Trans Kabar is a Maloya rock band. It works on an electrical reading of the mystical rites of Reunion Island to develop a music of “Trans Maloya”. They are inspired by the Servis Kabaré, a festive ceremony based on ritual of slaves, made to communicate with the ancestors through music, songs and dances. Often rejected, forbidden, almost forgotten, this rite has survived in hiding. Trans Kabar brings it up to date.
Here, musicians and public form an indissociable whole. The musician is a vector towards a set, the music an excuse to converse. In Trans Kabar, musicians base their work on the voice, traditional songs of Maloya and the traditional tunes of Servis Kabare. Spontaneous and hyper-creative, the four artists leave room for improvisation. Maloya rock rhythms that are sculpted around the voice and the Kayamb to plunge into the laments of an island blues.
“Trans Kabar catapulte the mystical traditions of the intense island into the 21st century: crossed by haunting complaints, zebrared with hot and nervous riffs, these frenetic airs took us into an unprecedented urban Reunion Island.” Anne Berthod – Telerama
“Trans Kabar: when rock and maloya speak with the same voice Maligasé, the band’s first album, is a concentrate of energy where rock and maloya weave together a flying carpet that leads straight to the trance. To discover. […] “Maligasé” is a concentrate of energy. Like an uppercut, for which we ask again.” Vladimir Cagnolari – PAM
“The 4 boys of Trans Kabar play rock and maloya, the ternary music of Reunion Island, inherited from slavery. Kabar(Reunionese festival around maloya) takes on the appearance of a rock and roll mass.” RFI – Musiques du Monde
“Maloya mixed with rock: this is the proposal of Trans Kabar, a quartet that electrifies traditional Reunionese music from the metropolis. Because if he now lives in Paris, the heart of the group is deeply rooted in the Mascarenes, by its singer (Jean-Didier « Jidé » Hoareau, Danyèl Waro’s nephew) and its guitarist (Stéphane, Hoareau too, but no family relationship). From the maloya, they keep the kayamb, this percussion inherited from sugar cane plantations, and the “fonnkèr”, the energy that ignites the throat and brings the trance. But here, the tempo accelerates under the influence of rock, hence the name of the group: Trans Kabar, a relation to trance and transversality, but also to celebration. The superb “O Linndé” is transformed into an electric bonfire.” NOVA – Le Grand Mix
Trans Kabar by Stéphane Deschamps
“The Trans Kabar group was born in the Paris region in the fall of 2017. And before going any further, his name deserves a couple of explanations. Trans”, as in “transversality”, because this group likes the mix of instruments and sounds, the unusual crossovers. Its soil is maloya, the traditional music of Reunion Island, which rises from the ground and passes through the bodies of the musicians, to express itself in song and percussion. But three of Trans Kabar’s four members play maloya on instruments rarely heard in the tradition: electric guitar, double bass and drums. “Trans”, as in “trance”, because maloya can sometimes lead to trance – and always to dance. “Kabar”, as the name suggests, is the name of the Maloya Reunionese festivals, where Creole musicians, dancers and poets gather. And more precisely, as in “servis kabaré”, the ritual side of the kabar, a ceremony of homage to the ancestors particularly conducive to trance.“
“Trans Kabar has drawn part of its repertoire from the traditional songs of these “Kabarean services”, to share them and revive their memory. First of all, that’s a pair of three explanations. But that’s the way it is with maloya, music of ternary rhythms and magic tricks. To play maloya, a little is enough: a kayamb and a voice. Trans Kabar has all this, first embodied by the singer Jean-Didier Hoareau. As his name suggests, Jean-Didier (known as “Jidé”) comes from Reunion Island, even if he was born in the Paris region, and he fell into maloya when he was very young. He is Danyèl Waro’s nephew. He plays kayamb and sings in his illustrious uncle’s stage group, but also leads the Séksion Maloya cultural association, and has come a long way with Ann O’Aro or shared the stage with Christine Salem. A kayamb and a voice are enough for him to make his maloya, as long as he doesn’t forget the essential: the mind, the heart and even the “fonnkèr”, the released energy, the generous rage that ignites the musicians and the audience. And Trans Kabar has all that.”
“In reality, the idea for Trans Kabar came from another Hoareau, Stéphane, born in Reunion Island, who came to Paris at the age of 18 to study music, and has since remained in the Paris region. Stéphane plays the electric guitar. A rock Hoareau, but deeply connected to its Reunionese roots. In search of artistic expression in connection with maloya, he first co-created the group G!rafe, a tribute to Creole poetry and its singer Alain Péters. Trans Kabar is the second step, around the mystical rites of the “Kabaré servis”. Stéphane and Jidé Hoareau met as teenagers – the two boys had been camping together one summer in Reunion Island. They met in Paris, and Stéphane suggested to Jidé that he plug in the traditional 220-volt maloya, with the voice of one and the guitar of the other. To make matters worse, they embarked on the project with two musicians a priori far from the world of maloya: a double bass player (Theo Girard, co-creator of the group G!rafe) and a drummer rather from jazz and improvised music (Ianik Tallet).”
“After about forty heating concerts, from the Africolor festival in Peru to Brittany, Trans Kabar spent three days in the studio in Montreuil to record his first album, “Maligasé”. Seven pieces of the traditional Maloya repertoire from Gramoun Bébé, Gramoun Baba, Ti Morris or Danyèl Waro, and metamorphosed by Stéphane Hoareau’s arrangements. With an electric guitar, a crazy double bass and a drum set that doesn’t take itself for a “roll” (one of the maloya’s percussions), this music born from the melodies sung by Jidé Hoareau becomes a moving and unbridled sound mass, in expansion, ready to engulf rock lovers in the trance. The music is nervous, physical, burning, sometimes hard, coming from the bottom of the gut and from the heart, this muscle. Maloya deeply rooted in Reunionese history, but which also reflects contemporary violence, whether it comes from Paris or Madagascar. The first thing we hear in “Maligasé”, and which will not let go until the end, is Jidé Hoareau’s voice, high and hoarse, dark and lively, of an unprecedented expressiveness and intensity. “With Trans Kabar, I sing notes that I didn’t reach before. It is related to the flexibility that Stéphane, Théo and Ianik bring. They answer me with their instruments, it takes me higher. With them, the maloya is lighter to sing. In maloya in general, and in Trans Kabar too, it is the voice that calls out to the spirits, it is around it that music is built and consumed. As a result, everyone is doing the chorus in Trans Kabar. To physically experience the music, share the excitement and never get too far from the fundamentals of all magical music: rhythm and singing. The voice is free, Trans Kabar rushes in.”
“Out vwa i fé fé lèv bondié” said his comrades from Reunion Island, “your voice wakes up the years”. Born in the Parisian suburbs, near Sartrouville, maloya still flows in his veins because Jean-Didier Hoareau is his nephew since he is Danyèl Waro’s nephew. It is a raging and tender version, coloured with the asphalt of the cities, that he sings with his high-pecked voice. Jean-Didier Hoareau knows how to move on contrasts, and on “Jidé” his second album, he installs, with the complicity of Sami Pageaux-Waro, his cousin, this “intense proximity” which makes him so close for the space of a song, to better roam the next song. Jean-Didier escapes any category. Before life, he advances respectfully towards his ancestors and fathers, to better induce his singularity.
We planted a maloya shoot in him and he has to water it, as he likes to say. Curious, he knows how to open himself to the world, but it is with the rhythmic of maloya that he deciphers the musical worlds, whether they come from rap,soul or song. “Jidé”, a surprising album in the world of maloya, with arrangements braided around Jean-Didier Hoareau’s stunning voice.
Guitarist from Reunion Island, studies at the CNR of Saint-Pierre de la Réunion. Winner of a scholarship that allows him to travel to mainland France, he follows the jazz curriculum of the Montreuil Conservatory where he receives his prize and then his D.E. in jazz. Since then, his musical activity has ranged from theatre to independent rock, contemporary jazz and song. He is the initiator of several multidisciplinary shows (musicians, draftsman, actors). As a performer, he participates in projects ranging from contemporary jazz to song and street shows.
He also regularly composes music for contemporary theatre or for shows for young audiences. With ten years of teaching experience in conservatories, he conceptualizes conferences related to the company’s projects for an audience of non-musicians or amateur musicians, with the objective of seeking a new approach to musical pedagogy. This work is enriched by the collaboration with the association AERI working on the revitalization of people in difficulty through art. With G!RAFE & Bruno Girard, he undertook a triptych on Reunion Island culture, between tradition and modernity. For the second part of this artistic axis, he chose to work on a cultural panacea that had long been erased from the memory of the people of Reunion Island: the Servis Kabaré.
He is a bassist and double bassist, composer born in 1978. Trained by major European (Miroslav Vitous, Hein Van de Geyn, Olivier Sens) and American (Vijay Iyer, Mark Dresser or Dave Douglas) names in the practice of jazz and printing, he has been at the origin of several projects since 2001. The Sibiel trio (since 2001) which is still productive. Le “Monde de Perception” (2008-2012), a multi-disciplinary and ephemeral show based on ideas, melodies and texts performed by a troupe of about ten people (actors,dancers, visual artists, musicians, technicians). He has also created Chasseur (since 2012), a group in which he co-composes and arranges with the Malian musician and singer Adama Coulibaly.
He has a privileged collaboration with Macha Gharibian, as an interpreter, he has participated in many jazz projects such as Le Bruit du Sign (2004-2011), Denis Colin (since 2013). He also covered more popular styles, trans-disciplinary projects, music writing for the theatre. At the end of 2015, the Bratsch group stops, he decides to devote part of his time between social work and the projects he cares about and a new leadership activity (30 Years From, Rotary Thoughts).
20 years on stage, from rock to blues, then from jazz to improvised music, including song and various projects whose main motivation remains the desire to share and discover.
He played with it: Bénabar, Malo Vallois, Stéphane Payen, Fred Pallem, Csaba Palotaï, Médéric Collignon… Ianik also works on pedagogy within the CRDs of Montreuil and Bagnolet.
Maligasé • 2019 (Discobole Records / Differ-Ant)
Jean-Didier Hoareau • voice & kayamb
Stéphane Hoareau • electric guitar & chorus
Théo Girard • double bass & chorus
Ianik Tallet • drums & chorus
|2020 &2021||OPEN FOR||BOOKING|
|2020 &2021||OPEN FOR||BOOKING|
|2020 &2021||OPEN FOR||BOOKING|
|2020 &2021||OPEN FOR||BOOKING|