Interview with Yvon "Kapri" André

              Haitian Diaspora Oral History Collection
Interview with Yvon “Kapi” André
Miami, Florida, April 11, 2012
Interview ASM0085000014
Interviewed by Kevin Mason
Recorded by Kevin Mason
Outline by Kevin Mason and Xavier Mercado
Length: 36:54 minutes
Interview with Yvon “Kapi” André, the drummer for Tabou Combo, the most commercially successful Haitian band. Originally known as Los Incognitos, Tabou Combo has been an innovator of the konpa rhythm. The band had a #1 hit in 1975 in the French recording industry for their song “New York City,” a tale of the Haitian experience in the Diaspora, and Carlos Santana covered their song “Mambouya.” Tabou Combo has a strong international presence and has performed on nearly every continent. In this interview, André discusses the band’s origins in Petionville’s teenage music scene among other bands like Les Shleu Shleu and the Difficiles de Petionville. He also talks about konpa and zouk styles and the band’s experiences through the years.
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.
Yvon “Kapi” André 2
April 11, 2012
INTERVIEW OUTLINE
− 00:00:12: Introduction and how he became part of Tabou Combo
− 00:03:10: When your father came to the event, what did he see you playing? Was that [playing percussion] a taboo thing to do?
− 00:04:44: In the early mini-djaz scene, it seems like it was very wholesome. It was associated with volleyball and youthful activity.
− 00:05:17: Did you ever play at volleyball parties?
− 00:05:45: A lot of those groups have put out big people, such as Robert Martino, big names in Haitian music nowadays were all in the same scene playing volleyball together.
− 00:06:29: We were chatting a little bit about your song “Mambouya.” Carlos Santana wanted to get in touch and do a version.
− 00:10:24: I would like to talk a little bit about how Tabou Combo was different early on. In mini-djaz, they use a lot of saxophone, you guys brought out an accordion. How did that set you guys apart?
− 00:12:02: Can you talk about your experience in New York and who was there originally? Les Shleu Shleu was there?
− 00:14:16: Canne a Sucre nightclub was a big place where you played, but can you tell me about the Royale Nightclub or Le Chalet?
− 00:16:43: Martinique is known throughout the lesser Antilles as kind of the zouk craze taking over, so they are respecting where it came from.
− 00:17:37: If there were no Tabou Combo, what would have happened to konpa music?
− 00:17:57: What was the influence of konpa music on zouk?
− 00:19:18: You spoke a little bit about the importance of New York City. Can you talk about the impact you had in France? You were a number-one hit. What did you learn from that?
− 00:21:06: That [failure to receive royalties in Paris] caused some tension in the group. [Was it the reason why Dadou Pasquet left the group?]
− 00:21:44: Everyone in that scene has gone on to become big players in the konpa world.
Yvon “Kapi” André 3
April 11, 2012
− 00:22:10: Your record “Baissez Baz” [“Get Down Low”] sold about 60,000 copies, also a success, commercially. Can you talk about that record? What did you learn from New York City?
− 00:24:03: Now you mentioned you had an influence with The Commodores, that you could hear it in the music but also in the style quite a bit.
− 00:25:50: On the Super Stars album, there is a large triangle on the cover. I know that Masonry has always been in Haiti since even before the revolution. I notice that Tabou Combo uses that imagery. What is Masonry like in Haiti?
− 00:26:57: Has that imagery been used elsewhere in Tabou Combo?
− 00:27:44: This poem by Prosper Sylvain called “I Don’t Look Haitian.” How has that poem influenced you?
− 00:28:59: [What is Kenscoff, Haiti like?]
− 00:30:15: [Radio host] Ralph Boncy once said you guys were the Rolling Stones of Haiti.
− 00:31:14: It’s changed from New York City to today; the sounds have changed, and that’s natural, but audiences have changed as well. I’m curious as to how your music has responded to the zouk movement.
− 00:32:32: During that time, did the keyboard sounds in konpa music change to kind of mimic the zouk sound?
− 00:35:13: How do you feel about the term “world beat music?” Do you think you guys are in that sphere?
− 00:36:54: End of interview