CC: Where were you born?
FA: I was born in Port-au-Prince, Haiti.

CC: What are your musical memories from childhood.

FA: let me think, "Hum" a) One night my friends and I were serenading a beautiful girl that used to go school at " Centre Classique Feminin", when her father threw a vase of Pipi at us. It was kind of sad isn't it?
b) I also used to sing in a choir for a Catholic Church every Sunday chez les Peres Salesiens. It was great at that time because I used to feel the spirit of God within me.

CC: Were you ever at a Carnival in Haiti as a child?

FA: Of Course, I grew up in Haiti you know.

CC: If yes what are your memories?

FA: They were an ambiance of a real party in the streets. People had to wear uniform to participate in the streets for the carnival. There were various activities prior to the big bands. They were kings and queens. Order was the thing of the day. People used to enjoy themselves. There were incidents, but not as much as we are seeing today in Haiti's Carnival. I could not wait as a child for the three days to come during the carnival. It was the bomb.

CC: From childhood and teenage years what were your overall musical Influences?

FA: Haitian Kompa group like,Tabou, Difficile, Scorpio, these groups were great man! . One needs to remember also that a child who grew-up in Haiti is also exposed to all kind of music from Latin, jazz, R&B to rocking roll.

CC: When did you first realize your call in music as a singer?

FA: I was around 10 years old when I started to sing and copy French songs for girls. In Haiti, if you want to talk to girls, one needs to know very well some French tunes. I realized the girls were paying attention to me whenever I sing some tunes to them, and the guys in the neighborhood of Fontamara where I grew up used to pick me up to go serenade girls for them. It was a great life.

CC: Who were the singers (Haitian and non-Haitian) that made the most Impact in you and why?

FA: I can tell you a few: Zouzoul, Timanno, Yvon Louissaint and Choubou.

CC: There must be thousands of Haitian kids out there wishing to be the next Fito, the next Gracia, the next Gazzman just like you guys wished to be the next Douby, Cubano or Coupe Cloue. What is the message Fito has for them?

FA: The message is clear in simple. Get an education for the future. They need to know as musician that one is as good as their last good CD, but with an education, one is as good as its knowledge's. No one can take it away regardless of color and race. It will stay with you forever. They need to rely on their own, not in music, especially Haitian Music. One day I'm loved by everybody and the next day I'm ignored by everybody. It is the nature of the business. That's the reason I stress a lot in education, education, & education.

CC: Tell them how it is Fritz. What does it take to get here?

FA: I'm not there yet, but I know it takes hard work, courage and discipline. It is a 24/7's job.

CC: And then one day the kids growth up and Eklips was formed and they never would give up. How long has the band being playing now?

FA: Eklips has been playing for a good 10 years. I refused to give up. I'm not a looser. I'm a fighter.

CC: 3 CD's out and hundreds of bals played all over the Country and Haiti and Eklips has follow up in places as far as Switzerland. How do you feel about all the sacrifices done?

FA: As musicians, we feel great when we are invited to other places like Chicago, Paris, Boston, Atlanta etcccc, where the people are yelling "Eklips! Eklips! Eklips! We feel that we have done some good work in the music community, and we are being rewarded for it.

CC: I'd always thought that your band was misunderstood and not fully appreciated. Or maybe people were not ready for that sound. In special the first CD I think it really brought a new approach and a new sound to Compas music. It is so cool from beginning to end. Let's talk about it.

FA: You have said it all. You just hit the nail on the head.

CC: What I love from that CD sound is that sense of urgency, that Crispiness and how punchy it is, and that rock guitar, man that is cool. The drum work is so outstanding but what fascinate me the most is the keyboard sound. It's?. wow? symphonic. That is the word I found for it. It is so alive and powerful and in a higher note. Do you agree on this and who was responsible for that sound Maxi or Pascal?

FA: You get it man! Fritz, Maxi, Pascal are responsible for this, but Maxi has done the major work because he had sequenced and arranged the whole CD.

CC: Also I thought it was quite impressive the female work on that CD. Are you planning to work with them again or incorporating a choir of girls in your band?

FA: It depends on the situation. It is very hard also to find a female singer in Miami. If there were one, her boyfriend or husband would be opposed to it. Theses guys are so jealous for their girl that they will do anything to stop the woman from joining a band. Most guys in bands are fresh. They want to check the girls out. They don't have any respect for girls when they are part of a band. It is suppose to be a business, but most of our Haitian men mix it a little bit. They want both. They want the voice and the Juice. That is not fair.

CC: Few years later down the road and "Tout sa fe bon" came to light. Another very, very good work full of pretty songs yet the sound change is Unmistakable. The tempo seems to had slow down a bit and most noticeable that incredible keyboard sound is no longer there. It has been replaced for a more tubular keyboard sound. What brought these changes into the music?

FA: All of us. We decide to change it a little bit. We have to see the trend in the music industry. What works! What doesn't. We stress on siwel. People who pay their money for a bal have to dance. If there is any siwel, they will not dance.

CC: The live CD also has a sound that is a bit different from the studio work. Were you pleased with the live CD and the sound you brought into it?

FA: A live CD is a live CD. Groups have to play differently from the original CD. I was pleased with it. It is one more ways to expose a group to the public. Some people like it, some don't. I see there is a hunger for it nowadays. As musicians we need to be careful with that live CD business. That can kill us to you know.

CC: Andre Desjean, what an impressive work he did for your guys on that album! I also noticed he worked on the live album. Are there any plans to make him a permanent member of the band or add some live horns to the band?

FA: I don't think he will be a permanent member of Eklips. He has its own band, and he has his own personality. He will not join a group that is different from his style. He can always help us whenever we ask for it. Remember Andre Desjean is a legend in the Haitian Music industry.

CC: There had been many changes in the band but there are musicians who have been for the long road with you.

FA: It happens all the time that groups change personel. It is very hard for a group to stay together by keeping the original members. Different strokes for different folks. Haitian music can't provide enough bread in some musician tables. People grow up, they get married, more responsibilities. Some of them sometimes are tired of playing for peanuts or they quit because of personality clash. It is not easy to control 10 or 12 men in a group. You have to keep it under control. Most times changes are good for any organization. There is always a need of breathe of fresh air.

CC: When you see all those girls and boys enjoying the bal to your band sounds what comes to your mind in regard to them?

FA: They really like the job that the group is doing. It makes any musician happy whenever they see people jumping. on their music.

CC: Do you feel a sense of responsibility towards the public?

FA: Of course, we feel a sense of responsibility toward the public. They are the one paying to see us. As a matter of fact, all musicians need to be aware of the public by respecting them more. I'm always get mad whenever Eklips started late for a Bal. I always tell my members that the public pays their money to come to see them, and they you ought to treat them with respect by starting on time. It is also my message to all Haitian groups "Start on time and entertain the public to the max and they will earn more respect for their music."

CC: Are you aware that you could directly or indirectly be a role model for the youth?

FA: Yes, I want to be a role model for the youth. My educational background can tell the youth everything about me. I graduated High School from College Bird. I have a Bachelor Bachelor degree in Math in Education from Florida International University, MS in Computer Education (Barry University), a Specialist degree in Math Education, a Certification in Administration from Nova University. I'm currently a Math teacher at Shenandoah Middle School. I think that I have done everything that is positive in life for a child to follow. No one can say anything bad about Fritz Ady ( Fito the Undertaker) the musician. The only bad thing is that I'm not lucky as Gazzman or Gracia, but believe it or not, I'm one of the top singers in the Market. I can play a guitar, and write music. Most the singers in the Haitian Music don't play an instrument or write music. They usually write songs for them. I have produced and sang in a lot CDs in the Haitian Market: Plen Pip, Eklips1,2, 3,4, the Best of Ti police, Background vocal in the last Kazak etch. Have to tell you that I'm not being recognized as I supposed to be because I'm a person modest, and I have a full time job as a teacher. I do not depend in music for a living. Instead of making money in music, I loose money.. I'm one of the musicians who change the stereotype that" all musicians se Tafiate, sans edikasyon, zepav, vagabond, sans fiti".

CC: Someone in Haitian connection.com just made a comment about a couple of Haitian musicians that die of AIDS and mention how little information is about AIDS in parts of Haiti and even in the Diaspora. In which way you feel you the musicians could make a positive impact on the community against this worldwide malady of our times?

FA: We can translate the message trough their music. We can educate the public while playing a concert or bal. They need to emphasize that ignorance is the worst disease on earth. We need to tell them to protect themselves at all the times by wearing " Kapot"

CC: I have heard and read a lot in all the Compas sites and magazines about the tempo being too slow to crossover and comments that people is what they want, even Tabou once said that they played slower in Haitian bals than they normally do outside. Yet when people had a room to dance they dance not always grind but really how can we ask them to dance when the floor is so packed and a song last 16 minutes! All over the chat rooms people complain that songs are too long live at the bals. Yet I still heard in bals those songs play endlessly. I think even you made a comment in an interview to Patrick about this tempo, swivel fact. What is happening here?

FA: We need to change the way we play Compaa. It is too slow sometimes. If we want our Compas to cross over, we need a fast tempo and some hits in English. We are living in America. The youngs are coming up rapidly into the world of Compas. They need to see something different. The world has evolved why can't we? The songs also are too long in the bals. I have seen people go back to their seat while a group is playing. I'm sorry. The songs need to be shorter in bals.

CC: Do you think is not the tempo of Compas but the way its play live? I mean most bands have 6 minutes songs at the most in their CD's. Do you think it needs to be more dynamic? Like most of you have plenty of songs to play for hours, hit after hit.

FA: Yes indeed. Our music is too sleepy sometimes. This is America. Bands are still playing music as if they were living in third world Countries. They play too slow. If I left my house because I was bored, why should I go to entertain myself and still be bored? Let's go fellow musicians, do something about it. The groups need to play hit after hit. They also need to entertain the public. Don't you see sometimes that the groups are playing and the musicians are not even moving? We need to go to another level. How do you expect the people who pay their money to come see you dance to the music?

CC: It seems the dance itself was left behind in the development of the music. I mean I saw an old video of a bal and I couldn't believe my eyes. People were doing all kind of fast turns, steps and moves. What happened here? There is a consensus that developing the dance will attract more outsiders. I have seen myself some very creative and awesome Haitian dancers in Haitian bals.

FA: I don't know which bal that you're referring yourself to. All I know Ayisieyn remen Peze pou lagent yo peye ya. That's why a lot of groups play so slow.

CC: I also think that Compas had really outgrown itself and that most of the times it's being played in too small venues for the amount of people that shows up and how big the sound is. I really love it when they do bals at the large bal rooms in hotels. Everything seems so different. What do you think about this?

FA: There is an Economic factor. The Haitian market doesn't have big promoters that can invest mega money in the industry. Our music is not promoted as it supposed to be. Besides Tabou that is being recognized world wide, no other band comes close. I said it before; we have a few people who have a little of cash that hire bands to make a few dollars. That is all. "Yo acrek pase sam pa konen".They are greedy people. Our community is also poor. How do we ask a community to come out in full, 4 nights a week from 15 to $40 a piece? Where these people going to find this kind of money. That is one reason our venues are so small. There is not enough money to go around for all 17 or more bands that exist in Miami. People have kids going to school, bills to pay. There is a bigger responsibilities that going to a bal every night. You will always see that one night outgrows the others.

CC: Festivals are really awesome too. How do you like playing at the nice Compas Festival in downtown Miami?

FA: It was fun. Eklips is always happy to participate in festivals like that. As a matter of fact, I think that we perform better in these venues than bals

CC: What is going to take to make Kompa music get more respect and have more non-Haitian people attend bals and listen to the music?

FA: I have said that before. The bands need to produce more hits, and I will stress in Promotions, promotions, promotions. I 'm talking about Big promotions and every group will benefit from it.

CC: What I have seen a lot is members of other bands attending bals and enjoying themselves there being friends and cooperate in peace yet it seems what gets the most ink is when there is a problem or conflict. For instance not very much has been say about Phantoms and Sweet Mickey putting aside their differences and I think this news should get all the ink in the world. How do you feel about musicians, bands and promoters having differences among them? How bad do you think this situation affects the musical scene internationally. What solution will you give? Would it be helpful to create an association where issues could be ventilate and talk
about? Many times it seems the problem is nothing but a major misunderstanding blow up of proportion.

FA: I don't have time to discuss other people or other bands business. I have my own problems to deal with Eklips.

CC: Thank you so very much for the continuous attention, for the Beautiful sounds, for the joy your guys music brought to my life and for introducing me to this beautiful Compas world 4 years ago. We wish Eklips a great success in Paris and forward, many blessings and great luck to you all. And your final thoughts for the public please.

FA: I have to thank Compas central for this opportunity given to Eklips to express their opinions about our beautiful Compas music. I want to tell the public that playing Compas is very difficult. Eklips is working vey hard to come with a new CD so they can be pleased. Be patient. Eklips has only love for them. Stay positive and pursue your dreams.

This Interview was conducted by Pavel Patino For Compas Central