Tuesday, 1 July 2014

Caribbean Beat Reviews – July/August 2014ª

Jazz Racine Haïti Jacques Schwarz-Bart

Guadeloupean tenor saxophonist Jacques Schwarz-Bart, as a child heard Haitian vodou ritual songs played by his mother and celebrated author, Simone Schwarz-Bart, as a soundtrack to their life of literary idyll in the Caribbean. That memory of the music, and his own yearning to create jazz that is reflective of his French-Caribbean heritage propelled Schwarz-Bart to first perform and later, to record Jazz Racine Haïti as a document of the spiritual journey beyond Haiti all the way back to Africa. To re-arrange vodou music for this band featuring jazz musicians and two houngans (vodou priests) was an exercise to engage with the greatness of this music. “That dialogue with silence [music] creates a doorway to the unknown.” “Legba Nan Baye” fuses, in real time, ritual music and jazz, voice and tenor sax. African-Caribbean grooves that drive this music beyond spirituality achieve a synergy where modern jazz and vodou are one.

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TriniJazz Project Various Artists

Michael “Ming “ Low Chew Tung is the architect of 21st century jazz recording and performance in Trinidad and Tobago, following on from mentors like Clive Zanda and Mike Boothman, prolifically producing original music to add to the local canon. Now, he acts as mentor and producer for a new generation of young jazz musicians and singers with a new CD, TriniJazz Project. Polished arrangements and smooth jazz elements shouldn’t suggest any sell-out to the aesthetics of Caribbean luxe tourism or middlebrow leisure culture, but in the hands of the players, Tony Paul (sax), Rodney Alexander (bass), Modupe Onilu (percussion), Dean Williams (guitar) and smoky voiced chanteuse Vaughnette Bigford these ten tunes are a celebration of how we sing, dance and live in these islands. The reframed calypsoes of Bigford, the rhythmic pulse of Onilu, and the improvised joy by the others say “trinijazz” is the definition of accomplished.

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Friday, 16 May 2014

All Star Tribute to Ralph MacDonald – a concert review¹

On a picturesque plateau above Arima overlooking the distant Caroni plains, the Holy Cross College Alumni produced a jazz event for the ages—Jazz on D Hill—featuring an All Star Tribute to Ralph MacDonald on Mother’s Day, May 11. The music of the late Trini-by-blood musician, composer and producer resonated in the night as some of the best and most famous musicians in jazz covered the songs spanning MacDonald’s solo career from the 1970s to his untimely death in 2011 and beyond.

Led by trumpeter, Etienne Charles, this aggregation of superstars of jazz included multiple Grammy award winner Marcus Miller on bass guitar, Buddy Williams, one of the most recorded drummers of all time, pannist extraordinaire Robert Greenidge along with other MacDonald album alumnae, vocalists Nadirah Shakoor and Dennis Collins, Barbadian stars Arturo Tappin on tenor saxophone and Nicholas Branker on keyboards, and Charles’ Creole Soul band mates Alex Wintz and Kris Bowers on guitar and keyboards respectively.

The most significant inclusion in this All Star grouping was Gary Fritz, MacDonald’s cousin who had the joyous responsibility of recreating the percussion parts that audiences have grown accustomed to over the years from MacDonald. The classic “Jam on the Groove” has a percussion break that utilized toy hammers that exemplified how the mundane can become extraordinary in the hands of a master. For the disco hit, “Calypso Breakdown,” MacDonald’s son Atiba joined the All Stars to play the iron and enhance the “engine room” to joyous ovation. At that point the rains came down, but the magic lingered.

Monday, 6 January 2014

CD review: Moyenne - Imbizo Moyenne¹

"Chantal Esdelle, a Berklee College of Music graduate, holds an important place among jazz musicians here, as she is one of, if not the only female band leader who is a renowned pianist in this island. She is part of a lineage that would probably include Winifred Atwell and tangentially Hazel Scott. Unlike those two artistes, Esdelle has been able to mine the musical influences of Trinidad and in a deeper sense, Africa and the African diaspora in the New World for her compositions. Further, unlike Atwell and Scott, Esdelle has a body of original compositions on her two CD releases that now place her ahead of a number of jazz luminaries in the islands who still balk at releasing original music, thus diluting the well of local copyrights to be exploited by the world..."

The above quoted epigraph was from an aborted review of the CD launch event for Imbizo Moyenne. the new CD from Chantal Esdelle and Moyenne, back in May 2013. The sentiment, however, is an absolute truth. There is no denying that Esdelle, and by extension Moyenne deserve to be heard, more so in our context as a burgeoning music industry. Time has allowed the disappointment of that release event to be replaced with the joy in heralding this new music. Out now in CD format to supplement the digital version already available in limited release, this simply packaged CD fills a yawning gap in the canon of locally-released jazz music.

Friday, 6 December 2013

Jazz in a Sacred Space: Etienne Charles at the Little Carib Theatre, Trinidad

Fresh from an exciting TEDx Port of Spain talk in the morning, the always dapper Etienne Charles and his band delivered a superb set of jazz at the gala opening of his Creole Soul tour stop in Trinidad on the evening of November 30 at the Little Carib Theatre in Port of Spain. A homecoming of sorts—this is the second return on this tour having performed at Jazz on the Beach in April this year in Tobago—this stop solidifies the star status of this highly personable trumpeter and musician.

Delivering two sold-out shows on that weekend, it became obvious that this venue is too small for the natural local audience of this globe-trotting musician. After forty-plus international performances in support of his latest CD Creole Soul, Charles again raises the bar for local musicians to go over, and continues to serve as an apt inspiration of desired goals.

Tuesday, 26 November 2013

I Am Élan Parlē: A declaration of Independence

Liner notes for élan parlē’s 2013 CD, I Am Élan Parlē
In 2000, I was living in the US capital, Washington DC, some five hours driving south on the I-95 from the mecca of Caribbean –American cultural existence, New York, and five hours flying north from Trinidad; remote, yet within reach. Howard University, Georgia Avenue, the T&T Embassy on Massachusetts Avenue: district landmarks of connectedness for a homesick soul. Caribbean musical heritage peppers the shelves of the Library of Congress, at the Smithsonian Institution, in the many book stores and those ubiquitous mementos from that age, the record & CD store. The sounds of Trinidad, the echoes of having fun were silently present in this international city.

Thursday, 3 October 2013

This Is Élan Parlé: A concert review

Michael “Ming” Low Chew Tung and his band/brand Élan Parlé proved why they are a necessary force in the music industry here in Trinidad and Tobago on Saturday 28 at Queen’s Hall. A two hour performance of original instrumental tunes and arrangements interspersed with revealing conversation, interesting music lessons and funny stories made for an entertainment package that continues the high standard set by show producer, Curtain Call Productions.

Admitting that this was the first “full concert” in seven years, the band with a new line-up of players delivered on the promise of one explosive night of Caribbean jazz fusion. Culling compositions from his publishing catalogue going back to the debut CD, “Tribal Voices” in 2000, Ming commanded an ensemble of seasoned “young lion” musicians to play with the easy elegance that defines the Élan Parlé sound.

The band, with Ming on keyboards anchored by bassist Rodney Alexander, percussionist Modupe Onilu and long-time drummer Richard Joseph, allowed guitarist Dean Williams and woodwind specialist Anthony Woodroffe, Jr. to solo and improvise on the many compositions that celebrate a kind of Caribbean aesthetic that is both global in its sound and interpretation and original to its roots in the music and rhythms of this region.  When Williams and Woodroffe were “trading fours” (alternate brief solos back and forth over the same music segment) on “Are We Grooving Yet?” there was much joy and ovation. We in the Caribbean know how to enjoy ourselves, and this music provided an apt soundtrack to the evening's merriment. The leap of faith by the performer that this audience would “get it” was confirmed.

Tuesday, 17 September 2013

John John - Citagrandson - A CD Review¹

Soul is, in the words of writer Nelson George, “a one word summation of our [Black America’s] spirit, our desires and self-esteem.” In T&T in the 1970s, local bands like Kalyan and Sound Revolution flirted with the sounds and rhythms of soul music and channelled its celebratory spirit. In 2013, a new avatar for soul has arrived.

John John debuts as the local poster boy for neo-soul singers with his first album Citagrandson on Highway Records. The self-penned 12 tracks on this CD paint the picture of a young man discovering his true self and exploring his longings. “Let’s Make Music” is brutally frank about his desires:  “...take off those clothes/make 10 toes 20, your chakras exposed.”

Production values that look to the larger world for validation, excellently highlighting John John’s slinky voice to effect, are keys that the label and artist can depend on for making that international breakthrough.
  1. This review appeared in the Trinidad and Tobago Guardian as part of the article, "Music from John John: T&T’S SOUL"
© 2013, Nigel A. Campbell. All Rights Reserved.