Augustin, Frisner

Born In/Current Location :	Haiti
Occupation(s) :	Conga Drums, Singer, Songwriter & Hype Man

This master of the noble instrument, and percussionist of great culture has imbued himself like the drummer of New York par excellence. He was one of those for whom the drum had no mysteries and riddles. Virtuoso of the measure, rhythmicist, soloist were the diadems with which this lord of the sound environment adorned himself. Expert, innovator and pioneer of native rhythms and a dedicated connoisseur of an instrument he has cultivated from a young age. In Port-au-Prince, capped from childhood with ancestral vibrations from the hasty contact with peristyles and “lakou”. Thanks to his natural abilities, he was hired by the “National Folklore Troupe”, under the direction of Lavina Williams and Lina Blanchet. His spectacular prowess enabled him to attract the attention of those in charge of the “Jazz des Jeunes” with which,

In 1970 he went on an international tour with the band to St. Aude, and decided to settle in New York. Between the different stages consolidating his trajectory in the cosmopolitan city, he worked to make known the different Haitian indigenous rhythms outside their borders, through performances in various ethnic communities. While showing off as an accomplished instructor. In the early 1980s, he became artistic director of the “Makandal Troupe”, experienced in dance and folk music, founded in 1973 in Port-au-Prince, and since then established in New York. Frisner, already crowned with great fame in the ” Big Apple ”, is involved in instilling the culture of voodoo for those who have only a vague idea, because of the prejudices that attach to it. With his knowledge, he worked to spread Haitian spirituality from a positive angle. By disseminating the percussive, almost human palpitations of voodoo, in its valuable contribution to American culture. This is how “La Troupe Makandal” has built a name for itself in various exhibitions, community and national festivities, marred by this ethnic multiplicity which characterizes New York’s cultural life, embodying this mosaic of culture. In theaters, art galleries, musical meccaes around the world, audiences in Europe, and Japan, with Frisner at the forefront, enchanting with his percussive magic and his throbbing hands that ignore rhythmic barriers. in its valuable contribution to American culture. This is how “La Troupe Makandal” has built a name for itself in various exhibitions, community and national festivities, marred by this ethnic multiplicity which characterizes New York’s cultural life, embodying this mosaic of culture. In theaters, art galleries, musical meccaes around the world, audiences in Europe, and Japan, with Frisner at the forefront, enchanting with his percussive magic and his throbbing hands that ignore rhythmic barriers. in its valuable contribution to American culture. This is how “La Troupe Makandal” has built a name for itself in various exhibitions, community and national festivities, marred by this ethnic multiplicity which characterizes New York’s cultural life, embodying this mosaic of culture. In theaters, art galleries, musical meccaes around the world, audiences in Europe, and Japan, with Frisner at the forefront, enchanting with his percussive magic and his throbbing hands that ignore rhythmic barriers.

This apotheosis enabled him to receive the “City Lord People’s Hall of Fame Award”.He was also the recipient of a distinction from the NEA (National Foundation for the Arts): the National Heritage Fellowship which he had the honor of receiving at the White House. And so many other brands honoring its commendable work and its influence. Making authentic Haitian art shine in an adopted place, FA was its metronome, adorned with the sciences of tempo and measure, in the perpetuation and revalorization of the rites and rhythms of voodoo, of which he campaigned tirelessly for the recognition and integration. That is why, he sailed beyond virtuosity, as an innovative guide of traditional Haitian rhythms. Which enthroned him as a scout, giving him the right to be constantly asked; recording and performing with jazz musician Kip Hanrahan, as well as drummer from jazz the American Haitian Andrew Cyrill. While contributing his mark in the soundtrack of the film: Beloved, by Jonathan Demme who had described him as: ” The Arnold Schwarzenegger of the transcendental drum ”.

Frisner has counted a few audible productions to his credit, having laid bare his singular playing having given him the approval of great cultural temples such as: “New York Metropolitan Museum”, “Brooklyn Museum”, “Central Park”, “Prospect Park ”,“ Madison Square Garden ”and among others, the“ South Oxford Space ”of Brooklyn, where he presented with“ La Troupe Makandal ”the show “ The rising sun ” , in a voodoo drama exposing the cycle of death and resurrection. He also bowed to ” Jazz Magazine ” which had defined him: ”… as the undisputed ambassador of the rites and rhythms of voodoo culture .. ”in music historiography, science and theory; enveloped in social dynamics and limitless spheres; embedded in Afro-American parameters. It is from this vision that an American native, the ethnomusicologist Loïs Wilcken, became the executive director of the “Makandal Troupe”, also illustrating herself as the author of a work whose title  : ‘ ‘The drum of voodoo’, says the same of Frisner’s implications, of his destinies with the drum. Emphasizing about him: ” From childhood he always said to those who wanted to hear him  : “I will play the drum to help my family”.  As in an interview immediately after a performance at Manhattan Town Hall in 1999. He spoke about the spiritual aspects and his philosophy as a ” performer ”: adding ‘ ‘… when I play, I like to look at the faces of the people in the audience, to see if they really believe in the spiritual approach, and from there I know what to play with them. If they are not very happy. I try to make them happy with the drum ” (1). No wonder the NY Times’ Robert Palmer called him “A Spectacular Drummer .”

A multidimensional percussionist, FA has based his style on the continuous exploration of traditional native parameters instilled with an elliptical and unclassifiable phrasing. As a provider of patterns bursting with aesthetics with a touch that is both innovative and fruitful. This expert in sound dosage and beats of time was supplied with a diversified game full of density. He has also established himself as a seasoned educator; teaching drum art at the university level in New York, especially at Hunter College where he popularized his famous percussion and dance workshops, and also at Columbia University and New York University. As much as at Carnegie Hall Global Encounters Program. What situated well the dimension of this impeccable drummer. Having definitively conquered so many followers of the world by his luminous performances and his judicious exhibitions of which he persisted in making the offering throughout the world, and, which earned him to be classified as a thunderous master universal. Until his unexpected and unforeseen death at the end of February 2012, when he had traveled to the country for some exhibitions; including one of the most electric at the Institut Français d’Haïti. Subsequently, he succumbed strangely to a sudden brain hemorrhage at Bernard Mevs Hospital in Port-au-Prince. including one of the most electric at the Institut Français d’Haïti. Subsequently, he succumbed strangely to a sudden brain hemorrhage at Bernard Mevs Hospital in Port-au-Prince. including one of the most electric at the Institut Français d’Haïti. Subsequently, he succumbed strangely to a sudden brain hemorrhage at Bernard Mevs Hospital in Port-au-Prince.

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