Guadeloupe – Arnaud Dolmen triumphs at the Jazz 2025: a consecration for the Guadeloupean drummer

Arnaud Dolmen

Arnaud Dolmen has written a new page in the history of French jazz by winning the Victoire du Jazz 2025 award in the “instrumental artist” category. The award, presented at a ceremony in Paris on September 3, 2025, recognizes the exceptional talent of this musician from Sainte-Anne, Guadeloupe, who has established his own unique style combining gwo-ka tradition and modern jazz.

A resounding victory in the instrumental artist category

The 23rd edition of the Victoires du Jazz took place at Studio 104 of the Maison de la Radio et de la Musique in Paris, under the honorary presidency of Angélique Kidjo and presented by Manu Katché. In this prestigious category, Arnaud Dolmen beat off two formidable contenders: trumpeter Airelle Besson and saxophonist Baptiste Herbin.

The emotion was palpable during his acceptance speech: “I thank the Victoires du Jazz and all the voters. I dedicate this prize to the God of drums and to the tanbouyé of Guadeloupe”. This dedication reveals the musician’s deep attachment to his Caribbean roots and to the gwo-ka tradition that shaped him.

Arnaud Dolmen
@fbphoto38

Deep roots in gwo-ka

Gwo-ka, listed as aUNESCO intangible cultural heritage site since 2014, is the very essence of Guadeloupe’s musical identity. This traditional music, born during the period of slavery, mainly uses the “ka” drum, made from a wooden barrel covered with a goatskin. Arnaud Dolmen discovered this world at the age of five, learning the ka drum under Georges Troupé at the Atelier Marcel Lollia.

Arnaud Dolmen's exceptional career

Born in Bar-le-Duc on October 4, 1985, Arnaud Dolmen arrived in Guadeloupe at the age of five, and quickly revealed his musical talent. After joining the Kimbòl youth orchestra in his teens, he flew to Toulouse in 2003 to continue his studies at the Dante Agostini drum school. Freshly graduated in 2008, he began his professional career alongside Caribbean bands such as Soft, Franck Nicolas and Dédé Saint-Prix.

His meeting with Jacques Schwarz-Bart, the internationally renowned Guadeloupean saxophonist, marked a turning point in his career. This collaboration opened the doors to contemporary jazz and enabled him to develop his own distinctive style, fusing the polyrhythms of gwo-ka with the sophisticated harmonies of modern jazz.

Arnaud Dolmen has also collaborated with leading artists such as Mario Canonge, David Linx, Bojan Z, Naïssam Jalal and Laurent de Wilde. These experiences enrich his artistic palette and confirm his reputation as a versatile and innovative musician.

Arnaud Dolmen
@fbphoto38

Growing recognition

This 2025 victory isArnaud Dolmen ‘s second major award at the Victoires du Jazz, following his first “Revelation” trophy in 2022. In four years, the Guadeloupean musician has been nominated three times in different categories, testifying to the constant recognition of his peers.

His two personal albums have largely contributed to this recognition. “Tonbé Lévé” (2017), focusing on a contemporary jazz aesthetic, earned him the title of “Revelation of the Year” by Jazz Magazine. “Adjusting” (2022) confirms his status as an accomplished artist, questioning “our interconnectedness, our human experience in a world as beautiful as it is noisy”.

The cultural impact of such a victory

This accolade resonates far beyond the music world. Guy Losbar, President of the Conseil Départemental de Guadeloupe, declared: “With this new distinction, Arnaud Dolmen confirms his place among the greatest talents on today’s international jazz scene. Through his music, he resonates the singularity of our cultural identity”.

Ary Chalus, President of the Regional Council of Guadeloupe, points out that the musician “demonstrates that the richness of our culture and traditions is a formidable asset for shining on the international scene”. This victory is a perfect illustration of how Arnaud Dolmen is succeeding in bringing the heritage of gwo-ka to the world jazz stage.

Arnaud Dolmen’s success is part of a wider drive to promote Caribbean music. Last May, at the Jazz sous les Pommiers festival, he led a “Carnival for Love” brass band of over 200 musicians, demonstrating his ability to federate and transmit the richness of his musical heritage.

This double Victoire du Jazz award places Arnaud Dolmen firmly among the leading figures of contemporary French jazz. His singular approach, combining technical mastery and cultural authenticity, opens up new perspectives for the dialogue between Caribbean traditions and musical modernity. The ceremony will be broadcast on France 4 on September 22, enabling the general public to discover or rediscover this exceptional talent, who honors Guadeloupe and enriches the French musical landscape.

Arnaud Dolmen
@omniapromotu
Arnaud Dolmen
@fbphoto38
Arnaud Dolmen
@fbphoto38
Arnaud Dolmen
@fbphoto38
Arnaud Dolmen
@fbphoto38

Arnaud Dolmen’s victory at the Victoires du Jazz 2025 represents much more than just an individual award. It symbolizes the recognition of a rich and vibrant Caribbean musical heritage, capable of dialogue with the most contemporary artistic expressions. This exceptional drummer-composer proves that musical excellence can be born of a harmonious synthesis between tradition and innovation, between local roots and universal ambitions.

Leave a Reply

Your email address will not be published. Required fields are marked *

More articles from RK

Well mudda sick
HISTORY & HERITAGE
Tolotra

“Well mudda sick!”: But what do these three words really mean?

In the Bahamas, three words are enough to express surprise even before you realize what just happened. Good news breaks, a plan falls through, something exceeds expectations: “Well mudda sick!” might pop up in conversation. Taken literally, the meaning is confusing. In Bahamian usage, however, the expression is much simpler than it seems. Three words that don’t really translate word for word “Well mudda sick!” literally translates to “Well, my mother is sick.” But that’s not what a Bahamian means when they use it. Instead, the expression functions more like an exclamation: “Wow!”, “Oh my!”, “Unbelievable!”, or even “My God!”, depending on the situation and tone. It is precisely this discrepancy that makes it interesting. Someone who knows every single English word can understand the sentence on paper and yet completely miss its meaning in conversation. Here, it’s not just the words that matter. Context, speed, and intonation play a

Read More »
Chattel house
HISTORY & HERITAGE
Tolotra

Chattel House: The Hidden Social History Behind Barbados’ Houses

At first glance, they catch the eye with their wooden facades, their colors, and their simple proportions. Yet Barbados’ chattel houses are not merely an architectural signature. Their form reflects a specific social reality: for a long time, some residents could own their homes without owning the land on which they stood. A chattel house therefore had to be movable. Chattel House: A Home Designed for Traveling To understand this unique aspect, we must look back to the post-emancipation period. In Barbados, the emancipation of enslaved people was completed in 1838. However, the island’s land structure remained deeply shaped by the sugar economy. As early as the 17th century, the expansion of sugarcane cultivation had led to the concentration of land in the hands of large plantations. After emancipation, many workers still lived on land belonging to the plantations. They could build a home and own it, without owning the

Read More »
Bélya Matinik : 10 titres pour faire du bèlè un récit du présent.
MUSIC
Tolotra

Bélya Matinik: 10 tracks that make bèlè a story of the present.

On August 9, 2026, Bélya will officially release *Adoumanman*, a ten-track album conceived as a balance between the bèlè heritage and contemporary creativity. In this album, the Martinican band sets to music themes of migration, memory, transmission, violence, resistance, and hope, without turning a blind eye to the present. Bélya: Heritage as a Starting Point With Adoumanman, Bélya pursues an idea that runs through his artistic approach: remaining deeply rooted in bèlè while allowing this art form to evolve with the times. The group refers to its style as “Bèlè Fusion” and performs k’bel, or kadans bèlè, drawing notably on the rhythms of Samaritan and Arlesian bèlè, as well as the musicians’ experiences with carnival, gospel, zouk, and jazz. The vision behind this new album can be summed up in a few words: “Roots, and openness to the winds of the world”. Adoumanman also uses the phrase “Mi Plézi dann.”

Read More »

conTACT RK

we'd love to have your feedback on your experience so far

Join The List

Join our Richès Karayib community!  Sign up for our newsletter.

Want To Maximize Your Business Presence On Riches Karayib?

Complete the form to start the application