We don’t care what the people say
Once the music hit my vein,
So much powers ah cyah explain
Until that golden day,
When the Father take me away
(Away now now now now now now now).
All of my friends would say - Phenomenal
I’m Phenomenal. I’m Phenomenal
I’m Phenomenal. We’re Phenomenal
I’m phenomenal. I’m Phenomenal
We’re Phenomenal. We’re Phenomenal - ...Benjai - Phenomenal - Tune for 2015
New York, New York, USA - This is a magnificent music story that is so much more. It is a story about the human condition that allows one to grow, overcome, provide opportunity and affect change on a community.
The event was “Composers OutFront“ and the featured composer - NYU’s (New York University) recent masters graduate, Brooklyn’s Kendall Williams. There was a large capacity audience, great performances, standing ovations, thunderous applause and lots of accolades - but the story does not begin or end here. Rather it is another groove in that global ‘Phenomenal’ experience in the life of Pan. And at the same time, yes, it was a momentous occasion. Bravo Kendall Williams, Bravo!
Kendall Williams,
ACO Van Lier Emerging Composer Fellow for 2013-2014
“Composers OutFront“ is an American Composers Orchestra (ACO) initiative that, in their own words, is “dedicated to the creation, performance, preservation, and promulgation of music by American composers.“ And by selecting Kendall Williams as their ACO’s Van Lier Emerging Composer Fellow for 2013-2014, it is When Steel Talks’ (WST) opinion that, they not only exceedingly fulfilled their mandate and prime directive, but they completed the bold and noble mission of NYU Steinhardt Music and Performing Arts Professions to the hilt.
Kendall Williams is driven, quiet, focused, highly intelligent, unassuming and immensely talented while remaining a humble individual. His compositions and arrangements bring a fresh perspective to the music with, for and by the steelpan, paired with other conventional instrument(s) and steel orchestra.
And while the night was dedicated to the musical genius and
talents of Kendall, who is now a Princeton University doctoral
candidate, there was an additional component to this event - the
inescapable reality that once he—Kendall Williams—chose to walk this
path with the Pan as his ‘voice,’ eyeing him from the corners,
clinging to his pockets, was the validation of a vision, hope,
sacrifice, toil and dreams of countless others who envisioned
someone like a Kendall Williams, decades before he was born. Indeed
no other instrument carries such a weighty historical and continued
connection to the dreams, self-determination and aspirations to a
people and community.
The Vision
Professor Jonathan Haas
- Director of the NYU Steinhardt Percussion Program
Professor Jonathan Haas, department chairman of the prestigious Percussion Studies program at NYU Steinhardt opened the show with greetings and thoughts on what Kendall has meant and contributed to the institution’s program. He further shared his initial vision and purpose for a steel band that has now culminated in today’s well-established NYU Steel. Both Haas and NYU Steel are critical components to Kendall’s voyage. Haas seeks to give his students not just experiences that would make them better and exceptional musicians - but make them better and exceptional people through these experiences, and interactions with other cultures and people. Professor Haas talked specifically about learning from the great Brooklyn steel orchestras which are among the best in the world, and taking advantage of the ability to interact musically with them because of their proximity.
Haas is a special person. Few—if any—directors of prestigious,
global-leading percussion programs would dare to make it mandatory
that their students learn to play the steelpan instrument. It is
Haas who openly embraced, and recognized the benefits and
significance of the Brooklyn steel orchestras and their communities,
which have existed for over four decades. He has a worldly view, and
spirit of inclusiveness that emanates through the program, and has influenced his students so positively. What Haas may not
have anticipated is the effect his vision could have on this
external community in terms of changing the trajectory of
recognition, opportunities and expectations - hence this night could
not be possible without his vision. Legendary Jazz drummer
Max Roach once told WST that the steelpan is a magical
instrument that belongs on a world stage. Clearly Professor Jonathan
Haas shares Roach’s view.
The Directive and the Director
Josh Quillen on drums during the concert
It is Josh Quillen who was given the on-the-ground generalship to make Professor Haas’ vision a reality. And he has done so admirably. Quillen has magnificently harnessed the full potential of the Pan experience for his students both in terms of musicianship and culture. From the musical works of -award-winning Phillip Glass to Trinidad and Tobago’s legendary Len “Boogsie“ Sharpe - to now on this special night, the music of Kendall Williams, Quillen has not marginalized, trivialized or ignored any aspect of the Pan experience - which is all critical to understanding, playing and living the music. And so when Quillen says to the players of NYU Steel relative to a particular Panorama piece for a performance “You have to be able to play it ‘by rote’,“ (from memory, without sheet music), they get it.
NYU Steel on stage with CrossFire Steel Orchestra at ACO’s Composers OutFront! concert showcasing the works of ACO Van Lier Emerging Composer Fellow for 2013-2014 Kendall Williams
This past Summer members of NYU Steel expanded their experience when they joined Brooklyn’s CrossFire Steel Orchestra for the New York 2014 Panorama competition performing Kendall’s arrangement of Big In The Dance. They ‘lived’ the experience that is a central aspect to the urgency, life and times of the steelband music genre.
Josh Quillen welcomes audience at the event
Interestingly enough, as Quillen tells of the importance Kendall’s presence to the growth of the NYU program, he also reminded us that the musical paths of him and a very, very young Kendall crossed as players over a decade ago in the panyard of Trinidad’s legendary Phase II Pan Groove Steel Orchestra. And when Quillen sums up his welcome to the Frederick Loewe Theatre audience, by figuratively saying to them that NYU was the ‘Winter home’ to so many who represented the great steel orchestras of Brooklyn - who can’t even secure a permanent home within their own home communities - the night took on an added meaning; he may never understand what that meant to so many. There was an inclusiveness in that statement that few steelpan music program directors seem to embrace when they lead or adopt the “steelband narrative” as part their programs.
NYU Steel on stage at ACO’s Composers OutFront! concert showcasing the works of ACO Van Lier Emerging Composer Fellow for 2013-2014 Kendall Williams
Through the competitiveness of and preparation for the New York
Panorama with CrossFire, NYU Steel members felt in part the joys,
pains, anxieties, uncertainties and life of the pan man. Moreover,
they have come to know why Pan is so much more than an instrument to
the Brooklyn Pan communities. The NYU students have felt the passion
of the community for the music and instrument.
Reality
Kendall Williams is a compendium of skill sets and experiences. On this night the audience gained insight into Kendall the soloist, Kendall the composer, Kendall the arranger and most importantly - the young man. There was old music, new music, tomorrow’s music, way-out music and most importantly, music for the soul with real life stories - Kendall’s music. It was simply a “just listen” moment as Kendall’s vision unfolded via the versatility of the steelpan family of instruments across different genres. Kendall used three different steel orchestras in his latest outing - Crossfire Steel Orchestra, New York University (NYU) Steel and Brooklyn Steel Orchestra (BSO). Each band brought a unique musical vantage point and history to the stage.
BSO (Brooklyn Steel Orchestra) performs at the Frederick Loewe Theatre on the NYU campus
BSO is a select blend of musicians from all the New York Steel Orchestras - now working together and playing together towards one collective and expressive goal. This is the exact opposite of the normal existence of New York where fierce musical competition defines everything. Indeed, the generally 100-player orchestras and the culture of New York’s panorama competition are sacred and special - and should never be trifled with, however the necessary cooperation of the franchises to meet the challenge of threats to their very existence is a must. Again we find Kendall’s music in the mix, pointing the way forward both through ‘harmony’ and organization.
Percussionist Yael Litwin on six-bass during the show
In a WST interview student and NYU Steel player, Chicago native Yael Litwin who was not familiar with the steelpan before coming to NYU said “I would love to continue playing steelpan after NYU. I love composing on the steelpan, I think it has tremendous textural possibilities...”. And when one observes the joy Yael exhibits as she performed on the bass or tenor pans, or playing an iron in the engine room, it is infectious; and she captured the imagination of the audience.
The feet of Greg Auffredou (right) leave the ground as he jumps for joy during performance
And when a NYU Steel tenor player Gregory Auffredou
caught what would customarily be called a “spirit lash” during the
joint performance of NYU Steel members and Crossfire Steel Orchestra
on Kendall’s 2014 Panorama arrangement - Lord only knows what some
of the newcomers in the audience were thinking as Greg jumped high
in his steelpan ecstasy...
The Audience
The audience was a snapshot of a wide and varied cross-section of America. There were people who were being exposed to the steelpan instrument for the first time in a serious way, and there were people for who the steelpan and its culture have been a part of their life for over half a century. And together they shared an authentic moment of appreciation for the performances, music and the instrument.
The inescapable importance of the evening was not lost on those connected in Pan, as evidenced by the presence of several noted personages, such as champion arranger in his own right Duvone Stewart—fierce fellow competitor in the New York Panorama arena but on hand in recognition of the art form on this night. Veteran stewards of the Pan community like Mr. Mack Scott of Sonatas, Mr. Clyde Durant of Moods Pan Groove and Mr. Hueloy Lila Yip Young were among the many representatives from steel orchestras and steelband franchises there to show their support for Kendall Williams.
Kendall Williams conducts CrossFire Steel Orchestra during the Composers OutFront! concert
at NYU’s Frederick Loewe Theatre
And as his arms rose and momentarily paused at the ‘T’ position to begin the conducting of the orchestra, the pride of that “Da’ is we on stage” moment could be seen on so many faces. In that instant, and many such during the concert of ACO’s Van Lier Emerging Composer Fellow Kendall Williams, the circle was completed - the connective thread and sensitive state of mind towards communities and cultures around the world inevitably became the essence embodied in the experience throughout the evening concert. And at the end of it all, there was thunderous applause, encore, and more applause.
Crowd gives standing ovation at the end of the concert
It’s been an exciting journey thus far in the musical life of Kendall Williams - and it’s only just begun. Simply phenomenal.
Keep up with Kendall here!
watch the performances
 Department of Music and Performing Arts Professions Program in Percussion Performance Presents Composers OutFront! Kendall Williams featuring NYU Steel Joshua Quillen, Director Crossfire Steel Orchestra Brooklyn Steel Orchestra Minerva Johnson in Collaboration with the American Composers Orchestra Wednesday October 29, 2014 7:30 pm Frederick Loewe Theatre 35 West 4th Street New York, NY |
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| Program | ||
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(All works on the program composed by Kendall Williams unless otherwise noted) |
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| Rehearsals (2014)* |
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NYU Steel |
| ----------------------- | ||
| MisConception (2013) |
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Crossfire Steel Orchestra |
| ----------------------- | ||
| Afro-Confusion (2010) |
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Crossfire Steel Orchestra |
| ----------------------- | ||
| 4 Sticks, a Trumpet, and a Mute (2013) |
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Minerva Johnson – Trumpet Kendall Williams – Tenor/Lead Pan |
| ----------------------- | ||
| Midnight Breeze (2009)* |
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Brooklyn Steel Orchestra arr. Kendall Williams, Marc Brooks, Jahlani Roberts |
| ----------------------- | ||
| Pan in Motion! (2014)* |
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Featuring Rizzo Gun (rapper) Composed by Ryan Agard & Kendall Williams - Brooklyn Steel Orchestra |
| ----------------------- | ||
| Just Smile |
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Brooklyn Steel Orchestra arr. Kendall Williams, Marc Brooks |
| ----------------------- | ||
| Mess Around |
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Composed by Michael “Big
Mike” Kernahan
arr. Kendall Williams Crossfire Steel Orchestra |
| ----------------------- | ||
| What Do You See? (2014)* |
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NYU Steel |
| ----------------------- | ||
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Ah Goin’ an Party Tonight (2012) |
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Composed by Clive Bradley arr. Kendall Williams |
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NYU Steel and Crossfire Steel Orchestra |
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| ----------------------- | ||
| Big In De Dance (2014) |
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Composed by Brian Griffith arr. Kendall Williams |
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Crossfire Steel Orchestra |
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| * indicates world premiere performance | ||
Kendall Williams
American Composers Orchestra’s Van Lier Emerging Composer
Fellow for 2013-2014
The fellowship provides early-career American composers from culturally diverse, economically-challenged backgrounds with additional career skills and experiences not provided at colleges or conservatories; professional feedback; and the opportunity for a high profile performance that will build public and music industry awareness of their work. It offers a comprehensive and multi-faceted program that helps equip emerging composers with the full range of professional skills and tools necessary for building a successful career as a composer of orchestral music. Young composers have the opportunity to work with ACO artistic and administrative leadership to hone their professional skills; participate in planning, educational activities, and performances; serve as liaison with student composers; and enhance their professional careers by immersing themselves in the professional environment of ACO over the course of an entire season. The fellowship is designed to provide a career-development bridge between a young composer’s training at the university or conservatory and the world of the professional orchestra. This concert represents the culmination of Williams’ fellowship.
Rehearsals is a composition that depicts one aspect of how individuals in a steel ensemble might rehearse before formally rehearsing with one another.
MisConception
was composed from an existing composition called
Conception previously composed by me. The ‘Mis’ in
MisConception represents “missed” as in lost or
dismissed.
Afro-Confusion was composed back in the fall semester of 2010 at New York University, intended for a saxophone quartet. The piece was composed based on an Afro-Cuban clave in 6/8 time.
4 Sticks, a Trumpet, and a Mute is a short duet composed for pan and trumpet. It is one part of a combination of short pieces composed for solo pan and duo combinations including pan.
Midnight Breeze was composed on the whim of keeping things simple and classy, envisioning the cool breeze that passes by down dark empty streets on or around midnight. The end result, “Jazz influences Jazz!”
What Do You See? is a short piece composed with many genres in mind. The influences of this piece came from everywhere, but ultimately from you!
Ah Goin’ An’ Party Tonight was composed by Lord Nelson, a calypsonian
from Trinidad and Tobago. This calypso tune was made popular by him and
the late Clive Bradley, a steel band arranger from Trinidad and Tobago. I
adapted it for steel band in an interpretation of classical form.
(editor’s note “Ah Goin’
An’
Party Tonight“ was written by Clive Bradley and sung by
Lord Nelson in 1982)
Big in De Dance is a calypso tune composed by Brian Griffith of Trinidad and Tobago and arranged by Kendall Williams for Crossfire Steel Orchestra to perform in the annual WIADCA Panorama Steel Band competition of 2014.
notes by Kendall Williams
About Kendall Williams
Having been born around the Trinidadian culture, Kendall Williams, (Composer and Steel Pan) has adopted the country’s national instrument, the steel pan. From as early as the age of four, Kendall made efforts to mimic his parents as they displayed their talents in a Miami-based steel band. It wasn’t long before his efforts turned into a reality as he developed his skills and passion for the instrument. As he got older his passion brought out a connection to music and he was able to perform with large, world-renowned steel bands in Trinidad and Tobago as well as bands in the New York-based scene for years and counting. He took things a step further when he graduated from Florida Memorial University with a BA in music under the direction of Dr. Dawn Batson, with his main instrument being the steel pan. He continued to further his studies at NYU Steinhardt, where he pursued a Master of Music degree in music theory and composition, studying with Julia Wolfe, and Artist Faculty members Michael Gordon and Rich Shemaria. There he also actively participated in NYU Steel under the leadership of Artist Faculty member Josh Quillen. As he moved closer to graduation, his goals included composing and arranging music that can further showcase the steel pan for the virtuosic instrument it is, while bringing his unique style to more conventional instruments. Now that he has graduated, he aggressively pursues a career as a composer, arranger, and all-around advocate for the steel pan instrument. He endeavors to open the minds of listeners to the possibilities that steel pan can offer the world, while demonstrating that the steel pan is more versatile than it may seem.
About the Artists
|
NYU STEEL:
----------------- Andrew Adams Marc Akiyama Alex Appel Gregory Auffredou Sarah Barsky Fayola Bartlett Sarah Bennett Jordan Brooks Cindy Chen Doug Chew Rose Egan Russell Fisher Jared Garner Kearra N. Gopee Noah Hadland Adam Holmes Luis Jacome Nadia Joseph Adam Kiefer Meng Hsuan Lin Yael Litwin Zac Robason John Roche Luz Carime Santa Coloma Boya Shi Shannon Silver Aya Terki |
NYU Steel emphasizes an artistically and culturally diverse array of performance styles that break with traditional boundaries surrounding the esoteric genre of steel pan music. NYU Steel seeks to create a bond between artist and audience that warrants an environment of creativity and community. With a hunger for innovation and desire to explore all the possibilities of steel pan music, NYU Steel has created the most unique ensemble of its kind, drawing from the rich cultural sounds of the Caribbean while incorporating the works of prominent composers such as Philip Glass in order to gain the instrument prominence on the world stage. As part of a global initiative instituted in collaboration with New York University, NYU Steel is constantly pursuing ways to reach audiences in an international scope, driving to cultivate a niche in the world stage. At the same time, NYU Steel continues to nurture relationships with the local community, intent on becoming leaders in education, performance, and creativity.
Born and raised in Brooklyn, Minerva Johnson (Trumpet) was shaped by the blend of musical styles that brings NYC to life. From Classical to jazz, Latin to funk, and marching band to pit orchestra, this small trumpet player has explored almost everything. At NYU Steinhardt, she studied both Classical and jazz techniques with Michael Breaux, Jason Prover, Bill Rayner, and the late Artist Faculty member Laurie Frink. She is currently participating in the New York Symphonic Arts Ensemble, Grand Street Band, and Trumpet City. Minerva encourages others to venture outside of their musical comfort zone and is thrilled to help Mr. Williams bring steel pan into focus as she crosses into yet another new genre.
Steel Orchestra:
-----------------
Fayola Bartlett
Matthew Best
Arielle Chase
Giselle Desir
Martin Douglas
Zeandre Douglas
Keifer Dover
Jerry Guy
Damany James
Nadia Joseph
Khyah Judah
Alexis Schloss
Jhacquel Sutton
Warren Webster
Kendall Williams
Located in the heart of East Flatbush, Brooklyn, Crossfire Steel Orchestra aims to create a multi-cultural, multi-ethnic program to educate young people of Caribbean and Non-Caribbean backgrounds about the steel pan art form. Founded by Martin Douglas in the fall of 1999, Crossfire Steel Orchestra is committed to positively impacting the character of our community’s youth, develop their self-esteem, and pass on the tradition of achievement and success. The ultimate goal of this organization is to create an environment that fosters outstanding citizenship within our community and in turn, the nation.
The Orchestra has performed throughout the Tri-State Area and various parts of the United States, including a standout performance at “The Inauguration of New Bishops” at St. John the Devine Cathedral in Manhattan. They are also consistent participants in New York’s annual West Indian-American Day Carnival, placing 1st in the 2001 carnival’s “Best Playing Band” competition with a winning piece arranged by one of Crossfire’s young members, Sundiata King.
Steel Orchestra:
-----------------
Wayne Bernard
Matthew Best
Marc Brooks
Eddie Clarke
Keifer Dover
Ryan Joseph
Khyah Judah
Wilfred Kieal, Jr.
Jalissa Lynch
Jahlani Roberts
Travis Roberts
Kernel Simon
Brandon Waldrop
Kendall Williams
Brooklyn Steel Orchestra was formed in October 2013 by a group of friends and family from different steel bands spread out across Brooklyn. The initial intent was to prepare for a spot on America’s Got Talent. However, through the process of preparation, they all decided they should come together for a more special cause: Pan! This ensemble uses the steel pan to bring awareness to the versatility of the instrument, allowing the world to see that it is not only indigenous to Caribbean culture, but that it can be utilized effectively in other music practices as well. There is much history, love, passion, high performance, excellence, and etiquette involved with the steel pan, and this group strives to promote and educate with all of those things and more in mind. This instrument is the future catalyst for education amongst youths all over the world and the fuel for BSO to continue to raise the standard and credibility of the instrument.
Now in its 38th year, American Composers Orchestra is the only orchestra in the world dedicated to the creation, performance, preservation, and promulgation of music by American composers. ACO makes the creation of new opportunities for American composers and new American orchestral music its central purpose. Through concerts at Carnegie Hall and other venues, recordings, Internet and radio broadcasts, educational programs, “New Music Readings,” and commissions, ACO identifies today’s brightest emerging composers, champions prominent established composers as well as those lesser-known, and increases regional, national, and international awareness of the infinite variety of American orchestral music, reflecting geographic, stylistic, and temporal diversity. ACO also serves as an incubator of ideas, research, and talent, as a catalyst for growth and change among orchestras, and as an advocate for American composers and their music.
To date, ACO has performed music by more than 600 American composers, including 200 world premieres and newly-commissioned works. Among the orchestra’s innovative programs have been SONiC: Sounds of a New Century, Sonidos de las Américas, Coming to America, Orchestra Tech, Improvise!, Playing it Unsafe, and Orchestra Underground. Composer development has been at the core of ACO’s mission since its founding. In addition to its annual Underwood New Music Readings and Commission, ACO also provides a range of additional educational and professional development activities, including composer residencies, and the Van Lier Emerging Composer Fellowship. In 2008, ACO launched EarShot, a multi-institutional network that assists orchestras around the country in mounting new music readings. Recent EarShot programs have included the New York Philharmonic, Detroit Symphony Orchestra, Berkeley Symphony, La Jolla Symphony, and Buffalo Philharmonic.
Among the honors ACO has received are special awards from the American Academy of Arts and Letters and from BMI, recognizing the orchestra’s outstanding contribution to American music. ASCAP has awarded its annual prize for adventurous programming to ACO 34 times, singling out ACO as “the orchestra that has done the most for American music in the United States.” ACO received the inaugural METLife Award for Excellence in Audience Engagement, and a proclamation from the New York City Council. ACO recordings are available on ARGO, CRI, ECM, Point, Phoenix USA, MusicMasters, Nonesuch, Tzadik, New World Records, and InstantEncore.com, Amazon.com and iTunes.
Members of NYU Steel, CrossFire & BSO Steel Orchestras after the Composers OutFront! concert at NYU’s Frederick Loewe Theatre
Special thanks from Kendall
Williams:
I would like to acknowledge the entire ACO staff, NYU Steel, Brooklyn
Steel Orchestra, Crossfire Steel Orchestra, Minerva Johnson, Jonathan Haas,
Sean Statser, Josh Quillen, NYU Steinhardt, Michael Gordon, and Julia Wolfe
for their hard work and support.
This performance is dedicated to my
family and friends who have given me continuous support as I make my
journey through life and music.
Kendall Williams’
ACO fellowship was made possible by the Edward and Sally Van Lier Fund and
Musical Arts Fund of the New York Community Trust
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