ARTIST/BAND /GROUP INFORMATION
| Artist/Band/Group Birthday : | 18/06/1972(Age 52) |
| Born In/Current Location : | New York City |
| Occupation(s) : | Keyboard, Singer |
| Genres : | Compas Direct |
| Solo/Band/Group : | Phantoms, Dola |
he authentic talent from the north has established itself as an essential pillar of its lineage. After having had the opportunity to grow up in an atmosphere steeped in music. Thanks to a guitarist father whose invasive arpeggios were moments of relaxation at home. While being contagious by the frescoes of his older sister herself a pianist in her rights. In fact, for Jean Max the young schoolboy of the famous College Notre Dame du Cap (alma-mater of the presidents: Magloire, Manigat and Aristide: a caudillo, a demagogue and a democrat); between studious hikes and the first musical crushes who found him in the exploration of the guitar. And also the drum whose atavistic expression haunts him amply. Jean Max decides to give his adhesion to the keyboard which is the family instrument, like the guitar. That much,
In order to be better infused with the didactic data which will give him the right of admission to the choir of Notre Dame du Cap church, of which his elder sister Maryse Valcourt is the maestro, as well as the appointed pianist. But, persistent and talented, Jean Max ended up wowing the whole congregational community with his prowess as a young pianist. Already infused with conventional music and, just as ready to become embedded in major art. But, the quality of the young prodigy has spread outside the ecclesiastical milieu. Already, promoters of ambient music come to ask him for “gigs”. Although at this intersection, Jean Max only knows academic music. While the konpa, the meringue , the koupe , the kadansall these essential parameters for bacchanalia are unknown to him. But the guitarist Dòdò promises to guide him in this direction, while taking care to ask permission from the parents of the schoolboy.
It is therefore with the “Fever Band” that Jean Max Valcourt entered the arena of dance music. In this small group which constituted a reservoir for the “Septentrional”. Since it is at the “Feu Vert Night- Club” area of the “fireball” of Cape Town that the “Fever Band” had made its nest. Playing regularly in this dance hall, when the “Septent” was out of town. So the first signs of glory are announced for Jean Max, who is now in the limelight of Capoise. And an audience that recognizes itself more and more in the young idol of the seraglio. Which shows its versatility and its know-how; with all the signs of an uphill artist, an inspired musician and a future maestro. An outbreak that propels him to the heart of student demands; even claiming it at the center of cultural celebrations. At the same time, Jean Max joined the “CND Express”, the musical ensemble of the Collège Notre Dame.
AND FACED WITH THIS MIXED OUTCOME, HE CHOOSES TO JOIN THE NEW VERSION OF “SHLEU-SHLEU”
In which, he got together with a young aspirant from the establishment called Arly Larivière. Together, they formed a pair of emerging artists; in addition complementary which will animate the college festivities and other societal activities. These ephemeral initiatives having taken their course. While the young musician continues his evolution, influenced by the current digital sounds of Charlot Raymonville from “Top Vice” and Ansyto Mercier, while exploring the cross-over modulesof Herbie Hancock and the classic claws of Greek pianist Yanni. In 1989, at the suggestion of bassist Perrin Joseph, they formed the group “Lakol” from Cape Town. An experience that will propel him into the wind, with the most fashionable group of the new northern generation. Having seen future stars like: Nuxon Mésidor, Delly, Hello, Shedley, Fredo etc. Most going to constitute the brotherhood of the Florida coasts, in the domination of the bamboulas in the “sun-shine state” ; then here and elsewhere.
Between the escapades with the “Lakol du Cap” which did not hinder his obligations as a college student at Notre Dame. Although their success is also a pledge for foreign tours. In fact, it was during their first trip abroad that Jean Max took under his wings a novice and unknown artist. Which was not even part of the ensemble, however, as an understudy musician. Her name ? Arly Larivière. Jean Max however returned to the fold following a tour in the diaspora, the time to examine his university options. But the socio-economic situation in the country did not allow any comparison. And, in the mid-1990s, he decided to move to NY. Where he tried to regroup the “Lakol” with Perrin, Shedley and others. An attempt that lived the time of an album. And faced with this mixed outcome,
Association which allowed him to broaden his horizons through contact with veterans such as Smith J. Baptiste, Doudou Chancy and others. As well as erasing his conceptions in the apprehension of fundamental factors. Like the notions of konpa and other peripheral resonances. In order to establish itself in the ambient music hall. Which, Jean Max has stuffed well. In addition to an orchestral keyboardist progression with a fused touch, all infused with ” hip-hop ” modulations, which discarded its early baroque approach. Always invested with enough arguments to insert itself in whirlwind within the “Phantoms” then in search of new perspectives. Between his hikes with ” the wicked zombies ”, which regain more and more the hair and the beast. Jean Max found it necessary to complete his education at the Katharine Gibbs School; specializing in computer networks.
In any case, with the group Flatbush in Brooklyn NY, Jean Max has settled down as a de facto maestro, arranger, composer, singer with radiant timbre and impromptu keyboardist with precision of tempo and harmonic abundance. Propelling a symbiosis of inventiveness and technique. In addition to his first apprenticeships in strings and percussion which project him into sufficient maestro. Taking a preponderant part in all the successive works of the “Phantoms” such: “Granmoun pa jwe!”, “Mission impossible”, “10 years already” and the most acclaimed “Fwèt Kach”which was surely to put the group back in the game after a slump. But, is it the time of artists with political aims like the Parent brothers, Manno Charlemagn and… King Kino who got hit with fever or in a simple test balloon? For the imposition of upcoming unusual phenomena such as: sweet mimi, jakito, tiblada, jojo and other human disasters.
Thus deprived of its star vocalist on multiple missions at home, the “Phantom” tried to stay the course under the direction of the conductor Jean Max Valcourt. Who must also replace the function of lead singer in the absence of Kino. And it is under his authority that the group began its Asian tour. In the midst of serious intestinal crises, he persists in maintaining cohesion. In vain ! Subsequently, the opportunities for Valcourt to fully indulge his facets of arranger, composer, vocal instructor, sound engineer and computer specialist in his recording studio in Brooklyn, “the Maximum”. Located in the areas of Flatlands, which has become an indispensable tunnel for musicians of various origins such as a Sensen, a Max Badette with whom he has made uplifting hikes.
While maintaining his leaps forward. Even when his initiative with the formation “Dola” did not make so many followers after two albums. It is therefore in the consolidation of his personal assets that he is committed. By becoming a hub in the music industry. Providing his expertise to who better better. Flaunting his musical brand and his nimble sound with “Jazz La” by Shedley Abraham, while getting involved in evolving approaches with Cubano. For which he composed, arranged and produced the last work: ” Evolution ”, who was involved. And by being the subject of the most prominent requests, such as the “Nu Look” of Arly Larivière, his former protégé. Richie’s “Klass”, Richard Cavé’s “Kaï” and Michael Guirand’s “Vyab” with whom he collaborated more closely. Everyone is on the lookout, in a single file, to have the orchestral seal of Jean Max.
Which, imbued with its new dimension, took office at a multidirectional turn, in the construction of a house of promotions. The aim of which is to expose young, unknown talents and to give them adequate guidelines for the rest of their career. What Jean Max and celebrities like Michael Guirand have given themselves for mission: to supervise the subsequent generation. And with so many strings to its bow and such a transmissible altruism, it is certain that aspiring artists have no other way than to reach their destination, under the dictates of Jean Max Valcourt.
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