:Copyright February
13, 1998 (2002)
Dear readers: Thanks for reading the first part of my article
“The Long Time Steelband.” I hope that you found it informative. I have
tried to bring to you, the reader, my memories and thoughts on the
steelband movement as I remembered it and offered some analysis,
criticisms and suggestions to promote the steelband movement. Please
remember these are only my thoughts and nothing else. Again, I make no
claim to have presented a definitive report on the steelband movement.
And, any mistakes made are mine alone. Now, here is Part Two of my
article.
Beginning in the late 1940s through the 1980s the steelband movement saw
five major innovations: (1) Development of the instrument. (2) Steelband
Organizations. (3) Panorama and Festival Compositions by panists. (3)
Festivals. (5) Chroming of the instrument. Those changes became the
structure for the steelband movement that we know today. Other changes,
like size of the steelband orchestra, one arranger for one steelband and
number of panists in the Panorama competition would later define the
steelband movement.
The Instrument
During the 1940s Ellie Mannette, the former leader and pan-tuner of
Invaders Steel Orchestra, changed the face of the instrument by sinking
the drum deeper and tuning the notes from outside rather than inside the
drum. Also, he expanded the notes on the instrument. Those innovations
changed the sound of the instrument. Most of the steelpans today have
perfect pitch. The other early pan-tuners of the instrument were: Neville
Jules; Anthony Williams; Bertie Marshal and Rudolph Charles. Later, Butch Kellman; Leo Coker; Lincoln Noel and Roland Harrigin were added to that
list. All of those pan-tuners contribute to the instrument with their
ingenuity, experimentation and dedication. The early association of pan
with the instrument is responsible for the reference to the instrument as
pan. The manipulation of the oil-drum created an important transition to a
multi-note melodic instrument. But, the steelpan is still not ubiquitous
like conventional instruments. It is still hand crafted and tuned,
although some phases of its manufacture has been mechanized. Over the
years there have been attempts to revolutionize the making of the
instrument to accommodate its mass production.
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Organizations
In 1963, the steelbands, on a request from the late Prime Minister Dr.
Eric Williams, formed the first Steelband Association, the National
Association of Trinidad and Tobago Steelbands (NATTS) under the leadership
of George Goddard, its first President. The organization was formed to
represent the interests of the steelbands. Again, in 1963 the organization
held its first Panorama Steelband Competition. In 1971, the organization
changed its name to PanTrinbago, with its first President Roy Augustus.
Later, Arnim Smith would assume the Presidency and then Owen Serrette who
succeeded Mr. Smith and Patrick Arnold who succeeded Mr. Serrette. Arnim
Smith is a member of the Blue Diamonds Steelband, Owen Serrette is a
member of the Harmonites Steelband and Patrick Arnold is a member of the
Our Boys Steelband from Tobago.
Most panists would agree that George Goddard did a good job in protecting
and promoting the interests of the panists and the steelband movement. He
got the government to recognize the political importance of the steelband
movement. That recognition brought the steelband movement some financial
benefits, employment and political access. Also, under his leadership most
of the steelbands received sponsorship from local businesses. But, after
the leadership of George Goddard, the steelband movement became
visionless. What evolved was stagnation and devolution. The steelband
movement did not improve beyond the gains of the 1960s and 1970s. Instead,
the steelband movement's influence decreased yearly as the Panorama
competition consumed the movement. Important steelbands like Casablanca,
City Syncopators, City Symphony and Pandemonium disappeared. Most
importantly lacking was the absence of any definitive written history of
the steelband movement or the early pioneer panists.
Steelband Festivals
During the 1950s, there were Bi-annual Music Festivals where each
steelband played a classical piece of its choice and a test piece. Also,
there was a part of the festival for the soloist. Famous soloists of the
50s: Theo Stevens and Kelvin Hart. Famous soloists of the 60s: Selwyn McSween and Herman Johnson. In the 1980s PanTrinbago would change the name
of the Music Festival to Pan is Beautiful. In 1963 the National
Association of Trinidad and Tobago Steelbands organized its first Panorama
competition at the Queen’s Park Savannah. The Panorama competition
consists of all the steelbands in Trinidad and Tobago. The Panorama
competition was divided into two categories: Conventional, which is the
competition for modern steelbands and traditional, which is the
competition for ensemble steelbands that hold their instruments with a
strap attached around their necks. The competition begins with the
preliminaries which are held in four geographic zones: East Trinidad,
North Trinidad, South and Central Trinidad and Tobago, from which 15
finalists are chosen to compete on Panorama night at the Grand Stand in
the Queens Park Savannah. Also, PanTrinbago organized the first PanJazz
Festival at the Jean Pierre Sports Complex. Other festivals today are PanRamajay and Borough Day that are held after Carnival.
Compositions
In 1970, Ray Holman of the Starlift Steel Orchestra composed and arranged
his composition “Pan on the Move” for the 1970 Panorama competition. That
was the first time that a steelband performed its own composition in the
Panorama competition. That innovation was not accepted at first and was
met with much resistance from the judges. Previously, steelbands played
only calypsos composed by Calypsonians but arranged by a panist or
musician.
In 1986, Len 'Boogsie' Sharpe of Phase II Pan Groove Steel Orchestra would
follow with his own composition and arrangement of “Pan Rising.” In the
1970s, Boogsie started composing his own Panorama pieces but was
unsuccessful in his attempts to win the Panorama competition. 1986 was the
closest he came by placing second in the panorama competition. That year,
Phase II Pan Groove performed the piece at the 1986 Panorama competition.
I believe they played “Pan Rising.”
1987 would be Boogsie’s year. In 1987, Phase II Pan Groove won the
Panorama competition with another of 'Boogsie's' composition and
arrangement of “This Feeling Nice.” That was the first time that a
steelband won the Panorama competition with a tune composed and arranged
by a panist. In 1988, Phase II Pan Groove repeated their win with another
'Boogsie' composition and arrangement “Woman Is Boss.” Today, Phase II Pan
Groove only performs compositions written by 'Boogsie' at the Panorama
competition.
The 1990s saw the Desperadoes Steel Orchestra winning two Panorama
competitions with compositions “Musical Volcano” and “Fire Coming Down”
composed and arranged by another panist Robbie Greenidge. Robbie is the
leading panist and soloist in the Desperadoes Steel Orchestra.
Today, even though the nation accepts the reality that panists would
compose their own tunes for the panorama, yet, few steelbands attempt to
perform a piece by a panist and stick to calypsos composed by calypsonians.
Other steelbands depend on the popular composers like: Robbie Greenidge,
Len ‘Boogsie’ Sharpe and Pelham Goddard.
Chroming
The next development was the chroming of the instrument. In the 1980s,
most steelbands started to chrome their steelpans in a beautiful silver
color. First, they started with the tenor/soprano, cello and the second
pans. Later, they chromed most of the instruments in the orchestra except
the bass. The chroming enhanced the look of the instrument and made it
more appealing to the international market. Most buyers of the instrument
today demand a chromed pan sometimes in the color black. Today, all of the
steelbands have chromed pans.
Other Changes in the Steelband Movement
In the 1960s, steelbands played a five or seven minute tune for the
Panorama competition. At that time, all the steelbands played calypsos
composed by calypsonians. That changed in the 1980s when the Panorama
piece was lengthened to ten minutes. The competition judges believed that
that the previous time was too short for arrangers to express their
musical capability and PanTrinbago extended the time to ten minutes so
that arrangers could have more time to give more color to the music.
Another change that took place in the 1980s was permitting steelbands to
increase their orchestra size to over one hundred panists at the Panorama
competition. Of course, this posed a problem for the smaller steelbands
that could not increase their numbers.
That change meant that there was an addition of more instruments to the
steelband orchestra. But, that change benefited the more popular and
sponsored steelbands like Desperadoes, All Stars, Renegades, Tokyo and Starlift. They could add more panists to their orchestra because panists
gravitated to the larger and popular steelbands first. The result of that
change was that smaller steelbands, which could not hire many panists due
to financial limitations, suffered tremendously because their sound was
limited due to their small size. They complained that they could not
compete with the larger steelbands making it very difficult for them to
win the competition. As a result, it became very difficult for steelbands
to attract panists for the Panorama competition because most of the
panists today are young and are attracted to steelbands with the most
potential to win the Panorama competition. Popular steelbands like
Desperadoes, Phase II, Renegades and Exodus have no trouble attracting panists to their orchestras. But for the other steelbands it is very
difficult.
In the late 1980s, the steelband movement saw yet another dramatic change,
namely, the introduction of a new type of panist called a “crackshot”.
This new phenomenon was due to the fact that the young panists today do
not have the allegiance that the old panists did in the 1960s. This type
of panist does not belong to any particular steelband. The 'crackshot' is
very talented and sells his or her skills to any steelband for the
Panorama competition when they play for two or four steelbands during the
finals. First, they would play for one steelband and when that steelband
would finish they would put on another steelband's uniform and play for
another steelband. The 'crackshot' is a hired panist. As a result, every
year you could find the 'crackshot' in a variety of steelbands. During the
Panorama competition finals you could see panists changing their attire to
suit the steelband for which they played. So, a panist would play in one
steelband and would appear in another steelband, sometimes playing for two
or three steelbands on Panorama night. They are called 'crackshot' because
of their pan playing skills and ability to learn a tune quickly.
“Whey I Band." Stalin
The 1980s saw the demise of community support for the steelband. During
the 1960s and 1970s each community had a steelband that received much
support from people in the community. Of course, there were a few
detractors who found that the steelband was a bad influence on the youth
due to the gang fights among the steelbands. But, most of the community
supported their steelbands and were proud of them during the Panorama
competitions. It was rare to find people from one community playing 'mas'
with a steelband from another community. Since the 1980s, the steelbands
are no longer guaranteed supporters and 'Mas' players from the community
but must now depend on supporters from outside of the community. That was
practically impossible because by that time the communities were made up
of mostly young people who were no longer interested in the steelbands.
Most steelbands originated from a particular community. As such, the
steelband became the community steelband and the community was proud of
its steelband. In addition, most of the panists and steelband members
resided in the community. The new oil wealth of the 1980s permitted
residents to move to other neighborhoods. Soon, the community no longer
identified with the steelband. As a result, the steelbands no longer
commanded a large membership for the carnival Monday or Tuesday 'Mas'
because most of the young people in the community are now playing 'Mas' in
non-steelbands like Peter Minshall, Wayne Berkeley, Savage and Poison. As
a result, the 1980s saw the disappearance of steelbands from the road for
carnival.
During the 1960s and 1970s the steelband reigned supreme on the road for
the carnival. Some steelbands had as many as two or three thousand
masqueraders playing in their steelband. The popularity of the steelbands
was such that the Silver Stars Steel Orchestra was able to capture the
Band of the Year title with “Gulliver’s travels.” It was the first
steelband to do so. No other steelband has since been to accomplish that
feat. Also, the presence of the steelband on the road was responsible for
the title 'Road March' which was the name given to the tune played most
often on the road by all the steelband orchestras on both carnival days.
In the 1960s and 1970s the steelband was the orchestra that ruled the road
on both carnival days. As a result, during the 1960s and late 1970s it was
the steelband that determined the 'Road March'. That changed in the 1980s.
DJs were introduced on the streets for Carnival. They played their music
on every corner using the new technology that gave their loud speakers a
loud sound. The steelbands could not compete with the loud sound of the
blasting speakers that came from the DJs and the mostly young people, who
bolted for the popular 'mas' bands like Peter Minshall, Wayne Berkeley,
Poison and Savage. Those 'mas' bands began employing some of the popular
DJs to play the music in their 'mas' bands.
As a result, most Steelbands lost their membership and stopped appearing
on the road for carnival. The steelbands could not come up with a system
to counteract the DJs sound. But in the 1960s, the Bertie Marshall, the
captain of the Hilanders Steelband Orchestra created a way to augment the
sound of the tenor pans. Unfortunately, it was seen as a threat to some of
the other steelbands and made several attempts to destroy it during the
carnival. The disappearance of the steelbands from the streets on carnival
day led to a new dimension in the choice of the 'Road March', namely, the
'mas' bands were choosing the road march. They were on the road on both
carnival days and playing their tunes of choice. From the 1940s to the
late 1970s, the steelband decided the 'Road March'. Beginning in 1947, the steelpan, panist and the steelband movement have been captured in calypso
during the carnival celebration by the famous and now deceased calypsonian,
Kitchener. As a result, the steelbands have played more of his calypsos
for the Panorama competition than any other calypsonian. Also, when
steelbands on the road determined the outcome of the 'Road March'
competition, his calypsos won the 'Road March' competition more times than
any other calypsonian.
Those changes resulted in another change, namely, the disappearance of the
steelband in carnival parties. With the development of the new technology
in the 1980s, the loud speakers at parties became louder and louder. Also,
there was a demand by partygoers for more dance and show music. Hence, the
steelband could not keep up with the demand for loud music due to the
limitations of the orchestra. And, they did not have any performers to
accompany their music. As a result, party promoters stopped hiring
steelbands for parties. Also, it was becoming less cost effective to hire
a steelband because of the large size of the steelband orchestra. The
promoters discovered that hiring a DJ was more cost effective because the
DJ was one person and his equipment took up less space that left more
space for the people to party. This meant that there was more money to be
made due to the larger crowd. That sounded the death knoll of the
steelbands' presence in parties. The favorite party places like Harvard,
Lions, Spektakular and St. John's stopped hiring steelbands to play in
their parties because it was not no longer cost effective. Also, many of
the old party places went out of business.
Next, came the estrangement of the steelband from the national culture.
The people of Trinidad and Tobago have always had a love-hate relationship
with the steelband movement. In the beginning of the steelband movement
most Trinbagonians did not identify with the steelband outside of
Carnival. During the 1960s and the 1970s steelbands had their share of the
entertainment mix in the society. They played at hotels, functions and
other national festivities. Steelbands were able to gather hundreds of mas
players on carnival days, especially carnival Tuesday. That would
disappear in the 1980s as a new generation came on the carnival scene. No
longer was the steelband holding sway for that generation. They demanded
loud music. And, the steelbands could not compete with the DJs who played
music on amplified systems.
Although the steelband was seen as a means for gang violence,
nevertheless, the government, which depended on the steelband movement for
political support, lent it financial support and made sure that they were
a part of the national scene. Those panists who got into trouble with the
law could rely on either the Prime Minister or their government
representative to clear up the matter. Also, by 1960, the steelbands
formed a peace truce and the gang violence decreased immensely. During the
1960s, most of the steelbands received sponsorship from local businesses.
The sponsors demanded a certain behavior from the panists. The steelbands
were threatened with the loss of their sponsorship if they engaged in any
type of gang warfare.
From the 1980s, the steelband was no longer a main player in the Carnival
celebrations except the Panorama competition. After Carnival, the
excitement around the steelbands decreased and the steelbands descended
into hibernation. They did not participate in the holiday parties as they
did in the past. They did not play in the local hotels or on the beaches.
The mix found during Panorama disappeared after Carnival as the middle and
upper class who turned out for the Panorama competition, returned to their
race and class. The steelband for them was an expression of carnival fever
and abandonment.
Another change was the introduction of absentee arrangers and tuners for
the Panorama festival. During the 1960s and 1970s most steelbands had its
own arrangers who was usually the captain of the steelband. But, the 1980s
saw one arranger arranging for over ten steelbands at once, including his
own steelband. Some people questioned whether he could give the same
quality of music to other steelbands when his own steelband was competing
in the same competitions. By the 1980s and 1990s, the nation's top
arrangers in the steelband movement were Clive Bradley, Ray Holman, Len
'Boogsie' Sharpe, Leon 'Smooth' Edwards, Desmond Waite and Jit Samaroo.
These arrangers command high fees and sometimes steelbands have to pay
them all the money they have in their treasury leaving the band without
any money for internal development of the orchestra or the panists.
The most regrettable change was the disappearance of the ‘stage side’. The
'stage side' was the core group of panists who were once the foundation of
each steelband orchestra. They played at festivals, parties and holiday
occasions. The 1960s and 1970s saw the development of the 'stage side'
that was the core of each steelband orchestra. By the 1980s, most
steelbands no longer cultivated a stage side because they were
concentrating their energies on one prize, namely, the Panorama
competition. There was no time left to develop other tunes. As a result,
the steelbands' repertoire decreased. Today, the steelbands spend most of
their time learning one tune, the Panorama tune. Very few steelbands have
a 'stage side.'
The cultivation of a 'stage side' permitted steelbands to play in parties
and hotels throughout the year. That gave the panists some financial
support. During the Panorama competitions the steelband opened up its
membership because the Panorama demanded more panists. The 'stage side' panists were the first ones to learn the tune of choice for the Panorama
competition. They were responsible for teaching the other members of the
steelband the rudiments of the instrument and the tune of choice. Today,
most steelbands do not have a 'stage side'. In the late 1960s and 1970
most of the stage side panists migrated to Canada and the United States.
Some of the panists who went on trips with a steelband remained illegally
in the country where they appeared. Many times those panists were not
replaced. As a result, the steelband orchestra was left with an important
vacuum.
Lastly, from the 1960s through the 1990s a few popular large steelbands,
such as Pandemonium, City Syncopators, Joyland Synco, Silver Stars,
Dixieland, Sputniks, Dem Fortunates, Sputnik Stars, Nutrine Playboys,
Amboys, Casablanca; Pan Vibes, North Stars, Guiness Cavaliers, Crossfire,
Boston Symphony and Tripoli, disappeared from the pan scene. There were
multiple reasons for such disappearance, namely, migration, lost of
sponsorship, lack of money to purchase new instruments, lack of new panists and most importantly, lack of vision, leadership and middle class
input and support.
The most important reason for the disappearance was migration. In the late
1960s and throughout the 1970s, a large number of panists migrated to
Canada, Britain and the United States seeking better financial
opportunities. Some even migrated to distant lands as Sweden. Also, by the
end of 1970 most young people stopped supporting the steelbands. The
technological revolution gave the young people an opportunity to expand
their musical horizons and to listen to more foreign music. The steelband
was no longer the attraction it was in the 1960s and early 1970s. The
1980s brought Trinidad and Tobago new wealth from its oil resources. The
steelband finally lost its place as the unifier of the community as people
moved out to other areas. People were now crossing community lines and
playing 'mas' with steelbands outside of their community. As we enter the
21st century the steelband movement finds itself at the crossroads of
history.
"Every night, every day
People want to hear the steelband play
We want you for all the time, not just for jouvert
Panman, play your music, let your music play." Kitchener
Today, those changes define the steelband orchestra in ways that have made
the steelband orchestra a sterile and nonproductive enterprise. From 1963
through the 1990s the steelband movement has not really improved the
financial status of the panists. The only improvement has been with
the instrument. Panists are still poor and find themselves, after the Carnival
celebrations, in an unemployable position. The allegiance that was there
in the 1960s no longer has an impact on the panists it did as before. The
majority of panists ply their skills to the most popular steelband hoping
to win the Panorama competition. These are the ‘crackshots’, who are young
panists who are very skilled. They hire their talents to several
steelbands during the Panorama competitions. The Panorama competition has
become the raison d’etre for the panists.
In 1999, PanTrinbago for the first time permitted a foreign panist, Andy
Narell, to arrange for a local steelband in the Panorama competition. That
was a significant change because previously, PanTrinbago adamantly banned
non-Trinbagonians from arranging for steelbands in the Panorama
competition. Their argument was that the competition was a local affair
and as such only local arrangers would be permitted to arrange for the
steelbands.
Another change for Carnival 2000, saw PanTrinbago deciding that an
arranger would only be permitted to arrange for one steelband. Here, the
argument was that other arrangers were being denied the opportunity to
arrange because steelbands would hire the same arranger due to his
expertise and popularity. They cited that one year Len 'Boogsie' Sharpe
arranged for over ten steelbands, including one in Tobago. Of course, most
of those steelbands made the finals.
At present, there seems to be an absence of vision in the steelband
movement. There is a lack of the necessary management skills that are
needed to develop the steelband movement into an organization that could
bring financial benefits to the steelband movement and make a cultural
impact on the society and the world as Reggae music has done. To date, its
survival depends on the largesse of the government. PanTrinbago has no
independent means of financial resources. The steelbands have become
larger with the addition of more instruments. But, I am not sure that that
was done with any musical plan to enhance the tone of the orchestra. To
date, there is no scientific approach to steelband music, the instruments
and the composition of the steelband orchestra.
Also, Steelbands do not play on the road for Carnival as they did in the
1960s and early 1970s. There is a generation of young people today who has
never seen a steelband on the road with five thousand members, playing 'mas'
on Carnival day. The few steelbands that play on the road are on trucks
that pull the band along the road on Carnival days. For one steelband, Starlift Steel Orchestra, their carnival membership comes from abroad.
Since 1980, the Starlift Old Boys from New York have infused the band with
members by organizing groups of people to travel to Trinidad to play in
the band on Carnival day. They are the largest steelband, with over two to
three thousand players on Carnival day. Also, the Carnival parties no
longer hire steelbands to play in their parties. And, most of the
arrangers do not belong to the steelband for which they arrange. They are
absentee arrangers. And, sometimes they arrange for numerous steelbands in
the same competition raising a conflict of interest when one of the
arrangers has their own steelband entering the competition.
Conclusion
"Pan Rising" Len Boogsie Sharpe
The steelpan has improved over the years. Today, the instrument’s tone and
quality is at an all time high. But, the time has come for all
stakeholders in the steelband movement, who love and appreciate our
national instrument, to answer four important questions:
1. Is the Panorama competition stifling the steelband movement?
2. Should there be a Concert Hall for the national instrument?
3. Should the steelpan be standardized?
4. Should panists study musical theory?
If the answer to all these questions is yes then the steelband movement
must begin to address these issues immediately or face the consequences.
What is to be done? Here are my few recommendations. The steelband
movement must have a concert hall. I am not talking about the present Jean
Pierre sport’s complex where they hold the music festivals or the savannah
where they hold the panorama. I am talking about a real concert hall with
state of the art acoustics that would facilitate the accommodation of the
art form. I would name it The Beryl McBurnie Steelband Performing Arts
Center (BMPAC). Ms. McBurnie was an early supporter of the steelband
movement in a time when it was not popular to do so. The BMPAC should
house a revolving stage, a bookstore, a music store and space for
PanTrinbago’s headquarters.
Next, PanTrinbago
should reform its board and committees to include businesspersons and
community people. PanTrinbago should make every effort
to include the University of the West Indies (UWI) in an education project
to teach panists musical theory. A special endowment should be founded at UWI with monies from the government and the business community.
PanTrinbago should lobby the government to include music in the primary
and secondary school’s curricula. There should be a steelband orchestra
attached to each primary and secondary school. And, summer festivals
should be held among different schools. Students should be given school
credit for attending these festivals.
The steelband movement is still rising. Since the instrument was created
in the late 1930s Trinbagonians have struggled with their contradictory
relationship with the instrument. In the beginning, the instrument was not
accepted by the general society. Most of the middle class shunned the
instrument and held disdain for it too. It was seen as an intrusion by a
class that was meant to stay in their place. Yet, no other instrument has
been so romanticized and glorified as the steelpan. Every year,
calypsonians compose a calypso about the steelband in their calypso
repertoire. And, since the death of the calypsonian Kitchener,
calypsonians have been flooding the airwaves with calypsos about the
national instrument.
In the 1960s, under the leadership of the late George Goddard, another
National Steelband Orchestra was formed. There were several attempts
before to form a National Steelband orchestra in the 1950s but all
attempts to do so failed. In 1963, the first Panorama competition was
held. Some middle class members participated in “helping the boys put
their act together.” Also, during the late 1950s, a few local white
steelbands were formed. But, by the late 1960s, the few white steelbands
like the Dixieland Steelband Orchestra and the Starland Steelband
Orchestra disbanded. Most of the white panists in those steelbands were
College students who defied their parents to play in a steelband. They
were brave and innovative because they believed that since they were
Trinidadians the steelband movement was not foreign to them. They felt the
same urge and excitement that some Trinidadians felt, at that time, for
the national instrument. The most famous among them was Curtis Pierre from
Dixieland Steel orchestra. Someday, their stories about their involvement
in the steelband movement should be told.
Soon, many began to see the Panorama competition as monotonous and a
hindrance to the progress of the steelband movement. In 1970, the Black
Power movement questioned the relevancy of an art that was not giving its
members any real profits or employment. Their claim that the middle and
upper class did not appreciate steelband music is still valid today. They
attacked the Panorama competition as an enemy of the steelband movement.
It called for the restructuring of the steelband movement to make it a
more intricate part of the society.
In the 1960s, a few developments took place, namely, the spider-web
styling of Anthony Williams from the Pan Am North Stars Steelband
Orchestra. There were also calls for standardizing the instruments. Some
even suggested that the Williams styling be adopted as the standardized
form of the instruments. During the 1970s, Ray Holman broke the mold by
composing his own music for the Starlift Steel Orchestra for the 1972
Panorama. Most people saw that as heresy and Ray was punished for his
attempt to stray away from the fold. It would take fifteen years before a
steelband would be accepted in the Panorama competition with its own
composition. In 1979, Len Boogsie Sharpe began using jazz styles in his
compositions for his steelband Phase II Pan Groove. In 1987, he won the
Panorama competition with his composition "This feeling Nice." In 1988, he
repeated with another composition "Woman is Boss."
"Whey the hell Pan reach." CroCro
Today, the Panorama piece is ten minutes long. And, most finalist
steelbands have over one hundred to one hundred and twenty panists playing
on Panorama night. The tone of the instrument is greatly improved. To
some, those achievements may mean that the steelband movement may be at
its pinnacle. But, the only national event for the steelband is the
Panorama festival during carnival. Again, some people believe that the
Panorama festival has become the greatest hindrance to any development of
the steelband movement because all the energies of the panists go toward
this one event. In spite of all the statements about our national
instrument there is no real vision for the steelband movement to mold the
movement into the national fabric of Trinbago. There is no concert hall
for the national instrument and the middle-classes do not take the
steelband movement seriously. After the Panorama competitions most of the
steelbands return to their panyards with nothing to do. Most of the panists are unemployed. Most of the areas that house the steelbands are
crime areas with robberies and killings occurring daily. Places like Laventille, John John, Success Village, San Juan, Morvant
and East Dry
River are unsafe for its residents. And yet, to many, the Panorama
competition is the glorifying moment of the steelband.
In the 20th century, Africans in the Diaspora gave two musical gifts to
the world, namely, the steelpan and jazz. In many ways, the steelband
movement is similar to the jazz movement in the United States. Both art
forms were created in the Diaspora by African urban working class who were
descendants of African slaves. But, unlike the steelband movement, jazz
has received some acceptance by mainstream America. Jazz also came a long
way from its beginnings. Colleges and Universities in the United States of
America teach jazz studies and even have Jazz Departments to study the
history of jazz. There are many white Americans playing in jazz bands.
Jazz is now admitted in mainstream music in America. And, it has a large
African American middle class following. But, unlike jazz, the steelband
movement has not flourished as well within the society of its birth.
Although both art forms can claim similar beginnings and the low social
status of their creators, jazz was infused early with middle class
musicians like Jelly Roll Morton, Miles Davis, Duke Ellington and Dexter
Gordon. And, a few of the early jazz musicians read music. Some even
attended conservatories and were trained in European classical music.
Since all of them could not perform at the popular concert halls due to
the racism that existed at the time they put their talents toward jazz.
So, many of them like Ron Carter and Charles Mingus turned to jazz.
The steelband movement was different from the jazz movement in so far as
the steelband orchestras were concerned. Due to the complexity of the
steelband orchestra and its pattern after a symphonic orchestra, the
steelbands never developed soloist musicians in the respective
instrumental categories outside of the orchestra. Most of the emphasis is
on the steelpan, namely, the soprano (tenor) pan. Although one can find panists in every steelband orchestra who excel in other instruments as the
bass, cellos or guitar pan, nevertheless, the steelpan/tenor/soprano
(single or double) pan is still the major instrument of choice for
steelpan soloists. In jazz, musicians like Coleman Hawkins, who gave the
saxophone its solo voice and John Coltrane whose improvisations is
historical, changed the role of the saxophone. Louis Armstrong (the first
jazz soloist) and Miles Davis did the same for the trumpet. Also, McCoy
Tyner and Thelonious Monk made the piano a central figure in jazz combos
in the Bebop jazz era. And, drummers like Kenny Clarke,
Max Roach and Art Blakey changed the role of the drummer in the jazz ensemble. By contrast,
the only instrument in the steelband orchestra that has had a solo career
is the soprano (tenor) single or double pan. The other instruments are
still confined to the realms of the steelband orchestra. They have no real
value outside the steelband orchestra.
One of the other areas that need to be addressed is the question of a
concert hall for the steelband. In most countries, their major cities have
concert halls to house their musical expressions. The steelpan is the only
instrument that does not have a concert hall to express its repertoire.
Presently, the Classic Music Festival is held at the Jean Pierre Sports
Complex where there are no acoustics. The Panorama competition final is
held in the open air at the Queens Park Savannah. Those places were not
built for the steelpan.
Another area that needs attention is the standardization of the
instrument. Every conventional instrument is standardized except the steelpan. Pan tuners offer many excuses why they will not standardize the
instrument. Some say that they want to retain their individual style.
Others feel that it will allow foreigners to be able to capture the
essence of pan tuning and so lose the instrument to foreigners. Those
narrow attitudes pose a problem for the instrument because it does not
allow non-Trinidadians easy access to the different styles. In order to
learn the instrument one has to understand the particular pan-tuner's
styling. Each pan tuner has his individual styling that he protects at all
costs. Most pan tuners are reluctant to teach others their skills. That
presents much difficulty for the foreign panist who wants to be able to
pick up any steelpan and play it immediately as he or she would expect
from other conventional instruments such as the piano or saxophone. The
pan tuners have to decide whether they will use the fourths to fifths
design or the fifths to fourths design. Every other conventional musical
instrument has one design. The piano, saxophone, trumpet, guitar and bass
are examples.
Most panists do not study or read music. The panists are one of the few
musicians today who does not understand the language of their instrument.
Most of them have no knowledge about the history of European classical
music even though they play European classical music. They do not study
the history of jazz even though they play jazz music. The panists have
always boasted about their ability to play such music. And yet, they have
never attempted to obtain any musical training. So, even though they use a
European paradigm in their musical structure many of them lack the
knowledge of the history of important European classical composers like
Bach, Beethoven, Mozart, Chopin and Brahms or even modern European
composers like Ravel, Bartok, Rachmaninov and Tchaikovsky. Nor, do they
study the history of jazz composers like Duke Ellington, Charlie parker
Dizzy Gillespie, Miles Davis or Tadd Dameron. I am not saying that those
composers are the only ones worth studying. But, you have to start
somewhere. And, for a musician to be connected they must have a workable
knowledge of those that went before them. Also, the panists who arrange
for the steelband do not understand the rudiments of orchestration having
never studied music. As a result, the pan recordings sound hollow and lack
tone and color. Most of the recordings are unbalanced and sound like noise
to non-Trinidadians who are unknowledgeable in the local nuances of the
local tones of the steelpan. If pan music is to be marketable to
make a profit it must be properly recorded.
PanTrinbago, which is the sole representative of the steelband movement,
must decide in what direction it wants to steer the steelband movement.
Should the steelband movement reach out to the middle class? Should panists alone manage and control PanTrinbago? How about fund raising? And,
business ventures with the business community? How about building a
concert hall for the steelpan? Finally, what role should the University of
the West Indies (UWI) play in the steelband movement? PanTrinbago must
find ways to get the middle class and business community involved with the
steelband movement. There is no rule that says that only panists can lead
PanTrinbago. The leadership of PanTrinbago should be broadened to
include members of the business, professional and upper class community. PanTrinbago must record all the steelband music of the 1960s.
The steelband orchestras must become a business so that panists
can earn a substantial livelihood for his or her craft. PanTrinbago should recognize
the people who supported the steelband movement from its inception: Beryl McBurnie, Canon Max Farquhar, George Goddard and Lennox Pierre.
These people gave their time, money and risk their status by supporting
the movement. PanTrinbago should introduce awards in their names. Also, PanTrinbago must operate as a labor union for the panists. They have to
create a health and pension fund to assist panists in their senior years.
This could be accomplished by collecting monthly dues from the membership
with matching funds from PanTrinbago. PanTrinbago should use the Internet
to distribute information about the history, activities and biographies of
panists and the steelband movement. The World Wide Web should be tuned to
the Pan in the 21st century. Those Panists in America should join the
musician unions so that they will be paid union wages for their labor.
Finally, the future growth and development of the steelband movement lies
in the contradictory conclusion that says this: “Panorama must die for the
steelband movement to live.” Hence, the dilemma that confronts the
steelband movement is that the Panorama competition provides monetary
value and status to the panists and steelband. And, the various other
competitions give the panists and steelbands a way of proving their worth.
There is an emergent need for the building and maintenance of a concert
hall. But, that takes commitment and money. The steelband movement lacks
both. The study of music must begin in the early years of childhood. The
Government is the best institution to address that need. Every school from
Primary School through High School should have music courses in their
curriculum. The course of the steelband movement is not a smooth one.
Sometimes too much becomes a hindrance to progress. One hundred steelbands
in an island of just over one million is too much. The audience is
too small to provide any real financial success. PanTrinbago must take its
mandate seriously and act immediately if the panist and the steelband
movement are to advance in any meaningful way.
Addendum
INDIVIDUAL ACHIEVEMENTS STEELBANDS
Ellie Mannette, Tuner, Panist and Leader Invaders
Neville Jules, Leader, Tuner, Panist and Arranger Trinidad All Stars
Philmore ‘Boots’ Davidson, Panist and Tuner City Syncopators*
Anthony Lynch, Arranger City Syncopators*
Bertie Marshall, Tuner and Panist Hilanders*
George Goddard, First President of Steelband Association and Organizer
Jit Samaroo, Arranger, Panist and Composer Renegades
Anthony Williams, Tuner, Panist, Leader and Arranger Pan Am North Stars*
Lennox 'Bobby' Mohamed, Tuner, Leader and Arranger Guiness Cavaliers*
Ray Holman, Arranger, Soloist and Composer Starlift
Len Boogsie Sharpe, Composer, Arranger and Soloist Phase II Pan Groove
Rudolph Charles, Tuner and Administrator Desperadoes
Robert Greenidge, Composer, Arranger and Soloist Desperadoes
Herman Johnson, Leader, Soloist and Arranger West Side Symphony*
Junior Pouchette, Arranger and Leader Silver Stars*
Liam Teague, Soloist
Rudy Smith, Soloist and Arranger Crossfire* Othello Molineaux, Soloist and
Arranger Tripoli*
Patsy Haynes, Soloist Casablanca*
Andy Narell, Arranger, Composer and Soloist
Anise Hadeed, Arranger and Soloist * Steelband no longer exists.
PAN TERMS
Arranger: Person who arranges the pan tune.
Captain: Leader of the steelband
Iron: Steel instrument (Car hubcap) that is used to keep time in the
steelband
Iron Man: Person who beats the iron in the steelband
Flagwoman: Woman who waves the steelband flag on Carnival day
Pan, Steeldrum, Steelpan: An instrument created from oil drums in Trinidad
by Africans.
Panist, Panman, Panplayer: Person who plays the steelpan
Panyard: Place where the steelbands practice and store their instruments
Stage Side: Core musical members of the Orchestra that performs at parties
and functions
Steelband: All Percussion Steel Orchestra of Trinidad and Tobago
Tenor pan: Soprano or lead instrument.
Tuner: Person who tunes the steelpan instrument
Khalick J. Hewitt, President and Founder
International Steelpan & Calypso Society