What brought me to play the Ka drum is the fact that at a certain time in my life, to listen to music, you had to make it even for lack of broadcast support. And also for certain activities such as field work, the drum had a very specific role in the execution of tasks. Playing the drum also allowed the expression of struggles in certain manifestations of everyday life.

 

 

The meeting with Florian Pellissier was done through a record label, with which we accompanied some African musicians from Mozambique, and then some time later I asked our producer to contact Florian, to participate in the event. recording of the album of the Trinidadian musician Anthony Joseph, for which I was the director, because I had liked the piano playing of Florian and his ability to adapt to the music, then I called him back for the recording of my own album (Dalva).

> What do you think jazz brings to gwoka, and gwoka to jazz?

 

Jazz has allowed the Gwo-ka, to find the link of a story, and also of a common language where the expressions are a set of value, for the sharing, the exchange and the freedom of the art of improvisation and creativity.

 

The Gwo-ka brings to the Jazz this Caribbean color, a form of exoticism, also of the rhythmic rigor, a particular and unique phrasing, in the interpretation of the Jazz themes of the World.

The Gwo-ka is at the origin of a new music, which creates a new identity for young people of the new generation of Guadeloupian musicians, in Paris and Guadeloupe and this thanks to the Jazz and the work of the great Guadeloupe musicians having worked and listened to the American and French Jazzmen, but also, by the work of a number of great Gwo-ka players and singers, such as Marcelle Lolia, known as Vélo, Guy Konket, Carnot, Robert Loyson and others.