From early morning, forecasters warned of thunderstorms in Las Cuevas and it seems that show host Richard Forteau, Pan Trinbago secretary, was correct when he said “God loves pan.” Rain fell from about 6 pm but it was intermittent.

Despite the weather, an extremely large crowd was on hand at Pan in De Countryside, staged by Pan Trinbago Inc, in conjunction with the Ministry of Community Development, Culture & the Arts at the spacious Las Cuevas On The Greens. 

Some say it was the largest crowd to attend one of these events, one which also included an excursion from Point Fortin of 25 pan lovers. They have attended every edition of Pan in De Countryside, including those staged in Tobago.

Minister of Community Development,  Culture & the Arts Dr Nyan Gadsby-Dolly was an early attendee to Saturday’s event and was seen trudging through the rain as the VIP reserved tent was overtaken by patrons seeking shelter. The minister and her entourage were seen standing in the rain looking at the performance by Red Hill D’Abadie Parks Foundation Limbo dance troupe at 7.30 pm.

Also present on Saturday were director of Community Development Susan Corbett, Community Development accounting executive Carol Ann Forde, Pan Trinbago president Keith Diaz, past Pan Trinbago officials including Owen Serrette, Dr Finbar Fletcher and Keith Byer. Jamaat-al-Muslimeen iman Yasin Abu Bakr also attended with the Jamaat steelband, Western Stars Philharmonics.  

On Saturday, Pan Jammers of Santa Cruz was the first steelband to perform, followed by Maracas community band North Coast Serenaders, which thrilled with its set of retro selections.

Residents of Las Cuevas, Maracas, Blanchissuese, La Fillette and environs turned up in their numbers to welcome the convoys of visitors making the trek to the scenic North Coast. Many farmers, chefs, and clothing, handicraft and confectionary merchants made a brisk trade selling provision, delicious fish meals, homemade delicacies like farine biscuits, pone, seamoss and beetroot punches.

North Coast Empowerment Group, based at Blanchisseuse Secondary School, was one of the groups selling food and merchandise. Its president Gemma Thomas told Pulse: “We are three years old and our primary purpose is to empower the residents of our community. Our group consists of five sub committees and among our projects is the thrust to try and get internet accessibility to the North Coast which is now limited. We are also trying to enhance farming, do parent training and have introduced a Maringa Project to enhance farming. We are also in the process of generating a community farm.”

Reigning National Panorama Single Pan champion Trinidad East Side pleasantly surprised all in attendance with its performance. The Malick, Barataria steelband augmented its pans with horns, violin, bass and vocals. Its guest performers were parang queen Alicia Jaggasar of Los Alumnos de San Juan who sang La Vida es un Carnival, violinist Inge Schluer, trumpeter Rellon Brown and trombonists Josef Ward and Joshua Pasqual.

Showered with compliments from appreciative patrons, East Side Symphony captain Carlon Harewood told Pulse: “Every time East Side performs it must bring something different to entertain patrons. Pan is a lot more than just Panorama and pan. The stuff you can fuse the national instrument is limitless.”

Western Stars Philharmonics was also very entertaining, especially with its retro items like Sparrow’s Lizard and Shadow’s Alien. However the band’s pierce de resistance was the solo performance by its arranger Len “Boogsie” Sharpe of Wood in the Fire. San Fernando’s NLCB Fonclaire was also at the top of its game and seized the opportunity on Saturday to present special awards to veteran pan people.

Woodbrook’s CAL Invaders played with flair, pizzazz and gusto and impressed with its tribute to 2016 National Panorama (Large) champion Desperadoes, playing a collection of Desperadoes’ winning Panorama tunes of yesteryear.

Continuing to impress with its discipline and ability to harness the energy of its young musicians, First Citizens Supernovas offered a delectable serving of panmanship and music. With a full moon overhead, its medley of oldies, included 10,000 Frenchmen Du Du Yemi, Statue, Soca Baptist and Fete, giving the crowd a perfect send off just after 10 pm. But, with shouts of “we want more,” and people seeming reluctant to leave, Supernovas obliged with a lagniappe of Swallow's Doh Stop dis Party.

A date has not been set for the next edition of Pan in de Countryside, but the tentative venue is Pointe-a-Pierre.

Steelbands vie in ComPANions Family Day

Spearheaded by Julie Williams of Republic Bank Exodus and Denise Hernandez of Massy Trinidad All Stars, ComPANions Steelbands Sports & Family Day will be held on Sunday. Featuring steelbands in non-music competition, among the band to have made it to the finals are Exodus, Desperadoes, First Citizens Supernovas, MHTL Starlift, T&T Defence Force, CAL Invaders, Trinidad All Stars, Diatonics, Courts Sound Specialists of Laventille, Tropical Angel Harps, Modernaires, Claytones and Belmont 5th Dimension.

Two of the attractions on the day will be the Dance By and the Scavenger Hunt. Three 2016 champions have already have been crowned, among them First Citizens Supernovas, the Six-a– Side cricket champion, and winner of the Michael Lawrence Beharrysingh Challenge Trophy. Sunday’s day of fun, expected to begin at 10 am, will be held at Contantine Park, Tunapuna. 

Born Ricardo Stevon Mendoza in Belmont during the 70s, eyebrows are raised when r’kardo st.Von mounts the stage, especially for his unique stage name. He explained: “It’s a deliberate misspelling of my first and middle names when, upon moving to New York, I had to explain I was not fully Latino, but Trinidadian. My stage name is also a good conversation piece and folks remember me by it.”

The eldest of four children, st.Von attended Belmont Boys’ RC Primary School and Fatima College. Among his early music teachers were Relator’s sister, Barbara Harris; Myrtle Cumberbatch and Maurice Brash. Studying Theatre Arts, he minored in Musical Theatre at New York’s Marymount College and also did vocal workshops and some training with Trinidad’s Sterling Gittens and America’s Kurt Elling.

While st.Von describes his childhood as “fun,” he said he didn’t have an illumined secondary school career as he was somewhat introverted as a child: “It took a while to get out of my head but music and stage pulled my personality out.”

It was around the age of 15 that st.Von began his journey into the arts, getting involved in school theatrical productions and entering the biennial music festival. “That segued into meeting Sterling Gittens after being introduced by a mutual friend at Amar Studios,” he recalled. “I joined his vocal workshop and gospel choir. Sterling was the catalyst who pushed me to embrace a solo singing effort.”

Outside of music and theatre, st.Von also enjoyed playing football and table tennis, fine art (mostly portraiture), and cooking. He said: “I still follow soccer and draw from time to time. I also cook non-stop. I really enjoy doing these things.”

Continuing on his youth, st.Von said: “Outside of school, I had a fun teen life growing up in Belmont and a solid group of friends, most of whom I am still close to, to this day.

“I loved conversations with my Belmont elders who became performance icons to me, like mas designers Jason Griffith and Roger Myers; actress Mairoon Ali, Auntie Mairoon to me; and King David Rudder my neighbour. Musician Ralph Davies encouraged me to enter Scouting for Talent back in the 90s.

“I really love the music of the 80s—pop and hip hop—and the whole 90s R&B movement. Prince, Michael Jackson and especially Janet Jackson were my three faves. My mom also influenced my love for the Motown era, and she also loved local talent like Carol Addison and Nadie La Fond.”

Describing himself as “a Trini to the bone,” st.Von said, “I definitely have a curry mout’.” 

He added: “A buss-up shot boneless chicken or shrimp roti with plenty channa and mango is my favourite. I must also have pelau and coleslaw, as well as doubles, my latest attraction being Sallys on the Square. At Christmas time, I must have my black cake and ponche de creme.”

Many locals would remember st.Von from his performance in Party Time. He said: “Party Time was one of the definitive stage moments of my life. Entering Party Time was the result of dare and it allowed me to showcase my admiration for the genius that was Prince. I even called my group The Imitation Revolution. I am still reeling from his passing. I did pretty well in Party Time and made it to the finals of the Lip Synch/Dance competition and placed fourth as The Boyz won the competition that year.

“I left that show, however, with the most amazing experience under my belt: the memory of energy from the crowd and the strong encouragement of people, like Robert Young and Camille Selvon (The Cloth), Lisa Wickham and Tony Chow Lin On encouraging me. To this day I credit the Party Time experience with making me a better singer and performer.”

Gaining work experience at a city bank (his first job after leaving school and after his Party Time experience), a more confident st.Von ventured into the world of songwriting, entering the National Song Festival a couple times. He said: “This was great fun but no success. However, it was at calypso I really excelled. I won the Republic Bank Calypso Monarch title three times, the Inter-Company Monarch title twice, and eventually made it to the Young Kings finals. Lady Wonder won those finals but it was an amazing experience.

“I also continued my thespian efforts, working with Baggasse Company and the awesome Christine Johnson on three of their productions. These included As Is, where I met the late and outstanding John Isaacs, still one of my acting mentors and the standard to which I aspire, to this day. I worked with the very talented Errol Fabien in The Murder Room, during which I worked with incredible ensembles. The cast included Devindra Dookie, Debra Maillard, Peter Kelly, Zo-Mari Tanker. And I worked on A Brighter Day, a musical written by Christine’s sister Judy Agard.

“I also started work on Derek Walcott’s Beef, no Chicken, under the direction of John Isaacs, but that production never made it to public performance due to issues at Trinidad Theatre Workshop. It was an unforgettable session, however, when Mr Walcott met with the cast.”

It was at this point in his career that st.Von began looking further afield to improve his performing skills. He said: “Those eclectic, diverse experiences really made me believe I could have a future on the stage, and I took the plunge to start applying to, and auditioning for US colleges. I was eventually accepted by New York’s Marymount Mahattan College in the spring semester of 2000 and completed the Theatre Arts BA programme there, with a minor in Musical Theatre.

“The Theatre Arts programme was a well rounded course of study that really helped to solidify not just my performance skills, but also the production process, directing and writing for the stage.

“I have since performed in a few New York City-based stage productions, including one regional tour of the Broadway smash hit Rent, and also a production of Joseph and the Amazing Technicolor Dreamcoat.

“In the last few years, however, I definitely am much more embedded in the music world as a jazz fusion artiste, performing with my four-piece band at various gigs in and around New York City, at venues such as the Brooklyn Acdemy of Music, CAMI Hall, Harlem’s Riverside Theatre, The Village Underground and most recently, twice at the world renowned Blue Note Jazz Club where I shared the stage with the legendary Carol Addison and Trini pannists Earl Brooks Jnr and Dane Gulston.”

st.Von reentered the local music scene in 2008 with a self-produced concert titled Who is r’kardo st.Von, staged at 51 Degrees Club in Port-of-Spain. Since then, almost annually he has performed in his homeland, at the acclaimed Jazz Artists on the Greens, the 2013 Tobago Jazz Experience with Jamaican diva Tessane Chin, Fiesta Plaza’s Saturday Jazz Night and Little Carib Theatre.
He said: “I have been fortunate and blessed to work with some incredible Trini musicians and vocalists, including Elan Parle’s Michael Low Chew Tung, Janice Xavier, Theron Shaw, Vaughnette Bigford, Glenda Collens, Brenda Butler, Mikhail Salcedo, 2ntrigue’s Charlene and Kelli Griffith and Dane (Gulston).
“Most recently, however, this past April, it was an absolute honour to perform at a sold out audience at Carl and Carol Jacobs’ wonderful space, Kaiso Blues Cafe on Woodford Street, and share the stage with the very versatile Dane Williams Quartet and violinist Inge Schuler.”
“Jazz Fusion” is the brand of music st.Von performs, although he admitted to loving all music genres. He said: “This is a broad platform that allows me to embrace a multitude of genres, including calypso, which personally is what I truly love, and also select pieces, covers and original stuff, which I can then present and perform in an improvisional, harmonic setting.
“I have a very eclectic outlook on music and I really equally love and listen to a variety of genres that provide inspiration and creative movement.”
Like his love of all music, st.Von has no favourite artistes. “Locally and internationally, I am a fan of my elders for they are the root of the massive, cosmopolitan nature of today’s music; and I learn from them every day. I have to say, though, that Lord Kitchener, David Rudder, Relator and Ella Abdall remain my Trini icons and favourites to this day, along with the incomparable original work of local musicians like Low Chew Tung, Clifford Charles, Dean Williams and Etienne Charles.
“Within the classic jazz genre specifically, I adore the work and vocals of Ella Fitzgerald, Nina Simone, Miriam Makeba and more recently Kurt Elling, Harry Connick Jnr, Rachelle Ferrell, Natalie Cole and Al Jarreau; contemporary artistes Ledisi, Somi and Maxwell; and of course, there are many other present day artistes as well I admire greatly.”
st.Von believes that local music can eventually flourish to match the best in the world. He said: “For the most part, the artistes and their works are incredible. In the past few years, even though there will always be ‘commercial crazy’, especially in the soca world, I have seen such an undercurrent, and in the mainstream, of some fantastic work being performed, or recorded, that can and should be pushed worldwide. Quite frankly, I do not understand why that is not happening.
“On the jazz and alternative music stage, the standard of performance especially is so high, and I would love to see more opportunities for recorded projects to happen. I am a huge fan and friend of Vaughnette Bigford, such a sublime vocalist and style icon. Her self-produced concert is a tour de force product that could be taken anywhere in the world, if she gets the opportunity.
“Dane Gulston and Mikhail Salcedo are solo pannists of extraordinary skill. Colliss Duranty is a songwriter and vocalist of extraordinary skills. I am yet to hear a percussionist with the skillset of Modupe Onilu in the United States. The Xavier sisters are absolutely fabulous, and they stay true to their look and standard of work. Llettesha Sylvester and her vocal group—good God, they are mind-blowing. Llettesha has got to be one of the most incredible female vocalists, technique- and range-wise.”
So, how high is sky for st.Von? 
“High on my list is to complete a full recorded product with a solid distribution deal,” said st.Von. “I would love to collaborate and record with some of the Trini musicians and vocalists I have mentioned and others here in the US, but with a solid distribution and multimedia plan in place.
“I would love to provide for my family in the way I would like to. My bucket list also includes owning a talent agency where I can scout and mentor young artistes who have big dreams and, more often than not, little hope.
“Finally I intend to leave a legacy of love.”

“Goat don’t make sheep” and “the fruit doesn’t fall far from the tree”, and living testimony of these two truisms is Levi Mayers, son of late composer/musician Richard “Nappy” Mayers. Not only is Levi a dead ringer for his father in looks, but he also composes and sings.

Having performed at MovieTowne just a fortnight ago with the band Overdrive, Mayers has returned to the tedious task of completing his first EP album. “I have currently undertaken the challenge of producing, solo, an EP album,” said the artiste. “It’s challenging as I am doing it on my own, and with funds not what they should be, this will take some time.

“The album will comprise my original works—all new work. It’s like nothing that has been heard before. This music is coming from a new phase, a new age, of my life. While its core might be reggae, it will not be restricted to just one genre of music.”

For the past two years, Mayers has been making trips to “the land of reggae.” He disclosed: “I have been going there to get a high quality of live production in my music which is accessible in Jamaica at a reasonable price, once you have the right connections. 

“In Jamaica, I have managed to build links and networks with important people. I have also been able to bring a representation of Trinidad reggae to Jamaica. I am on a mission from day one to work and let my music be heard. All composers dream of writing songs that can be heard worldwide, especially if it is message music.”

What it is about “message music” in reggae that makes it so appealing to young people of all races? 

Mayers opined: “If a person enjoys feeling a joy in another person’s joy, then ultimately that is what this music creates. As a writer, I experience one of the greatest feelings when somebody connects with the message I am trying to get out there. It’s a joy when you see they get it and feel it. It’s fulfilling to see your fantasy and dream become reality and grow.”

Mayers has difficulty naming his favourite reggae artistes, but said: “I have many favourite performers of this genre of music, but Bob Marley, Dennis Brown, Peter Tosh and Garnet Silk have been major influences on my music. Of the young, newer generation of artistes, I like Sizzla Kolanji and Kabaka Pyramid.”

As a young man growing up, Mayers said that calypso, as well as soft rock, also had a profound influence on his love of music. “My greatest influence at that time, from around 1985, was the emergence of dub music,” said Mayers. “I was about ten years old growing up in St James and I was impressed by artistes like Lovindeer, Yellowman, Tenor Saw and Tiger. I can recall buying my first cassette from Crosby’s Music Store and it was Dub #1. In those days there was also the break dance phenomena, and a bunch of music happening at the same time, so there were a lot of influences. There was also the Jackson 5.

“I can remember my aunt and uncle used to carry me to Atlantis Disco in West Mall and I would be youngest person there, grooving to hits like Silent Morning.

“In calypso, I was around everybody in the business. I was a little boy spending a lot of time in the back of Sea Lots with Nappy, my father, at KH Studios. In those days I would be playing football with the fellas from there, go into people houses for refreshments, and nobody would tell you anything or interfere with you. I was there when my father produced an album for the Mighty Sparrow.

“Beside my father, my favourites in calypso were Andre Tanker and David Rudder. Rudder is still my mentor, and I even took a picture with him and Carol Jacobs the other day at Kaiso Blues Cafe. It was like travelling back to 30 years ago.”

Mayers’s father, Richard “Nappy” Mayers, passed away 23 years ago, on the morning of Sunday, December 12, 1993. A melancholy Mayers reminisced: “I was 18 at the time and his death had a devastating effect on me in every way you can think about. It was more internal, but I didn’t shut down totally as I had my little brother, Tyler, who was 11 at the time, and my mother. Tyler is now a tennis coach in Miami, and was at one time the Caribbean junior champion.

“Growing up, my father had me like his little brother. He took me wherever he went—band rooms, studios, shows, etc. I got to know so many old calypsonians, like the Mighty Terror, Sparrow, Singing Sandra, Ella Andall, Oliver Chapman, musician Raf Robertson, Barry Howard, Albert Bushe, Wayne Bruno and Buff the keyboardist, that they came like aunts and uncles.”

Mayers wrote his first song in October 1993, two months before his father died. He recalled: “I wrote about two other songs before he died but never got the chance for him to see and hear me perform them. I know he would have been delighted to know that I was that interested in music.” 

Mayers continued: “Curiously, as a child growing up, I didn’t have dreams of emulating my father as a musician. I did have some interest in music as I enjoyed singing—people would compliment me on my singing. My father encouraged me to enter a talent show in camp, but when I got on stage, I forgot the lyrics to the song on two occasions. I decided that I would not ever embarrass myself ever again on stage and would stick to playing football, as nobody ever embarrassed me on the football field. I was around age ten at that time.

“I didn’t have any serious interest in music until I turned 17. I just had an urge to compose a song. A friend, who thought the quality of the song was many years beyond my age, encouraged me to tell my father; but sadly, I never got a chance to tell him that I was composing.

“After my father passed, I was sent to Florida to live with family. Basically I began looking after myself and I ended up pursuing music and went in search of a band to play with. Eventually this frittered out as the bandleader thought I was upstaging him.”

Mayers has written an enormous body of work through the years but he doesn’t have complete publishing rights to them. “It is better to be more independent now as an artiste when it comes to ownership of one’s works,” he said.

Mayers said he is taking things “step by step” for now. 

He added: “People haven’t actually seen me or heard my work for some time. When I re-emerge, it will all be about new music and how it is packaged and presented.”

Mayers is the proud father of a 12-year-old daughter, Jahzara Mayers, a Grade IV music student. 

As the Port-of-Spain Corporation continues to commemorate City Day with 102nd anniversary celebrations, the western suburb of the nation’s capital is expected to explode in a burst of colour this evening from 6 o’clock with the staging of Fashion & Mas Rock the City.
 
This unique event, which will showcase fashion and T&T Carnival, will be staged at Ariapita Avenue, Woodbrook, and is being co-produced by world-renowned, award-winning designer Anya Ayoung Chee, commissioned by Port-of-Spain Mayor Kerron Valentine, and assisted by Leah Marville and a crew of young, creative people. 

The street parade of fashion and mas will feature local and foreign designers from Exhibit A, in addition to costumes from The Lost Tribe and Tribe. The production also includes a Tobago Heritage display and traditional carnival characters. There will also be live performances by steelbands and popular artistes. 

The parade begins at Alberto Street and makes its way along Ariapita Avenue, proceeding east to Adam Smith Square for performances and the fashion display. With the protective services out in full force, traffic restrictions will be in force along the parade route. 

The show at Adam Smith Square will be hosted by Kwesi “Hypa Hoppy” Hopkinson, an honoree. Ayoung-Chee and Ultimate Events director Dean Ackin are also amongst some of the honorees who will be receiving the Mayor’s Award for their outstanding contribution in their various fields. Other honorees include Shaun Sammy. 

The evening’s proceedings will also see performances from 5Star Akil, Ronnie McIntosh and Olatunji, and the parade contingent includes Newtown Playboyz Steel Symphony, as well as masqueraders from 2016 Band of the Year winner Ronnie and Caro, Fantasy Carnival and Passion. This is a family event and free for all to attend. 

Meanwhile, the Port-of-Spain Corporation is tying up loose ends for its June 24, Pan Down Frederick Street parade, which will showcase some of the nation’s popular steel orchestras along the parade route from Pan Trinbago’s headquarters on Park Street, and in Desperadoes’ panyard on Frederick Street.

Pan parade in crisis in St James 
Although requests were made to state entities since March, officials of this year’s Steelband & Traditional Carnival Mas Parade scheduled for tomorrow evening, were awaiting word on sponsorship, with lingering doubt whether it would be held at all.

A spokesman for the St James Community Improvement Committee (St James CIC), producer of this annual event for the last 16 years, said that this year obtaining sponsorship for this event has been an onerous challenge, making it very difficult to produce the 2016 WeBeat St James Live festival. 

Up to press time yesterday the (St James CIC) was awaiting final word from the line ministry on sponsorship of the steelbands invited to participate in tomorrow’s parade. 

However, before the steelband and mas production, WeBeat St James Live continues this evening with the staging of WeKaiso featuring several calypsonians performing vintage calypsoes. 

Acts billed for tonight’s WeKaiso include reigning National Calypso Monarch Roderick “Chucky” Gordon; Scrunter (Irwin Reyes Johnson); Brian London; Bally (Errol Ballantyne); Bro Mudada (Alan Fortune); Ajala (Keith Sutherland); SuperBlue (Austin Lyons); and, 5 Star Akil (Akil Borneo). Musical accompaniment will be by Pelham Goddard & Roots. 

WeBeat St James Live is also staging J’Ouvert tomorrow morning, from 5 am. It is the first time that a J’Ouvert masquerade has been officially sanctioned by the authorities to be part of WeBeat St James Live. The parade begins at The Amphitheatre and proceeds east along Western Main Road to Roxy Roundabout and back. 

Brian LaFond, an organiser of the J’Ouvert emphasised that the event is exclusive only to steelband music. Steelbands already signed to parade the route include St James Tripolians and Scrunters Pan Groove. LaFond added that rhythm sections are also included. He said: “We are trying to have a J’Ouvert like J’Ouvert was in the old days and we are encouraging the senior old mas masqueraders to come out in their costumes and play their mas, the way they played in yesteryear. Of course the young folk are also most welcome to participate in the fun.” 

WeBeat St James Live 2016 will have its climax on Sunday in the form of WeCruise aboard the Treasure Queen, berthed at Pier 2, Chaguaramas. Boarding time is 3 pm.

As late as 8 pm on Thursday, when it seemed that tonight’s 16th annual steelband parade along Western Main Road, St James, would be cancelled due to a lack of funding, Port-of-Spain Mayor Kerron Valentine came through and saved the day. 

As he presented an award to Sharon Ramjohn, on behalf of 2016 WeBeat St James Live honoree the Kanhai family, the mayor announced that monies would be drawn down from the Mayor’s Fund to finance the parade, to be staged by the St James Community Improvement Committee (St James CIC) this evening at 7 pm.

Also contributing to the event is the Ministry of Community Development, Culture and The Arts, as well as a handful of corporate entities including ANSA McAL, Carib, RBC Royal Bank, Caribbean Bottlers, Nestle, NCBA, blink/bmobile, T&T Film Festival and Everybody’s Optical, as well as private citizens Marlene Goddard and Murchison Brown.

A number of steel orchestras had earlier assured the St James CIC that, with or without funding, they would perform tonight thereby not disappointing the thousands who throng to the western suburb of the nation’s capital annually for this event. These steelbands included Republic Bank Exodus, NHL Starlift, bpTT Renegades Youth Steel Orchestra, St James Tripolians, Brimblers, Old Tech and La Creole Pan Groove.

Other steelbands, mostly from west Port-of-Spain, invited by the St James CIC to participate in the parade include PCS Nitrogen Silver Stars, Valley Harps, Scrunters Pan Groove, Harvard Harps, Musical Gems, Rhapsody, and Arima Golden Symphony.

The parade is also expected to be joined by traditional Carnival characters, under the auspices of the National Carnivals Bands Association (NCBA) and D’Tunapuna Vibrations.

Thursday’s Honorees Night was attended by the mayor, councillor Wendell Stephens and other members of the PoS Corporation, WeBeat St James Live founder Earl Crosby, vice president Cecil Tomkin, former Pan Trinbago president Owen Serrette, NCBA chairman David Lopez, and former staff member in the Office of the Prime Minister Peter Kanhai.

Upon accepting the award on behalf of her family, Ramjohn stated that the iconic St James enterprise was started by her grandfather, the late Marshall Kanhai, an immigrant from India, 60 years ago.

Jab jabs cracked their whips at the road and at each other, moko jumbies strode, dame lorraines flounced, and scores of traditional Carnival masqueraders—including fancy sailors, fancy Indians and the Blue Devils of Paramin—took over the Western Main Road, last Saturday night, to launch the Steelband & Traditional Carnival Mas Parade in St James. All this was part of the 16th annual WeBeat St James Live community festival. 

But the parade almost didn’t happen. Hosted by the St James Community Improvement Committee as part of WeBeat, only the last-minute intervention of the Ministry of Community Development, Culture & The Arts made the cash-strapped WeBeat festival possible. Even when Port-of-Spain Mayor Kerron Valentine pledged a “meaningful contribution” to the event the previous Friday night (when We Kaiso was staged at St James Amphitheatre), the St James Committee was still short of funds. 

Before Saturday, with the event in limbo due to a lack of sponsorship, some steelbands, including Republic Bank Exodus and St James Tripolians, still pledged that, with or without funds, they would parade. 

The parade began with the sound of La Creole Pan Groove, who entertained early-bird arrivals at the review stand at the amphitheatre in St James. After the traditional folk masquerade characters passed, it was the turn of the panmen, who proceeded westerly from the corner of Long Circular Road. Show host Phill Simmons, co-ordinator Angela Fox and parade marshalls, headed by Sinclair “Raspo” Thompson, ensured that the pan procession flowed smoothly. 

Joining Exodus in the parade were large conventional steel orchestras Renegades Youths and MHL Starlift. NCC vice-chairman Ainsworth Mohammed led Exodus. Meanwhile, Port-of-Spain Mayor Kerron Valentine walked at the head of Newtown Playboyz, and Pan Trinbago Eastern Region chairman Carlon Harewood led reigning National Panorama Single Pan champion Trinidad East Side Symphony. 

Starlift was the last band to perform for guests seated in the review stand, giving a concert-style performance and bringing the curtain down at 1 am. 

Former Culture Minister Joan Yuille Williams, who attended several WeBeat events this year, was among guests on the parade review stand. The former minister, along with former National Security minister Carl Alfonso, was also at last Friday night’s We Kaiso event, which featured retro calypsoes. Also in the audience was Frances Tyson, mother of Howard University president Wayne Frederick. 

The artistes keeping patrons tapping their feet and cheering were reigning National Calypso Monarch Roderick “Chuck” Gordon; Scrunter (Irwin Reyes Johnson); Brian London; Bally (Errol Ballantyne); Bro Mudada (Alan Fortune); Ajala (Keith Sutherland); SuperBlue (Austin Lyons); and 5Star Akil (Akil Borneo). This part of the show was hosted by Nikki Crosby and Penelope Spencer.

With fathers in mind 
Fathers are expected to be specially treated on Sunday with the commemoration of Father’s Day and one of the blue riband events scheduled is King David Rudder Live. This is  an eagerly awaited concert headlined by the acclaimed triple-crown calypsonian/composer. The show is scheduled for 6 pm on Sunday evening at Kaiso Blues Cafe, 85 Woodford Street, Newtown. Rudder’s guests artistes will be Jacobs Island (Carol, Carla and Caryl “Trini” Jacobs), Llettesha, Dean Williams Quartet and Wayne Bruno & Friends. 

Departed cultural icons Pal Joey Lewis and Holly Betaudier will be remembered in a special way on Sunday when De Nu Pub (The Mas Camp) holds a Father’s Day/Labour Day tribute, at the popular Woodbrook showplace from 5 pm. Music will be by Pal Joey Lewis Orch and DJs Hipster and Special Delivery. 

Another show billed for Sunday, to be held in the southland at 8 pm, is Carnival City presents 4 Dad, featuring Baron and Sunny Bling. Venue for this event is Carnival City Ultra Lounge, located at Gulf City Complex, South Trunk Road, La Romaine.

Pan in the city 
More pulsating steelband music will be heard in the nation’s capital next week when Port-of-Spain Corporation stages Pan Down Frederick Street on June 24. This will commemorate the 102nd anniversary celebration of City Day. The steelband procession, begins at 6 pm, in front Pan Trinbago Headquarters, Victoria Square North, Park Street and will feature First Citizens Supernovas, Hadco Phase II Pan Groove, Republic Exodus, PCS Silver Stars, RBC Redemption Sound Setters, MHL Starlift, bpTT Renegades and NLCB Fonclaire. 

At Desperadoes panyard on Frederick Street, there will be live steelband performances as well by Courts Sound Specialists of Laventille, San City Steel Orchestra, Brimblers Steel Orchestra and T&T Fire Services Steelband. 

In other steelband news, Valley Harps Steel Orchestra gave a farewell performance at its Petit Valley panyard last Tuesday night. Yesterday the band departed for a concert tour of France. Among the guests in attendance were Minister of Sport Darryl Smith, Diego Martin councillor Katherine Mendes, NLCB chairman Marvin Johncilla and members of Pan Trinbago executive.

President Keith Diaz seized the opportunity to reiterate a call for the NLCB to give approval for a new game, the returns of which will go towards the benefit of the national instrument. In his address Diaz also spoke about the strides being made by the national instrument in promoting pan to international audiences and the hundreds of non-T&T pan musicians currently active globally. The Valley Harps tour is scheduled to last 25 days. 

The tentative date for the eagerly awaited Pan on De Avenue is Saturday, August 27, staged by the Woodbrook/St James Community Association since 2012. In three years, this event has paid tribute to prominent Carnival personalities, steelband arrangers, pan tuners, Black Stalin and the late Holly Thomas.

A former national hockey player, 25-year-old Arielle Cowie is now aiming for the stars as a singer. A solo artiste, Cowie is doing her first major public performance on Saturday at the Fiesta Plaza, MovieTowne, Port-of-Spain, with its series of concerts—Discover Me—held monthly to showcase new and upcoming artistes.

“I have always been singing,” said Cowie. “As a child I sang with my primary school, Dunross Preparatory School in Westmoorings. I did music festival, the whole works. For some reason, after primary school and entering secondary school at Holy Name Convent, I went into a shell and concentrated on playing hockey.”

Cowie, a Capricorn, is the youngest of five children, with two brothers and two sisters. “As a child growing up in Diamond Vale, I had a great childhood,” said Cowie. “I was spoilt and always had my own way. I grew up in hockey. I played the game in primary school and got serious about it in secondary school. I eventually joined Ventures Hockey Club, the club my late mother, Caryl Cowie, was president of.

“I got a full scholarship to the Ohio State University in Columbus. It was a fantastic experience. At first, I was very nervous about it, especially as it was my first time residing away from home, not to mention not knowing anybody in Ohio. When I joined the university team, the girls and I just clicked beautifully. I spent four years at Ohio and actually captained the team in my last year.”

Missing family and friends in Trinidad, Cowie returned home in 2014. Now back on Trinidad soil, she decided to begin doing music. She said: “When I returned, it was a little bit slow to link with the people in the music industry. Last year, I made my debut on a big stage, playing Cinderella in the Baggasse Company stage production at Queen’s Hall.

“This just gave me a lot of confidence and made me realise that I could really pursue singing. Since then I have met so many people and I have been writing and in the studio producing music. I have been working with System 32 and Johann Seaton of Ultimate Rejects.”

Cowie’s favourite artiste is Beyonce mainly because of her “chameleon ability to change, not just physically, but the various veneers of her music.” 

Cowie composes her own material, described by her as “music that is always relatable,” pertaining to her personal experiences.

In an upbeat note about her Saturday night performance, she said: “It is going to be a fun night as I will have a really amazing band named Overdrive and my repertoire will comprise of several beautiful upbeat songs with some slow ballads as well. I will be singing songs for everyone.”

Reprised after 37 years at Little Carib Theatre in Woodbrook, Lester Efebo Wilkinson’s Bitter Cassava is just as relevant today as it was in 1979 when premiered by Mausica Folk Theatre. Opened on June 9, the play will have its finale on Sunday.

Staged by The B-V Theatre Project, Bitter Cassava, whose cast includes Muhammad Muwakil (Samuel William Blondell); Tishanna Williams (Justina); Ruby Parris (Betty Lou); Darin Gibson (Pa Cefus); Mavis John (Mother Lucy); Wendell Etienne (Merchant); Tafar Chia Lewis; Gervon Abraham; and, Kurtis Gross as Papa Iban, successfully covers all bases required for a complete theatrical production. Casting, acting, lighting, wardrobe, music and direction are all spot on in the staging of this iconic play.

Williams, a BA Theatre Arts degree holder, is rivetting as Justina, a woman scorned by Sam after living with him in a common-law relationship and bearing him three children. She marinates well in multiple roles; as abused woman, spirit and avenger.

Renowned as a spoken word artiste, Muwakil shows his acting ability as “the village ram,” and the sweet man in the rural, close knit community in which he resides. The character is central to the plot and the audience is taken through a gamut of emotions as Muwakil’s character weaves a tragic path which negatively affects not only him but his relationships, children and neighbours, especially Pa Cefus, the narrator who relates the village tragedy to investigating policeman Abraham.

Having discarded Justina in a violent and abusive manner, Sam connects with Betty Lou, “a pretty, red woman from town,” who, after a short time of happiness, also becomes the victim of the abusive Sam. If I could have found one minor chink in the plot of Bitter Cassava it would be Betty Lou bearing six children for Blondell. With one of the children being central to the plot, beautifully played by Anna-Lisa Wickham, there is no need to incorporate the other five who are inconsequential to the script and who are neither seen or heard through the entire play.

Endearing themselves to the audience are Robinson and Lewis, especially the latter, as the village’s busy bodies. Without meaning to reveal too much of the plot, Justina, murders the three children she has for Sam, places a curse on him the day he marries Betty Lou and commits suicide. In the end things don’t turn out any better for Betty Lou and Sam either. Go see the play and see first hand how the plot unfolds.

Wilkinson is outstanding as the play’s director, as well as veteran Best Village dancer Gregor Breedy for its choreography, chorale director Lois Lewis and costume designer Carlyne Perreira-Lacaille. Also deserving of kudos is the music ensemble of Marva Newtown (guitar); Alisford Phillips (bass); Girma Daniel (flute); and, two drummers. 

The play’s music is beautiful, especially its patois numbers (Allez Mwe-ka-Allez and Bwe Wom), pieces which serve as an enhancement to date the play as well as add variety to its music. 

Apart from the traditional music and originals by Wilkinson, Bitter Cassava also includes snippets of works by Mighty Sparrow and late Merchant (Dennis Franklyn).

Bitter Cassava is being held under the patronage of Minister of Community Development, Culture and the Arts Nyan Gadsby-Dolly, with considerable support from corporate entities and lovers of theatre.

Devon Seale, the reigning National Calypso Monarch, is pushing the borders of calypso even further internationally as he embarks on a concert tour of Costa Rica on Monday. 

Seale is one of the chosen headline acts for the Fourth International Calypso Festival in Cahuita, Costa Rica. The festival is taking place on July 8-10, but Seale leaves early to conduct a workshop for the children involved. 

“It’s all about going to new markets and trying something new,” Seale said this week. “On Costa Rica’s Caribbean coast, there are alot of West Indian immigrants who maintained their Afro Caribbean culture. As such, the Costa Rican Government recognised the importance of this type of music to the country’s cultural and historical identity and officially declared calypso a national patrimony in 2012.

Speaking about his life since winning calypso’s most prestigious prize, Seale said: “Devon Seale is still the cool and humble guy everyone is accustomed to. But as the national calypso monarch more opportunities in terms of performing are coming my way. I meet a number of people who are truly elated that I was successful this year and then you recognise the amount of persons who were following your career from the beginning.

With 20 years in the senior category , I think calypso lovers deserve to see Devon in concert—‘Seale(D) with thanks’.” 

Born in Tunapuna, Seale grew up in Bon Air Gardens, and attended Tunapuna Anglican Primary School, Arima Government Secondary and El Dorado Secondary Comprehensive. Additionally, he lived in Brasil for four years where he pursued a BSc in Computer Science and in 2014 graduated with distinction honors at the Arthur Lok Jack GSB. 

About his young life, Seale disclosed: “I started singing calypso at the age of 11. In fact, my aunt Singing Sonia wrote my first calypso. Eventually, I started singing compositions by George Martin which took me to approximately six finals as a junior calypsonian.

“As a younger man I played three musical instruments (piano, violin, pan). In the younger days it was always calypso and classical music. I started singing classical music at first, tutored by Esther Batson, taking part in competitions like the T&T Musical Festival and 12 and Under.”

The local bards to influence Seale most are Black Stalin, Explainer and Bro Valentino but he added: “After being exposed to Brazilian music, I love to see Gilberto Gil and Ivette Sangalo perform.” 

Three songwriters are responsible for the material Seale sings. They are Gregory Ballantyne, Marlon Rondon and Christophe Grant.

Seale thinks that local music and singers are on par with any other in the world. He said: “I think we produce great music locally and we have very talented artistes, however we have  

limited  venues where local musicians can showcase and develop their talents. 

With the younger generation in calypso emerging, I don’t think it is a dying art form. As calypsonians we just have to find more creative ways of getting the message out there to the younger generation. It’s all about utilising the technology.”

Seale, who describes himself as a “focussed and committed calypsonian,” said: “I’d really like to see the day when we can have a calypso museum, to showcase the works of our icons.”

With his sights set on holding on to the national title in 2017, he added with a chuckle: “Seven months away from Carnival 2017 is a bit too early but I can warn my challengers that with the material I already have, it’s not going to be easy to dethrone me. This year I had four songs and any two could have worked. Next year, look for new things from Devon Seale.”

The steelband movement is replete with locals who sacrifice a lot of time and energy to nurture the proliferation of the national instrument at home and abroad. Selwyn “Fruits” John is one such panman and he proudly stands alongside T&T steelband ambassadors like Ellie Mannette, Robert Greenidge, Clifford Alexis, Rudy “Two Leff” Smith, Othello Molineaux and Liam Teague, musicians who continue to expose and promote pan on the world stage.

Earlier this year, John, a key member of First Citizens Supernovas Steel Orchestra, was involved in a significant event which placed pan from Israel, of all places, centre stage at a prestigious American university. John’s participation actually began more than two decades ago through his affiliation with a university lecturer who works in Israel.

John related: “Knowing that I was from Trinidad and involved in pan, Professor Harvey Price befriended me about 25 years ago at the Kimmel Center in Philadelphia. When we met, he, and another American guy named George Whitmire, were experimenting on steel drums made from stainless steel material. Two of those drums are in Trinidad right now—Bertram ‘Butch’ Kellman has had one for about 20 years and I brought the other one this year which I intend placing at the grave of the late Jit Samaroo. 

“Through my relationship with the professor, I was instrumental in acquiring pan instruments to be sent to Israel, where the professor was forming a steelband comprising some of his students. Three years ago the professor succeeded in forming a multi-denominational steelband of Muslims from Palestine, and Jews and Christians in the Galilee region of Israel. The idea behind this initiative was to get different peoples to communicate with each other.

“In October 2013, the professor, with Delaware’s Christian and Muslim associates in the village of Ibillin and the Jewish youth of Haifa, finally got the steelband up and running.  

“This year, the Israeli steelband— The Peace Drums—went to the United States and played at various locations including New York, Philadelphia and Delaware. The main performance was at the University of Delaware and I was invited to give a lecture on steelband development and history. I got a tremendous reception from the Americans. Also speaking with me was Aneysha de Coteau, who spoke on the musical aspects of pan. It was moving seeing all these young, bright students giving a rousing ovation to this Trini panman.”

John believes that, despite the exposure given to the national instrument in the past, there is a lot of work still to be done globally. He said: “Pan Trinbago and the government of T&T have to get a lot more proactive and serious as pan instruments and music are in great demand abroad. The demand continues to outdistance the supply.

“The Americans are also desperate for people who can teach the pan and its music at college and university levels. Too many Trini pan people go out there just to play, ‘to eat ah food’, drink and have a good time, and there is serious work to be done to promote our national instrument, a lot more outside there. Pan is a lot deeper than just playing the instrument.”

The Peace Drums event was hosted by the University of Delaware and it was actually a month-long exercise with the Israel steelband at the University. John’s lecture was based on his overseas travels with pan and his involvement with various universities in the US. 

John also revealed that his steelband, FC Supernovas, would be hosting a steelband gospel event at a local venue on October 1. He added: “The concert will be produced with a collaboration done with all churches, with various steelbands playing gospel music on the road between Eddie Hart Ground and Constantine Park in Tunapuna.

The intention is to see if we can reach souls in young people, for some sort of peace, of which the older generation would benefit at present. Right now we are in organisational phase seeking sponsorship from the various ministries to be involved with this event.

“The greatest achievement we hope to accomplish is for folks to see love, peace and harmony as the recipe for saving T&T, instead of crime. Gospel on the road in October will have some of the leading steelbands in our country. It will be beneficial in two ways because of the level of musicianship required of both instruments and tutors not only in places like Israel and abroad.”

The solemnity of Wednesday’s Eid holiday ought to evaporate as early as tonight with the staging of the second major 2017 Carnival band launch.

Following the Paparazzi Carnival launch of Sky Gazers at Pier 1, Chaguaramas, last Saturday, Harts Carnival will launch Ultraviolet Jungle at the Queen’s Park Oval car park on Elizabeth Street, St Clair, tonight.

For Carnival 2017, Harts Carnival intends taking a colourful tour through the fictitious Ultraviolet Jungle. The band’s PR folk stated in a release this week: “It’s a jungle out there in the Trinidad Carnival scene, and for over 50 years, one band has matched and exceeded the expectations of the masses with costumes in living colour and splendour. For 2017, Harts Carnival plans to continue its domination and illuminate the streets of Port-of-Spain with an imagination-stirring theme: Ultraviolet Jungle.”

 With an arguably revolving door of similar themes and mirrored presentations in recent years, bandleader Gerald Hart says he wants to ensure masqueraders and spectators love both the vibrant costume presentation as well as the road experience on Carnival Monday and Tuesday.

The Harts team of costume designers says it aims to bring unique, quality, ingenious design elements to its offerings. This year, the band’s theme is partially inspired by the blockbuster movie Avatar, the global movie hit with incredible cinematics that appealed to all ages. The band says:
“For Ultraviolet Jungle, Harts promises to elevate your idea of natural and normal: eclectic bursts of colour, creatively detailed patterns and a novel perception of life among a multitude of species in the wilderness.”

Orchis, Paro, Cheety and Winged Azure are just a few costumes that may send the masses into a wild frenzy, say band representatives. As usual, Gerald Hart leads the Harts design team which includes second-year designers Erin Gonzales, Kacie Gonzales and Solange Govia. Some brand new faces also make their designer debut with the Harts Family for 2017, including Natania Mack and Laura Narayansingh. 

Following close on the heels of the Harts Carnival launch is the unveiling of the 2017 presentations of Tribe and Bliss. Their joint launch is scheduled for Saturday, July 16 at The Paddock, Queen’s Park Savannah, Port-of-Spain.

The next weekend, on July 23, Band of the Year Ronnie & Caro will launch its mas: Fearless 10. Bandleader Ronnie McIntosh, commenting on his ambitious band launch, said this week: “You would never have seen anything like this. Just say it’s going to be a street affair in the St Clair/ Woodbrook area.”

Speaking about Fearless 10, Mc Intosh said the theme is a celebration of the band’s tenth anniversary. “It has been quite an adventure and journey,” said McIntosh. “The first year we produced a band, we were hesitant to continue, but after our success by winning the Band of the Year (Medium) title with The Gulf, we closed our eyes and went ahead fearlessly.

For ten years our track record has been impeccable and we boast of giving our masqueraders the best value-for-dollar deal when it comes to playing mas and enjoying yourself in a safe environment.”

Carnival 2017 will be held on February 27-28.

Pan here to stay 
Not even the sodden mud underfoot could dampen the spirits of pan lovers, who journeyed to the Recreation Ground in Marabella for last Saturday’s Pan in De Countryside. Staged by Pan Trinbago Inc—in collaboration with the Ministry of Community Development, Culture and the Arts—the 24th edition of the monthly event featured bpTT Renegades, Pan Elders, Golden Symphony, Southern Marines, Fusion Steel, and Marsicans.

Obviously in sheer ecstacy, one pan enthusiast was overheard saying that Renegades gave him the best pan performance he had heard in many years. The Charlotte Street steel orchestra, playing as if its repertoire had no end, thrilled the audience with medleys of popular calypsoes by Kitchener and Sparrow. Also stirring the crowd were Pan Elders and Southern Marines. 

In other steelband news, plans are well on the way for Pan on d’Avenue, scheduled for Saturday, August 27 along Ariapita Avenue, Woodbrook. This popular pan event is staged by the Woodbrook/St James Community Association. Corporate secretary Allima Garcia said: “This event is organised to foster unity amongst the residents of Woodbrook, as well as to celebrate the anniversary of our Independence. It is also a chance to honour and pay tribute to stalwarts in the indigenous arts of T&T, alive and posthumously, whether in pan, calypso or mas.” 

Since its inception, the association has paid tribute to Anthony Williams, Black Stalin, the late Ralph Mac Donald and Holly Thomas. It has also honoured the first King and Queen of Carnival, Colin Edghill and Kay Christopher, pan arrangers, tuners and manufacturers.

This year’s event is being held in memory of the late Antonio “Amigo” Nadur, who began the Carnival Monday steelband competition in Adam Smith Square many years ago. He died in December. Also, tribute will be paid to Asami Nagakiya, the Silver Stars pan player who was slain on Carnival Tuesday this year, who chose to play with Woodbrook steelbands. 

Expecting approximately 30 steelbands to parade in an easterly direction along the Avenue, the Association will honour “The Engine Room” of the steelband movement—percussionists like the late Corey of San Fernando and “Iron Charlie” Bradshaw of Desperadoes, “Killer” of Supernovas and “Soca” Brumante of Renegades. 

The Woodbrook/St James Community Association committee includes Cleveland and Allima Garcia, Carl “Beaver” Henderson, Saieed A Garcia and Margaret Indrani Ellis. 

Condolences 
Ending on a sad note, Pulse extends condolences to Hazel Manning and the family of Patrick Augustus Manning on his passing last Saturday. The late prime minister’s funeral will be held tomorrow morning at Trinity Cathedral. Condolences also to Sugar Aloes (Michael Osuna) on the passing of his mother, 75-year-old Jean Osuna Samuel, and to the family of calypsonian Companero.

The Paragon Sports & Cultural Club deserves full marks for successfully staging last Saturday’s Seaside Jazz at its Cocorite venue. Aside from its late start, the event, piloted by radio personality Peter Kelly, ran smoothly through its three-hour duration.

Because it is not a walled premise, the Cocorite venue affords patrons the feel of an open-air showplace, cooled by the sea breeze off the Gulf of Paria and winds blowing along the Western Main Road. Saturday’s programme was opened by 17-year-old prodigy Luke Walker, a pan musician of CAL Invaders Steel Orchestra and National Panorama finalist for the past eight years.

A St Mary’s College Sixth Former, Walker’s set included September in the Rain (on keyboards), from the movie Melody for Two, and, accompanied by keyboardist Michael “Ming” Low Chew Tung, Somewhere Over the Rainbow and Kitchener’s Mas in May. Walker is the 2016 T&T Music Festival (North) champion in the pan and piano categories.

Some were surprised to see veteran musician Pelham Goddard take a supportive role, as Roots saxophonist was announced as the star of the next act. Aside from Goddard and Boyce, the ensemble included Javen Ochoa (guitar); Keshorn Jack (bass); and, Vonrick Maynard (drums). 

Boyce and band played Benny Golson’s Killer Joe, People Make the World Go ’Round and Duke Ellington’s In a Sentimental Mood, followed by vocalist Natalie Yorke rendering a soul-searching interpretation of Alfie, composed by Burt Bacharach and Hal David, and made popular by Dionne Warwick, which she dedicated to the memory of late prime minister Patrick Manning. She also sang Anita Baker’s Rapture. Boyce again returned front and centre to play Michael Jackson’s Human Nature and Andre Tanker’s Steelband Time.

What could have been a perfect performance by the next act, Dane Gulston, was marred by some erratic sound engineering which sounded like a confrontation between the pan player and his accompanists. This was, however, rectified by the time Gulston began his second item, a Different Shade of Silver, his own composition. He followed this with another original, Aura.

Gulston, a veteran front line member of Massy Trinidad All Stars, played with gusto and much energy as he performed Teddy Pendergrass’ Somebody Loves You Back and the popular standard Take Five, made popular by The Dave Brubeck Quartet. Encored, he played 5Star Akil’s Different Me and Voice’s Cheers To Life. To see Gulston interpret this medley was well worth the price of admission as he engaged patrons, jumping off the stage one time to dance with a woman in the front row.

A brief intermission was welcome after Gulston’s intense performance during which time the stage was set for the main act, Vaughnette Bigford. The diva of La Brea, elegant in her black, floor-length gown, accessorised in gold, was at her usual best, opening her set with Better Days. She then ventured into Marvin Gaye’s Mercy Mercy Mercy Me and Steelo David’s Can You Love Me? Kicking off her high heels to do the remainder of her repertoire barefooted, Bigford then did Bobby Caldwell’s What You Won’t Do.

It was at this point, with Paul doing a flute solo on the latter song, that music enthusiasts in the house must have started appreciating the fact that the calibre of musicians gracing the stage on the night were as outstanding as the headline acts. Aside from guitarist Theron Shaw and saxophonist Anthony Paul embellishing Bigford’s items with some fantastic solos, the night had already been enriched by keyboardists Goddard and Low Chew Tung, drummers Maynard and Carlon Alexander, and percussionist Tamba Gwinde in Gulston’s ensemble.

Shaw also stood out when he soloed during Bigford’s rendition of And the Lord Said. When she did Forget Regret, it was bassist Tony Alexander’s turn to stand out. Bigford’s treatment of Merchant’s Be Careful, with Paul soloing on sax, was a treat, as was her cover of Miriam Makeba’s Pata Pata, which brought some patrons to their feet. Many also sang this song’s refrain with gusto.

Bigford continued to endear herself to her captive audience when she dedicated her next item, Sparrow’s No Money No Love, to the men in the audience. Again she had the women singing along with her. To round off her highly entertaining one-hour long performance, Bigford closed her set with Carol Addison’s Born to Shine.

The Paragon people are well advised for the next edition of this production to also promote the musicians who will be accompanying the main acts. Given the excellence of this first attempt to stage a show of this nature, when word gets out about its high quality, for next year’s edition the promoters may have to include a shuttle service for patrons? 

With Trinbago Knight Riders (TKR) having no more games at the Queen’s Park Oval, local interest might be on the wane in the ongoing 2016 Hero CPL T20 cricket tournament. 

Like most cricket enthusiasts in the Caribbean and Guyana in South America, local fans are nightly glued to their television sets as live telecast of the games is beamed via CNC3. 

But while enthusiasm at venues in neighbouring countries seems to be on a high, it is obvious that T&T is the region’s trendsetter and leader in production and costumery. 

At the four games played at the Oval to kickstart the competition, television cameramen must have been mesmerised by the diverse variety of side attractions and costumed supporters at the venue, and challenged to select subjects to capture.

In addition to the rhythm sections, and the contingent from Siparia fielding former Olympian Ian “Frinty” Morris, there were the beautifully-costumed brand reps of Digicel, Carib Beer and El Dorado Rum; traditional Carnival characters; Granny (Nikki Crosby); Digicel’s Mr D; steelbands; fire-eaters; acrobats; dancers; and live performances by soca stars like Destra, Kees Dieffenthaller, Ravi B and Multi Symptom.

The main men of the CPL organisers may be having some regret about the brand girls’ acts, though. There was a stark difference between the brand reps from the other islands, and our T&T girls—after one viewing, the T&T choreography becomes mundane and limited...move to the left, move to the right and do a little knee-bent “wuk up.”

The organisers could have had the trainer for the past few years travel to the different Caricom territories to train them, with one choreographer coach them all, and also have someone vet the costumes the girls wear—if only for coordination and visual cohesion. 

The patron adjudged to be wearing the most-unique costume at each Hero CPL T20 cricket game wins US$500. While our neighbours might be trying to emulate the standards in costumery and masquerade set by T&T—and Barbados to a slightly lesser degree—a Bristol board mask and cardboard does not a costume make. 

These simplistic portrayals are the easiest way to win US$500, especially when there is easily no competition. In terms of the music, the Kensington Oval in Barbados comes closest to what the Oval offers. 

Home of the Tridents, Kensington has offered brass bands, one led by veteran comedian/calypsonian Mac Fingall, the Mosaic steelband and some beautifully costumed individuals, a couple of them reminiscent of the sartorially elegant King Dial.

Antigua is not on the roster for games this year, so viewers and fans there will be deprived of seeing the more recent clones of Gravy, the Caribbean’s most-celebrated costumed character at cricket.

In all fairness to our most northern neighbour, the first game in Jamaica will be played today (Friday 15) so one cannot yet adjudicate the production quality of events there, when Tallawahs play Guyana’s Amazon Warriors. 

What’s certain is that reggae music—that has so far dominated music at venues outside of Trinidad—will be playing. It would be interesting to see what the people of St Lucia and Fort Lauderdale, USA will produce when games are played there later in the tournament. 

Cricket at this level is new to the United States. The excitement and fun would be that much poorer at Fort Lauderdale as venue negotiations to have a Triniposse Stand there fell through. 

(Photos courtesy Triniposse)

Bombarded by a torrent of toxic and negative news in media about the current state and future of our nation, we citizens need to take some time out, take a deep breath and recognise and applaud the positives so many of our nation’s youth have been achieving. 

Young nationals continue to achieve great things on the global stage; achievements which go unnoticed by most and in which we must be very proud and applaud. 

The young musicians of Exocubs Steel Orchestra (youth arm of Republic Bank Exodus) recently returned home after winning standing ovations and critical acclaim for their performances in Argentina. 

Their counterparts of Valley Harps Steel Orchestra of Petit Valley are currently winding down a concert tour of France.

The St Margaret’s Youth Steel Orchestra also continues to fly the cultural flag of T&T very high as they show us and the world the great invention that is the steelpan. They will be staging their Ninth Annual Youth Steelband Extravaganza tomorrow at the Queen’s Park Savannah, Port-of-Spain, starting at 2 pm.

The orchestra’s Musical/Events co-ordinator, Rosemarie Abraham, said this week: “In our continued quest to develop our youths holistically through the medium of the steelpan, we of the St Margaret’s Youth Steel Orchestra have embarked on a pan programme which has been quite successful. 

“In addition to our orchestra, which recently performed successfully at Carnegie Hall and Universal Studios, Orlando, there will also be performances by BP Renegades Youth Steel Orchestra (non-school National Panorama champion); Success Stars Pan Sounds; MHTL Starlift Juniors and Massy Trinidad All Stars Youth Steel Orchestra.” 

Starlift and Trinidad All Stars Youth Steel Orchestras are the two newcomers in the line-up this year.

Fresh from a standing ovation at Carnegie Hall in Manhattan in June 2015 and from tremendous success at the Orlando Spring Music Festival at Universal Studios in April 2016, these talented young musicians will again showcase their pan wizardry at the Extravaganza.  

The St Margaret’s Youth Steelband Extravaganza offers youth steel orchestras who do well in the National Junior Panorama competition the opportunity to perform at a standard of excellence in a non-competitive atmosphere. 

This helps to foster camaraderie among the players of the various steelbands, a camaraderie which it’s hoped will continue to exist even when they are adult players in competing steel orchestras.

Performing will be the various age-group ensembles of the St Margaret’s Boys AC Primary School. The school has a very dynamic steelpan programme which was started in 2002 by Abraham and which continues today with strong support from the principal Collette Perez. 

The school placed second in the Primary School Category of the National Junior Panorama 2016 and emerged winners in the Elementary Schools category at the Orlando Spring Music Festival. 

These skilled young musicians do not just play the steelpan, they deliver a wide repertoire of music and exciting, exhilarating performances full of appropriate, dynamic and well-rehearsed choreography. 

By attending the Extravaganza, not only will you enjoy mesmerising music by these young, talented steelpan players, you will also be supporting this fund-raiser to assist St Margaret’s Youth Steel Orchestra to accept their invitations to Los Angeles, USA and Calgary, Canada in 2017.

Not to be outdone, the young women of Bishop Anstey High School again achieved excellence when the school’s choir and steelband were again victorious in the just concluded Llangollen Music Festival in Wales, open to school choirs and orchestras from across the globe.

Akinola Sennon is a multitalented musician. He  plays the cuatro, guitar, piano and steelpan, composes and arranges pan music, and is the executive/musical director of Deltones Institute of Steel Drums and Music. Sennon will be releasing a new album called Cousoumeh internationally on August 26, at Rope a Dope Records, based in New Jersey, USA. The album will have its local release on Republic Day at the home of Siparia Deltones, located at Railway Road, Siparia.

Sennon is determined to make our national instrument evolve globally. Many will remember the 2013 critically-acclaimed album—From Siparia to Soweto—which was a steel orchestra and trumpet collaboration between Siparia Deltones and world-renowned South African musician Hugh Masekela, the trumpeter, flugelhornist and composer. Sennon was project co-ordinator and steelpan soloist on that album.

Sennon’s new album, Cousoumeh, has diverse influences from African, Indian, Latin drumming, chanting, spoken word, choir, folk and French. 

So it seems Akinola Sennon is poised to be one of this country’s bright lights on the music scene. 

Musical child prodigy

Born on May 2, 1984, as the third child to Andrew and Valerie Sennon, he spent his childhood years in Quinam Road, Siparia. Sennon was something of a child prodigy and began attending the Joseph School of the Arts in 1991, from age seven, learning to play the cuatro and studying the theory of music. 

“I then moved on to playing two other instruments, the guitar and the piano at the music school in Siparia, under the tutelage of Ashford Joseph,” said 32-year-old Sennon. “By age ten, I was arranging musical compositions for my siblings and performed at our school concerts and recitals.”

“I started playing the steelpan in Standard Three with Roland ‘Moose’ Joseph and at that point, I fell deeply in love with the instrument. During this time, I also played the guitar with the school and church choir. 

“Miss Valdez, our school choir mistress, was quite a huge influence in developing my musical ability. Mr Joseph nurtured my talent during that early period by taking us to many competitions and exposing us to the steelpan fraternity. I remember him taking me to Pan Trinbago’s Annual General Meetings and introducing me to various important people in the steelband world.”

Sennon joined Siparia Deltones in 1996 for the Panorama season and also the stage side. He said: 

“It was there that I met Carlton ‘Zanda’ Alexander—Desperadoes arranger. I vividly remember him asking me one day, ‘Young man, do you know your scales?’ To which I answered: ‘Yes’. He then instructed me, ‘Play me this scale’, which I did. He then replied, ‘Okay, well, do you know your chord scales?’ I again answered: ‘Yes.’ He instructed, ‘Well play me this chord scale.’ I played the scale and he then requested me to play him the same chord scale from the second inversion and that was where the trouble started. That was the beginning of a 17-year-old—and counting—relationship. I have been his understudy since then.”

Playing for Coal Pot Band

Sennon was inducted as a member of the Coal Pot Band led by Alexander. This band was basically a kaiso/jazz fusion ensemble with horns, vocals, piano, bass guitar and steelpan. 

He recalled: “We performed extensively at all the leading jazz and fusion shows through the nation, including Tobago Jazz Festival, San Fernando Jazz Festival, Sanch Apri Carnival, Siparia Jazz Festival, Point Jazz Festival and many more. At age 18, I also began playing with Clive Alexander, Carlton’s older brother. 

This was also quite an experience and has significantly contributed to my overall development, especially our weekly performances at the Sachmo’s Jazz club on Ariapita Avenue for a number of months.”

In 2003, Sennon became the captain of Siparia Deltones’ junior band. He later became captain of the senior band. He has also worked with the National Steel Symphony Orchestra for one year, and the Pan in the Classroom Unit, as well as teaching at Forest Reserve Anglican School, Fyzabad Presbyterian School, Iere High school, Palo Seco Government School and Trinidad Renaissance Preparatory School. 

This gifted and multi-talented musician continues to work in the area of steel pan development, arranging and music education. He designed the syllabus and course structure for Siparia Deltones, and in 2009, he and the band did pan workshops throughout Canada to help promote the steelpan there.

Beside being a steelband arranger, Sennon also composes music. He said: “As an arranger, I have composed for the Southern Marines Steelband Foundation placing third in the Small Band Category of the Panorama competition of 2010. I have won the Primary School category of the Sanfest Competition for four years in a row from 2010; three times with Forest Reserve Anglican School and one year with Trinidad Renaissance Preparatory School of which I am their musical director. I have also won the Pan for Blue Competition with Forest Reserve Anglican School in 2013.”

Amsterdam Jazz workshop

Earlier this year, Sennon travelled to the Netherlands to participate in the Amsterdam Conservatorium Van Summer Jazz Workshop, becoming the first pan player to be accepted to be part of the prestige workshop.

The influence of that workshop is what led to the current new album Cousoumeh. Sennon explained:

“The influence to record this album came about as a result of the overwhelming response I received at the Summer Jazz Workshop at the Amsterdam Conservatory Of Music, Netherlands. Whilst there, I did many performances that displayed a high level of craftsmanship and improvisational skills that were of a certain standard. After performances, I was approached by many with questions such as: ‘How many albums do you have?’, ‘Where next in the world would you be performing?’ or an occasional: ‘What class do you teach at the conservatory?’ This certainly inspired me to get to work as soon as I got back home.”

On his return home, Sennon surrounded himself with a team of young musicians from the Institute and work commenced right away on taking the music and Institute further. 

He said: “It is George Caesar, the Institute's head instructor, who came up with the idea that the Cousoumeh album should tell a story of a man, an instrument, a people and of a land. It was there the idea 'Cousoumeh' was born.”

Sennon flew to Boston to record the first session of the album and this element took the form of a cultural exchange with students of the New England Conservatory and Berklee's College of Music. For an entire week he screened students to get the right musicianship to fit the script.

About this project, Sennon said: “We learnt that in the early beebop era, pioneers like Theolonius Monk spoke of listening to a lot of kaiso on the radio whilst growing up, and this certainly influenced his style.

“Therefore, we clearly see that the integration which took place between Trinidadians and Americans was considerably influential in its music development, making this cultural exchange by no means an imposition.”

After an intense three-week programme, the group went into PBS studio in Boston and recorded. 

Sennon then returned to Trinidad and hooked up again with the Institute's team, comprising George Caesar (head instructor who was the project's main producer); Ian Caesar (main writer, spoken word artiste); Jesse Cooper; Darriann Twitts; Alpha Sennon; and Latoya Gardener. The group worked for ten weeks, sometimes doing 24-hour shifts on the music.

Sennon said: “To tell the story of a people, we need to observe the rich heritage of the people of our independent land. We need to observe the interdependency that had developed amongst the people; an interdependency that paved the way to Independence and an interdependency that wasn't possible if the people didn't first ‘cousoumeh’.

The concept of Cousoumeh is all there on the album, inclusive of African, Indian and Latin drumming, chanting, spoken word, choir, folk, French infuences—the entire amalgamation. 

Cousoumeh was finally mixed and mastered in Los Angeles and is intended to commemorate our Independence with its release.

Come Sunday, August 7, Trinfinity Arts will feature popular southern composer/calypsonian Selvon Noel (Mistah Shak) as the headline act for More in de Mortar, to be staged at Kaiso Blues Cafe, 85 Woodford Street, Newtown, at 7 pm.

Mistah Shak is one of those rare artistes who comes along every so often with a penchant for stirring up the social and political cauldron, with blistering calypsoes like 2014’s universally popular Bois. You can say he is cut from the same cloth as outstanding calypsonians in the same vein as Brother Valentino, Watchman and Explainer, and calypso composers like Winsford Devine and Christophe Grant.

Born in San Fernando, Mistah Shak and family moved to Siparia when he was three years old. Since then, Siparia and its environs have meant home for him. A bona fide “country boy,” he said: “The rooting and grounding through which I experienced life, and the rest of the world, is Siparia.”

Mistah Shak has always loved and had an affinity for calypso. “I have been in love with calypso practically all my life, because I’ve been interested in music in general all my life,” he said. 

“I was brought up in a very musical family on both sides. Beside being genuine lovers and consumers of good music and culture, many of my family members were (and some still are) musicians, composers, creators and performers in their own right. Calypso was a very big and influential part of that. 

“Most, if not all, of my family have always been more than just kaiso lovers. A few of them are real aficionados of the art form, so the interest for me was natural—so much so that I view kaiso very differently from any other type of music, and actually more than simply another musical genre. 

“To me calypso represents the very pulse and essence of everything that is Trinbagonian. The beat, topics, melodies, lyrical content, construction...every element of kaiso represents how we walk, talk, laugh, cry, experience and interact with life across the board. If there was to be a genre of music that is supposed to constitute the soundtrack(s) of every single second, every imaginable scenario, every possible dimension of life in the world through the mind, eyes and perspective of any Trinbagonian, that music would be, and is, calypso.

“Not even soca or chutney or any of the other derivatives could be so defined, as they are all offshoots of the root. And what they have become only represents isolated moments in the journey. Kaiso is the total, all-encompassing journey and experience; the full picture, every single day, all day.”
Describing himself as “a private individual,” music truly makes Mistah Shak’s world go ’round. 

“My major hobby is and always has been primarily music, before it became a serious profession” confesses the artiste. “The only thing that actively rivalled that, for an extended period of time, was basketball, and although I haven’t actually played for a very long time, I remain an avid basketball lover and a lover of sports in general....Otherwise, I try to keep my private and family life just that, private.” 

So, how did this music-loving, southern country boy get into composing his own material? 

“Some of my family members did their own share of composing all kinds of music over the years, and I always experienced that, and eventually realised I had a knack for it, even doing so extemporaneously at times. So much so, that to this day, it is one of the reasons why, whenever I compose, I don’t ever write lyrics down. I may document them afterwards either out of necessity or whenever the thought hits me that I should have some of these lyrics documented somewhere just for posterity’s sake, but when I compose, I never write lyrics down on paper. 

“My experience with the late Ashford Joseph, however, pushed my composition skills and the desire and purpose with which I compose into another dimension. 

“Of course, in addition to that, all the great artistes (kaisonians, reggae artistes, pop and R&B artistes, etc) who really connected with and moved me, were the ones who composed. 

“That wasn’t any conscious decision on my part, I just always happened to feel very moved by the artistes who happened to be composers. Their music seemed to have as unique and dynamic a vibe and identity as the artistes themselves, so much so that you could often identify such as artiste’s work even if someone else might be rendering it, and that was always important to me.”

Mistah Shak has mixed feelings about social and political commentators of calypso. 

“Well, your question depends on who you class as today’s social and political commentators, what time period you demarcate as ‘yesteryear’...Because there are some who many may consider social/political commentators who may really not be expressing their own true thoughts, feelings or points of view that they have internalised, analysed and developed a position on.

Likewise, there are some who many may class as being of ‘yesteryear’ who, in truth and in fact, can be, and are still, very relevant and potent, but the fickleness of our estimations relegate them to ‘yesteryear’ commentators. 

“Of the few who I personally consider true commentators, most of them are quite effective and relevant to the present time. But our increasingly shallow and shifting ‘modern’ parameters may cause the work and worth of many to be underestimated and overlooked in the now. The passage of time shall bear out their real value and ‘separate de sheep from de goat’.”

Mistah Shak has always been a student of serious, hard-hitting social and political commentary in calypso. He said: “Personally, that really wasn’t a consciously hard and fast decision at all. In my formative years, songs with strong messages and purposeful lyrics were primarily what I seem to be drawn to.

That doesn’t mean that I didn’t then or don’t now enjoy a good humour, or a well constructed double-entendre, or a heartfelt love song, and as a matter of fact I have songs that fit into all of those categories that many people are not as familiar with, hence the reason for my More In D Mortar concert concept. 

“However, as my personality and musical journey developed, I wanted to make music first and foremost that could move me as much as it could move the intended listeners, while at the same time contain messages that could really mean something to people beyond the actual moment of hearing it or listening to it; to really uplift and elevate them mentally, spiritually and emotionally without necessarily having to make them or tell them to ‘jump’. 

“I wanted to create music that I could be proud of, and music that I think could be in sync with who I see myself to be; both personally and musically, and that would be aligned to what I believe my musical purpose to be. Most importantly I try to stay current and relevant and, when you consider that, as well as the historical intent, purpose and characteristics of kaiso, my calypso compositions are often inspired to be within those realms. But, as I said, they are not the only types that I do and do well, but those are the ones that have been mostly highlighted thus far.”

Mistah Shak intends making good calypsoes and music for as long as he can. He said: “My major dream and aspiration is really to just keep making music that is meaningful and uplifting to people, and hopefully over time my work and my journey in music can be worthwhile enough at some point to inspire and encourage some young person or people who may have the desire, and get the inspired calling, to live through music, especially if they’re called to go against the grain and the status quo. 

“As far as calypso is concerned, I really hope that all of us, as Trinbagonians, can reach to the point where we truly recognise just how important and relevant calypso music can be and in fact is, to our very existence in the world as a people. 

Mistah Shak’s handpicked guest artistes for More in de Mortar include Sharlan Bailey and Darryl “D Saint” Mendoza. 

MORE INFO:
Call 769-5173/302-4045  

Based on last weekend, it seems there will be no let up in live entertainment and Carnival 2017 events until Ash Wednesday next year. 

Thus far, a number of mas bands have launched their presentations, and last Saturday it was the turn of Tribe (Zero Degrees: Life Below Zero); The Lost Tribe (Riddem—See the Music Dance); and, Bliss (Al-Sahra) to unveil their mas at the Queen’s Park Savannah, Port-of-Spain. As was expected the turnout was huge and some of the costumes were showcased at midnight.

Calypso also enjoyed a special space on Saturday night when Brother Valentino celebrated his 75th birthday at The Auditorium, Central Bank, lower St Vincent Street, Port-of-Spain. The “People’s Calypsonian” performed his many calypso gems, including Stay Up Zimbabwe and Life is a Stage. Among his guest artistes on the star-studded cast was Mungal Patasar & Pantar.

Last weekend, pan also had its fair share of events from as early as Friday evening when Pan Trinbago Northern Region held another edition of its After Work Pan Lime at Renegades Pan Theatre, Charlotte Street, Port-of-Spain. This show featured bpTT Renegades and T&T Defence Force Steelband, and the launch of Relator’s newest CDs.

On Saturday afternoon, it was the turn of St Margaret’s Youth Steel Orchestra to stage another successful Youth Steelband Extravaganza at the Queen’s Park Savannah. Providing a large audience with some scintillating pan music were MHTL Starlift Youth Steel, Massy Trinidad All Stars Youth, bpTT Renegades Youth and host band St Margaret’s Youth Steel Orchestra. 

The Carnival 2017 tempo continues this weekend with the launch of Ronnie & Caro’s presentation tomorrow night on Serpentine Road, St Clair from 10 pm. The reigning Band of the Year (Large) will be playing Fearless 10 next year, a showcase of its winning portrayals this last decade.
Other mas bands due to launch their 2017 presentations over the next few weeks are 

Passion Carnival and Fantasy Carnival. Tonight, Passion Carnival unveils its 2017 collection—Spectrum: A Universe of Colour—at the Queen’s Park Savannah, at 9 pm. Band designers said this concept brings to their masqueraders and Carnival enthusiasts “a unique and futuristic presentation of the mysteries of deep space and the wonders of our universe.” 

In just four short years, Passion has carved a niche for itself into the Carnival landscape and established a powerful presence across the entertainment industry. A phenomenal VIP experience is provided to all masqueraders across the local and international markets. In 2017, Passion debuts a new fervour and exuberance, with its largest and most progressive presentation to date. 

According to bandleader Dr Anthony Harrysingh: “Having worked in various aspects of the entertainment industry in T&T, we understand what masqueraders want from their Carnival experience. We started Passion four years ago with the core principle that this band would deliver the most enjoyable experience in an environment that is stress free, secure and comfortable. 

“We are proud to say that we have created something unique with Passion—a large band that has a distinct family feeling, where our members can trust that year after year they will receive top-notch costumes and enjoy every moment of Carnival Monday and Tuesday with their friends and bandmates. This is why the band continues to grow, and 2017 is going to be, by far, our biggest offering to date.”

Passion Carnival now features ten section holders and an enviable team of experienced designers who have collaborated to create a most innovative and futuristic mas collection. The band’s design and creative team is comprised of Fazad Mohammed, its executive and in-house designer; in-house designer Rajin Gopie; Avinash Singh, Jayson Maharaj, Ashvin Bally, Samantha Ramischand, Christian Boucaud and Candice Mohan.

The band’s board of directors includes Anthony Harrysingh, Christian Nath and Asha Brathwaite and under this umbrella there is an executive team, administrative staff and a large and diverse committee.

The Fantasy Carnival launch of 1001 Fantasies takes place tomorrow at Queen’s Park Oval, Elizabeth Street, St Clair, at 10 pm. Tomorrow, as well, Friends of Pan Trinbago will host their Cooler Fete from 6 pm, at MHL Starlift Pan Theatre, 1 Mucurapo Road Extension, St James.

There is also family fun stuff this weekend as well. The Oropune Residents & Friends committee will hold its first Emancipation Queen & Cultural Show—A Nation’s Culture Resides in the Heart & Soul of its People. Billed for the Oropune Recreation Ground, admission is free and there will be entertainment by LH Pan Academy, Sashtri Gosein, Fire Ball, Kareen Williams and DJ Soul. 

Police Credit Union honours Black Stalin 
Representatives of the T&T Police Credit Union (PCU) recently honoured one of most iconic calypsonians of our time, Leroy Caliste, better known as Black Stalin. 

As the Police Credit Union continues to exercise its corporate social responsibility and in commemoration of its 60th anniversary celebrations, the PCU extended its sincerest appreciation to Black Stalin. Born and raised in San Fernando, a token and an honorary award were presented to him on behalf of the credit union. 

The San Fernando branch manager dutifully represented the credit union’s south office, bringing warm greetings to both Stalin and his wife Patsy. 

Present were credit union president Fitzroy Frederick; secretary, Auldric Neptune, CEO Neil Marquez, south branch manager Karen Charles, credit committee member Ingrid Maxwell and Ras Kommanda, a fellow artiste. 

During the visit Black Stalin’s demeanour was one of optimism, true to his form and fashion. He digressed on his many trials but, nonetheless, said his path for success in the calypso arena was stronger. 

Frederick said: “While many icons have passed and others may have been forgotten by mainstream media, at the heart of every Trinbagonian The Caribbean Man remains very relevant today and the T&T Police Credit Union thanks Black Stalin for his sterling contribution to our culture.” 

Chaguanas Chamber hosts Emancipation Dinner
Emancipation Day will be celebrated on Monday, August 1 and the Chaguanas Chamber of Industry and Commerce (CCIC) will host its first Emancipation Day Dinner tomorrow at Plaza de Montrose, Main Road, Chaguanas. The feature speaker will be Khafra Kambon, chairman of the Emancipation Support Committee (ESC). The event will be held from 7 pm to 10 pm.

The theme for this event is Sirkel Van Die lewe, which means Circle of Life. Joining the CCIC at this first-time event will be Minister of Trade Paula Gopee-Scoon; Senator Avinash Singh, Parliamentary Secretary in the Ministry of Agriculture; Acting High Commissioner for Nigeria Ganiyu Adekunle Adeyemi; Members of Parliament for the Chaguanas areas and other notable figures.

According to the CCIC: “The event is a chance for us as a business community to honour our cultural traditions and highlight the evolution of our society from slavery and indentureship to a thriving multi-cultural, multi-religious country. As the business and retail hub of the country, Chaguanas has grown and prospered from the support of citizens from all around this twin-island nation and we are inviting everyone to join us and to use this occasion to celebrate the rich heritage of our country.”

Members of the public are invited to attend the event, to feature cultural entertainment courtesy of the ESC. Tickets can be purchased from the secretariat at 671-2242 or 779-8804, or via email the CCIC at gccic@chaguanaschamber.org

Calypsonian Brother Mudada branded T&T as “the mecca of the steelband,” but it is also true to say that T&T is the mecca of Carnival, inclusive of calypso and mas. 

Having spawned over 100 Trini-style carnivals worldwide, the T&T Carnival brand and influence is significantly obvious in regional carnivals, especially in Barbados and Jamaica.

Though the most northern Caricom neighbour to T&T and just 1,500 miles away from New York, Jamaica resisted the lure of embracing our Carnival for a very long time, despite the popularity of New York’s Labour Day Carnival. 

Fifteen years after being involved in Jamaica’s Orange Carnival, iconic music band leader Byron Lee came to Trinidad in 1989 and invited a contingent of locals to come to his country to organise his island’s first Trini-style Carnival. 

Making that historic trip to Jamaica in 1990 were local Carnival luminaries of the day, including Peter Minshall, Stephen Lee Heung, Stephen Derek, Peter Samuel, Allyson Brown and Queen of Carnival Denyse Duncan. 

Artistes also included in the expedition were Sparrow, David Rudder, Black Stalin, Tambu, Crazy, Poser, Duke, Calypso Rose, Shadow, Rootsman, Denyse Plummer, Iwer George, Baron, SuperBlue, Colin Lucas, Charlie’s Roots, Atlantik, Shandileer, Blue Ventures, Second Imij and Sparrow Troubadours. Also on board the flight were DJs Chinese Laundry, Hurricane George, Mad Man Maddy, Davy Scorpion and King Chow. 

Over 150 nationals made the trip and made the first ever Jamaica Carnival possible. It was the largest ever contingent of locals attending a regional carnival on official business.

Joining Jamaican luminaries in art to judge the first Jamaica Carnival were Allyson Hennessy, Angela Fox, Gerald Agostini, Holly Thomas and Peter Ray Blood. 

All regional carnivals have unique titles for various component for their festival. 

For instance, in Jamaica, bandleaders are referred to as ‘marshalls’ and bands as ‘cells’. Barbados’ calypso monarch competition is called Pic-o-de-Crop; Dimanche Gras is ‘Cohobblopot’, and its J’Ouvert, held along Spring Garden Highway, is ‘Fore Day Morning’.

Jamaica Carnival, now in its 26th year, is held on Easter weekend, with the parade going past the Wyndham and Pegasus hotels in Kingston, through Half Way Tree, Constant Spring Road, King’s Plaza and culminating at the Police Officers Club at Hope Road, Kingston.

Initially, Jamaica Carnival met stiff opposition from many quarters, including the reggae music fraternity and church people. To appease the population and assure citizens that T&T wasn’t coming to impose its culture on Jamaica, Lee organised a mammoth, free open air concert at the Half Way Tree intersection featuring acts like Chalice, Third World and calypsonian Poser and others.

Jamaicans were left awestruck in 1990 when half a million people assembled at Half Way Tree to view the first parade of bands, something previously unheard of as it meant that the well heeled denizens of Uptown Kingston were rubbing shoulders with the masses of the Downtown suburbs.

The day after the parade, Lee told the Gleaner newspapers about the Half Way Tree turn out: “It was a long time since tears came to my eyes, but on more than one occasion, I cried. It was a phenomenon, everybody—black, blue, white—just came together (in peace) and had a good time.”

Jamaica Carnival has not been the same since 1990. Each year, new Trinis make the journey north, embellishing the product, especially the party circuit.

World renowned party promotions outfit Caesar’s Army, led by Jules Sobion, having conquered the fete scene locally and in the New York and Miami, invaded Jamaica Carnival in 2014 with its A.M.Bush party. 

It was a wildly-successful venture which further cemented ties between the young people of both islands.

A festive time to mark the end of the sugar cane crop, Barbados’ Crop Over Festival (Kadooment) was revived in 1974 by a group which included Julian Marryshow, Flora Spencer, Emile Straker and Livvy Burrowes, in conjunction with the Barbados Tourist Board. The festival resembles T&T Carnival in some ways and iconic local masman Stephen Lee Heung was one of its initial architects. 

Late Barbados calypsonian Mighty Dragon (Edrick Jordan) was the person who insisted that calypso be incorporated on the Crop Over programme. The first monarch competition was held in 1974 and the winner was the Mighty Destroyer (Keith Christian).

With the state becoming involved in the festival in the ‘70s, it rapidly grew and improved, its earliest producers being Nigel Harper and Elton “Elombe” Mottley. Crop Over peaked in 1983 with the establishment of the National Cultural Foundation. Today the Crop Over Festival adds approximately Bds$240M to the Barbadian economy.

Beginning in June, the Crop Over Festival runs until the first Monday in August when it culminates in the finale, The Grand Kadooment. Its programme includes several competitions including Bridgetown Market Street Fair, Cohobblopot, Pic-o-de-Crop and Foreday Morning. 

Stacey Hutchinson, Senior Business Development Officer for the Caribbean & Latin America of the Barbados Tourism Marketing Inc (BTMI), said that Barbados has been hosting T&T Carnival artisans, artistes and media “for many years.” She added: “There are some (Crop Over) events with Trini connections, but not all are all-inclusive events. Since the ‘80s, the tourism group has also hosted media practitioners of Trinidad and Tobago.” Each year, the BTMI sends an advance contingent to Trinidad to market Crop Over and some of the country’s hotels and guest houses.

n The influence of T&T calypso, soca, mas and band on the region will be highlighted in tomorrow’s continuation.

The 2016 edition of the Crop Over Festival in Barbados takes place this weekend with Grand Kadooment (Parade of the Bands) scheduled for Monday. Vincey Mas (St Vincent & The Grenadines) is also being held this weekend with Spice Mas (Grenada) taking place on August 8-9. Antigua Carnival, with J’Ouvert and Parade of the Bands being held next Monday and Tuesday, is also on the agenda for Caribbean Carnival, all of which being influenced by T&T Carnival.

T&T calypsonians continue to be headline acts at regional carnivals. Last Tuesday, local artistes who were billed to perform with King Short Shirt, Swallow and King Obstinate at Antigua/Barbuda’s big Calypso Classic production were Gypsy, Sugar Aloes, Baron and Singing Francine. 

The following night the quartet will also headline a similar production in Nevis. The local soca artistes have also been performing at popular events through the region and the younger exponents, no doubt inspired by Machel Montano, SuperBlue, Iwer George, Destra, Kes, Bunji Garlin and Fay-Ann Lyons, include Voice, Olatunji and Blaxx. In fact, this trio are headline acts for the August 6 Pure White happening at the Moonlight City venue in St Andrews, Grenada.

 T&T soca has also influenced the Crop Over Festival with a slew of excellent soca artistes coming out of the Land of the Flying Fish. Some of the world’s best known Bajan soca artistes are Alison Hinds, Edwin Yearwood, Rupee, Lil Rick, Peter Ram, Biggie Irie and Blood Armstrong. Paving the way for them have been Barbadian calypsonians like Gabby, Grynner, Ras Iley, Johnny Ma Boy, TC, Poonka, the Merrymen and Spice.

Like T&T, Barbados also has its fair share of reputable calypso tents, including Battleground and Bacchanal Time, and over the years many a local bard has entertained a guest performer, including Bill Trotman, SuperBlue, Explainer and Rootsman. The country also produced a few entertaining humorous calypso acts like MADD, Trevor Eastman and the late Carew.

The region has produced many good calypsonians, all adopting the Trini model of composing and performing. Some of the standouts through the years have been Arrow (Montserrat); King Shortshirt, Swallow and King Obstinate (Antigua); Ajamu and Talpree (Grenada); Winston Soso and Scorcher (St Vincent); and, Canary (Guyana). Our neighbouring Caribbean calypsonians became so proficient in the art form that Shortshirt forced a change in the rules of T&T Road March competition in 1976 when his Tourist Leggo was on course to capture this country’s Road March title.

Kitchener’s Flag Woman was crowned that year’s Road March as the new rule prohibited any foreign calypsonian from winning this national title. Many regional calypsonians performed at calypso tents in Trinidad at Carnival time.

Mass influence on regional mas
In the realm of mas, T&T has always had a profound and indelible impact on Barbados’ Grand Kadooment, the parade of masquerade bands religiously held on the first Monday in August annually. Following in Lee Heung’s wake have been veteran designers and bandleaders like Senior Gomez and Berlin Mendoza. 

The 80s and 90s saw the reign of Bajan mas bands led by the likes of Gwyneth Squires, Fr Harcourt Blackett, Marcia Chandler, Winston Jordan and Betty West. As Harts does each year at the Queen’s Park Savannah on Carnival Tuesday, Blue Box Cart is traditionally the first band to parade at the National Stadium on Grand Kadooment day.

TriniJungleJuice is big news in Barbados on Foreday morning with its Crank Jump Up event.

One of the island’s most popular bands, similar to our own Tribe amongst young people, Power X 4, teamed up with “Big Mike” Antoine to produce at the time the largest ever mas band to be seen in Barbados. In 2005, Trinidadian masquerader Joanna Loreille, from the band Legends (Legacy), became the first non-Bajan to compete in that island’s Queen of Carnival competition. She portrayed Freedom, from Cable & Wireless’ presentation of Evolution.

Other Trinidadians who have made a great impact on mas and Kadooment are David Blanc and designer Keith Maclean, two of the main players behind Baje International (BI), one of Barbados’ most successful mas bands, currently in its 19th year of involvement in Kadooment.

Blanc said: “The experience has been great and we are still going strong. The shelf life of BI has been consistent in terms of getting the young demographic participation. BI has been working the Barbados Tourism Marketing Inc and BTMI has been doing a lot of work in Trinidad and the Caribbean diaspora to get that consistent and continued participation during Crop Over. 

This year our band is Neo and it will depict basically the edginess of today’s generation, like bright lights and the fast paced technology of the youth.

“Baje International also teamed up with Paul Charles and Beach House these last two years to host the Beach House party in Barbados and that too has been successful. Unfortunately, we are not hosting this event this year. In terms of producing mas through the years BI has also collaborated with the likes of Tribe, Island People, Anya Ayoung-Chee and most recently Machel Montano.”
Last year, BI officially teamed up with Machel Montano’s Epic Mas Band for its 2015 band FLY (First Love Yourself). The outfit collaborated with Montano, Epic Mas Band, and designer Janelle ‘J Angelique’ Forde to produce the section Flying Stars. Blanc said: “The experience on the road was amazing and starred Machel, Skinny Fabulous and Angela Hunt along side our Bajan soca stars. This year Janelle continues to design for Baje and it is important to note that even though she is a Bajan, we discovered her talent through Machel Montano and his Epic mas band.”

He added: “Today, Baje is blessed to attract masqueraders from Europe, USA, Canada and all over the Caribbean. Our brand has reached the corners of the globe and we can say that we have been wonderfully blessed for this opportunity thanks in a huge way to our Trini brothers and sisters, Many thanks, and we look forward to keeping the Trini / Baje flag flying high.”

Beach House’s Paul Charles, regretting his organisation not being in this year’s Crop Over mix, said that Beach House has only been involved in Barbados, and not up the islands. He added: “In the all-inclusive category of carnival entertainment, the regional markets are quite small when compared to Trinidad’s. 

While in Trinidad we would attract roughly 3,000-plus patrons, in Barbados and the smaller islands we’d get less than a thousand people. To cover the costs of these events one must acquire significant amount of sponsorship. Sponsors in Barbados have been helpful but the amount that we need to offset the cost of holding an all-inclusive, without passing that cost unto the patron, is simply not available.”

Charles continued: “Secondly, Barbados carnival is very concentrated within a very short period of time so therefore you have significant pressure being placed on a very small set of resources, in terms of sound systems, lighting, staffing and other technical aspects. All of that been said, Barbados is a very well organised destination. For example, in terms of punctuality they are second to none. Our suppliers in Barbados have been excellent to work with in every aspect of holding an all-inclusive event. Our plan is to try to create a new formula for the future.”

Barbados is stricter than T&T when it comes to the protection of costumed revellers and mas on the road. Marshalls on the parade route expertly manoeuvre from the main judging point at the National Stadium to its culmination on Spring Garden Highway. It is an offence for people not registered in a costume band to intrude into registered mas bands. This offence carries a fine of BDS$15,000, or imprisonment or both.

T&T...the Godfather of Carnival
T&T calypso, mas and band have influenced carnival events throughout the region. In the steelband world, with assistance by tuners, arrangers and sometimes players, some of the steelbands in the region could match any from the land of the steelband. Even Barbados tried to stage a Panorama competition many years ago, titled Pang-a-Lang. In Antigua Barbuda, Halcyon, Ebonites, Gemonites and Harmonites are among the premier steel orchestras.

In the 80s, Swallow sang a gem of a calypso aptly titled Trinidad, the Caribbean Godfather, recognising T&T are the prime financial cash cow, and economic foundation, of the region. This also true of T&T Carnival and its myriad components, including of calypso, soca, mas and pan.

Three 2017 mas band launchings were held this weekend past—Passion Carnival, Fantasy and Ronnie & Caro The Mas Band. The latter created a bit of history by acquiring a strip of Serpentine Road in St Clair, on the periphery of St Mary’s College Ground, to present a very unique production. With masqueraders actually parading in costumes in the street, guests got a surreal taste of what the two days of next year’s might feel like.

With some of the specially invited guests and media arriving as early as 9 pm for the launch, a special media display of individual portrayals was shown at 11.30 pm. 

Next year, Ronnie & Caro The Mas Band is presenting Fearless 10, a cavalcade of the band’s successful presentations for the past decade, including its winning Band of the Year (Large) production this year. Held on Saturday night, the Fearless 10 event had people dancing through the night to the music of DJ Jahmoon and many of his music colleagues. The band offers ten sections, as well as individual and frontline portrayals.

In addition to last weekend’s band launchings, other bands already unveiling their 2017 productions are Harts Int, Tribe, Bliss and The Lost Tribe.

Pan also had a presence in last weekend’s entertainment activities, premiered by the second of nine Friday tributes to late prime minister Patrick Manning by Desperadoes Steel Orchestra at its Frederick Street panyard. 

There was a large turnout for this event and the steelbands turning in some entertaining performances were new UWI/UTT band Suave, Pan Elders, Diatonics, Fusion Steel, Sound Specialists of Laventille, Sun Valley, Valley Harps, San City and Newtown Playboyz.

One of the standout bands on Friday was Fusion Steel, managed by musical director Darren Sheppard. 

The southern-based band continued to display the wide range and versatility of the national instrument. Its pan instruments were beautifully augmented by vocalists Kizzie Huggins and Anika, and rapper Daniel Sheppard, son of the band’s manager. 

Fusion Steel’s repertoire included items that were pleasing to all ages and included Johnny King’s Nature’s Plan, Ella Andall’s Missing Generation, Ah Feelin’, Major Lazer’s Lean On, Alkaline’s All About the Money and soca medleys. 

Pulse got a word from Sheppard who said: “Fusion has been around these past six years and the age group of its players is 17-25. 

This group came out of a youth programme I ran at Fonclaire. When I left they left with me and I continued the programme. Some of my players have been with me since they were seven years old.”

Fusion Steel is also billed to perform at Skinner Park, San Fernando, on August 14 at a tribute to Fonclaire leader Milton “Wire” Austin that is being staged by Pan Trinbago Inc. The band is also booked for the August 20 pan event at bpTT Renegades Pan Theatre on Charlotte Street, Port-of-Spain.

Last Saturday, The Friends of Pan Trinbago organisation hosted a successful lime at MHTL Starlift House of Music, located on 1 Christopher Samuel Drive, Mucurapo Road, St James. Led by Delano White, The Friends of Pan Trinbago attracted a large audience and a good time was enjoyed by all. Again Fusion Steel proved to be highly entertaining, partnered by Starlift and the original DJ Nose.

The T&T Defence Force Steel Orchestra flew out to Finland this week for performances there. In other steelband news, we may have seen the last of the Pan in De Countryside series for 2016 this month. A Pan Trinbago Inc source cited “lack of funds” as the reason for the curtailment of this initiative, one which has captured the public’s interest and participation for almost a decade.

Not to be discouraged, individual member bands of Pan Trinbago Inc are planning their own events at the panyards and elsewhere and even more events can be expected when Steelband Month is commemorated in August. 

The first of these takes place this evening at St James Amphitheatre at 5.30 pm when Scrunters Pan Groove stages Giving Back to the Community. Billed to perform are St James Tripolians, St James Cultural Artisans, St James Passa Group and host band Scrunters Pan Groove.

Tomorrow evening it’s D’Original Woodbrook Modernaires’ turn to host its fund-raising After Q Jam at its panyard, located at the corner of French Street and Tragarete Road, Newtown. The programme is scheduled to begin at 6 pm and its cast includes Newtown Playboyz, Platinum All Girl Steel, La Creole Pan Groove and the host steelband.

On Sunday, Laventille Rhythm Section will stage its Sports & Family Day at Recreation Grounds, Erica Street, Success Village, Laventille. The fun begins at 10 am. The annual Laventille street parade, usually staged on a Sunday, is being staged this year on a Saturday for the first time on August 6.

Love & Laughter in town tomorrow
The Incredible Myron B and Jerry Howai are bringing their highly touted Love & Laughter concert series to the Kaiso Blues Café on Woodford Street, Newtown, tomorrow night.

Crooner Howai and five-time humorous calypso monarch Myron B, real name Myron Bruce, has been endearing and tickling audiences at the Trade Winds Hotel in San Fernando for the past seven years with the annual showcase. This year they take their show on the road with a for-one-night-only performance at the storied venue.

“Anyone who has been to our show will tell you it’s an uplifting experience. It’s time for town people to get a taste of our brand of Love and Laughter. We all need it in our lives and especially now with economic problems and rising crime. So this is our way of spreading good vibes through wholesome entertainment people of all ages could enjoy,” said Bruce of the event.

Love & Laughter will also feature performances by much traveled singer Jerome Bissessar, humorous calypsonian Jo-l, pan duet The Browns, and pop singers Katrika and Greville Rogers. Comedian Keston James, whose jokes and sketches have lit up local social media, will also make an appearance.

Tickets are only $100 and are available at the venue and from cast members. Showtime is 8 pm. Log on to THE INCREDIBLE MYRON B social media pages for ticket information on the Love & Laughter concert and to access fully interactive up-to-the-minute updates, videos and photos of this and upcoming events.

The monarchs of Emancipation calypso
Duane Ta’Zyah O’Connor is the winner of the first prize in the 2016 Emancipation Calypso Competition (five-17 age group). The competition was staged last Tuesday, at City Hall, Knox Street, Port-of-Spain, by the National Action Cultural Committee (NACC), in association with First Citizens and the National Youth Action Committee. Kerine Williams wass the winner of the 18 – 35 age grouping. 

The winners are expected to make guest performances on Monday when the Emanicipation Support Committee stages its annual all day cultural production at the Lidj Yasu Omowale Village, Queen’s Park Savannah, after the traditional Emancipation Day processions, scheduled to begin at 9 am at Brian Lara Promanade.

5-17 age group

1st  – Duane Ta’zyah O’Connor – Proud African
2nd  – Tsahai Corbin – Reason to Celebrate
3nd  – Caryn Mc Carthy – Gotta Be Free
4th  – Desle Julien – Decade of Dedication
5th  –  Jeremiah James – Take Me Mama
6th  – Takiyah Nurse – No Longer In Chains
7th  – N’Janela Duncan Regis – Where Is My Culture
8th  – Adana Dardaine – A Tribute to Marcus Garvey
                                  
18-35 age group

1st   – Kerine Williams – Fight for Freedom
2nd   – Nicholas Ashby – Ancestor’s Freedom Prayer
3rd   – Jerrisha Duncan-Regis – Don’t Let Dem Keep You Down
4th   – Rosemary Mitchell – Real Freedom
5th  – Jermeeka Mundy- Africa
6th  – Stephanie Joseph – De Childhood I Had
7th  – Makela Nurse – Celebrate Emancipation
8th  – Jalani Kojo – Utamu