The "BREIZH AMERIKA COLLECTIVE" initiative brings together innovative musicians from Brittany, France and the United States of America to collaboratively work to create and produce original music, bring awareness to endangered traditions, while developing durable Transatlantic links of cooperation and understanding. Breizh-Amerika in Breton language means Brittany-America (UNESCO lists Breton language as severely endangered).
"The Collective 2015" will be comprised of four musicians from Brittany, France and three Garifuna musicians living in New York City.
Armel an Hejer (Brittany), Alain Le Clere (Brittany), Thomas Moisson (Brittany), Gaetan Grandjean (Brittany), James Lovell (NYC), Alex Kwabena Colon (NYC) and the Garifuna Drums Band will be working in residency during mid-2015, mixing musical traditions and seeking common ground while creating new musical combinations. Studio work sessions will be used to record this repertoire of new multi-cultural sounds.
The Breton musicians of "The Collective 2015" will travel to Rochester, Cleveland, Chicago, Santa Fe and Albuquerque engaging and partnering with local community organizations and actors to foster new networks and relations while growing awareness for endangered languages, and promoting the Fête de la Bretagne across the USA.
Residency in NYC between Breton and Garifuna musicians in studio
May 8th - 16th : New York, NY
May 14th from 7:30 - 11pm, Breizh Amerika Collective with James Lovell and Garifuna drums band
Celebrate Breton & Garifuna culture with a special concert showcasing this unique collaboration,
at Meridian23 (161 W 23rd street between 6th - 7th avenue, NY)
Support the Breizh Amerika Collective's crowdfunding campaign here!
Breton Music Tour USA May 2015: Breizh on the Road
May 13th : NYC, NY - Irish Arts Center - 7pm
May 14th : NYC, NY - Meridian23 - Brittany & Garifuna musical exchange - 7pm
May 17th : Rochester, NY - The Little Theatre - 5pm
May 18th : Cleveland, OH - Wilbert's - 8pm
May 19th : Chicago, IL - Froggy's French Cafe (Musical Wine Dinner) - 6:30pm
May 20th : Chicago, IL - Old Town School of Folk Music - 8:30pm
May 21st : Albuquerque, NM - Juan Tabo Library - 4pm
May 22nd : Albuquerque, NM - The Cooperage - 8pm
May 23rd : Santa Fe, NM - GiGs Performance Space - 8pm
Linguists have estimated that we stand to lose up to 96% percent of the world's languages by the end of this century. As one of the world's greatest immigrants cities, New York hosts many of these threatened languages, among them, Breton and Garifuna, spoken by communities that have many decades of local history in Manhattan, Queens, Brooklyn and the Bronx. UNESCO has recently designated elements of Breton and Garifuna traditions as masterpieces of oral and intangible heritage of humanity and yet they are completely unrecognized outside their homelands.
The ancient vocal tradition of Kan Ha Diskan is one most distinctive genres of Breton music. The call and response formulation is used to accompany dances as well as ceremonies, celebrations, and more recently, at festou-noz (Breton night festivals). Garifuna music is a mixture of African and Amerindian influences where drums are the primary instruments used for ritual as well as secular purposes. Within Garifuna music, call and response chanting often overlaps to create a constant stream of sound. The traditional segunda (bass) and primeru (treble) drums provide unrelenting polyrhythms for ceremonial dances like the chumba, the hunguhungu, and the punta.
Language, dance and music of the Garifuna proclaimed by UNSECO in 2001 on the Representative List of Intangible Cultural Heritage of Humanity.
The Garifuna settled along the Atlantic coast of Central America after being forced to flee from the Caribbean island of Saint Vincent in the eighteenth century. Today, Garifuna communities mainly live in Honduras, Guatemala, Nicaragua and Belize.
The Garifuna language belongs to the Arawakan group of languages and has survived centuries of discrimination and linguistic domination. It is rich in tales (úraga) originally recited during wakes or large gatherings.The melodies bring together African and Amerindian elements, and the texts are a veritable repository of the history and traditional knowledge of the Garifuna, such as cassava-growing, fishing, canoe-building and the construction of baked mud houses. There is also a considerable amount of satire in these songs, which are accompanied by various drums and dances, which the spectators may join in.
These traditions are still very important to the life and survival of the Garifuna people. The elders are the ones who maintain many of the ceremonies, festivals and oral traditions. However, economic migration, discrimination and the complete absence of the Garifuna language from the school system are endangering its survival. Although the language is still widely spoken, it is now taught in only one village.
The Garifuna settled along the Atlantic coast of Central America after being forced to flee from the Caribbean island of Saint Vincent in the eighteenth century. Today, Garifuna communities mainly live in Honduras, Guatemala, Nicaragua and Belize.
The Garifuna language belongs to the Arawakan group of languages and has survived centuries of discrimination and linguistic domination. It is rich in tales (úraga) originally recited during wakes or large gatherings.The melodies bring together African and Amerindian elements, and the texts are a veritable repository of the history and traditional knowledge of the Garifuna, such as cassava-growing, fishing, canoe-building and the construction of baked mud houses. There is also a considerable amount of satire in these songs, which are accompanied by various drums and dances, which the spectators may join in.
These traditions are still very important to the life and survival of the Garifuna people. The elders are the ones who maintain many of the ceremonies, festivals and oral traditions. However, economic migration, discrimination and the complete absence of the Garifuna language from the school system are endangering its survival. Although the language is still widely spoken, it is now taught in only one village.
In 2012, UNSECO inscribed Breton Fest Noz on the Representative List of the Intangible Cultural Heritage of Humanity. Fest-Noz, festive gathering based on the collective practice of traditional dances of Brittany.
Fest-Noz is a festive gathering based on the collective practice of traditional Breton dances, accompanied by singing or instrumental music. The strong Breton cultural movement has preserved this expression of a living and constantly renewed practice of inherited dance repertoires with several hundred variations, and thousands of tunes. About a thousand Fest-Noz take place every year with participants varying from a hundred to several thousand people, thousands of musicians and singers and tens of thousands of regular dancers. Beyond the practice of the dance, the Fest-Noz is characterized by an intense camaraderie among the singers, musicians and dancers, significant social and intergenerational diversity, and openness to others. Traditionally, transmission occurs through immersion, observation and imitation, although hundreds of devotees have worked with tradition bearers to compile the repertoires and lay the groundwork for new modes of transmission.
Today, the Fest-Noz is at the centre of an intense ferment of musical experiences and has spawned a veritable cultural economy. Many meetings are held between singers, musicians and dancers from Brittany and different cultures. Moreover, many new inhabitants of Breton villages use Fest-Noz as a means of integration, as it is heavily implicated in the sense of identity and continuity of the people of Brittany. The largest annual Fest-Noz in Brittany is called Yaouank, when over 7,000 dancers descend on Rennes every mid-November.
Fest-Noz is a festive gathering based on the collective practice of traditional Breton dances, accompanied by singing or instrumental music. The strong Breton cultural movement has preserved this expression of a living and constantly renewed practice of inherited dance repertoires with several hundred variations, and thousands of tunes. About a thousand Fest-Noz take place every year with participants varying from a hundred to several thousand people, thousands of musicians and singers and tens of thousands of regular dancers. Beyond the practice of the dance, the Fest-Noz is characterized by an intense camaraderie among the singers, musicians and dancers, significant social and intergenerational diversity, and openness to others. Traditionally, transmission occurs through immersion, observation and imitation, although hundreds of devotees have worked with tradition bearers to compile the repertoires and lay the groundwork for new modes of transmission.
Today, the Fest-Noz is at the centre of an intense ferment of musical experiences and has spawned a veritable cultural economy. Many meetings are held between singers, musicians and dancers from Brittany and different cultures. Moreover, many new inhabitants of Breton villages use Fest-Noz as a means of integration, as it is heavily implicated in the sense of identity and continuity of the people of Brittany. The largest annual Fest-Noz in Brittany is called Yaouank, when over 7,000 dancers descend on Rennes every mid-November.
Breizh Amerika gratefully acknowledges our partners and supporters
Alain Le Clere
Former pupil of his Mentor Emmanuel ‘Manu’ Kerjean (born in 1913),
Alain Le Clere is one of the undisputed great masters of the Breton Kan Ha Diskan, especially ‘Fisel’ style.
He also learnt the Gavotte style and sang with Bastin Guern (born in 1923),
the last of the great Poullaouen’s singers.
Untiringly collecting the memory of traditional singers in Brittany, he has shared the stage during many years with some others great Breton singers
like Denez Prigent, Jean-Claude Talec, Ifig Troadec, and more recently with Armel An Hejer. Together with all of them he won many competitions in Brittany.
Recently he performed a very noteworthy show with Erik Marchand.
Always having a passion in transmiting this artistic heritage to the young generations, Alain Le Clere is teaching for about twenty years Breton’s singing in musical academy (Centre Breton d’Art Populaire, Brest 1999- 2004, Ecole municipale de musique de Rostrenen, etc.), leading Master Classes, and regularly taking part as member of panel of judges to National singing competitions (KAN ar BOBL, etc.)
Regularly singing with Traditional Dancing Groups (Cercle Celtique), he participated this year to the amazing new creation “(R)Evolutions” from the “Dans Akademi” company leaded by Erik Marchand, where 12 musicians & 60 dancers fired the audience during each show this summer.
Awards:
2012: 1st prize in kan-ha-diskan Awards, Festival Fisel with Armel an Hejer,
2010: 1st prize in kan-ha-diskan Awards, Festival Fisel with Jean-Claude Talec,
2005: 1st prize in kan-ha-diskan Awards, Festival Fisel with Ifig Troadec,
1987: 1st prize in Kan Ar Bobl (Lorient), categories dance singing (dans fisel) with Denez Prigent,
1985: final selection in Kan Ar Bobl (Lorient), categorie ballads « gwerz »
Discography:
2005, « PORSPAUL » by Yao, Coop Breizh, CD,
1999, « SETU AR VUHEZ - FEST NOZ » by Diwall, EOG Productions / Coop Breizh, CD EOG105,
1997, « FEST DEIZ FEST NOZ », Arfolk (Printemps de Châteauneuf / Coop Breizh), CD 443,
1995, « CHANTS A REPONDRE, FEST NOZ E BRO ROSTREN », Arfolk, CD 428,
1992, « FEST DEIZ FEST NOZ Pâques », Printemps de Châteauneuf / Coop Breizh, video-tape
1992, « KAN 3 », Radio Krez Breizh, audio tape,
1990, « KANNAOUEN AN DRASK », New songs in Breton, Kan an Douar, Audiotape,
1989, « KANOUENNOU, GWERZIOU HA SONIOU », Skol Vreizh, booklet & Audiotape,
1988, « KAN 2 », Radio Kreiz Breizh, Audiotape
1987, « KAN », Radio Kreiz Breizh, Audiotape.
Former pupil of his Mentor Emmanuel ‘Manu’ Kerjean (born in 1913),
Alain Le Clere is one of the undisputed great masters of the Breton Kan Ha Diskan, especially ‘Fisel’ style.
He also learnt the Gavotte style and sang with Bastin Guern (born in 1923),
the last of the great Poullaouen’s singers.
Untiringly collecting the memory of traditional singers in Brittany, he has shared the stage during many years with some others great Breton singers
like Denez Prigent, Jean-Claude Talec, Ifig Troadec, and more recently with Armel An Hejer. Together with all of them he won many competitions in Brittany.
Recently he performed a very noteworthy show with Erik Marchand.
Always having a passion in transmiting this artistic heritage to the young generations, Alain Le Clere is teaching for about twenty years Breton’s singing in musical academy (Centre Breton d’Art Populaire, Brest 1999- 2004, Ecole municipale de musique de Rostrenen, etc.), leading Master Classes, and regularly taking part as member of panel of judges to National singing competitions (KAN ar BOBL, etc.)
Regularly singing with Traditional Dancing Groups (Cercle Celtique), he participated this year to the amazing new creation “(R)Evolutions” from the “Dans Akademi” company leaded by Erik Marchand, where 12 musicians & 60 dancers fired the audience during each show this summer.
Awards:
2012: 1st prize in kan-ha-diskan Awards, Festival Fisel with Armel an Hejer,
2010: 1st prize in kan-ha-diskan Awards, Festival Fisel with Jean-Claude Talec,
2005: 1st prize in kan-ha-diskan Awards, Festival Fisel with Ifig Troadec,
1987: 1st prize in Kan Ar Bobl (Lorient), categories dance singing (dans fisel) with Denez Prigent,
1985: final selection in Kan Ar Bobl (Lorient), categorie ballads « gwerz »
Discography:
2005, « PORSPAUL » by Yao, Coop Breizh, CD,
1999, « SETU AR VUHEZ - FEST NOZ » by Diwall, EOG Productions / Coop Breizh, CD EOG105,
1997, « FEST DEIZ FEST NOZ », Arfolk (Printemps de Châteauneuf / Coop Breizh), CD 443,
1995, « CHANTS A REPONDRE, FEST NOZ E BRO ROSTREN », Arfolk, CD 428,
1992, « FEST DEIZ FEST NOZ Pâques », Printemps de Châteauneuf / Coop Breizh, video-tape
1992, « KAN 3 », Radio Krez Breizh, audio tape,
1990, « KANNAOUEN AN DRASK », New songs in Breton, Kan an Douar, Audiotape,
1989, « KANOUENNOU, GWERZIOU HA SONIOU », Skol Vreizh, booklet & Audiotape,
1988, « KAN 2 », Radio Kreiz Breizh, Audiotape
1987, « KAN », Radio Kreiz Breizh, Audiotape.
Armel an Héjer
His voice so warm, both sweet and powerful, and a very personal and unique style of singing, where tradition meets with openness and innovation, made Armel an Héjer recognize as one of the greatest breton singers of his generation.
Trained by listening to the old singers of Central and South Brittany, Armel an Héjer very early demonstrated a confirmed musical personality, and has gradually marked its difference on the current Breton scene. His influences and musical opening, and the originality
of his compositions led him to consider the voice as a musical actor
as well as a vector of poetry.
Founder of the former band « Ozan Trio », whose productions were awarded several times and acclaimed by the critics, Armel sang during ten years in Breton dance music band « Deus' Ta » too, and also sang
in kan-ha-diskan (traditional form of Breton singing) together with big names of Breton music such as Louise Ebrel (Eugenie Goadec’s daughter), Kristen Nikolaz, Lors Jouin and more recently Alain Le Clère with whom he won the first prize for dance singing in Festival Fisel Rostrenen in 2012.
Armel currently sings within the breton bands « JOA » and « SA[F]AR », also in duet with Soig Siberil, the « master of the celtic guitar », and with Hervé Lesvénan’s contemporary chamber music ensemble « ARS’YS », leading in parallel for several years a solo career. The first album of his own "Boked an Euredenn" (Keltia Music, 2012) was unanimously acclaimed by the critics.
Reviews
"Terrific […], one of Brittany's most prominent singers !" (Irish Central, New-York, USA)
« There was a voice, superb, Armel an Hejer’s one that touched to the heart. The singer knows how to bring new life to the tradition with breathtaking performances and a remarkable presence on stage. » (Ouest-France)
« Certainly there is no dearth of talented vocalists in Brittany, but Héjer’s voice is of a caliber that puts him into a class of his own: focused, melancholy, soulful, with a potent and rich timbre. To think of a male vocalist of a similar quality is difficult; one might be drawn to a comparison with the great Yann Fañch Kemener. Both have tremendously appealing voices, but where Kemener’s suggests a dramatic, almost operatic setting, Héjer’s seems more personal and earthy, reminiscent of the meditative vocal traditions of central and south asia. » (bretonmusic.wordpress.com)
« It will soon be a "must" to have heard the crooner Armel an Héjer, new Breton Sinatra. » (Ouest-France)
« Anyone who has ever heard the voice of Armel an Héjer can not forget the warmth and musicality of his singing. He uses his voice as a reel instrument and knows true to sound the notes and words with strength and brio. » (France3)
Some scenic landmarks :
2013 : Concerts in NYC in March & September : Broadway, Central Park, Harlem, Times Square, St. Mark (East Village) & Bryant Park.
2013 : Creation of the musical show « KERDEN EN AWEL », JOA invites Soig Sibéril, Jamie McMenemy & Xavier Lugué.
2011 : Festival Kan al Loar (Landerne/Landerneau) with the Dubliners.
2010 : Collaboration with the Koroll Compagnie (Soaz Jolivet) for the dance show « Tamm Kreiz », mixing free-jazz dance and breton singing.
2010 : Creation of the trio « JOA » with Malo Carvou and Ronan Bléjean.
2009 : Participation in creating the musical « HEOL » for Festival de Cornouaille (Kemper/Quimper).
2008 : Festival de Cornouaille (Kemper/Quimper) with Alan Stivell.
2008 : Creation of the musical and visual show « KIOSK » by Ozan Trio & Richard Boulestreau.
2007 : Les Charrues Remettent le Son (winter festival of Les Vieilles Charrues, Karaez/Carhaix).
2006 : Atlantique Jazz Festival with Hadouk Trio (Didier Malherbe).
2006 : Festival Voix des Pays (Fougères) with Dee Dee Bridgewater and Femi Kuti.
2005 : Concert at Szscecin Opera and Stampa National Theater Varsaw (Poland).
2003 : Festival Les Vieilles Charrues (Karaez/Carhaix).
2002 : Musical show « Lila-Noz » with gnawa musicians from Marrakech (Morocco).
2000 : Creation of « Ozan Trio » with Malo Carvou & Bernard Bizien.
Awards :
2013 : "One of the best world music album of the year" by Indie Acoustic Project Awards for "BOKED AN EUREDENN" by Armel an Héjer (final selection of 2012).
2012 : 1st prize in Kan-ha-diskan Awards, Festival Fisel with Alain Le Clère,
2009 : Best album french national TV France 3 Award (Prizioù Frañs 3) for « KOÑSERT2 » by Ozan Trio.
2006 : Produit en Bretagne’s « Heart Stroke/Coup de Cœur » Award for the album « KOÑSERT » by Ozan Trio.
1997 : final selection in Kan ar Bobl (Pontivy), categories « dance singing » et « ballads ».
Discography :
2014 : « GWENN HA DU » by Red Cardell, soundtrack of Pascal Jaouen’s fashion show, Pascal Jaouen & Lenn Productions/Coop Breizh, CD 4015878.
2013 : « Âmes Celtes », compilation, Keltia Musique, KMCD 609,
2013 : « Étoiles Celtiques 3 », compilation, Keltia Musique, KMCD 182,
2013 : « JOA » by Joa, Fri Lous, CD FL01,
2012 : « BOKED AN EUREDENN » by Armel an Héjer, Keltia Musique, CD KMCD 547,
2008 : « KOÑSERT 2 » by Ozan Trio with Henri Texier, Ect'Art/Keltia Musique, CD RSCD 286
2008 : « NUIT DES ÉTOILES CELTIQUES », with Ozan Trio, 2 DVDs box, Keltia Musique, KMDVD 18,
2008 : « KELTIA MUSIQUE, 30 YEARS », with Ozan Trio, 6 CDs box, Keltia Musique, KMCD 199,
2006 : « LA MUSIQUE BRETONNE, L’ANTHOLOGIE VOL.2 : les groupes à danser », with Deus ‘Ta, Coop Breizh, CD 978,
2006 : « 36e FESTIVAL INTERCELTIQUE DE LORIENT », with Ozan Trio, Keltia Musique, CD KMCD 175,
2006 : « PRIX CULTURELS 2006 », with Ozan Trio, Produit en Bretagne, CD GPD 2006/1/1,
2005 : « KOÑSERT » by Ozan Trio, Etc'Art/Keltia Musique, CD RSCD 266,
2005 : « DAÑS » by Deus 'Ta, Accordéon en Scène/Coop Breizh, CD AS001,
1997 : « REUZ À BREST MÊM’ », collective LP, Eog Production.
His voice so warm, both sweet and powerful, and a very personal and unique style of singing, where tradition meets with openness and innovation, made Armel an Héjer recognize as one of the greatest breton singers of his generation.
Trained by listening to the old singers of Central and South Brittany, Armel an Héjer very early demonstrated a confirmed musical personality, and has gradually marked its difference on the current Breton scene. His influences and musical opening, and the originality
of his compositions led him to consider the voice as a musical actor
as well as a vector of poetry.
Founder of the former band « Ozan Trio », whose productions were awarded several times and acclaimed by the critics, Armel sang during ten years in Breton dance music band « Deus' Ta » too, and also sang
in kan-ha-diskan (traditional form of Breton singing) together with big names of Breton music such as Louise Ebrel (Eugenie Goadec’s daughter), Kristen Nikolaz, Lors Jouin and more recently Alain Le Clère with whom he won the first prize for dance singing in Festival Fisel Rostrenen in 2012.
Armel currently sings within the breton bands « JOA » and « SA[F]AR », also in duet with Soig Siberil, the « master of the celtic guitar », and with Hervé Lesvénan’s contemporary chamber music ensemble « ARS’YS », leading in parallel for several years a solo career. The first album of his own "Boked an Euredenn" (Keltia Music, 2012) was unanimously acclaimed by the critics.
Reviews
"Terrific […], one of Brittany's most prominent singers !" (Irish Central, New-York, USA)
« There was a voice, superb, Armel an Hejer’s one that touched to the heart. The singer knows how to bring new life to the tradition with breathtaking performances and a remarkable presence on stage. » (Ouest-France)
« Certainly there is no dearth of talented vocalists in Brittany, but Héjer’s voice is of a caliber that puts him into a class of his own: focused, melancholy, soulful, with a potent and rich timbre. To think of a male vocalist of a similar quality is difficult; one might be drawn to a comparison with the great Yann Fañch Kemener. Both have tremendously appealing voices, but where Kemener’s suggests a dramatic, almost operatic setting, Héjer’s seems more personal and earthy, reminiscent of the meditative vocal traditions of central and south asia. » (bretonmusic.wordpress.com)
« It will soon be a "must" to have heard the crooner Armel an Héjer, new Breton Sinatra. » (Ouest-France)
« Anyone who has ever heard the voice of Armel an Héjer can not forget the warmth and musicality of his singing. He uses his voice as a reel instrument and knows true to sound the notes and words with strength and brio. » (France3)
Some scenic landmarks :
2013 : Concerts in NYC in March & September : Broadway, Central Park, Harlem, Times Square, St. Mark (East Village) & Bryant Park.
2013 : Creation of the musical show « KERDEN EN AWEL », JOA invites Soig Sibéril, Jamie McMenemy & Xavier Lugué.
2011 : Festival Kan al Loar (Landerne/Landerneau) with the Dubliners.
2010 : Collaboration with the Koroll Compagnie (Soaz Jolivet) for the dance show « Tamm Kreiz », mixing free-jazz dance and breton singing.
2010 : Creation of the trio « JOA » with Malo Carvou and Ronan Bléjean.
2009 : Participation in creating the musical « HEOL » for Festival de Cornouaille (Kemper/Quimper).
2008 : Festival de Cornouaille (Kemper/Quimper) with Alan Stivell.
2008 : Creation of the musical and visual show « KIOSK » by Ozan Trio & Richard Boulestreau.
2007 : Les Charrues Remettent le Son (winter festival of Les Vieilles Charrues, Karaez/Carhaix).
2006 : Atlantique Jazz Festival with Hadouk Trio (Didier Malherbe).
2006 : Festival Voix des Pays (Fougères) with Dee Dee Bridgewater and Femi Kuti.
2005 : Concert at Szscecin Opera and Stampa National Theater Varsaw (Poland).
2003 : Festival Les Vieilles Charrues (Karaez/Carhaix).
2002 : Musical show « Lila-Noz » with gnawa musicians from Marrakech (Morocco).
2000 : Creation of « Ozan Trio » with Malo Carvou & Bernard Bizien.
Awards :
2013 : "One of the best world music album of the year" by Indie Acoustic Project Awards for "BOKED AN EUREDENN" by Armel an Héjer (final selection of 2012).
2012 : 1st prize in Kan-ha-diskan Awards, Festival Fisel with Alain Le Clère,
2009 : Best album french national TV France 3 Award (Prizioù Frañs 3) for « KOÑSERT2 » by Ozan Trio.
2006 : Produit en Bretagne’s « Heart Stroke/Coup de Cœur » Award for the album « KOÑSERT » by Ozan Trio.
1997 : final selection in Kan ar Bobl (Pontivy), categories « dance singing » et « ballads ».
Discography :
2014 : « GWENN HA DU » by Red Cardell, soundtrack of Pascal Jaouen’s fashion show, Pascal Jaouen & Lenn Productions/Coop Breizh, CD 4015878.
2013 : « Âmes Celtes », compilation, Keltia Musique, KMCD 609,
2013 : « Étoiles Celtiques 3 », compilation, Keltia Musique, KMCD 182,
2013 : « JOA » by Joa, Fri Lous, CD FL01,
2012 : « BOKED AN EUREDENN » by Armel an Héjer, Keltia Musique, CD KMCD 547,
2008 : « KOÑSERT 2 » by Ozan Trio with Henri Texier, Ect'Art/Keltia Musique, CD RSCD 286
2008 : « NUIT DES ÉTOILES CELTIQUES », with Ozan Trio, 2 DVDs box, Keltia Musique, KMDVD 18,
2008 : « KELTIA MUSIQUE, 30 YEARS », with Ozan Trio, 6 CDs box, Keltia Musique, KMCD 199,
2006 : « LA MUSIQUE BRETONNE, L’ANTHOLOGIE VOL.2 : les groupes à danser », with Deus ‘Ta, Coop Breizh, CD 978,
2006 : « 36e FESTIVAL INTERCELTIQUE DE LORIENT », with Ozan Trio, Keltia Musique, CD KMCD 175,
2006 : « PRIX CULTURELS 2006 », with Ozan Trio, Produit en Bretagne, CD GPD 2006/1/1,
2005 : « KOÑSERT » by Ozan Trio, Etc'Art/Keltia Musique, CD RSCD 266,
2005 : « DAÑS » by Deus 'Ta, Accordéon en Scène/Coop Breizh, CD AS001,
1997 : « REUZ À BREST MÊM’ », collective LP, Eog Production.
James Lovell
James is a Garifuna Artist who is very passionate about his heritage and is
working diligently for the empowerment and advancement of the Garifuna people
and culture. James believes the Garifuna children here in the United States of
America can be proud of their heritage if the Garifuna art forms, such as dance,
music, poems, books and drama are exposed in the mass media and on the
world’s performing platforms. It is an honor to grace the pages of Garifuna
Movement with James Lovell’s amorous works through the years and how he is
keeping our Garifuna culture alive through his artistry, teachings and even
through creating his own genre of Garifuna music called AfriGarifuna Rhythms.
James Lovell was born in the village of Mango Creek, but grew up in Dangriga
Town, Belize, Central America. Born with the gift to sing, he had several opportunities
to perform in elementary and high school talent shows in Belize and
neighboring countries.
As a young aspiring musician, James was very much influenced by Pen Cayetano
and the Turtle Shell Band. Pen Cayetano is the legendary “King of Punta Rock Music.”
He is responsible for the creation of this new Garifuna genre since its inception
into “mainstream” music in 1979. Punta Rock Music is contemporary Garifuna music
that utilizes the shell of turtles and other percussion instruments to create a fast
tempo music played with lyrics which addressed the political, social and
economical issues of the people of Belize.
After graduating from Ecumenical High School in Dangriga Town, James joined the Belize Police Force Band, where he learned to play several instruments such as the guitar, bass guitar, clarinet, euphonium saxophone and keyboards. While in the Police Band, James took advanced correspondence courses from the Royal School of Music. He learned to read, write and to arrange musical compositions.
In 1990, James migrated to the United States. He put his music career on hold to join the United States Marine Corps. Four years later he received an honorable discharge.
THE ARTIST
In June 1995, James produced and released his first professional CD album entitled “Cabasan Numari”. One of James’ song, was recorded by “La Tribu Garifuna,” a band from Honduras. Another band, “Estrellas Ubou” prerecorded James’ song, “HESIENTIBUNU,” (I’m in love with you). The album Cabasan Numari was well received in the Garifuna communities in Belize, Honduras, Guatemala, New York, Los Angeles, and other parts of the world.
James has produced and recorded three albums and is presently working on a bilingual children nursery rhymes album. He is currently working on the following projects:
• A Bilingual Nursery Rhymes Album
• Garifuna/English Nursery Rhymes Musical
• Garifuna Tap Punta- a dance production incorporating tap dancing and punta dance movements with Garifuna and Afrigarifuna Rhythms.
James has honed many of his special skills and talent as a vocalist, lyricist, composer, arranger, rhythm guitar, bass guitar, saxophone, Garifuna drums, djembe, recorder, Clarinet, and euphonium.
MUSICAL DIRECTOR
As a professional Garifuna Artist, James has performed in numerous settings in New York City and the Tri-State areas. He recently facilitated “Habinaha Garinagu” (Dance Garifuna) in Dangriga Belize, Central America, sponsored by the National Garifuna Council. He has been the Vice President and Musical Director for “Illagulei” since its inception.
In 1994, James became one of the co-creators and co-founder as well as the Musical Director of Illagulei (Roots), a Garifuna Cultural Performing Arts Company. Illagulei, is a non- profit, 501 © (3) tax exempt organization which utilizes performing arts for the preserving and uplifting of the Garifuna culture. James is the driving force in the company’s musical department. He is responsible for the formation and creation of Illagulei’s Children orchestra.
Under the leadership and sponsorship of the National Garifuna Council of Belize, who obtained two grants, the first from the World Band for Indigenous People Fund in July 19th through 25th 2005, and the second from UNESCO, August 4th through 23rd 2008, James was hired to facilitate both Garifuna Dance and Music Workshop in Dangriga Town, Belize, Central America. Classroom workshop activities included the teaching of Garifuna history, songs, music, drumming, and teaching basic music theory. The result of the workshop was the culmination of three professional productions. He organized, coordinated and managed the music section of the production including working the theatre crew with staging, sound as well as video coordination.
James performed at the 2013 Smithsonian Folklife Festival at the National Mall in Washington DC representing Garifuna culture.
He is currently a member of the The Afri-Garifuna Jazz Ensemble.
James is a Garifuna Artist who is very passionate about his heritage and is
working diligently for the empowerment and advancement of the Garifuna people
and culture. James believes the Garifuna children here in the United States of
America can be proud of their heritage if the Garifuna art forms, such as dance,
music, poems, books and drama are exposed in the mass media and on the
world’s performing platforms. It is an honor to grace the pages of Garifuna
Movement with James Lovell’s amorous works through the years and how he is
keeping our Garifuna culture alive through his artistry, teachings and even
through creating his own genre of Garifuna music called AfriGarifuna Rhythms.
James Lovell was born in the village of Mango Creek, but grew up in Dangriga
Town, Belize, Central America. Born with the gift to sing, he had several opportunities
to perform in elementary and high school talent shows in Belize and
neighboring countries.
As a young aspiring musician, James was very much influenced by Pen Cayetano
and the Turtle Shell Band. Pen Cayetano is the legendary “King of Punta Rock Music.”
He is responsible for the creation of this new Garifuna genre since its inception
into “mainstream” music in 1979. Punta Rock Music is contemporary Garifuna music
that utilizes the shell of turtles and other percussion instruments to create a fast
tempo music played with lyrics which addressed the political, social and
economical issues of the people of Belize.
After graduating from Ecumenical High School in Dangriga Town, James joined the Belize Police Force Band, where he learned to play several instruments such as the guitar, bass guitar, clarinet, euphonium saxophone and keyboards. While in the Police Band, James took advanced correspondence courses from the Royal School of Music. He learned to read, write and to arrange musical compositions.
In 1990, James migrated to the United States. He put his music career on hold to join the United States Marine Corps. Four years later he received an honorable discharge.
THE ARTIST
In June 1995, James produced and released his first professional CD album entitled “Cabasan Numari”. One of James’ song, was recorded by “La Tribu Garifuna,” a band from Honduras. Another band, “Estrellas Ubou” prerecorded James’ song, “HESIENTIBUNU,” (I’m in love with you). The album Cabasan Numari was well received in the Garifuna communities in Belize, Honduras, Guatemala, New York, Los Angeles, and other parts of the world.
James has produced and recorded three albums and is presently working on a bilingual children nursery rhymes album. He is currently working on the following projects:
• A Bilingual Nursery Rhymes Album
• Garifuna/English Nursery Rhymes Musical
• Garifuna Tap Punta- a dance production incorporating tap dancing and punta dance movements with Garifuna and Afrigarifuna Rhythms.
James has honed many of his special skills and talent as a vocalist, lyricist, composer, arranger, rhythm guitar, bass guitar, saxophone, Garifuna drums, djembe, recorder, Clarinet, and euphonium.
MUSICAL DIRECTOR
As a professional Garifuna Artist, James has performed in numerous settings in New York City and the Tri-State areas. He recently facilitated “Habinaha Garinagu” (Dance Garifuna) in Dangriga Belize, Central America, sponsored by the National Garifuna Council. He has been the Vice President and Musical Director for “Illagulei” since its inception.
In 1994, James became one of the co-creators and co-founder as well as the Musical Director of Illagulei (Roots), a Garifuna Cultural Performing Arts Company. Illagulei, is a non- profit, 501 © (3) tax exempt organization which utilizes performing arts for the preserving and uplifting of the Garifuna culture. James is the driving force in the company’s musical department. He is responsible for the formation and creation of Illagulei’s Children orchestra.
Under the leadership and sponsorship of the National Garifuna Council of Belize, who obtained two grants, the first from the World Band for Indigenous People Fund in July 19th through 25th 2005, and the second from UNESCO, August 4th through 23rd 2008, James was hired to facilitate both Garifuna Dance and Music Workshop in Dangriga Town, Belize, Central America. Classroom workshop activities included the teaching of Garifuna history, songs, music, drumming, and teaching basic music theory. The result of the workshop was the culmination of three professional productions. He organized, coordinated and managed the music section of the production including working the theatre crew with staging, sound as well as video coordination.
James performed at the 2013 Smithsonian Folklife Festival at the National Mall in Washington DC representing Garifuna culture.
He is currently a member of the The Afri-Garifuna Jazz Ensemble.
Alex Kwabena Colon has dedicated his career to language. Whether he is working to preserve the Garifuna language or connecting with an audience through the universal language of music, his focus remains bringing awareness to the Garifuna cause and restoring pride to his people. With nearly thirty years of experience as a musician, educator and activist, Alex has taught, lectured and performed across the United States and abroad; he is the former host of the popular television show, Nuevo Mundo Musical (New World Music Show), on BronxNet. Drawing on his skills as a translator he now dedicates his energy to language retrieval and preserving the Garifuna language.
The Garifuna are an indigenous group of mixed African and native Caribbean ancestry, living along the coastline of Central America; today they have a thriving culture, but one which is under threat. Alex was born in Guatemala to Garifuna parents. He is currently based in New York where he performs and teaches music and language workshops with his musician-activist cousin, James Lovell. He now dedicates his time to language retrieval, working at the Endangered Language Alliance transcribing Garifuna stories, documents and songs so that they survive to be enjoyed for generations to come.
The Garifuna are an indigenous group of mixed African and native Caribbean ancestry, living along the coastline of Central America; today they have a thriving culture, but one which is under threat. Alex was born in Guatemala to Garifuna parents. He is currently based in New York where he performs and teaches music and language workshops with his musician-activist cousin, James Lovell. He now dedicates his time to language retrieval, working at the Endangered Language Alliance transcribing Garifuna stories, documents and songs so that they survive to be enjoyed for generations to come.