Is it traditional, modern, Vietnamese, Indian, French, African, American? Is it Jazz, Blues? Is it written or improvised? Just like they were using silk threads, Nguyên Lê and Ngô Hông are weaving an intricate and versatile beauty. In the end, each encounter between Jazz and another music, when it’s backed up by facts or dreams – just like here – diffract and rebuild historical and aesthetic space-times. Traditional polyphonic chants and old string instruments keep raising the bar for these official symbols of our “modernity”: electric guitar and laptop. And this modernity is no longer in opposition with “tradition”: they became a dynamic fit, voluptuously.

With Creole Spirits and their sidekicks from the two great islands, Omar Sosa, propagator of a Jazz inspired by Cuban Santeria, and Jacques Schwarz-Bart, provider of a possible Voodoo Jazz a la Haitian, champion a Creole world filled with History and easily understandable mysteries. The ones of secular and sacred forces that you hear in ritual singings and rhythms. Incidentally, their performance has the same structure than a rite; celebrates the same spirits, in both traditions. Incidentally, the spirits of both musicians’, real connoisseur of the Yoruba diaspora, have built a fierce reputation of Afro-Caribbean buccaneers. Of enchanters, certainly.