ARTIST/BAND /GROUP INFORMATION
| Artist/Band/Group Birthday : | 28/07/1970(Age 54) |
| Born In/Current Location : | Haiti/Montreal, Canada/Florida, USA |
| Occupation(s) : | Singer |
| Genres : | Konpa |
| Solo/Band/Group : | Passion/D-Zine/Hangout/Bel Jazz/Nu Look/Klass |
Native of Artibonite would probably have been inspired vocally, by the high-pitched tone of a predecessor from the same region. No one other than the illustrious Ti Manno Jn. Baptiste, who apparently gave him a way forward. In fact, Pipo’s father’s name is Edris Jn. Baptist. Which brings to mind certain parental ties. In short, basta to assumptions and, let’s take stock of the emergence of one of the most beautiful current voices in local music. That of Pipo Stanis, who must have grown up listening to the many local singers: Cubano, Zouzoul, Cajuste, Boulo etc. In addition to overseas voices galvanizing French, English and Spanish songs; which served as benchmarks for any aspiring vocalist of this time. Between his career as a schoolboy and an apprentice singer,
Until his emigration to Canada, where he went to settle with his parents. While working to refine his art, between jobs and academic initiatives. To be unpacked within the “Passion” group of Montreal. With which he will give a glimpse of his solemn throat in a few titles such as: mistik, tirès la, dyonki, elat; promptly propelling him to the forefront of the surrounding music hall. And as a result, obviously becomes the object of many requests from the more prominent groups. Consequently, it is in Florida, a new bastion of producers and formations of the konpa, that we will spot him during the rallying of the “D’zine”; wanting a new look after the passage of Arly, Gazzman and others. Announcing the color in the work: ” Son lari a ”, projecting an aggressive vocalist, not yet in control of his vocal nuances. However, this set was recovering the hair of the beast, under the bewitchment of Pipo. But, he had to pack up with the death of his impresario Romel Barlatier.
Following this disappointment, he will resurface with the “Hang-out”, a new group with a few musicians from the “D’zine”, including Tinès Vincent, Wilson Jean among others. Among which, is added the singer Georgie Métellus; ex-star of: “Zin” and “Phantoms”. However, after a thunderous start crowned with the introductory laser: ” Kote m kanpe”; to which Ederss begins to insert feeling to his ardor; reaching an additional level in the polish of a timbre which engages the adhesion of musical aficionados. An ancestry that will catapult him with this group on the stages of the West Indies, the diaspora and Haiti. Through a collaboration that certified him as one of the most talented singers in the environment. Having also authorized him to take part in some Mini All Stars projects. However, Pipo was not at the end of his experiments. Because, intolerant of the whims, cynicism and lack of professionalism of the local show business. He’s not the type to come nighting out for the beauty of the game.
BY TEAMING UP WITH GUITARIST RALPH PHANOR MÉNÉLAS, TO SHARE WHAT WAS TO BE HIS BEST PRODUCT OF THE TIME.
This is how the divorce was consummated with the “Hang-out”. But, not without the price of some controversies that have camped him as a character artist, mercenary singer, who disregards loyalty. We know how easy criticism is, when it is devoid of art. In any case, it is with the group “Bèl Dyaz” that Pipo will resurface. By teaming up with guitarist Ralph Phanor Ménélas, to share what was to be his best product of the time. In the work: ” Konpa trankil ”, embellished with a few hits like : ur the 1, van vire, ou fou pou li, etc; who will overthrow the die-hard konpa fans. Which gave him a proud ovation, for having shown so many resources. By persisting in his approach as a rebellious artist, without giving up giving priority to his audience. However, without striking a blow, Pipo was able to silence the acerbic and make “Bèl Dyaz” shine.
Taking the West Indies, Europe, the entire Diaspora and Haiti from the outset, in successful towers; by receiving the honors due to an established group. With his seasoning tone, Ederss Stanis has established himself as an orchestral holder and has been able to set his sights on the world of entertainment. But, twist! Because myths die hard. And Pipo is no exception to the rule. It is therefore after a collision with the maestro guitarist Ralph Ménélas, who is also a collector of groups; that Pipo withdrew from “Bèl Dyaz”. Leaving fans and the public distraught, vowing not to take him seriously anymore. Without however inquiring about the underside of this rupture. But, without batting an eyelid, Pipo continues his path as a mountebank; promising not to get caught like a newbie anymore. Yet on the other side of the fence, another split will also make the blasters talk. It’s the one between Arly and Gazzman.
Indeed, after a few years of collaborating on the “Nu look”, the latter had had enough of Arly Larivière’s abuse and finally threw down his apron to concoct his own project. It is this opportunity that is offered to Pipo to replace “the colored man” and to join forces with Arly la ficelle. But for the most imbued, this marriage between the lama (this tame animal which however hates domestic work) and the Larivière snake, which needs no introduction, was doomed to failure. And yet, the honeymoon has fertilized and the bride and groom are in heaven in the early hours of the union, with the album: ” Confirmation ” which comes to temper the skeptics. Once again, Pipo will surpass himself in a few tracks that made Arly the other singer, instead of the usual soloist. Delivering brilliantly the pieces:new look, jou m rankontre, li pa nòmal, final destination and so what ?, in duet with Arly; making this opus the best of the group.
Everything was fine. Until Arly, true to his scramble fame, tried to exploit the image of Pipo’s unstable musician. By making him play without paying him; hoping that this one will cash everything in silence so as not to suffer the bronca of the public. Fortunately, between the two repeat offenders Arly was the one with the reputation of miser. While Pipo had that of an employee, claiming his due. What facilitated his exit of the “Nu Look” and, to silence the die-hards. However, this affair had annoyed him completely; leading him to call Arly a bastard and a prostitute. And swearing never to take part in any musical group that is not his personal initiative. But, it was without taking into account the tenacity of Richie Hérard. The former mastermind of the “Zenglen” of Miami; who in turn put the finishing touches to the beginning of his orchestra “Klass”. A professional with integrity, Richie is one of the few in the community to hold back on shady causes.
It is the opposite image of Arly, for whom the money has no odor. (We remember his layoff at “D’Zine.” Not to mention his behavior towards Gazzman then Pipo and many others. In fact, he is one of the stars without shame, who stubbornly ‘display publicly with Martelly. Although he was turned away in the diaspora for this purpose. He does not even hesitate to perform for kidnappers who continue to mourn the country. And without embarrassment, Arly seems to reserve a particular standard) . As for Pipo, after experiencing the trials of the lawless, he couldn’t afford to put Richie in the same bag. Especially since the latter, aware of his potential, had even offered him a partnership with “Klass”, which made him one of the shareholders of this irresistible group. Which did not take long to become the darling of the West Indian music hall and elsewhere. No wonder “Klass” came out on top of the album: ”Fè l vini avan ”.
IN THE CONSOLIDATION OF THE ATTRACTIVE VOCALIZATIONS OF A CHARACTERISTIC BARD; FOR THE IMPOSITION OF THE ” MARK ON PIPO ”.
Giving adequate exposure to Pipo who finally found an ensemble compatible with his stature as a solemn vocalist. And highlighting its versatile quality, “ Pipo tout jan ”; the adjutant for the title of best singer by popular approval. While giving no sign of slowing down. In particular through three consecutive lasers: ‘ ‘ Fè l ak tout kè w ” and ” Ret nan liy or ”. Offering tubing string humming and dancing: yo or towing, you do not want me , fè vini the advan , priyorite , mizik sa , nou aysyen will take me, bagay 9 , fe w l ak any kè ”,m ap marye , lol ( pa fiye ), ranje chita w , let’s make it work , anmwe sekou , se ou sèl mwen genyen ( faithfully ), it’s friday, lajan sere , mouth twou vid , blackout, ret nan liy ou , klike sou li, lanmou pafè , merry christmas, etc; alternating the most diverse gaits: konpa, kadans, ballads, rabòday and others.
Propelling a Pipo in all its forms. Which eloquently knew how to create an impact, according to his vibrato, his flair; inspiring the ” salvo ”. Matched with reflections full of musicality, clarity and articulation. In the consolidation of the attractive vocalizations of a characteristic bard; for the imposition of the ” mark on Pipo ”. Soon ten years at the forefront of the group “Klass”, whose vocal identity remains. And within which, it will surely continue to make waves; at the outpost of the most requested of the local orchestras. To say definitively about it, that history is not always an eternal restart. But above all, a succession of trials, so that in the final phase, we always end up reaping the ransom of its consistency.
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