Illustration: Rob Kelly

Since musician and producer Wyclef Jean first parted company with the Fugees ten years ago, his solo career has been very…unsolo. Having collaborated with close to 75 different artists, the Haitian hip-hopper has proved he’s not afraid to tag-team a song with another singer or rapper or, hell, even an entire orchestra (he recorded “Gone Till November” with the New York Philharmonic). His sixth and latest solo album, Carnival Vol. II: Memoirs of an Immigrant, a belated sequel to his 1997 debut record, again shows Jean’s ability to work well with others. His musical guests include such all-stars as Paul Simon, Shakira, Norah Jones and Akon. Jean’s mixing of genres makes the music sound just as diverse as the cast, but the powerful social messages are constant throughout. (It might be the only time you can shake your ass to a song about domestic abuse.) Before setting off on his tour (which includes a performance at the Nokia Theatre on Wednesday 16), he gave TONY a call from Platinum Sound, his recording studio in midtown.

I’m going to give you a challenge. In six words, describe your new album.
Hip-hop world music… How many words do I have left?

Two. Unless hip-hop is a hyphenated compound.
Okay, hip-hop world music without borders.

Nice! You’ve collaborated with a ton of artists, from Kenny Rogers to Mary J. Blige. Has anyone ever turned you down?
No. The artists I approach, I’m usually a fan of first. I have to feel something in my gut, something that I really, really love. I think you would get a no because of how you ask, if you have a reputation for calling people because they’re hot and you just want to get a song on the charts—and you’re not calling if the person’s not hot. All the artists are aware of that.

Is there anyone you’d never want to work with?
I like real talent. With me and my repertoire, there’s no age barrier. There’s basically good music and bad music, you know? Like, I don’t listen to techno. I don’t understand it. But some of my friends do; they go to these rave clubs and dance all night.

Would you do a jam with Barry Manilow?
Oh, I think Barry Manilow is dope!

Really? What would you do with him?
I would bring him to the modern age. I would let him be Barry, you know what I’m saying? But I would put the sound of today on it.

You often tackle heavy social issues in your music. Have you ever thought about lightening things up, maybe a song about unicorns or ice cream?
I think the music already sounds like unicorns and ice cream, you know? The rainbow is already within the music. I give you all of the beautiful colors, so no matter how serious the lyrics are, it’s already surrounded with all of that flavor.

On “Heaven’s in New York,” about what you would do if it were your last day on earth, you sing: “Make love under the candlelight / Pick up my homies at the gentlemen’s club after that hit.” Do you really think your wife would allow you to go off to the strip club after you do her?
If it was my last day on earth? No, not at all. [Laughs]

So, if Heaven’s in New York, does that make Mayor Bloomberg God?
No, Heaven’s in New York because it’s the city of immigrants, meaning that it’s the place where no matter what part of the world you’re from, you feel that if you get to New York, you can make it. Automatically, you feel like it’s the city of life. Where anything is possible, like Heaven. But it does not smell like Heaven.

Wyclef Jean performs at the Nokia Theatre Times Square Wed 16.

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