In Trinidad, jazz is an adjective - a podcast interview

I recently participated in a podcast hosted by Franka Philip, called "Talk 'Bout Us" where we spoke on the topic of the Trinidad and Tobago jazz economy, and noted the faddishness of anything called "jazz" in Trinidad. Audio courtesy Trini Good Media

Programme Date: 9 June 2018
Programme length: 00:14:54
 

Jazz as the new fad in Trinidad or All That Jazz...Or Is It?

"Dancing in the Tropics," an illustration by Bernie Fuchs. A metaphor for adult music, "jazz" is the new signifier of how we dance and how we listen to music once we are over 35 years old.

Last year, I blogged about the plethora of jazz events in T&T making it the new “after-carnival music.” In less that two months, there were at least ten events that were themed as “jazz.” Now, truth be told, the definition of jazz in the Caribbean is fluid, and the emphasis is more on the ambience than on the music. A lot of instrumental music is considered “jazz” here in these islands, but a closer inspection would show that despite definitions, what we are seeing is the faddishness of jazz being used as a tool to market music and the experience of music to a more mature crowd.

The Saints go marching in! The new recordings of Reginald Cyntje and Victor Provost, in context.

Trombonist Reginald Cyntje (pronounced sin-chee) and pannist Victor Provost represent, to me, an opportunity to understand the connection between Caribbean jazz and the USVI as a locus of the New World African music from a social and critical perspective. Both these musicians were raised in the US Virgin Islands, before migrating to the mainland US for music training and careers in jazz. That early influence, without the distance of "independence" that other Caribbean jazzists have, marks a point of reference to understand the recent output of these two Washington, DC based musicians.

Music scholar Warren R. Pinckney Jr. investigated the interrelationship between the mainland and the Virgin Islands jazz scenes in his 1992 essay "Jazz in The U.S. Virgin Islands", and he observed that:

After purchasing the islands in 1917, the United States set out to "Americanize the people of the Virgin Islands," primarily by introducing American-style public education. An indirect outcome of this Americanization, coupled with influences from various Caribbean islands such as Cuba, Trinidad, and Puerto Rico, was the discouragement of native Virgin Islands culture...The Virgin Islands and mainland United States jazz scenes have a fundamental mutual relationship: the American jazz scene provides the models upon which local players base their performance styles,and the Virgin Islands jazz scene provides new performance venues for American players.
—Pinkney Jr., Warren R. "Jazz in the U.S. Virgin Islands." American Music, Vol. 10, No. 4 (Winter, 1992), pp. 441-467. Web. 9 Sep. 2010

De Riddim of Tings! A 2012 Overview

A tiny number of ideas can go a long way, as we've seen. And the Internet makes that more and more likely. What's happening is that we might, in fact, be at a time in our history where we're being domesticated by these great big societal things, such as Facebook and the Internet. We're being domesticated by them, because fewer and fewer and fewer of us have to be innovators to get by. And so, in the cold calculus of evolution by natural selection, at no greater time in history than ever before, copiers are probably doing better than innovators. Because innovation is extraordinarily hard. My worry is that we could be moving in that direction, towards becoming more and more sort of docile copiers.
"Infinite Stupidity: A Talk With Mark Pagel." Retrieved 15 December, 2011.

To say that riddim is king in soca 2012 would be partly true. All the breakout hits in the first week of parties and significantly on the radio have been riddim-based. But history has shown that the big winners of Carnival 2011 and before have been those unique soca compositions not shared with other artistes: Wotless (Kes The Band) and Advantage (Machel Montano), to name a couple. That's not to say that Benjai, hot off his "Give Away" riddim driven Ah Trini did not have an extended bumper 2011 with Wine to the Side on the "Honeycomb" riddim shared with Machel Montano and Lil Bitts. Riddim is it, and if you look sharp, a handful of riddims could dominate a TT Carnival season.

Jesse Ryan: A New Jazz "Superstar"

Jesse Ryan © 2010, Jade Slinger

Jesse Ryan is humble to a fault, but his talent, even at his young age and admittedly juvenile academic level is profound, enticing the ears of those who listen with the phrasing and improvisatory ideas of an old soul. I had the pleasure of hearing this student of jazz—a Berklee undergraduate intermittently returning to the college as funds would allow—at La Casa de Ibiza at a Karl Doyle produced event last year and was immediately making comparisons in terms of long-term potential with the young lion colossus, Etienne Charles who single handedly reaffirmed my belief that one must sojourn in the centres of academe abroad to make sense and add sensibility to our native music and it's variations. Jesse's technique is there. His improvising skill is growing. His composition skill is ambitious and set for taking Caribbean jazz out of its niche of ethnic fusion to a mainsteram acceptance based on skill, talent and precedence.

This generation of jazz musicians born after the oil boom years is making a space for itself after the prolific New School generation of Ming, Theron Shaw, Sean Thomas, Clifford Charles, Sean Friday. It is my belief that this thing that Scofield Pilgrim codified as Kaiso Jazz, calypso jazz, call it what you may, was given life by Clive Zanda's generation—"Two Left", Ralph Davies, "Buddy" Williams—and enhanced by the generation of Raf Roberson, the Boothman Brothers, the late Dave Marcellin, Anise Hadeed, "Boogsie". The New School had the chops but frustratingly got the business model wrong, laying a path for the young lions of Etienne, Jesse, Tony Woodroofe Jr, Mikhail Salcedo to play and, critically, to compose and play their originals to a growing audience of discerning listeners who get this thing called jazz.

ON BEING FIRST: “BOOGSIE” AND THE EVOLUTION OF PAN

Listen here:



Or Read Here:

Liner notes for Len "Boogsie" Sharpe's new CD, A Tribute To the Mighty Sparrow: Len ”Boogsie” Sharpe on the PHI

Len “Boogsie” Sharpe has reached a point in his career where accolades are superficial. He is that temperamental genius who can compose in his head without the enhanced skill of an academy-trained musician, the scores for up to eight mini-symphonies for large steelpan orchestras in one short Carnival season. In Trinidad and Tobago, the Caribbean diaspora and the world, "Boogsie" is an icon of steelpan, that self-sufficient and brilliant musician who can do it all. In that sometimes erratic mind of his, “Boogsie” can cajole melodies and improvisations from any steelpan family member, making the familiar new, and the new, unforgettable. His new instrument, the PHI is an evolution of the acoustic steelpan into the digital age, and in the hands of this master, we can bear witness to some firsts.

Shades of Vaughnette: A Review

Listen here


OR Read here

Vaughnette Bigford, forever in my mind, a SONGBIRD, delivered a magnum opus with her sold-out production "Shades of Vaughnette: The concert experience" at the Naparima Bowl in San Fernando, Trinidad and Tobago that can serve as a template for singers and performers here in these islands. Her song list touched Nat 'King' Cole and Bob Marley, and ranged from torch songs and jazz standards made popular by Nancy Wilson (An Older Man Is Like An Elegant Wine), Abbey Lincoln (Long as You're Living) to international hits originally sung by Miriam Makeba (Soweto Blues) and Tania Maria (Yatra Ta), and included enough local compositions by Andre Tanker, 'Nappy' Meyers and Ras Shorty I to make this reviewer happy. But I err on the side of caution when I sit in an audience of fans, happily, whose body language suggests that we need to listen to a lot more music from any and all genres.

Audiences are hard to please, and the suspension of belief that an entertainer takes when confronting an audience that generally gravitates towards a handful of songs and memories of songs of others, makes song choice difficult. Very accessible music like Randy Crawford's "One Day I'll Fly Away" is a crowd-pleaser, but the more esoteric song choices like "Yatra Ta" by Tania Maria are applauded with respect at musicianship and obligation suggesting at not knowing how to react. I heard an audience member commenting, "when will she sing songs that I know?" To cringe at the indiscipline of the audience is faux elitism. I understand, but I refuse to pander to nostalgia and escapism. Behave and learn. However, to know one's place in an auditorium of folks looking to be entertained after restrictive curfew limitations have been recently lifted is to be part of the joy of sharing in great talent.

Etienne Charles say kaiso! Jazz and the West Indian Word.

Listen Here:



OR Read here:

In 3 days during March 2010, Etienne Charles and his group of young American musicians created a new masterpiece, a 70 minute ode to the majesty of Calypso and its music called kaiso. Artfully augmented by prolific Jamaican recording artist and pianist Monty Alexander and Trini-by-blood American percussionist Ralph MacDonald, Etienne produced a testament to the idea that Calypso music and the chantuelle's canon are ripe for the reinterpretation by jazz musicians worldwide. That we had to wait until July 2011 to officially hear this new CD is a tragedy of modern music business in which distribution and attribution are matters that are real, and our patience for new music after 2009's Folklore would not be sated until the product is ready.

Pan Hysteria? A Review of Innovation and Invention

I wrote the article cited below back in May 2002 when I was living abroad. It addressed the nervousness of some nationals in the diaspora to what was reported as the "conquest" of pan by foreigners. In light of my last Facebook note on the design of pan as a factor of optimizing dispersion, which generated heated debate on who did what and when for pan, I thought I would again "go backwards to go forward" with the conversation on pan by looking at existing patents and their utilization.

PAN HYSTERIA?
Nationals of Trinidad and Tobago let out a collective gasp at the Trinidad Expresss newspaper report by Terry Joseph last month entitled "Pan Shocker" detailing the successful patent by two Americans, Maryland-based George Whitmyre and Harvey J. Price of Delaware for the "Production of the Caribbean Steel Pan." Readers were then hurriedly corresponding with newspapers and opining on electronic media talk shows on the temerity of these two Yankees—read: white men— patenting we own t'ing. "The sweat of the Black man's brow has now been owned by these Americans who have the considerable backing of the US government against all challenges," was how one writer approached TanTan, "much like how they try to thief Lord Invader's Rum and Coca Cola."

The patent document, available online at the US Patent Office's website, outlines the applicants' claim for using a hydro-forming process to make a pan that is consistent and efficient to produce, along with modifications to facilitate transportation, storage and tuning. A few things are apparent from a cursory look at the document:

Carnival is Money, or The Canonization of William Munro, the ultimate Soca Monarch.

As I write this note in the hours before the madness of j'ouvert, the world wide web and global online commentary spaces are abuzz with analysis of:

• the quality of Panorama,
• more thoughts on Panorama,
• the length of Dimanche Gras,
• the politicization of soca,
• the screed on soca mafia and who is a "lick bottom African,"
• who get t'ief at Soca Monarch and other conspiracy theories,
• who had better picong, Bunji or Boy Boy, what happened to Destra, and so on, and so on.

I like it. Carnival is war. A war of words and ideas. Fuck that shit about "Carnival is Colour." There is finally a recognition that Carnival is MONEY. Big money, at that. In this global village where concepts like the "earth is flat" and "wikinomics" are fertile, Trinidad Carnival is making a space for itself. Streaming carnival shows online are now just mundane content delivery jobs, and opportunities to monetize everything Carnival are as pervasive as the branded bandana or tee-shirt. Text/SMS voting, while not new locally, is now part of the evolution of the net-generation's movement to make business decisions that count. Artiste branding, whether for white rum or cellphone providers, is de jure for international exposure. Only thing left is the performance vehicle to tip in favour of North American lenses and the Holy Grail of the US market as a given with recognition from peers there.

On Lionel Belasco, or The Politicization of Culture in Trinidad and Tobago

I

Attorney General, Sen. The Hon. Anand Ramlogan has shown his ignorance of Trinidad and Tobago culture. In making a claim that there was a misuse and abuse of public funds by the PNM via UTT in the purchase of 10 Bosendorfer grand pianos, including the Special Edition Johann Strauss model, (inspired by the instrument on which the great master wrote his compositions, and ultimately placed by former Prime Minister Manning at the Diplomatic Centre for recitals,) the following exchange of words were recorded by the Parliament Channel [
I await, like Colm Imbert to date, Hansard publication.Ed.: Link to Hansard.]:

Sen. The Hon. Anand Ramlogan: "...for those of us who are accustomed to the steel pan, the Dohlak and the Maghera and the “riddim” section; for those of us who are accustomed to listening local cultural music, the Bosendorfer Piano is the Rolls Royce among pianos in the world...My learned friend from Port of Spain North/St Ann's West [Patricia McIntosh, MP] is saying: “What is wrong with the piano?” I say nothing is wrong with the piano, but the day you could play a good calypso or chutney on it come back and talk to me...I want to see my learned friend take a piano and sit down and play a good chutney or a good kaiso on it...all we know 'bout it is ah lil' Bob Marley music, ah lil' kaiso, calypso and chutney. That is what we listen to, but this grand piano...We consider this to be a most shameful and disgraceful wastage of public funds...There was absolutely no need in a country that boasts of an indigenous culture that is proud of its calypso heritage and the steelpan. There is no need for a country like this to purchase 10 grand pianos." [My emphasis.]
—January 12, 2011. Anand Ramlogan, Attorney General. Parliamentary Debates (Hansard). (Port of Spain: House of Representatives): pages 382-384.

Etienne Charles & Folklore: Jazz…with a West Indian Accent

© 2010, Maria Nunes

“...Etienne Charles exhibits both an authentic preservation of the music of his native culture of Trinidad as a composer and bandleader, while broadening our scope of understanding through the collaborative sound of American jazz as it meets new colors, new textures, and new motifs across the world. It will certainly bring more of our public into the jazz audience”
–Marcus Roberts, world-renowned jazz pianist and recording artist.

On a large stage in front of large crowd by a sandy beach, Etienne Charles delivered the first part of his prodigal return to Trinidad and Tobago. A hot night for hot jazz. The listener's mind is relaxed in the Tobago air, but alert enough to discern excellence at the "Experience." The posture says, "I come back home", the sound says, "I reachin'."

The attitude is there: the stingy brim fedora on his head, like the porkpie hat of Lester Young or the Sinatra fedora in the '50s, acts as a crown, a signpost and symbol of differing superiority, a trademark. He is jazz with a West Indian accent. Meanwhile, there exists a cabal of whiners claiming jazz in Trinidad and Tobago, musicians really, but only complaining. Periodic performances never in juxtaposition with excellence hence the stasis of the third world is their burden. Etienne is on another plane(t?) literally and figuratively.

Karl Doyle: The Brand New Heavy

Tuesday, April, 6, was the date of a fascinating event in the calendar of jazz performances here in Port of Spain. Karl Doyle, along with his partner Jean-Marc Aimey hosted the second jam session of their weekly Jazz & Fusion Tuesdays @ La Casa de Ibiza that featured young lion musicians, saxman and flautist Tony Paul, panmen Derron Ellies and Kern Sumerville, bassist Peter Noel, guitarist Dean Williams and Karl himself on drums. Even Modupe Folasade Onilu fell in on drums for a couple of numbers. A couple singers even ventured into the realm of kings.

This jam inspired this writer to give a running commentary on Facebook via Twitter to one of the fans who is abroad. As I tweeted that night,

"Karl Doyle & krew just turned a bunch of limers into jazz fans. Awesome!"