Fanm d'Ayiti
Nathalie Joachim's debut solo album, Fanm d'Ayiti (Women of Haiti), shows Joachim exploring her Haitian heritage and celebrating the songs and stories of some of Haiti’s most iconic yet under-recognized female artists. The songs on Fanm d'Ayiti were written and arranged by Joachim and feature her performing on vocals, flute, and electronics alongside the Grammy-nominated string ensemble Spektral Quartet.
"A complex and multi-faceted celebration." I Care If You Listen, 2019
Live performances of the album include -
"Fanm d'Ayiti" orchestral suite for Nathalie Joachim (vocals/flute) & symphony orchestra - 20 minutes
"Fanm d'Ayiti" evening presentation with Nathalie Joachim (vocals/flute), string quartet & electronics - 75 minutes long without interval
Ki moun ou ye
Ki moun ou ye is Joachim's second album, an intimate examination of ancestral connection and self released on Nonesuch Records/New Amsterdam Records (2024) and receiving two 2025 GRAMMY nominations. Weaving together voice, flute, bass, percussion and textured vocal samples to examine the richness of one’s voice — an instrument that brings with it DNA, ancestry, and identity.
Live performances of the album include -
"Ki moun ou ye" Orchestral Suite for Nathalie Joachim (vocals/flute) & orchestra
Nathalie Joachim with Members of the Oregon Symphony, February 2025
"Ki moun ou ye" Solo set
Nathalie Joachim performs selections from her recent album "Ki moun ou ye"
National Gallery of Art, Washington DC, February 2025
Nathalie Joachim also performs live interpretations of "Ki moun ou ye" with trio or ensemble.
PRESS
"Rather than saying that she resists the constraints of genre, it might be more accurate to say that Joachim operates with total indifference to them. On vocals, flute, and electronics, she gave a live rendition of the album in its entirety (although the songs were in a different order), with the help of an all-star band [violin, viola, flute, percussion]. Joachim’s manner of vocal expression is direct, ethereal, and folk-like… a refreshing example of Joachim’s musical agility; the music glides and shimmers effervescently, seductively, mischievously avoiding any sense of definitive closure." San Francisco Classical Voice, March 2024
The Nation"A fresh and invigorating cross-cultural voice"
Gramphone"The evening’s sublime moment of rapture, however, came in the finale of Nathalie Joachim’s Had To Be (2024), a three-movement cello concerto featuring the prodigiously talented Seth Parker Woods. I was spellbound by the entire work, with its references to New Orleans’ second line and Harlem jazz, but after the mesmeric finale, with the soloist’s incandescent ‘poetic incantations’ (in the composer’s words), I felt I was walking on air. When you don’t want a piece of new music to end, you know the composer has done something extraordinary."
Nonesuch Records"Joachim’s powerful voice provides the thread that binds together a glorious tapestry."