Duroseau, Richard

Artist/Band/Group Birthday :	03/11/1940(Age 84)
Born In/Current Location :	Haiti/Long Island New York
Genres :	Konpa

Another precocious talent which arrived very early in the musical saraband with an urban reflection. Capped with a singular ability, thanks to the first instructions of his consanguineous predecessors. Which allowed him from the age of measles and shorts, to be an authentic heir of the “brand-Duroseau”. Born in the heart of a dynasty of keyboardists. His father Emmanuel was the elder brother of the illustrious Lyncée Duroseau, and also of Fabre and Arthur who was the father of the gifted Jacky. As for Emmanuel (not ” uncle ” the son), apart from his knowledge of keyboards, of a player and ” teacher ” imbued, he was also a maker of pianos as well as violins and double basses. Providing his compatriots with these royal instruments, at the height of the ban on importing them, imposed by the Yankees.

This is how he was brought up by his brothers Mozart and Kreutzer, then young talents within the Orchester des Casernes Dessalines ”, by order of General Paul Magloire. One day while he was waiting for Mozart, who usually took the family accordion with him for rehearsals at the Casernes Dessalines. And, not having seen the instrument in the back of the general’s tank, little Richard burst into tears without restraint, until they went to get him his favorite toy and companion. In the process, only Nemours paid attention to the prowess of the little genius. Indeed, when Mozart, frustrated by a clash with Sicot, decided to throw away the apron, Nemours suggested that he take his little brother to replace him. Which sounded like a joke. But NJB returned to the charge, while advancing that having seen him at work, he was sure the kid had nothing to envy others. Thus, from adolescence, he presented himself as a prodigy of the keyboard, but especially of the accordion with which he became a great competitor of thekonpa dirèk. He participated in the explosion of this rhythm, constituting the trinity of this group as: “The three dangers” , as acclaimed by this super-hit of the time which immortalized him with Nemours and Raymond Gaspard.

Making the accordion evolve towards a very orchestral style, under the spell of a particular spell. With agility and simplicity that create ambiance and romance. And also of versatility. A clever soloist and ace of “free reeds”, he incorporated the accordion into the harmonic brilliance of major instruments. He began his musical career at the age of thirteen, and his immense talent won him all the votes This virtuoso became the one of the most remarkable Haitian keyboardists and keyboardists. Very unique in his improvisations and luminous texture, he allowed himself changes of tempos, schematizing variations made of whims and paraphrases. However, arriving too early in the musical world, He could not control himself. Furthermore, his indiscipline became a stopgap for the orchestra and the maestro who had to put up with it reluctantly. But when he cursed Mrs. Marini, the owner of Cabane Choucoune in a“Kolangèt manmanw” (1) * resounding, it was the last straw that broke the camel’s back . Despite everything, Nemours took many steps to ensure that he remained in his favorite club.

After negotiations, the Marini accepted his reinstatement in the services of the club, because after all the “Ensemble Nemours Jean Baptiste” needed its star. Nevertheless, the creator of the konpa,continued to pay for the pranks of his protege who did not even hesitate to embarrass him in public. This is how the breakup became inevitable. His departure from the “Ensemble Nemours Jean-Baptiste” in the mid-1960s led the group to change their style. He was subsequently spotted within the “Sublime” group of Carrefour Feuilles (Bas-peu-de-Chose), as maestro in place of F. Massac. Subsequently bringing his actions to the West Indies; imposing itself in sensation of the hour in Martinique and Guadeloupe where they wanted to make it a “ poster-star. ” But in the grip of nostalgia RD remained unmoved in the face of so much adulation, despite the salutary advice from Michel Desgrottes. Subsequently, he found himself in New York, collaborating with Raymond Sicot, to then initiate the formation of the “Duroseau brothers”, pioneer group from New York, in company of: Kreutzer, Tilou, Mozart, Frank etc; and was incessantly solicited by the Latin groups, in an environment which he had conquered during the successful tours of the “Orchester de Nemours Jean Baptiste”, which, remembered the teenager who used to pack Casa Borinquen, Casa Caribe and other clubs.

And in various ephemeral initiatives, including a ” stint ” within the “Jazz des Jeunes” in New York. At this stage, his marital obligations forced him to go brush with ” Steinway ”, famous maker of pianos in the assembly and as tuner of the royal instrument and, where the salary was acceptable. But, not having the makings for this hard work, which he had to accept because he had just started a family. Richard decided one day not to set foot in the factory again. Then, he formed his own makeshift combo, playing exclusively in restaurants in Brooklyn and Queens, a transitory stint for some musicians from the diaspora, before becoming a regular in the “Mini All Stars” group; to then illustrate himself as a pianist of “Ska-Shah # 1”. Among other reunions in the intimate atmosphere, bistro style. At this stage of his glorious career, he is already the object of reverence from his peers. Pipo Lavelanet’s “Antilles Mizik” company honored him during the festival“Konpa fèt” in 1999, at Brooklyn College. And, in 2007, it was the Françoise Canez Auguste Foundation in the country, which paid him a deserved tribute. Other businesses in the diaspora and in Haiti dedicate it as a living monument and pioneer in konpa celebrations . Today at the peak of a busy career, and of infallible fame, Richard although weakened by illness and time, continues to be incessantly called upon by his partners. In order to highlight this texture and this know-how, as an arranger, pianist and an expertise like no other. And flowered with a viable trajectory that has embellished urban Haitian music.

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