In the early ’80s, noted scholar/author/poet/playwright/musician Sybil Kein, then a University of Michigan professor, set out to write a conference research paper regarding the Spanish/Caribbean influence on the Creole culture.

Surprisingly, there wasn’t as much documented as she would have hoped but overall, she concluded it was a smooth transition from one culture to another. The Spanish presence was more salient in music, however. So, as to illustrate her point, Kein authored Gumbo People, a treasure trove of poems written in English and her native Creole French. It was the first instance of written Creole literature and its shell-shocking impact resulted in considerable controversy. The book’s second edition featured poems that were subsequently translated into Spanish, English, Parisian French and Haitian Creole (Kreyol). Not only did the translated poems have to meter accurately in the five languages but the sentiment also had to be preserved in each translation too.

Gardenias & Rosas symbolizes the 19th-century South American and Caribbean influences that are based on the habanera rhythm that migrated via South America from Spain during Moorish times. Kein’s brother Charles Moore accompanies his sister’s soft, luring voice on masterful classical Spanish guitar. Many of these Latin-influenced songs rely on the habanera rhythm as the lyrics relay passionate tales of love gained and love lost. Just like the complementing and contrasting amorous themes, Kein shades her textures appropriately for a diversely rich, multi-cultural effect. The majority of songs are sung in Creole French but often weave in and out of the other languages. While there’s a prevailing folksy feel (“Brown Skin Girl”), some bear a Caribbean influence (“Take Me Back”) or are spiritual in nature, such as “Mélodie,” an enchanting serene piano-flute piece.

Though many of these songs could fit any era, some retain a historical bent like “Josephine,” Napoleon’s Martinique wife who forecast the future by reading bones. “Danse Le Vieux Carré” is folklorically intriguing as well, with the protagonist attempting to publicly market her haunting ghosts. The proceedings close with “Jazz Serenade,” a teaser from Kein’s yet to be produced jazz musical Didn’t He Ramble!, a tribute to Louis Armstrong. Another one-of-Kein affair, Sybil Kein continues to be a spark in New Orleans’ Creole renaissance movement.