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Music

Creole Choir of Cuba at Symphony Space

Caribbean Life, Sept. 17th 2011, reports on upcoming performance of the Creole Choir of Cuba.

On the heels of their blazing performance in the popular city-wide ¡Sí Cuba! Festival last spring, Symphony Space continues its celebration of Latino culture with this season’s only New York appearance of the Creole Choir of Cuba on Saturday, Oct. 2 at 7:00 p.m. in the Peter Jay Sharp Theatre.

The Creole Choir of Cuba represents a rare Cuban musical tradition. Comprised of descendants of Haitians who came to Cuba to escape slavery, the ensemble members perform a repertory of songs with percussion, offered in their traditional Creole language.

With passionate melodies and harmonies synonymous with U.S. gospel and the call and response of Caribbean folk music superimposed over varied Afro-Cuban beats, this jubilant ensemble of four men and six women reinvents their traditional music in a stunning and transcendent way.

Symphony Space’s Artistic Director Laura Kaminsky states, “Bringing another evening of extraordinary Latino musical culture to Symphony Space is a necessity for us as we continue to explore and extol the richness of Cuba and her neighbors.

“Despite coming from a cultural tradition with a painful past, the joy in this music is palpable, and the way that this old music is reinvented for the 21st century is remarkable. Symphony Space is proud to invite the Creole Choir of Cuba back to New York City for their only appearance here this season.”

For original report see: symphonyspace.org-creole-choir-of-cuba and Creole Choir of Cuba at Symphony Space.

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Music

‘Killer guitarist’ struggles but pulls family out of homelessness

The following article was written by Deborah Circelli, staff writer for Daytona Beach News Journal, and published on Jan. 16th 2011.

Bert Bailey plays daughter Jackie’s guitar at the STAR Family Shelter. The family is about to move into their own home. (N-J | Sean McNeil)

DAYTONA BEACH — Bert Bailey’s fingers glide over the guitar strings with hints of Jimi Hendrix and Bob Marley as he sings in a raspy blues voice.

“I thought I wouldn’t make it at all,” the lyrics roll off his tongue, eyes occasionally closing, then a sudden smile, a musician’s joy. “Just when that girl took my hand, everything was all right. I said girl, I shoot you straight to the top.”

Nearby, piled on a slide and wooden jungle gym in the small playground outside the local homeless shelter, 10 children stare at the person they know as “Mr. Bert,” who cleans and lives at the shelter.

They remain quiet and focused until the song ends, then burst into applause as he raises his hand and shyly smiles, thanking them and some parents who later appeared.

It’s not the typical audience for Bailey, who is from Trinidad and toured with the reggae superstar Marley for a few months in the late 70s, after playing in clubs with another band in New York City.

A band Bert Bailey formed while living in New York, The Next Morning, had an album in 1971. Bailey, who has been living at the STAR Family Shelter, said he is pictured in the center. (Bert Bailey)

He has struggled over the years with odd jobs cleaning or moving furniture, “because playing wouldn’t always be there to supply a steady income.”

He found out only recently that an album from his early days in the United States that he never thought saw the light of day has been selling on the Internet and downloaded for cell phones and MP3 players.

“We had no idea what ever happened to the records,” Bailey said. “I don’t believe this; after all these years, this is hooked up all over the Internet.”

Bailey, who has been playing in bands throughout Volusia and Flagler counties for more than 15 years, has been living the past 11 months at the STAR Family Shelter on Seagrave Street with his 12-year-old daughter and her mother, his longtime partner. The family will soon be moving into a rented house.

The couple said they fell on hard times when their hours got cut doing maintenance, laundry and other work for area hotels. Part of the decline, they said, came after their daughter almost died as she suffered cardiac arrest at Daytona Lagoon water park in 2008 and spent more than a month at the hospital recovering.

At the shelter, which houses 30 adults and 43 children, some of the children and adults are surprised when they hear the voice and guitar sounds of Bailey, who doesn’t like to tell his age but is in his early 60s. He played during Christmas for residents and practices in his room or in the playground area with his daughter’s small guitar. His electric guitars are at the house of the drummer in a local band he’s in called Children of Stone.

Bailey’s nickname is TriniHendrix because he’s from Trinidad and people compare his sound to the late guitar legend.

“He’s an absolutely killer guitarist,” said Tony Marlow, owner of The Golden Lion Café in Flagler Beach, where Bailey has played off and on for 10 years. He also gave Marlow’s son guitar lessons about nine years ago.

“He’s just so good,” said Marlow, who was shocked to hear Bailey has been living in the homeless shelter. “I never knew he was on such rough times.”

The director of operations over the shelter and the STAR Family Center, Raul Gonzalez, is hoping somebody from Bailey’s past recognizes him and he’s able to reconnect or that someone hears his story and his career can rebound.

The recent news story of an Ohio homeless man, Ted Williams, whose broadcasting voice brought him national attention, gives Gonzalez hope.

“He is the most humble man I have ever met,” he said, adding Bailey is only paid part-time, but works all day long at the shelter doing maintenance and other volunteering. “His story is like so many other musicians in the past who didn’t have the proper representation. He’s kind of disappeared into time.”

FROM TRINIDAD TO NEW YORK

Bailey has been playing guitar since he was 9 years old, influenced by an uncle who was in a band in Trinidad. Bailey said he and his three brothers and two cousins formed their own band called Bert Bailey and the Jets, playing at fairs and schools, making records and performing on a television show and on the radio in Trinidad.

“We played everywhere and all over the country. We were on posters all over town and we played with the big groups,” Bailey said.

After moving to the United States in the late 1960s, he said he attended a music school in New York City for two years and worked at an insurance company in the mailroom and supply department. But he said, “I was lost without my group and all my friends.”

Eventually, he formed another group, mostly from Trinidad, with one of his brothers, Herbert, a cousin and two other men. They billed their sound as rock with “an island influence.

“Everybody left their jobs and we went full speed ahead. I started writing all the songs,” Bailey said. “This is what made our music different. We still had the island flavor in it.”

The group, called The Next Morning, hit 42nd Street and Broadway in 1970 “going from studio to studio and company to company” until they got noticed by a record label and produced an album, “The Next Morning” at New York’s Electric Lady Studios. The band was told to keep playing in clubs throughout New York City until a single was released from the album.

He said the musicians were promised an advance worth thousands of dollars for equipment to go out on tour with another well-known band at the time, “but the money never came.” They kept waiting for the single and album to be released and the group became frustrated, he said, and broke up.

Bailey said he eventually landed in Miami, where his mother lives. He was recording in the late 1970s with a mutual friend of Marley’s, a musician known as King Sporty, “when this guy with big hair came through the front door and it was Marley.”

Marley, he said, later had him fill in for one of the lead guitarists for six shows of the Kaya tour in 1978, named for Marley’s album.

One night on tour in Detroit, Marley, who Bailey describes as “a messiah of music” and whom he idolized, asked Bailey to come to his room to talk to him.

“I was having goose bumps — this was Marley talking to me,” Bailey said with excitement still in his voice today.

Marley took out a Bible and started reading from a passage that Bailey recalls dealt with the 12 tribes ofIsrael, and he thought “this is getting heavy.”

“He started reading something about ‘you are my twin brother,’ ” Bailey said. “I’m not really following, but I have to. He is way up there. He said, ‘you are here to learn and to see and to transfer what I’m teaching you into your own story.’ ”

He continued playing with King Sporty and eventually ended up in Daytona Beach in the 1980s where a musician friend lived. Through his friend, he met the woman he calls his wife about 19 years ago and the mother of his three children. He never returned to Miami.

Bailey said it wasn’t until one of his daughter’s teachers three years ago pulled up his name on the Internet that he found out “The Next Morning” had been released in 1971 and is now on CD. The album has become a collector’s item selling on some websites and in some countries for hundreds of dollars.

“After all these years, I was blind about what was out there. I’m actually glad and actually blessed to know that the little thing is still here. It’s still alive,” Bailey said. “It’s almost like a miracle.

“This is what we wanted when we were hungry at the time,” said Bailey, who questions why he and band members, who he’s lost touch with, don’t receive royalties.

Gonzalez, who oversees the shelter, hopes to find a lawyer to help Bailey research what happened and see if he can recoup anything from the sales.

“He hasn’t lost anything over time,” Gonzalez said. “I’m looking at a guy who is talented like that and he’s homeless. He’s a simple man who has a passion for playing — that is the only thing he knows.”

‘LIKE HENDRIX AT WOODSTOCK’

Steve Smith of Port Orange, who plays the drums and whose stage name is Mitzsoto, has been playing with Bailey for about four years in their band, Children of Stone.

“Bert can go to places on a guitar that I have never heard,” he said. “The music morphs in a way that is like Hendrix at Woodstock.”

He said Bailey’s life is almost like Hendrix’s life before he became famous and was sleeping in alleys.

“Bert has kind of gone along the same path,” Smith said. “He had fame and stuff coming to him in the ’70s, but through mishaps in life, he’s never been able to get to where he really belongs and that is at the top of the food chain, and that is the way Hendrix was.”

Hyacinth “Mimi” Rismay, the mother of Bailey’s children, said “things have not been the same” since their daughter, Jackie, almost died when her heart inexplicably stopped while at the water park. She said they still don’t understand what happened. She still has to take pills daily for her heart and had a defibrillator implanted, Rismay said.

The couple, who have been together in Daytona Beach for about 19 years, also have two other children, 15 and 16, who live in the U.S. Virgin Islands with their grandmother.

Rismay now works two jobs and spends nights taking care of an elderly woman outside of the shelter. The couple and their daughter, though, see better times ahead. They plan to move this week to a rented house through the Homeless Prevention and Rapid Re-Housing Program, which is part of the American Recovery and Reinvestment Act and helps with their expenses.

Bailey, who has had problems with drugs in the past but didn’t want to talk about it, said being at the shelter kept him focused and has been a blessing because the staff helped him save money and get the shelter job. He plans to continue working at the shelter when he moves out.

While practicing earlier this week, Bailey wore a shirt that read “Live to play.” He sang a song by Hendrix called “Red House” and some originals he’s written about love and inspiration. Sounds of small children crying and playing drifted in from outside.

“Every day I take my guitar and this is how I get into my peace of mind. That is how I calm down,” said Bailey, who mostly practices in his room or at a band member’s house. Fellow shelter residents gathered to hear him play on this afternoon.

Sherri Reid, 41, who lives at the shelter with her two daughters, said Bailey is “a hidden talent.”

Sabrina Troyer, 11, who is at the shelter with her mom and sister, said she likes Bailey’s “rhythm and how he plays. It touches you.”

Bailey’s daughter, Jackie, a sixth-grader at Holly Hill Middle School, sat nearby with the other children. She writes songs and loves rock music and hopes one day to sing and produce. She’s been inspired by her father, who told him her songs need to have “rhythm and it needs to make sense.”

As he continued to play, another man living at the shelter said he had no idea Bailey had such talent.

“I’m a quiet person,” Bailey said after practice. “I don’t want people to feel I’m any different.”

For original report: ‘Killer guitarist’ struggles but pulls family out of homelessness – News.

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Music

British Reggae Pioneers Misty In Roots to Launch 2011 UK Tour

The legendary reggae band Misty in Roots has announced a 10 date UK tour featuring the pioneers of UK Reggae Music.

With a career spanning four decades, Misty in Roots are one of England’s finest Roots Reggae groups. Along with Steel Pulse and Aswad, the band were one of the most powerful live Reggae acts to emerge from 1970s London; noted for their powerful roots reggae sound and uncompromising lyrical vibrations.

They became the major force in Rock Against Racism, pioneering the Reggae / Punk / New Wave crossover and playing more concerts than any other band in the movement. This opened up a whole new audience for the band who quickly developed a very strong cross over following, playing with acts such as Tom Robinson and Elvis Costello amongst others.

Recently overlooked by the BBC in their ‘Reggae Britannia‘ documentary, Misty In Roots’s contribution to the British Reggae legacy is indisputable, through their reaching out to new audiences in the 1970s with their unique PA and Sound System, they took Reggae to a whole new audience, defining the very sound that we associate with Reggae music today along the way.

The tour kicks off on 30th September at The Picket in Liverpool.

For original report: British Reggae Pioneers Misty In Roots to Launch 2011 UK Tour | World Music Central.org.

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Music

African Reggae Revolution

The following CD review was written TJ Nelson, editor and CD reviewer for World Music Central.org.

African Revolution (Indie Europe/Zoom, 2011)

I consider reggae one of those wonderfully sly genres where powerful messages are entwined with bright, feel good musical vibes. Well, Ivorian reggae singer and song writer Tiken Jah Fakoly pulls out all the stops for his latest African Revolution . Known for such recordings as Franafrique, Cours D’Histoire, L’Africain and Coup De Gueule, Mr. Fakoly has a history of fighting social injustices and oppression with his music and incendiary lyrics. Composing all but a handful of the tracks on African Revolution, Mr. Fakoly continues on his mission to change the political and social landscape all wrapped up in some delightful music.

Opening with a call to create an “intelligent revolution” on the title track “African Revolution,” Mr. Fakoly and a stellar company of musicians drenches this track with a masterful reggae blend laced with ngoni, balafon and electric ‘manding’ guitar against drums bass, guitar and percussion. Dipping into a plumy acoustic sound for “Je Dis Non” before slipping into a classic reggae sound for “Political War” with guest Nigerian singer Asa, African Revolution takes on a Malian griot sound against the meatiness of the Jamaican rhythms with the additions of kora, ngoni, soukou and balafon, making this recording extra special delicious.

Recorded in Kingston, Bamako and Paris, American Revolution’s sound beyond plush, especially on tracks like “Il Faut Se Lever” the flash of electric ‘manding’ guitar by Petit Conde on “Sinimory” or the balafon by Lassana Diabate, tama by Baba Cissoko and yabara by Mokta Kouyate on “Sors de Ma Tele.” Other gems include the breezy “Votez,” the funky coolness of “Je Ne Vieux Pa Ton Pouvoir” and the bright folk of “Laisse-Moi M’Exprimer.” Kudos go to producers Jonathan Qarmby and Kevin Backon from the Bob Marley’s Tuff Gong studio in Kingston, Jamaica because the sound and feel is rich.

African Revolution is simply stunning in its message and the pure joy of its music.

Buy the album or MP3 downloads:

For original posting: African Reggae Revolution | World Music Central.org.

Categories
Festivals Music

15th Annual World Creole Music Festival 2011

WELCOME… to fifteen years of pulsating rhythms! DOMINICA’S WORLD CREOLE MUSIC FESTIVAL sets the stage for you to make a memory and come dancing with us on the Nature Island of the Caribbean THANKS to our headline sponsor DIGICEL…the Bigger, Better Network

DOMINICA’S WORLD CREOLE MUSIC FESTIVAL created in 1997 has brought to you Creole music for fifteen years. The festival has grown to be the Caribbean region’s main avenue for exposing the various genres of popular music forms in the Creole speaking world. This mix of fusion composition laced with generous samplings of Dominica’s folk traditions, Creole cuisine, a great festival atmosphere, and the hospitality of Dominican people make it a unique celebration check out the Discover Dominica Authority’s (www.discoverdominica.com) for things to do while on island.

DOMINICA’S WORLD CREOLE MUSIC FESTIVAL brings you melodic genres rooted in harmonious fusion from the countries of the Creole-speaking world. Musical forms that have gained exposure and dominance at the festival include Cadence-lypso, Kompas, Zouk, Soukous, Bouyon, even Zydeco (from the US state of Louisiana). Here’s your chance to come on down and join us.

Musical line up this year Friday 28 – 8:30pm to 4am… Kolo Barst, Harmonik, Ali Campbell –the legendary voice of UB40, Dominica’s finest Creole artiste and band Jeff Joseph –Grammacks New Generation and Dominica’s creators of bouyon WCK!

Saturday 29 – 8:30pm to 4am Dobet Gnahoré West Africa visits Dominica, Jean-Philippe Marthély & Jocelyne Béroard bringing a taste of Zouk…a musical genre created by the famous band Kassav. THIRD WORLD…reggae ambassadors! CARIMI bringing a fresh hip cool Compas to the Windsor park Sports Stadium and the oldest Cadence kings weaving their memory spell over us…Dominica’s Midnight Groovers.

Sunday Night 30 – 4:30pm to 1am…Dominica’s Swingin’ Starz and the Calypso / Soca Monarch winners circle, Gyptian…the reggae lovers rock King of romance, Zouk Allstar Band featuring the currently hot Fanny, Jocelyne Labylle and Alex Catrin from the French islands of Martinique and Guadeloupe. Bunji Garlin and Fay-Ann Lyons bringing us party soca Trini style so make sure your shoes have plenty wear because you are going to jump right through to Dominica’s TRIPLE Kay buoyon’s young masters!

DOMINICA’S WORLD CREOLE MUSIC FESTIVAL is traditionally held on the last weekend of October and it is strongly rooted in Dominica’s Independence celebrations. Our regulars and visitors to the island have many opportunities to get an appreciation of the rich cultural attributes of ‘DOMINICA…The Nature Island’. Come for Creole in the park…stay for WCMF!

For original articles: – Da Vibes.

Categories
Music

“If chance will have me king, why, chance may crown me.”

The following article was posted by Michael Eldridge on August 14, 2011 on the site, Working for the Yankee Dollar.

MacBeth the Great (Patrick MacDonald), probably at Renaissance Ballroom, July 1947 | From the William P. Gottlieb Collection of Jazz Photos, Library of Congress

I keep coming across bits of trivia I can’t believe I haven’t stumbled upon before.  I already knew, thanks in part to Garl Jefferson, something of how calypso shared fans and venues with bebop in late 1940s Harlem.  Turns out they even shared bills.  Here’s a lovely anecdote from a famous piece previously unbeknownst to me, Paul Bacon’s “The High Priest of Bebop: The Inimitable Mr. Monk” (published originally in The Record Changer in 1949, it was reprinted in Rob Van der Bliek’s Thelonious Monk Reader):

There is, in Harlem, a monstrous barn of a dance-hall called the “Golden Gate”; quite a number of affairs are produced there every year, and the usual system is to have two alternating bands working–in the last few years the two bands have been one bop group and one Calypso band.  (There are a couple of remarkable calypso bands in New York, playing a real powerhouse music which is closer to Harlem in 1928 than Trinidad in any year.) The occasion I’m thinking of took place there in 1947…Macbeth’s calypso contingent shared the stand with a bop sextet fronted by Monk; the boppers were second in line, so, after a long set by Macbeth, Monk’s band wandered desultorily to the stand.

Monk fussed with the piano, discovering that it was a pretty venerable instrument…Close examination showed him that the pedal post was shakily attached; he jiggled the whole piano apprehensively, then shrugged his shoulders and concentrated on some music left behind by Macbeth’s pianist.

A little later I became aware that Thelonious was doing something extraordinary…as I watched, mesmerised, I saw that he was yanking at the pedal post with all his might (first he kept up with the band by reaching up with his right hand to strike an occasional chord, but he had to apply himself to the attack on the post with both hands, and get his back into it, too). There was a slight crack, a ripping sound, and off came the whole works, to be flung aside as Monk calmly resumed playing.  He never looked at it again, but when Macbeth’s man came back on the stand he stopped short, stunned.  It was obvious that here was a new experience, something outside the ken of a rational man; for the rest of the evening he looked upon Thelonious with a new respect.

(Bacon, the designer of dozens of classic albums for Blue Note and Riverside in the 1950s and one of Monk’s early journalistic champions–jazz nerd and Down Beat writer/photograph Bill Gottlieb was another–was interviewed at length last year by Marc Myers for his blog JazzWax.)

Thelonious Monk at Minton’s Playhouse, ca. September 1947 | From the William P. Gottlieb Collection of Jazz Photos, Library of Congress

So Monk’s Caribbean connection wasn’t just second-hand.  He grew up in San Juan Hill, an African-American neighborhood on Manhattan’s west side with a heavy West Indian presence.  As Robin D. G. Kelley tells it in his magisterial biography of Monk, “With the music, cuisine, dialects, and manners of the Caribbean and the American South everywhere in [San Juan Hill], virtually every kid became a kind of cultural hybrid,” and on the radio, at block parties, and through his neighbors’ victrolas, Monk inevitably “absorbed Caribbean music” (23).  His drummer Denzil Best, co-composer of the calypso-inflected “Bemsha Swing,” was the child of Bajan parents.  (“Bimsha” is a phonetic approximation of “Bimshire,” one of Barbados’ nicknames.)   His admirer and sometime student Randy Weston recorded “Fire Down There,” a/k/a “St. Thomas,” almost a year before Sonny Rollins did.  (In fact, Weston once told Rhashidah McNeill that his waltz “Little Niles,” composed in honor of his young son, was inspired by a “swinging quadrille” played for him by MacBeth.)  And while Monk’s go-to bassist and Weston’s childhood friend Ahmed Abdul-Malik, better known for his shared love (with Weston) of North African music, liked to tell people that his father was Sudanese, Robin Kelley claims that Abdul-Malik’s given name was Jonathan Timm and that both his parents were from St. Vincent.  (The bassist covered “Don’t Stop the Carnival,” a road march claimed by Lord Invader but associated with the Duke of Iron and Virgin Islands carnival, on his 1961 album The Sounds of Ahmed Abdul-Malik–again, a year ahead of Rollins.)  I’ve heard it rumored, moreover, that Abdul-Malik played for a time in MacBeth’s band.

MacBeth the Great, “Calypso Holiday” (Time Records S2144, 1961)

As for MacBeth himself: born Patrick MacDonald in Trinidad, he made his first big mark as a performer singing with Gerald Clark’s band at the Village Vanguard in 1940. The stylistic contrast between MacBeth and one of the other featured singers, Sir Lancelot, was marked; as the Afro-American saw it, MacBeth “[stole] the show.” Short in stature, he nevertheless cut quite a figure: “Gayly dressed in red satin trousers, black loosely-belted tunic, casually draped black and green turban, the ends of which fall over his right shoulder, he sings the clever, clever words of the songs, shaking maracas.”[1] MacBeth recorded one tune, “I Love to Read Magazines,” with Clark for Varsity before the war, then more sides for Guild/Musicraft in 1945, Asch/Disc in 1946, Jade around 1949, and Monogram in the early 1950s. He participated in the famous “Calypso at Midnight” concert at New York’s Town Hall in 1946 and subsequently organized his own twelve-piece orchestra. (“Macbeth’s Calypso Band” also appeared on screen with Lord Invader in the “Pigmeat” Markham vehicle House-Rent Party that same year.)  Besides playing in New York, where for many years he took part in Carnival balls in Harlem, Macbeth also performed up and down the East Coast. According to one account, his band was in such demand that it sometimes had to be “split into two groups in order to fulfill engagements which were scheduled on the same night.”  After his death, the sides that MacBeth had done for Bob Shad‘s Jade label were collected on a 1964 album called Calypso Holiday, released by the legendary producer, jazz fan, and A & R man’s latest venture, Time Records.  (Time was superseded by Mainstream, which was eventually acquired by Sony Legacy, who may be behind a recent digital reissue of MacBeth’s Jade sides–along with scores of other Mainstream titles.)  MacBeth’s son Ralph MacDonald, an accomplished percussionist and sometime arranger for Harry Belafonte in the early 1960s, got his start in his father’s band.

Though it was Wilmoth Houdini who crowned himself “King” of the New York calypsonians, in July 1947 Houdini, the Duke of Iron, Lord Invader, and MacBeth the Great, along with “dark horse” the Count of Monte Cristo (the Duke’s brother), staged a monarchy competition at Harlem’s storied Renaissance Ballroom and Casino to determine “the undisputed right to the title of Calypso King.”  (I suspect that’s where William Gottlieb’s “Portrait of Calypso” shots were captured.)  I don’t know which of the rivals prevailed, or whether his victory was ever in fact disputed.  But of course MacBeth’s kingly stature was implicit all along.


[1] “New Kind of Singing: Calypso has Four Parts.” Afro-American  22 June 1940: 13

For original article: “If chance will have me king, why, chance may crown me.” « Working for the Yankee Dollar.

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Music

The Calypso Queen

The following article was written by Tony Hiller for World Music Central.org, and published on Sept. 2, 2001.


McArtha Linda Sandy-Lewis might never be immortalized in the global annals of female activism, but the feisty woman claiming that formal and somewhat long-winded moniker has certainly made an indelible mark on the history of Caribbean music. Back in 1978, Calypso Rose, as she is widely known, shattered the glass ceiling in Trinidad & Tobago when paradoxically becoming the first of her gender to win the coveted ‘Calypso King’ crown. Organizers of the annual championship were obliged to change the title to ‘Calypso Monarch’, and Rose went on to win the prestigious event for five consecutive years. In recent years, the Tobago-born singer has gone international with her trademark husky vocals, incisive wit and raunchy calypso and up-tempo soca songs.

Now 70 years of age, Calypso Rose revisited her trail-blazing days after being voted the No. 1 calypsonian of Trinidad & Tobago earlier this year. Speaking from New York City, where she has resided for the past three decades, this voluble, irrepressible woman, said: “The calypso scene has changed immensely over the years. It was mostly men back in the early days like Kitchener [Lord Kitchener], The Lion [Roaring Lion], The Sparrow [Mighty Sparrow], Atilla The Hun and Lord Irie. When I came into the arena in 1955, Lady Irie, the wife of Lord Irie, was the only female and she was a senior citizen at that time.”

Despite calypso being a male domain, Calypso Rose, a Baptist minister’s daughter, says she was received “very highly” by audiences in general, but not by church groups, who frowned upon her performing in that milieu. “They called me to meeting after meeting,” she recalls. “They wanted to know how come a young girl like me could be in the calypso tents, singing calypso between all the men. In 1963 I said: ‘Look, I will not be like the five foolish virgins that buried their talent in the soil’. I said: ‘The Lord has given me the ability to write calypso lyrics and create the melody and make the people happy and I will continue doing that until the day I die’, and I got up and I walked out of the room.” Whether by divine intervention or not, it’s a fact that Hurricane Flora devastated the islands of Tobago and Grenada soon after. “I wrote a calypso about the hurricane to sing in the tent in 1964. After every verse I sang ‘Abide With Me’.” After rendering a verse of said hymn down the line from Queens, Rose suggests that may have given her some purchase with the church elders.

As an idiom, calypso currently lives in the shadows but that wasn’t always the case. In 1969 Calypso Rose was on an equal footing with Bob Marley. The Caribbean artists performed together at a New Year’s Eve concert held in the ballroom of the Grand Concourse in New York’s Bronx. “The people went crazy,” Rose recalls. During its heyday in the late ‘50s, Harry Belafonte took calypso to the top of the pop charts with ‘The Banana Boat Song’ (aka ‘Day O’). Calypso Rose, who has written over 800 songs, herself had a major hit in the Caribbean with her signature number ‘Fire in Meh Wire’, which was subsequently recorded in nine different languages, and Bonnie Raitt did a cover version of her ‘Wah She Go Do’. “I was in San Francisco one year performing and she came on stage and sung it with me,” she says. Rose has rubbed shoulders with some of the biggest names in show business. In 1978 she did a gig with the late Michael Jackson. In Europe she says she has performed to audiences of up to 10,000. Back home, where she’s regarded as a living legend, Rose is a fixture during the annual carnival season in Trinidad & Tobago, playing for many thousands of revellers.

Rooted in social and political commentary, calypso is a music form that puts more emphasis on lyrics than almost any other idiom, and is invariably peppered with patois. Rose has written her share of risqué numbers over the years, but only one overtly political song, ‘The Boat Is Rocking’, which she penned leading up to a crucial local election. One of the songs she’s most proud of, ‘No, Madame’, she wrote when Trinidad & Tobago domestics were working for a paltry $25 a month. “Soon after that song was released, the government voted that no domestic should work for less than $1200 a month.” Rose says that you could sing just about anything in the calypso tents, but the more controversial songs wouldn’t be played on the radio.

She points out that calypso has changed considerably in style over the years and that these days soca, a faster, more dance-orientated variant which places less emphasis on the lyrics, holds sway. “It’s gone from the minor calypso to the four-verse calypso, from the four-line calypso to the eight-line calypso. With the four-verse calypso you’re getting more rhythm. The structure of the bass has been changed and the drumming has been changed too. It’s vastly different now, and I think that is the reason why the Mighty Sparrow and myself are still on the road working because we do soca, although we also do the old-style calypso.”

It was calypso that enabled a 13-year-old McArtha Lewis to overcome a debilitating stammer. “I’ve come a very long way,” she reflects. “I couldn’t speak without stuttering badly back then.” Calypso Rose will forever be proud of the fact that she opened the doors to let other females enter the long-time male preserve of calypso. As she observes: “There are a lot of female calypsonians around these days, not only in Trinidad & Tobago but the whole of the Caribbean and even beyond.”

• The above interview first appeared in Rhythms, Australia’s only dedicated roots music magazine, for which the author is World/Folk correspondent.

For original report: The Calypso Queen | World Music Central.org.

Categories
Festivals Music

Drop your keys and bow your knees

For I, O’Cangaciero has come forth

May 17th 2011 marked the 6th anniversary of the death of Brian Honore, who was known in the calypso world as Commentor, and in traditional mas’ circles, as the Reincarnation of the O’Cangaciero, Midnight Robber. Brian dedicated his life to the defense and upliftment of the rich cultural traditions of the people of the twin island state of Trinidad and Tobago and the Caribbean at large.

His commitment as a cultural activist fueled his development as a composer and performer of calypsos with incisive social and political commentaries, which he performed in the calypso tents, communities, and as a member of the People’s Cultural Association. His love for the theatrical arts led him to study at the Creative Arts Centre of the University of the West Indies, and he played significant roles in some of the Centre’s signature productions: Sing the Chorus, Ah Wanna Fall, and The Roaring ’70s. These shows featured calypsos, calypsonians, and the social and political conditions of the historical periods engaged in these musicals.

Brian Honore – Midnight Robber. Photo: Triniview.com

Among the traditional mas’ fraternity, Brian earned the deepest respect and the highest of accolades for his annual portrayals of the Midnight Robber, and his tremendous efforts to revive and propagate these doughty characters of the Trinidad Carnival. He paid homage to the “ole timers” of the art, developing a solid friendship with the late Anthony “Puggy” Joseph with whom he produced a recording of “robber speeches.” One of Brian’s biggest accomplishment, with regard to this art form, is the overt fusion of boasting bravado of robber-talk and the social/political commentary of calypso.

This was first revealed in his seminal calypso – The Opera of the Midnight Robber, a song that imaginatively dealt with the numerous exposures of corrupt business deals in the upper echelons of Trinidadian society and government in the early 1980s. The Satellite Robber, which focused on cultural imperialism, and the growth and impact of satellite television on “home-grown” artistic production in Trinidad, is another of Brian compositions that embodies this style:

The Opera of the Midnight Robber

Chorus

Tell Minshall gih mih back mih crown, gih mih back mih crown, gih mih back mih crown

Tell him ah say, ah want back mih crown, I am the King Robber in the de town

Verse

Stop! Stop! Stop!

You mocking pretender

Get down from my thrown

Peter Minshall that Midnight Robber

Was only a mas ah bone

When he come out to kill or slay

He has to point revolvers at men

But when this Robber want to plunder

All I need is a ballpoint pen

I aint pulling off no robbery

Or risking shoot out with Randy B

When I could open an agency

for some airline company

The Satellite Robber

Verse

Ah meet a robber in town

with a Devilish frown and a big, big dish on he back

He say drop on your knees

Surrender your keys and get ready for my attack

He say, ah bring you a dish

To fulfil your wish

For cultural subversion

To dazzle your eyes

Till you conceptualize

That you belong to Uncle Sam

Chorus

Call Toll Free

Join the US army

No Scouting with Holly B

When ah dishing the Dynasty

I am your satellite robber

Your midnight deceiver

What you can not tote you will drag

I’m here to ripe out your heart

Tear your culture apart

Till you worship the Yankee Flag

Solid Gold

Brian Honore’s work in the arts was but a part of a larger commitment he held for the noble ideals of freedom, equality, and justice for all. Thus he took the passionate fire in his soul to the trade unions, into the sectors in which he labored, and the communities in which he lived.

Tributes to Brian – Web sources

Categories
Music Religion

Don’t You Trouble Zion

The Spiritual Baptists faith is recognized as one of the African-derived/influenced Christian religions of the Caribbean. Its membership in the Caribbean consists primarily of people of African descent, although people of other ethnic origin have joined the faith, especially some descendants of Indians of the Asian sub-continent, who came to the Caribbean as indentured laborers. The followers of this faith have had to endure political persecution and social discrimination. For example, in 1917 public practice of the rituals of the religion was banned in Trinidad with the passage of the Shouters Ordinance by the colonial authorities.

Worshipers were forced to pursue their religious activities underground, until the repeal of the ordinance in 1951 after much struggle on the part of the Spiritual Baptist community. The respect of the faith has grown immensely over the last two decades with the declaration, in Trinidad and Tobago, of March 30th as Shouters Baptists Holiday. This is the date in 1951 when the Shouters Ordinance was repealed. In New York City over the last quarter century efforts have been made to consolidate an archdiocese.

Authors on Caribbean religions have commented upon the style of singing and overall musical performance observed among the members of Spiritual/Shouter Baptist faith in the Caribbean. This style, which incorporates hand clapping, rhythmic percussive vocal utterances, vigorous body movement, and the singing of hymns at fast paced tempos, has been recognized as embodying African and African-American musical performance traits (Herskovits 1976, Waterman 1948, Simpson 1980, Williams 1985).

In terms of repertoire, followers of the Spiritual Baptist faith have customarily sung Sanky and Moody hymns (Herskovits 1976, Waterman 1948, Glazier 1997, Williams 1985). Some of these hymns were brought to the Caribbean by the formerly enslaved, who fought on the side of the British in the war of American Independence. These ex-soldiers were granted lands in the British colonies of the Caribbean where they established villages, for example the company villages in southern Trinidad. Contemporary studies indicate that variations of traditional hymns, sung within African American churches, survived and are performed by worshipers of the Spiritual Baptist faith in the Caribbean (McDonald 1994).

The video, St. Michael’s Songs, presents examples of the hymns performed at the St. Michael’s Spiritual Baptists Church of Brooklyn, New York. Recorded in August 2006, these examples illustrate many of the stylistic features of singing that have been identified as characteristic traits within this religious community. They include:

  • Call-and-response
  • Doption (rhythmic vocalization)
  • Ululation
  • Dancing/swaying
  • clapping
  • Lining-out – (See Jeff Titon’s work on Black churches in North America)
  • Transitions from slow tempo into upbeat faster tempo
  • Shouts and moans
  • Drumming, which is not used in many of these churches but is featured at St. Michael’s

Sacred objects and ritual paraphernalia of the faith are also visible in the video.

Categories
Music

In a Calabash or In de Savanah Party: Pelham Makes Music

pelham-1

Musician, arranger, and composer Pelham Goddard has been involved in the musical life of the Caribbean for over 4 decades. Pelham was born into a musical family that includes the renowned steelpan leader, George Goddard. His mother played the piano and his brothers were all actively involved in the steelpan movement in west Port of Spain, Trinidad. The music of the Goddard household took hold of Pelham at an early age, and he took up playing the piano.

Growing up in the town of St. James, with a proliferation of steel orchestras and Hosay yards in close proximity, significantly impacted Pelham musical drive. By the 1960s he actively participated as a drummer in the annual Hosay festival. He also became an in-demand keyboard and bass player for numerous musical aggregations participating in the burgeoning combo culture among young musicians in Trinidad at the time. During the late 60s Pelham made his foray into steelband as a five-bass player with Starlift Steel Orchestra.

The 1970s saw Pelham blossom forth in even greater demand, particularly for his keyboard/paino skill. He was invited to join the musical band, the Dutchy Brothers led by Pete de Vlught. Among the respected musicians he played alongside in this band was Earl Rodney, revered pannist and steelpan arranger. Following this experience with the Dutchies, Pelham was encouraged by the late Clive Bradley, talented musician and pan arranger, to join the Esquires, a combo led by Bradley.

Pelham Goddard – The Combo Experience from Ken Archer on Vimeo.

In this setting Pelham was driven to enhance of knowledge of music theory, and to write and arrange music for the Esquires with Brass. By the mid-70s, Pelham also became a steady studio musician and a stable member of the Art de Coteau Orchestra, which provided accompaniment on many calypso recordings and toured throughout the Caribbean, performing in many Carnivals, festivals, and shows around the region.

The 70s also herald two additional aspects of Pelham musical career. The decade saw Starlift Steel Orchestra endure significant ruptures that led to former members founding Phase II Steel Orchestra led by Len “Boogsie” Sharpe, the now-defunct Pandemonium Steel Orchestra, and the Third World Steel Orchestra. Pelham was recruited as the musical arranger for Third World, which was located in his native St. James. This marked his foray into the world of steelpan arranging, and he has gone on to be one of the foremost steelband arrangers, especially for his work with the Exodus Steel Orchestra.

Change and experiment also characterized the musical environment of the 70s, and Pelham was at the forefront of this. He was intimately involved in the advent of Soca music, performing with the late Garfield Blackman – Ras Shorty I, who is credited with development of this innovative genre in calypso music.

Pelham also played and recorded with Ed Watson, Dr. Soca. This bandleader, arranger, and composer is recognized for his contribution to the Soca genre, and is known to have arranged music for a number singers at the time, including Ras Shorty I and the deceased Aldwyn Roberts – the Lord Kitchener.

Pelham’s sterling contribution to this genre crystalized as founder, leader, and musical arranger for the Charlies Roots band, which became internationally respected for its calypso music played at Carnivals and festivals across the North and South America, Europe , and the Caribbean. Over that period Pelham penned arrangements for 13 road marches in the Trinidad and Tobago Carnival, and produced music for some calypsonians such as: Calypso Rose, David Rudder, Austin Lyons – Superblue, Chrisopher “Tambu” Herbert, and Cecil Hume – Maestro.

In the following video Pelham Goddard speaks about his early life as a musician in Trinidad; the different influences that shaped his development: his family, the steelbands of St. James, Hosay, and the developing combo scene. Great information, not only about Pelham’s formative years musically, but also the various bands existent at the time. Pelham – The Beginnings