Thursday, 1 January 2015

Caribbean Beat Reviews – January/February 2015ª

Oui ma Chérie! Andy Narell

Trinidadians are notoriously protective of their national instrument, the steelpan, so much so that when iconoclastic American pannist Andy Narell releases a new CD, the chauvinistic hubris echoing among local voices can and does sting. Narell’s riposte in this instance is an album of five long musical interludes, a balance of originals and Trinidad song /calypso that defines broader genre options for the steelpan. Jazz dissonance and tropical rhythms that suggest the wider Caribbean outside of Trinidad move the body of music for the instrument several steps ahead. Narell single-handedly plays all the parts of a small steel orchestra to capture with near sonic perfection the timbre of the modern steelband, and blends it with solo guitar and trumpet to imagine newer possibilities. After 18 previous albums, it is clear that the sound born of “the audacity of the creole imagination” in Trinidad is now global, and this album is apt proof of Narell’s significance.

andynarellshop



  1. More Caribbean Playlist reviews appear in the January/February 2015 issue of Caribbean Beat magazine.

Wednesday, 31 December 2014

2014: Another Year in Music - an excerpt

"Jazz artists hold a place of special importance in my view of local music, and the continuing production of only a handful of commercially released albums—Chantal Esdelle & Moyenne, Clifford Charles, the Ming-produced TriniJazz Project, Theron Shaw, Pedro Lezama—does not create significant impact for industry growth but acts as a statistical indicator and marketing tool for a buying public of live music as well.


The concert and festival scene saw increased numbers at shows, increased events showcasing Caribbean jazz artists (the return of Shades of Vaughnette, an All Star tribute to Ralph MacDonald, Eat Drink Jazz), and an increase of ticket prices for the Tobago Jazz Experience coupled with the “concept of the fence.” The near-completion of the multi-seat Shaw Park Entertainment complex may ease the logistical problems that the over-subscribed beach location exhibited in April 2014. Despite these factors, jazz artistes still validly complain about the burden that the small economies of scale here has on their careers. That cabal of musicians must continue the symbiotic relationship with its audience here..."
—Excerpt from "2014: Another Year in Music"
To read the full article, click here >>

Tuesday, 18 November 2014

What a Saturday night…Jazz! Song! Performance! Fête!

Oh Lawd! Wat a night! Wat a night!
What a Saturday night!
Oh Lawd! Wat a night! Wat a night!
What a Saturday night!
—"Linstead Market". Lyrics according to Walter Jekyll's 1907 book, Jamaican Song and Story

A busy Saturday night it was. Cool and dry, thank God. The 15th of November was busy with the simultaneity of entertainment options for the like minded.
Jazz! Song! Performance! Fête!
An inspiration. A revelation. An investigation. A celebratory coda.


I: Chantal's Vision

Chantal Esdelle is doing what few others have dared to try by launching a jazz studio—a home cum studio for creativity and improvisation—in her grandmother's home. The jazz salon is alive. I remember the Boothmans—Mike, David, Roger, Pops—had private jazz salons in their home. An effort to bring a select audience into direct contact with the creative energy of the local jazz musician is an inspired endeavour. The jam session, "the jazzman's true academy" according to writer Ralph Ellison, was being allowed to take root again after a few years of stasis. It serves as the jazz equivalent of networking events and that aspect is wanted if we are to build a viable industry beyond simple talent.

Friday, 14 November 2014

Shades of Vaughnette III: Milestones - a review¹

Resplendent, as always, in the couture of southern design team, Zadd & Eastman, Vaughnette Bigford made a successful return to her annual concert series, Shades of Vaughnette, at the Sundar Popo Theatre at the NAPA South Campus in San Fernando after a two-year break for the recency of motherhood. With a mix of local and jazz/R&B covers, Bigford reclaimed her status of the premier jazz stylist in these islands whose palette knows no geographic boundaries. She is well known for handling the American jazz songbook, international hits in many languages, and especially for her take on the local song catalogue and suffusing these tunes with the dissonant harmonic tones of jazz. And that night, Saturday November 8, she did not disappoint.

This year’s show, the third in the series and subtitled Milestones to celebrate a decade as a professional performer follows a pattern of expanding the local audiences' understanding and appreciation of a global repertoire of songs, and reinforcing the idea that the local song—whether it is calypso, soca or island pop—can become a celebratory anthem beyond a narrow Carnival season cycle that predominates the industry. Opening the show with a nod to American jazz singer Carmen Lundy with a cover of her hit “Wild Child”, Bigford soon engaged the senses with a phonetically accurate reading of French chanteuse Annick Tangorra’s “Lolita Fleur Creole.” Language is not a barrier for the appreciation of great songcraft.

Saturday, 1 November 2014

Caribbean Beat Reviews – November/December 2014ª


#LiveAndUncut Elan Trotman Group

Barbadian saxophonist, Elan Trotman serves up on this eighth album #LiveAndUncut (“Live and Uncut” for the Twitter hashtag averse) a tropical feel that defines the elements of smooth jazz that have a legion of fans reaching for a Rum Punch and the resort menu. Combining catchy hooks and warm melodies, with the purposeful blending of danceable calypso and reggae rhythms is a strategy that would separate Elan from the rest of the pack of smooth jazz saxophonists. Lead single, “Smooth ‘n’ Saxy” aptly describes the mood of the album that introduces the listening audience to the steelpan sound as an ambience enhancer. The track “Simon Paul” slyly mimics Paul Simon’s “You Can Call Me Al” melodic charm to cheerful results finding the Caribbean jam where there was a hint before. “Bop & Run” is a calypso re-invented while “Funkalypso” is a jazz soloist’s paradise. This album should be a must-have on any jazz or Caribbean playlist.

button-cdbaby itunes-buy



  1. More Caribbean Playlist reviews appear in the November/December 2014 issue of Caribbean Beat magazine.

Friday, 17 October 2014

On a Lighter Note: a review¹

For the second consecutive Friday in October, there has been an opportunity for enhanced entertainment in Port of Spain that features a mingling and interface of jazz performance and western classical music personnel.  The Classical Music Development Foundation's production, “On a Lighter Note” at the Little Carib Theatre showcased light classical songs and jazz vocal favourites by coloratura soprano Natalia Dopwell accompanied by the Dominant Seventh Calypso Jazz Band led by trumpeter Rellon Brown. Unfortunately, this three night event was avoided by a wider audience on the gala première night therefore denying the performers a critical ovation and measure of what works and what does not.

The ninety minute show was a celebration of the film and musical theatre songs of the Gershwins (Embraceable You, Summertime, I’ve Got Rhythm), Cole Porter (Begin the Beguine, I’ve Got You Under My Skin), Andrew Lloyd-Webber (Half a Moment), as were Natalia’s takes of the show tunes from The Scarlet Pimpernel (Only Love) and Jeeves (Half a Moment) that allowed her to relax into a milieu that defined excellence.  The show was also a nod to the style of “crossover classical” made popular by another diva, Sarah Brightman. The opening song, “Man of La Mancha (I, Don Quixote)” was dedicated to activist Dr Wayne Kublalsingh; maybe a subtle jab at his solitary determination and idealism against all odds, but an apt song choice with a message that was not missed by the small audience.

Thursday, 9 October 2014

The din of nostalgia: The Keate Street Jazz Octet at Martin’s Piano Bar – a review¹

Aidan Chamberlin, assistant professor at UTT informed the small audience of about a couple dozen at Martin’s Piano Bar that the performance they were about to witness that cool Friday night (3 October) was the debut public performance of the newly formed Keate Street Jazz Octet conscripted from the staff of UTT Music department with Alea Nicholson sitting in as guest pianist. Their agglomeration was inspired by a visit earlier in 2014 by the Michigan State University jazz professors including Trinidadian trumpet ace Etienne Charles, and students. The Americans showcased the possibilities of big band and especially the octet ensembles in the context of jazz: four horns and a rhythm section can swing.

In the context of jazz in Trinidad, the audience was in for the uninspired reading of stock music charts of the jazz greats. With almost sonic perfection—one would expect no less from UTT music instructors—especially from the horn section of Chamberlin on trombone, Anthony Woodroffe, Jr. on tenor sax, Yevgeny Dokshansky on alto sax and Errol Ince on trumpet, the octet moved through a selection of early- to mid-20th century jazz standards ranging from Gershwin (Fascinating Rhythm) and Fats Waller (Ain’t Misbehavin’) to Erroll Garner (Misty) and Dizzy Gillespie (Night in Tunisia).