Overview:
“PAP Jazz It Up” was the theme of this 12 months’s version of the Port-au-Prince Worldwide Jazz Competition. Music lovers celebrated a wealth of native expertise, regardless of the absence of worldwide artists on account of safety issues, on April 5 and 6. Though challenges have been evident, the annual occasion succeeded in showcasing Haitian expertise and creativity.
PORT-AU-PRINCE — After two postponements and mounting uncertainty, the Port-au-Prince Worldwide Jazz Competition—referred to as PAP Jazz—returned in full swing on April 5 and 6, celebrating native artistry and cultural resilience within the coronary heart of the Haitian capital. Safety issues saved away Worldwide music lovers and artists who normally flock to Haiti on this extravagant event.
This 18th version, held below the theme “Pap Jazz It Up,” unfolded on the Karibe Lodge’s conference heart in Pétion-Ville, remodeling a metropolis below siege from insecurity right into a stage of musical creativity and resistance.
“We tried all the pieces,” Milena Sandler, government director of the Haiti Jazz Basis, informed The Haitian Instances in regards to the competition’s realization in Port-au-Prince this 12 months, regardless of the percentages.
“We explored alternate options, however finally, we needed to confront actuality and concentrate on our native artists,” Sandler mentioned.
Since its inception in 2007, PAP Jazz has hosted varied famend artists from throughout the globe. Notable performers embrace legendary Haitian icons like Emeline Michel, who has graced the stage along with her soulful voice, and Joël Widmaier, the competition’s inventive director and a celebrated determine in Haitian jazz. Internationally, the competition has welcomed acclaimed musicians like Branford Marsalis, Dee Dee Bridgewater and Richard Bona, showcasing its international enchantment and dedication to high-quality jazz performances.
A lineup powered by homegrown expertise
With Port-au-Prince below the U.S. Federal Aviation Administration’s journey ban, the 2025 version of the PAP Jazz Fest couldn’t rely on international figures and jazz music lovers from overseas. This was the primary time no worldwide artists participated on account of escalating gang violence and insecurity.
“I didn’t anticipate the general public to come back out in these troublesome circumstances. All of the actions have been offered out.”
“Pap Jazz is the most important music competition within the nation, and it means loads to me as an artist.”
As an alternative, the stage belonged fully to Haitian performers, who turned the absence of worldwide stars right into a showcase of native brilliance.
“This 12 months, we needed to do it with native artists solely, and we succeeded significantly,” singer Joël Pierrevil, recognized by his stage identify as Joël Akoustik, informed The Haitian Instances throughout a post-show interview.
Among the many standout moments was a robust slam-jazz efficiency titled “Les amours, balles perdues”—a collaboration between poet Ricardo Boucher, slammer Eliezer Guerismé, artist Badio Pandache and musician Joël Widmaier.
Vodou rhythms meet jazz improvisation
The Vodou group “Nanm” —an rising rasin ensemble—blended conventional Haitian religious rhythms with jazz parts, incomes reward from each the gang and the competition’s organizers.
“I’m grateful for the native artists who needed to handle to combine jazz with their model,” Sandler rejoiced.
In the meantime, Clyde Duverné and Therly Job saved the spirit alive in the course of the competition’s late-night classes at Quartier Latin, a cherished after-party custom that even insecurity couldn’t cancel.
A cultural escape in turbulent instances
Day two of the competition underscored the deep emotional want for cultural gathering in a metropolis besieged by worry. For just a few hours, Port-au-Prince residents have been transported—dancing, clapping, and singing alongside to artists who gave them greater than music. They gave them hope.
“It’s not only a music competition, it’s a type of resistance,” mentioned Gladimy Jean, an attendee. “Folks have been thirsty for this second.”
That night, Joël “Akoustik” Pierrevil, together with Alexa Cherrélus, Fameuse Maude, Jean “Kéké” Bélizaire and Johnson Saint-Cyr, delivered a stirring interpretation of Bélo’s hit “Kote Moun Yo”—a becoming tribute to the absent, the misplaced and the looking.
Musical unity: jazz meets rara and hip hop
The eclectic soundscape continued with a set by DJ Gaëtan “Kolo” Collaud and pals, together with Hernso “Ti Tanbou” Chéry, Kerven “Kabysh” Lebrun, Kéké Bélizaire and Joël Widmaier. The efficiency fused hip hop, Haitian percussion and jazz right into a hypnotic combine.
One other crowd favourite was the rara band “Comply with Jah”, which carried out energetic transitions between units, stirring nostalgia and pleasure amongst festival-goers.
“It was the primary time I’d seen Nanm on stage, they usually captivated the viewers—particularly their guitarist,” mentioned Sarafina Pierre, a festival-goer. “There was additionally the rara band who actually set the temper.”
PAP Jazz Competition’s future rests on resilience
In 2023, Cap-Haïtien hosted PAP Jazz for the primary time, bringing collectively native, nationwide and worldwide artists in the course of the weekend of January 20-22. The occasion, moved from the capital on account of ongoing violence and rampant kidnappings, drawing throngs of followers to a stage stationed at Carénage Boulevard. All through the weekend, native abilities additionally showcased the nation’s jazz, rara, konpa and different music codecs.
“Pap Jazz is the most important music competition within the nation, and it means loads to me as an artist.”
Joël Pierrevil, Haitian singer
Regardless of a smaller organizing crew, Sandler mentioned she was overwhelmed by the success of the 2025 version.
“I didn’t anticipate the general public to come back out in these troublesome circumstances. All of the actions have been offered out,” she mentioned. “It took a number of laborious work and energy to prepare this version, and I’m greater than happy with the consequence.”
She credited sponsors, embassies, volunteers, artists and members with making the occasion attainable and reaffirmed that the Haiti Jazz Basis will proceed “taking it one step at a time” because it prepares for the nineteenth version in 2026.