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KariJazz:
Why RIYEL? How did you come
up with such a name?
Ken
Watters: The name RIYEL
was first brought up by Yves
Abel. He initially suggested
“Riyel Jazz” & I thought the
shortened name RIYEL may be
more to-the-point. Yves, by
the way, is this new band’s
co-leader – we are partners
on this project.
KariJazz:
How long have you been playing
with Tabou Combo and how much
have you learn from the Haitian
music?
Ken
Watters: I started
with Tabou Combo in April,
1990, played 5 years with
the band, then left for about
9 years (during which time
I lived in Alabama)… I moved
back to NYC in 2003, rejoined
the band & have been with
them ever since.
Haitian music is incredibly
multi-dimensional – there
are what seems like a million
layers, like an onion. Just
when you feel that you are
beginning to grasp what is
happening, you begin to hear
the music in a whole different
way – then, your entire perspective
changes… From my association
with Haitian music, I have
learned as much about what
is truly important and natural
in this art form as I learned
at both Manhattan School of
Music & University of North
Texas. I have played with
Tabou for years, but have
also worked with other Haitian
bands – I learned something
from every one. This music
will teach you about complex
counterpoint, simple but (at
the same time) complicated
melodic lines, squeezing the
most emotion & visceral effect
possible out of a few well-placed
chords & RHYTHM. The all-important
bass & drum team that is responsible
for the completely unique
“swing” that good Kompa brings…
I could think about & talk
about what I’ve learned from
Haitian music (in lots of
different styles) for hours,
actually.
KariJazz:
Do you really love Konpa music?
Ken
Watters: Yes, I really
do. GOOD Kompa music truly
“does it” for me – it’s one
of my absolute favorite genres
of music. Now, mediocre Kompa
does nothing whatsoever for
me… I cannot simply listen
to a band play marginal Kompa
just for the sake of listening
to Kompa. BUT, this is the
case with all musical styles,
I suppose.
I realize that I must be quite
biased, but one of my favorite
bands IS Tabou. This is because
I tour with them & get a chance
to see just how they really
do “keep their eyes on the
ball” at all times – they
know deep-down what is crucial
(musically) for their music
to work.
I can’t get enough of Freres
DeJean, Ti Manno, lots of
vintage Skah-Shah, Mizik Mizik,
RAM, A large amount of Emeline’s
work, Zekle, Beethova, plus
more than I have time to mention…
KariJazz:
Beside Tabou Combo, did you
play with any other French
Caribbean group?
Ken
Watters: I have recorded
with lots of French-Caribbean
& Haitian bands (so many that
I cannot remember about half
of their names). Everyone
who plays in RIYEL has done
at least as much of this as
I have, actually. We are often
called upon to serve as freelance
studio musicians, where our
role is to do everything in
our power to enhance the featured
artist’s recording.
Aside from Tabou, I have performed
live with RaRa Machine, Phantoms,
Lakol, Reginald Policard,
DOZZ & several other bands
& artists. Most of this happened
in the 1990s, during my first
stint with Tabou. Since returning
to the band, it’s been almost
exclusively Tabou Combo.
KariJazz:
What prompted your interest
in Afro-Haitian Jazz?
Ken
Watters: I was brought
into this music by its depth,
in terms of all aspects, from
the rhythm to the harmonic
& melodic possibilities. There
is NO “ceiling” to this music
& anything & everything (that
makes musical sense) can work.
My training & experience is
far more mainstream jazz oriented,
meaning sometimes / sometimes
traditional, acoustic, often
swinging jazz that has a solid
footing in tradition.
At times, however, I do feel
a touch “regulated” by the
rules of this music (in terms
of long-established, accepted
& sometimes expected ways
of writing, performing & even
recording mainstream jazz).
For me, the answer is NOT
to turn my energy to “smooth
jazz,” which is often far
less adventurous one-dimensional
music in every way than straight-ahead
or “mainstream” jazz. The
idea of playing Haitian jazz
has enticed me since I was
first introduced to this music.
Here, you have the possibility
of playing music with an undeniably
REAL, meaning not sequenced,
not “parroted,” highly improvisational
group of musicians that understands
the whole picture. That is,
everything from just how deep,
complex & “studied” sounding,
to how emotive & passionate
the music must be in order
to have the right balance
of simultaneous right & left
brain impact. As for myself,
I do not find this balance
(in this way) anywhere else…
KariJazz:
As the co-leader of the band,
what kind of collaboration
do you have with Yves Abel?
Ken
Watters: Yves Abel
& I have known each other
for about 17 years. We first
met when I joined Tabou Combo
in 1990. At that time, we
really didn't know or truly
understand each other (as
people, NOT as musicians --
we understood each other's
playing immediately)... There
was a bit of tension between
Yves & myself on a few occasions
early on, mainly because I
was still a "rookie" in the
band & to the culture in general.
Yves, of course, thought that
I was the typical "uptight
American," I'm sure... You
see, when traveling with ANY
band, not just a Haitian band,
you absolutely HAVE to learn
to roll with the punches &
be prepared to instantly accept
the situation that you are
in from moment-to-moment.
And, no matter how uncomfortable
the temporary situation may
be, complaining about it is
NOT a helpful option for anyone
involved. One occasion comes
to mind right away -- Tabou
was finishing up a 6 week
tour of the French Antilles
& our final weekend was in
French Guyana. I was in my
early 20s, still a little
immature in general & all
of us were beyond tired...
Well, several of us were standing
outside of the hotel waiting
on the bus to take us to sound
check & I kind of "lost it,"
so to speak -- talking about
how disorganized everything
was, etc (and thinking that
everyone surely felt to same
way as me)... I was wrong
to assume this & Yves let
me know this in NO uncertain
terms. He straightened my
attitude out right then &
there -- in other words, he
delivered me a VERY strong
lecture on the dangers of
a negative attitude within
a band. Yves words that afternoon
have stayed with me to this
day -- mainly because HE WAS
ABSOLUTELY RIGHT. In his own
indirect way, Yves taught
me to basically ENJOY & APPRECIATE
LIFE, no matter what you are
doing from minute-to-minute.
I mean, there we were in the
Caribbean, performing nightly
with one of the best bands
on the planet, paying our
bills by doing this, and basically
living life on our own, very
cool terms. What is there
to complain about in that
scenario? Not much...
Anyway, I know that I could've
shortened that anecdote, but
the point was that Yves taught
me long ago to not only always
appreciate what I have, but
also the sheer importance
of utilizing all God-given
artistic (and otherwise) abilities
that every one of us possesses...
As far as we know, we all
have just one shot at this
life -- we can never forget
that & we should try & enjoy
every moment that we have.
As for our partnership in
RIYEL, Yves lends a CRYSTAL
CLEAR perspective to the music
that we play together. If
I have a musical idea, he
will unapologetically give
his 2 cents. And I have no
problem doing the same with
the ideas that he brings to
the table. Luckily, we see
eye-to-eye on 99% of RIYEL's
musical & conceptual ideas.
Plus, both of us have a strong
& unified vision for where
we would like this band to
be in ten years (both artistically
& professionally). Obviously,
the future is unpredictable,
but as a creative musician
you have an OBLIGATION to
strive to "push the envelope"
artistically as much as your
personal power allows... And
if you don't have a long-term
career plan, you will tend
to "flounder" & find yourself
not moving forward in life
(this is simply human nature
for most people)...
SO, the original question
was "What kind of collaboration
do we have..."
Well, so far, it's a very
HEALTHY collaboration in every
way. We are on the same page
musically, we have mutual
respect for one another, both
artistically & personally
& we both understand exactly
why we are doing this new
band... I can't WAIT for more
American jazz audiences to
hear him play.
KariJazz:
Ken, thank you for taking
time out of your busy schedule
to talk with us. Good luck
with your future plans. I
am sure that RYEL will make
a visible difference on the
Jazz scene and I can't wait
to see you guys live.
Ken
Watters: My pleasure.
For KariJazz
Karl Joseph
Listen to one of the new tracks: Black Narcissus - Click Here!
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