Henriot Valcourt

**Henriot Valcourt**, rele **Boulo Valcourt**, ki fèt 12 fevriye 1946 nan Kap Ayisyen (Ayiti) epi ki mouri 17 novanm 2017 nan Nouyòk (Etazini), se yon mizisyen konpozitè, gitaris, solis ak akonpayatè ayisyen.
## Biyografi
Li te kòmanse chante ak jwe gita an nan laj 16 zan. Nan laj 18 li te deplase nan Kanada kote li te etidye elektwonik ak aviyasyon. Li fonde kèk gwoup ː "Les copains" (Zanmi) nan Ayiti, "Les Caraïbes" (Karayib) nan Kanada, " Ibo Combo" nan Nouyòk. Lè li te tounen nan Ayiti nan lane 1975, li te fòme yon gwoup rele "Horizon 75" ki te pote yon souf nan djaz nan mizik ayisyen an.
De (2) zan pita, li te nanm nan gwoup * Karayib Tekste* tankou yon chantè epi gitaris.

An 1986 li te genyen premye pri epi li te resevwa yon plak lò nan "Festival Creole Troubadour" nan Kiraso. Yon ane pita, nan lane 1987 li te genyen dezyèm pri a epi li te resevwa yon plak ajan nan menm Festival entènasyonal. Li te rekonèt kòm "Troubadour entènasyonal" la.

Li te reprezante Ayiti toupatou.
Li mouri 17 novanm 2017 nan Nouyòk.

## Pou rezime ak tradui
The vocalist, guitarist, songwriter, and arranger has been a founding member of such noted ensembles as Ibo Combo, Caribbean Sextet, Pikliz, Djanm, and Haïtiando. He has regularly collaborated with past and present musical greats such as Azor (Lénord Fortuné), Réginald Policard, Jean Jean and Philippe “Toto” Laraque, Lionel Benjamin, Mushi and Joël Widmaïer, and Ralph Thamar. His ensembles have shared the stage with Danny Glover and Wynton Marsalis, and he has been a featured artist at the Smithsonian Folklife Festival in Washington, DC. He has mentored many of the most popular Haitian vocalists of the past two generations, including Emeline Michel, Beethova Obas, Tifane (Tifany Sejour), and Alan Cavé, each of whom have catapulted on to international careers. He has written dozens of hits for these and other performers, frequently using texts by acclaimed poet Syto Cavé, including “Fè van pou mwen” and “Jounen” for Emeline Michel and “Limit Solèy” for Tamara Suffren. Valcourt’s “Tante Nini,” written in collaboration with Cavé, generated overwhelming excitement when Caribbean Sextet first released the recordings in the 1980s. These tunes remain a prominent and beloved part of the Haitian soundtrack. But this is Boulo’s long-awaited solo album. In his words, “Tout tan ma p konpoze pou anpil moun, men sa nou kapab di se yon Boulo 100 pousan”: I’m always composing for lots of people, but this, we can say, is Boulo, 100%.  And Boulo 100%, it turns out, is a dynamic and irresistible mélange of Haitian roots/rasin, Latin, and Brazilian flavors. There’s a hint of konpa dance music here, interspersed with mizik dous (sweet, soulful music), and, as Valcourt says, “yon ti tent, yon ti souf de ròk anba”—an underlying tint, a little breath of rock. According to the artist, his sound is alternately “très cool, très romantique, très jazzy.”  Each song on this album is different. Valcourt explains that each piece represents “yon lòt epòk mwen”—a different period in [his] life. He takes his cues from “tout pakou mwen”—all of the routes and journeys and encounters he makes.  

Born in Cap-Haïtien but raised in Port-au-Prince, Valcourt was educated at the Institution Saint-Louis de Gonzague and at the École Georges Marc, before moving to Montréal to study aviation and electrical engineering. But after receiving his degree, Boulo had no interest in any career but music. His ears were resolutely tuned into to American jazz, blues, soul, and funk—most notably the music of George Benson, Chick Corea, Herbie Hancock, Keith Jarrett, and James Brown. Simultaneously, he was entranced by the musical scene in 1960s and ’70s Brazil, with the rise of Antônio Carlos Jobim and Gilberto Gil—leaders shaping the bossa nova and Tropicália movements. Especially in Tropicália, Valcourt identified a connection with the Haitian mizik rasin in its blending of Afro-Caribbean rhythms with rock and roll and other popular music genres. From blues to soul to tropicalismo, these varied influences encouraged Valcourt and his collaborators to explore the use of more contemporary harmonies alongside music more typically identified as “Haitian.” Among these critical local influences have been twoubadou and mereng—both frequently upheld as powerful national symbols.

## Diskografi
### Avèk Ibo Combo
* 1972 : *Café* 
* 1973 : *Engendré*
* 1975 : *La Fraîcheur*
### Avèk Caribbean Sextet
* 1979 : *Forte Dose* 
* 1980 : *En Gala*
* 1981 : *La Revanche de Jolibois*
* 1982 : *Caribbean News*
* 1983 : *Madougou*
* 1989 : *Lese Mwen Viv*
### Avèk Djanm
* 1993 : *Batala*
### Avèk Haïtiando
* 1999 : *Cubayiti* Vol. I
* 2000 : *Haïtiando* Vol. II
* 2001 : *Comparengue* Vol. III
### Avèk Master drummer Azor
* 2005 : *Azor et ses Amis and Friends: Souvenirs du Japon*
* 2007 : *Sous Lakay*

* Desanm 2016 ː *Ça fait mal au cœur* ː premye ak sèl albòm
## Referans

## Lyen deyò
* [ Boulot Valcourt] sou IMDb
* Boulot Valcourt sou haitisurf.com
* Diskografi Boulot Valcourt sou haitiinfos.net