was it like the same community?
− 00:14:02: What was the first song they planed [on the radio in New York]?
− 00:14:18: The recording of that album was quite unique, how did you record that?
− 00:15:08: So there was a big record community in New York. There was Fred Paul down here in Miami? With Marc Duverger?
− 00:16:04: Do you think that was created in the Haitian record industry, like they would pay bands a lump sum and people would take it as protection, because otherwise they could record and not make any money?
− 00:16:58: What are some things specifically that you learned outside of the [Krasilovsky’s] book? Because with the Haitian bands, initially you didn’t get your royalties, what were some lessons that were not in the book but had to learn from the industry?
− 00:17:48: You’ve seen konpa from its initial stage, from when you probably enjoyed it by Nemours Jean-Baptiste, to what it is today. What do you think of contemporary konpa, is it very commercial?
− 00:18:46: You guys were influenced by the Commodores, definitely a funk element. Are you finding that contemporary konpa groups are not doing it as much?
− 00:20:44: As far as songwriting goes, what are some big hits that you’ve contributed to? A little bit about the history of [the song] “Mabouya” for people who don’t know it? The super bowl, that’s how a lot of people throughout the world know it? Can you talk a little bit about how Carlos [Santana] got to find out about your song?
− 00:23:41: So he [Bill Krasilovsky] was your lawyer, but he was also your advisor?
− 00:24:23: So what is the new style of Tabou Combo and who are you trying to reach out to?
− 00:25:34: And you’ve had big success in the Ivory Coast and the French speaking African countries?
− 00:25:50: And what has your experience been in the Ivory Coast and French-speaking Yves Joseph 4
June 9, 2012
Africa?
− 00:26:24: Even in the non-Francophonic world you guys have had success in Japan as well.
− 00:26:59: And you were a younger man at the time, so was that a huge surprise? How did that feel for you?
− 00:27:18: If you’d like to conclude with anything?
− 00:28:03: End of Interview.
Object Description
Description
| Title | Interview Outline |
| Object ID | asm0085000021 |
| Digital ID | asm0085000021 |
| Full Text | Haitian Diaspora Oral History Collection Interview with Yves Joseph Hollywood, Florida, June 9, 2012 Interview ASM0085000021 Interviewed by Kevin Mason Recorded by Kevin Mason Outline by Kevin Mason and Xavier Mercado Length: 28:03 minutes Interview with Yves “Fanfan” Joseph, manager and vocalist for Tabou Combo, the most commercially successful Haitian band. Joseph has been with Tabou Combo since August 1968. In this interview, he explains the commercial origins of the band and how they faced adversity in collecting royalties in international markets. After selling half a million records of their 1976 single “New York City” and not receiving royalties, Joseph began studying the music business as a means of protecting the group from record label exploitation. Joseph describes Tabou Combo’s creative encounters with Carlos Santana, who covered their song “Mabouya.” He also provides an overview of the band’s international travels as the first Haitian band in Japan, throughout Africa, and the Lesser Antilles. Tabou Combo was one of the several mini-djaz groups influenced by French popular music, the Beatles, and the Rolling Stones, among other international styles built on top of their traditional konpa music. Joseph describes the longevity, repertoire, and fan reception of the group and how they utilize SACEM to retain royalties. The band has increased its international presence, reaching into new territory in Gabon and Angola. 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. Yves Joseph 2 June 9, 2012 INTERVIEW OUTLINE − 00:00:12: Whenever you’re ready if you’d like to just say your real name and a little bit about yourself? [Can you give us a bit of an introduction to your work with Tabou Combo?] − 00:00:45: So could you talk about maybe back in the day when you guys used to play after volleyball games? − 00:03:18: And the style you guys started out with was the influence of The Beatles song, so yeye was the style that Tabou Combo was playing? − 00:03:48: Well that’s appropriate because you guys have been called the Rolling Stones of Haiti…and why do you think that comparison is accurate? − 00:04:35: Wyclef most recently said it at a Donna Karin benefit for Haiti, but it was Ralph Boncy who initially said it. − 00:05:02: And you’ve been called the most versatile member of Tabou Combo, can you talk about how you are versatile as manager and also as a musician? − 00:06:28: For people who don’t know what SACEM (Société des auteurs, compositeurs et éditeurs de musique) is, could you explain what that is and how it has impacted the Haitian music industry? − 00:07:40: Tabou Combo is the most internationally successful commercial outfit and you helped managed that. When was it that you transitioned to SACEM and started getting proper royalties? − 00:08:18: Have you utilized it for any personal projects that you’ve done as well? − 00:09:33: So before any other Haitian acts, whether it be Emeline Michel, Erol Josué, or Les Shleu Shleu, playing internationally, you guys kind of set the bar and introduced the Haitian community to international music markets. − 00:10:05: And that started very early in the 1970s? − 00:10:15: Can you talk about you guys moved to New York? Were you the first one to move up there? Yves Joseph 3 June 9, 2012 − 00:12:30: So there, that led to Canne a Sucre [at the club in New York], which was a big record for you guys. − 00:12:57: Was that like a Ti-Petionville [Little Petionville] in a way? Was it like the same community? − 00:14:02: What was the first song they planed [on the radio in New York]? − 00:14:18: The recording of that album was quite unique, how did you record that? − 00:15:08: So there was a big record community in New York. There was Fred Paul down here in Miami? With Marc Duverger? − 00:16:04: Do you think that was created in the Haitian record industry, like they would pay bands a lump sum and people would take it as protection, because otherwise they could record and not make any money? − 00:16:58: What are some things specifically that you learned outside of the [Krasilovsky’s] book? Because with the Haitian bands, initially you didn’t get your royalties, what were some lessons that were not in the book but had to learn from the industry? − 00:17:48: You’ve seen konpa from its initial stage, from when you probably enjoyed it by Nemours Jean-Baptiste, to what it is today. What do you think of contemporary konpa, is it very commercial? − 00:18:46: You guys were influenced by the Commodores, definitely a funk element. Are you finding that contemporary konpa groups are not doing it as much? − 00:20:44: As far as songwriting goes, what are some big hits that you’ve contributed to? A little bit about the history of [the song] “Mabouya” for people who don’t know it? The super bowl, that’s how a lot of people throughout the world know it? Can you talk a little bit about how Carlos [Santana] got to find out about your song? − 00:23:41: So he [Bill Krasilovsky] was your lawyer, but he was also your advisor? − 00:24:23: So what is the new style of Tabou Combo and who are you trying to reach out to? − 00:25:34: And you’ve had big success in the Ivory Coast and the French speaking African countries? − 00:25:50: And what has your experience been in the Ivory Coast and French-speaking Yves Joseph 4 June 9, 2012 Africa? − 00:26:24: Even in the non-Francophonic world you guys have had success in Japan as well. − 00:26:59: And you were a younger man at the time, so was that a huge surprise? How did that feel for you? − 00:27:18: If you’d like to conclude with anything? − 00:28:03: End of Interview. |
| Type | Text |
| Format | application/pdf |
| Archive | asm0085000021.pdf |
Tags
Comments
Post a Comment for Interview Outline
