by RUPERT BOTTENBERG

The expression “if it ain’t broke, don’t fix it” is bang on, when one is discussing, say, home renovations or the tax code. When it comes to music, however, it doesn’t hold water. The key to any musical style remaining fresh and inspiring is the regular overhaul—updating instrumentation and technology, reconsidering rhythms and melodic possibilities, and of course the routine recharging of the sound’s fundamental DNA by importing elements and ideas from similar (and in some cases, vastly different) styles.

There are always the traditionalists who defend the status quo ferociously, but there are also their opposite numbers. Equal parts explorers and mad scientists, their drive is that of discovery and experimentation. Take Haitian Montrealer Alain-Pierre Eloi and his bandmates in Tranzit. Since February of 2004, the keyboardist (a classically-trained jazzman already established in the local gospel community) and his collaborators have effectively been saying, “Haitian kompa music is great, but how can we make it even better?” Their Nuits d’Afrique show tonight will demonstrate how they’ve done that, but perhaps the little chat below will offer a clue.

Mirror: Why did you choose the name Tranzit?

Alain-Pierre Eloi: We chose the name Tranzit because we wanted to make a statement, a statement about the transition in Haitian kompa music, to bring it to different levels and explore further the depth of kompa music and expand its horizons. Also, to introduce it to the masses who may or may not have heard about kompa. Basically, it’s a transition to a new... I don’t want to say a new era, but a new phase for kompa.

M: How are you doing that? By bringing in other elements, like jazz, gospel, Latin and African music?

APE: Definitely. We have different backgrounds, each of us. For example, me, I’m more of a jazz and gospel player, and I have a classical background. The main singer, Fritz-Edwin Jocelyn, has a strong affinity for African rhythms. The guitarist, Max Oge Avignon, is a strong kompa afficionado. The bassist is my cousin, Mozart Champagnat, and he has affinities more in Hatian roots music. Basically, we all have different backgrounds, but when we come together to create and interpret, we bring all of this and it creates a new flavour.

Bold new bal

M: Briefly, how would you explain kompa to the unfamiliar?

APE: I couldn’t really give you a history, but the origins go to the ’70s, the ’60s, maybe even the ’50s. But kompa as we know it today is mainly a music to dance to. In the Haitian community, we have what we call bal. Basically, it’s a band that entertains the crowd by playing kompa. We have couples that dress up and dance to have a good time. It’s really hard to define it, but there are several elements you always find in kompa, such as percussion and bass. It’s mainly guitar-based—until not too long ago, there were not a lot of keyboards, though this has changed in the last 10 years or so.

M: Do you find yourselves exploring other Caribbean music?

APE: Well, as a musician, I find that the more styles of music I integrate, the better it is. Personally, I haven’t really explored all of the Caribbean styles, but we’re actually adding some reggaeton into our music. We’re trying to be diverse, not just for the sake of being diverse, but just because it’s exciting. We want to bring the public along with us on this journey.

M: I understand your concerts are very carefully planned, down to the last detail. In my job, I see a lot of concerts that aren’t planned out at all, so I’m happy to hear this.

APE: Of course, even with meticulous planning, it’s not as if we shouldn’t expect any mishaps—anything could happen during a show. But we try to control all the variables, such as the sound—we’ve managed to have our own technician. The way we see a show, I guess as much as most professional bands would, is as a concept. It’s not just a set of songs randomly thrown together. We see it as making a statement. We try to keep it as fluid as possible. It’s a concept we’re constantly developing, and I’m sure that people who have seen our shows from the beginning will agree that we’ve greatly improved in that sense, but we’re always working on improving our product.

At Club Balattou tonight, Thursday, July 14, 9:30 p.m., $15

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