Music Buzz | Reviews (Nov/Dec 2024)ª

Psalms and Proverbs Godwin Louis

(Blue Room Music)

For centuries, music has been an adjunct to prayer and liturgical texts. When European colonists came to the “New World”, hymns and psalms were ritualised, with a mission to convert the populations they encountered (and subjugated) to Christianity. In the contemporary Caribbean, the music inspired by these ancient words of faith and control have taken on new dimensions. Haitian-American saxophonist Godwin Louis is a global traveller who has used his Caribbean perspective to reinterpret and remake this body of sacred texts, music, and traditional hymns. Haitian, Cuban, and Trinidadian musicians are all in the mix, transforming the music for your soul into relevant idioms. Hard bop madness blends with Afro-Caribbean rhythms to fine effect. Jazz “with a West Indian accent” imbues this album with a new aura of responsibility for positioning Caribbean creativity and ideas beyond old totems. A Kreyòl djaz celebration for any soul.

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1. This review appears in the November/December 2024 issue of Caribbean Beat magazine.

© 2024, Nigel A. Campbell. All Rights Reserved.

Island Jazz Chat: Episode 21 – Anthony Pierre

Anthony Pierre represents a pioneering effort of a Caribbean musician to establish a sustained island jazz presence in the city of Toronto, Ontario, Canada. That multi-decade journey has resulted, by the 1990s, in the formation of the Caribbean jazz sextet Kalabash, which focused on "using the steel drum as a lead voice in a jazz ensemble, while experimenting with the layering of rich jazz harmonies over the folk and popular rhythms of the Caribbean, from reggae, son and salsa in the north, to calypso, soca, rapso and zouk from the Eastern Caribbean." With two albums under the band's belt, the self-titled debut in 2001, and the follow-up, Keep Them Close in 2013, Pierre relates the historical journey to establish a popular contemporary jazz fusion outfit with an island vibe within the metropolitan and increasingly multicultural space that is Canada's largest city. Tue, 26 Mar, 2024.

Island Jazz Chat: Episode 20 – Vaughnette Bigford

Vaughnette Bigford is the Creole Chanteuse, the island songbird who "has made the local [Trinidad and Tobago, and the Caribbean] songbook the new jazz standard in the Caribbean...the premier jazz song stylist in these islands whose palette knows no boundaries. Tone, beauty, presence: the definition of the New World African." An apt description from the pages of Jazz in the Islands magazine that also signals an artist ready to make the leap outwards and internationally. We chat with Vaughnette about her recording and live performance career, and her growing reputation regionally. Her move towards concert design and promotion for her art is a winner that links Caribbean fashion and music in a way that suggests a tropical Met Gala aesthetic. An international career beckons. Sat, 20 Jul 2024

Music buzz | Reviews (Jul/Aug 2024)ª

D-Day Monty Alexander 

(Peewee!)

An artist of the calibre of legendary Jamaican jazz pianist Monty Alexander — more than 70 albums over a 6-decade career — when making new music, it can be argued, is “making events, not just records.” A grander vision than a collection of songs, a thematic story woven into a sequence makes this project, D-Day all the more revealing of the grandeur of Commander Alexander. June 6, 2024, marked the 80th anniversary of the Normandy Invasion, D-Day, and Alexander’s 80th birthday. Coincidence allows for a musical celebration that takes the listener on a sonic journey of moods, from pre-war France ambience to “Aggression”, to a contemplation in the midst of war (“Oh Why”), and the subsequent “Restoration” of a nation with victory down the line and the joy of peace. Bob Marley’s classic reggae transcription of Haile Selassie’s 1963 U.N. speech, “War”, spoken by Alexander as a call for peace, bookends this epic tribute to the idea of war and peace.

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Creole Orchestra Etienne Charles

(Culture Shock Music)

The history of creole big bands in the Caribbean harkens back to a golden age in the French Antilles before WWII, and a counter evolution in the English-speaking and Spanish-speaking islands post war. Early islands migrants made a name in orchestras in pre-war UK. Etienne Charles from Trinidad brings a new recognition of a creole aesthetic to jazz music and calypso in his arrangements for big band. The blend of trumpet, trombone and saxes is angular, yet the rhythm never escapes into examples of academic dissonance. The music on this album, a blend of jazz song, swing and calypso, enhanced in a few cases by the sublime voice of Grammy nominee René Marie, swings with a tempo that never accelerates beyond the danceable human heartbeat. The U.S. footprint in the Caribbean, enhanced by the presence of Naval Bases during the War had an impact that resonates in music heard here. Charles nobly captures that ethos returning the gaze magnificently.

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1. These reviews appear in the July/August 2024 issue of Caribbean Beat Magazine.

© 2024, Nigel A. Campbell. All Rights Reserved.

Music Buzz | Reviews (Mar/Apr 2024)ª

Gentle Touch  Reginald Cyntje

(Self released)

On this his seventh album, Reginald Cyntje — pronounced SIN-chee — continues his musical exploration of emotional themes and the intangible through instrumental jazz. With his trombone as lead, this US Virgin Islander explores in a quiet contemplative way the vulnerability of being in love. “Vulnerability is key to authenticity,” he says. “Being vulnerable takes strength, courage, and emotional intelligence. A gentle touch.” That gentle touch is revealed in five tunes on this short EP. They sashay smoothly, and exist within a fine balance of subdued tempo and an earnest reach for moods that showcase languid tropical vibes through bossa nova, reggae, neo-soul, and jazz. Celebration, hope, empathy, the memory of the first time, and growth are the themes highlighted here. Excellent musicianship by his quartet takes centre stage; Allyn Johnson on piano shines. An island perspective on love is always welcomed. Inspiration and reflection are encouraged.

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1. This review appears in the March/April 2024 issue of Caribbean Beat magazine.

© 2024, Nigel A. Campbell. All Rights Reserved.

Island Jazz Chat: Episode 19 – Garvin Blake

Garvin Blake, pan jazz musician based in New York has re-discovered his intention to preserve and promote the idea of steelpan and jazz as global music. After a pair of significant albums in 1999, Belle Eau Road Blues, and 2015, Parallel Overtones, Blake is now in a place in his life to continue to record and let the music of the steelpan be the 'new voice' in the conversation that is jazz. Island Jazz Chat catches up with Blake on this annual Carnival return to Trinidad to speak about his career, his work with South African Tony Cedras, Vincentian Frankie McIntosh, and a number of important American musicians on the creation of new music for jazz ensembles with a starring role for the steelpan.
Sat, 17 Feb 2024

• Programme Date: 17 February 2024
• Programme Length: 01:15:47

© 2024 Jett Samm Publishing. All Rights Reserved.

Etienne Charles: The Road March in Concert – a review²

An edited version of this article appeared in the T&T Newsday as, “Etienne Charles celebrates road march history in concert"

Etienne Charles’s engagement with the Carnival and its music is ongoing — his albums Kaiso (2011) and Carnival: The Sound of a People, Vol. 1 (2017) and the subsequent live performances here, the evolution of Carnival music on the road with his music/masquerade band Riddim, Brass & Mas, his recording kaiso/soca collaborations with Kes, Terri Lyons, David Rudder — and on Thursday, February 1 at Queen’s Hall in Port of Spain, he delved deeper into the magic of this music that moves a society and defines celebration. The Road March in Concert was a review of those songs that are the most popular song on the road, at Carnival competition spaces, in fetes.

The concert began as a historical showcase of the chants, lavways and leggos of Emancipated folk, and almost sequentially moved towards a veneration of popular calypsos and soca tunes, highlighting the personalities who made these Carnival music hits. It was a timeline; what began as a contemplation of music history, ended in celebration and the cheeky marketing of Charles’s 2024 Carnival band, Magnificent. And that was a good thing as it targeted the two aspects of an audience in search of Carnival entertainment outside the sweaty jam of modern fetes. That juxtaposition of contemplation and celebration is at the heart of Carnival and was the ultimate ethos of the event.