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From the "Pantonic Live" CD |
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Provided with the expressed permission of
Basement Recordings |
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Rather abruptly, our Sociology professor asked for an example of a
"synergistic collaboration"; silence pervaded the room; that was during my
college
freshman year. Today, without hesitation, I’d holler "the Pantonic Live CD!".
This musical masterpiece is a product of the joint efforts of: veteran
arranger
Clive Bradley; the Pantonic Steel Orchestra led by Keith Roberts; and
Basement Recordings’ sound crew, directed by distinguished engineer,
musician, and
educator Trevor John.
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Clive Bradley on
stage with Pantonic for "In My House"
- 1999 |
My discussion of the work reveals a professional bias, in that I (an
arranger), dwell largely upon the musical imagination of Clive Bradley, with
particular focus on Andre Tanker’s Ben Lion (extended version, track #3).
Despite multiple levels of internal activity, Ben Lion maintains
remarkable outward stability and coherence. Bradley’s craftsmanship on this
piece
supports a conviction I have long held: the term "arranger" as applied to
many in
the pan world, is a misnomer. These artists are bona fide composers, their
inventiveness far transcending the bounds of arranging. (See further
discussion
of Ben Lion under "Addendum" below.)
Shadow’s Stranger is
imbued with a strong
rhythmic drive, the warmth
of
Caribbean sunshine and the smell of ripe mango. Kudos to the engine room
here.
The listener’s initial response may be involuntary toe tapping, but his mind
is also addressed.
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Clive Bradley on
stage with Pantonic for "Stranger" -
2001 |
I found myself returning to the dramatic opening, where full orchestra
seems to spell out "Stra…..n-ger". Sixteen measures later it’s time for a
change in texture; consequently, frontline pans descend over a bass pedal,
while the middle section sustains a supporting harmony. Eight measures ensue, and
there’s now a need for more spirited activity (excitement!): A rapid,
rising,
chromatic run, played in unison, deliberately excludes basses. Why? So that
the rapid, descending, diatonic run which follows, will include basses ---
thereby
providing contrast --- not only in melodic direction, but in weight as well.
Another key feature is the ‘breakdown’ in the middle of the piece,
introducing dynamic and timbral change, as well as the element of
surprise.
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Clive Bradley on
stage with Pantonic for Ben Lion - 2002 |
Recording a one-hundred
plus piece steel orchestra outdoors, live, poses a
challenge which only the most proficient sound engineers are prepared to
meet. The New York art community widely acknowledges Trevor John to be among those
of
his profession who reside on Mount Olympus. The orchestral balance which he
and the crew capture on the Pantonic Live CD (most notably Oba’s 'Picture on
my
Wall; and In my House), validates this reputation.
Bradley’s ‘big-band’ voicings and linear interaction required (especially so on cuts #5 and #6): correct mike
placement and recording levels for each section of the orchestra; EQ which would
enhance the natural sound of the instruments without distortion; and
sensitive, experienced ears. Trevor’s
musical
background was certainly an asset in this regard. Main and secondary lines
---
supporting harmonies --driving percussion --- all are heard in proper
perspective.
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Clive Bradley on
stage with Pantonic for Picture On My Wall -
2000 |
Through insightful interpretation, Pantonic’s performers bring the music
to life with spirit and elegance. Their crescendos leading from chorus to
verse (and elsewhere), in "In my House", evince superb dynamic control. The
precision and clarity with which complex chromatic sequences are executed;
proficiency in changing tone color; alternating between back and front of
the stick;
ease in moving from lyrical legato to detached staccato (the melody of
'Picture
on my Wall' for example)-- these skills bespeak countless hours of individual and
group
practice. They represent a significant element in the formula, which renders
Pantonic Live a rare treasure.
In today’s world of commercial radio, intelligible musical substance;
creativity; and engineering excellence seem (in many cases), to have become
disqualifying factors for airplay. I applaud the producers of Pantonic Live
in my
prediction that radio exposure will be limited to such aware and discerning
forums as Basement Recordings website and the Trevor Wilkins show.
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Pantonic Steel
Orchestra - Ben Lion - 2002 |
AFTERTHOUGHT
I’ve tried to keep technical terms at a minimum, but
it seemed impossible
to dispense with them altogether, and yet convey to the reader some sense of
the underlying formal features with which Clive Bradley invested his work;
those same features that make us dance, shout, or listen attentively.
ADDENDUM
A further look at Ben Lion (for musicians and sane humans alike):
A rising, five-note motive taken from Tanker’s opening, introduces Ben
Lion. First appearing in B minor, it establishes the mood of the piece. (In
due
course, this unit is imitated, transposed, offset contrapuntally, tossed
among
various sections of the orchestra, and subtly disguised --- never
disappearing, however, since even when not sounding, its presence is felt).
The first motive is joined by a second --- more lyrical in character ---
also from Tanker’s opening.
Our main theme (Andre Tanker’s chorus, verse, and refrain melody) is then
firmly established in B minor by means of repetition.
A modulatory transition based on motives from the introduction is the
next salient event. The second (lyrical) introductory motive is transformed
here
into an expressive eight-bar melody in D minor, which contrasts so well with
the main theme, that there is a temptation to hear it as a secondary theme,
which would be developed later. (Clive has different plans.)
The 4 pans and cellos, amid contrapuntal interplay
with tenors, restate
verse, chorus and refrain of the primary theme in D minor. (At the
risk of
imposing Sonata Allegro form on Ben Lion, I’d venture to call the
foregoing an
Exposition).
A second transition, exploiting a verse figure, moves through the cycle
of fifths to D major. Here we come face to face with composer Bradley, who
seems to be saying "Make no mistake about it, you’re in the ‘Development’
section at this point."
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Pantonic Steel
Orchestra - Stranger - 2001 |
All stops are now out. Tanker’s melody is fragmented, transformed, and
placed in curious harmonic and modal settings. Freshly created material
drawing
upon Blues, Salsa and Jazz idioms, reveals the
artist's (Bradley) broad musical
experience and vocabulary. So absorbing is the unfolding, we find ourselves
in G
minor without being sure how we got there!
At this juncture one wonders how Bradley will return to the opening key
of B minor after having ventured so far a field. Well he doesn’t, and we come
to
realize that it was never his intention to do so. The two introductory
motives are restated (in G minor instead of B minor); a ‘G’ minor roll ends
the
piece; and we are left with images of Clive Bradley smiling, "Gotcha!"
Pantonic Live! -
