Pan Genealogy Foundation: 2012

Saturday, October 27, 2012

MEADOW WILLIAMS – THE EVOLUTION OF PAN (Down South)

Hollis J. Clifton, Pan Diaspora Visionary, chats with 86 year old Pan Pioneer, Meadow at his home on St. Joseph Street, San Fernando, on his involvement with the national instrument of his native Trinidad & Tobago.

THE BAMBOO TAMBOO ERA - 1935

Meadow recalled growing up with his grandmother, Albertha Watson on Drayton Street, in Trinidad & Tobago’s Industrial Capital, San Fernando in the 1930s. In 1935 Meadow was 8 years old. He recalled that apart from the Coffee Bamboo Band there were two (2) other such bands in Sando … the Toll Gate Band, on Cipero Street and the Wharf Band. They functioned primarily at carnival time. His grandmother and great uncle were both members of the Coffee Street band which was then situated at the corner of Drayton and Coffee Streets. The women would dress like the Martiniquais with the stick fighters in front wearing black trousers, yellow satin puff sleeve shirts, broad contrasting sash around the waist and head ties. Whenever the two bands met it was ‘open war’ (with stick fighting).

Like most other children in those days Meadow pitched marbles – single or three holes and button win; he also indulged in three line (spin top). During the carnival season the yard would normally be a beehive of activity attracting lots of his cohorts who will be doing their own thing including beating discarded bamboo and some would even play stick. Meadow was no exception and was having a go much to the displeasure of his uncle who promptly chased him home. The timely intervention of the band’s captain saved the day having recognized the talent displayed by Meadow, a self taught percussionist. His grandmother was informed of the episode. At night Meadow with his friends would gather discarded bamboo and imitate the band. The uncle again chased him home but again the captain intervened this time he took him into the bowels of the band and had him play. His uncle again reported what had played out to the grandmother who eventually had a talk with Tarzan, the then captain. She eventually gave in acknowledging that he was in good hands. There after he became a full fledge member of the Coffee Bamboo Band. At eight (8) years of age he got to wear long pants for the first time - in the bands costume in which he played mas (masquerade) for the first time. A couple of years later the family moved down to Johnstone Street. He may have been around 10 years or so by then.

MEADOW’S FIRST ENCOUNTER WITH PAN

Pan is said to “appeal to the heard instincts of man” Meadow was not singular in that respect as he found himself wandering into the nearby “German Camp Yard” to ‘take in’ some pan. Eventually Julian “Tall Boy” Benjamin asked him his name and address and of his interest in the steelpan. An elated Meadow answered in the affirmative which resulted in his being “given a beat.” (allowed to play the pan)

That first encounter went down well as it resulted in “Tall Boy” telling Meadow feel free to come to the yard … “that pan is yours”. That gesture saw the youngster clandestinely frequenting the pan yard until his grandmother got wind of it… surely, he was grounded since in those days Mucurapo Street had a reputation of which no well meaning guardian/parent/care giver would be proud of.

While panmen worked tirelessly at developing the only melodic, steel percussion instrument invented in the 20^th century, the steelband was not openly embraced by the citizenry. Panmen generally came from the poorer, lesser-educated, Black segments of the population and their music became synonymous with their plight; steelband music was the poor Black man's music. In reality, steelbands attracted many lawbreakers and associating with a band was not considered socially acceptable. Many panmen belonged to gangs and, as a result, steelbands were perceived by most people as extensions of these gangs. There were numerous fights among steelbands that, in many instances, led to bloodshed with the use of weapons (such as knives, razors, and cutlasses) and missiles (such as bottles and stones). These violent clashes were reflected in the calypsos of the time

The prohibition failed to stop the pan aspirant and so he duped granny making her feel he was going to the cinema. (or so he thought to himself) The “Coffee Boy” was also a Trainee Blacksmith. One day a neighbor visited his grand mom who boasted of the boy’s talent, in agreeing the neighbor quickly interjected … “he’s the best pan beater in the yard too”. On hearing that granny just smiled. Meadow felt a sense of comfort … oblivious to what she had in store.

Later that evening after work Meadow told his grandma he was going to martinee, (cinema) as was the norm. He was surprised, however, when she said she wanted to talk to him and pulled him inside. The fourteen (14) year old was the recipient of a ‘sweet cut tail’ {blows} from granny … with the accompanying words “I’ll show you how to beat pan.” On hindsight he refers to it as the last licking he received as it had him musing at something she said which turned out to be a big joke afterwards.

MEADOW VISITS PORT OF SPAIN

The event failed to encumber Meadow from going into the pan yard. “Tallboy” ( who was originally from Port of Spain) eventually asked him to accompany him to Town (Port of Spain) as he was going to visit family in Belmont… an enthusiastic Meadow obliged. Meadow was fascinated by the Trolley Buses and the Tram Cars on rail in Town. After visiting his family Tallboy took him into a yard next to the Salvation Army Church called “Hell Yard” where they met Fish Eye and his family. From the time the gate opened “I was hearing pan knocking and when I went towards the river I saw the fellas beating. I saw Neville Jules tuning a pan …I didn’t know who he was then but, it was like magic… well! Don’t talk about the gambling. I watched and listened; they had some Trinidad Government Railway pans, grease pans with four (4) notes which were the ping pongs and four (4) notes kittles pans and a larger one. To me it looked like it was not tuned but it was a kittle. Well, we stayed for three (3) days in Town during which I was learning to play the ping pong and a bit of tuning … all by watching. We went in “Bar 20” yard. On our way we met Dudley Smith, Oscar Pyle and later on I met Mc Kingsale and others I can’t remember.”

Pearl Harbour with Meadow stooping at right

THE BIRTH OF PEARL HARBOUR – Trials and Tribulations (1940 – 1947)

When we were leaving Town Fish Eye gave me a four (4) note ping pong … so that was the only tuned pan in San Fernando in the year 1940; but shortly after “Tallboy” and myself would go on a Pan Search until we got the amount of pans we needed to start with and by the end of the year we had formed the band “Pearl Harbor” and for the Christmas from the yard we went by Miss Tackoo’s Restaurant to perform. That was the only time we hit the road during the war and it was a short distance on the same road with two (2) names, Mucurapo Street and Prince Alfred Street. We started to practice regular on evenings until we got it clean.

During the war pan was not allowed to play as it was considered an unholy din. Mind you other musical genres did not endure such prohibitions, these included bottle & spoon, violins, chac chac, maracas, cuatros.

All that time we were practicing without a “boom” i.e. until Big David walk into the yard beating one a day while practicing. Now we wanted a bugle … but we had the most important instrument – the pans.

Meadow displays the bugle which was part and parcel of the rhythm section in the formative years of pan

People would come in to see and hear because it’s something strange so one evening it had a crowd so Tallboy pass a hat and collected some money; then the next day he built a tent and charge six (6) cents to enter with children one penny (2 cents). That was in the year 1940. Later on, Tallboy called a meeting to give the band a name and a captain. The name of the yard was German Camp i.e. before World War II – reminiscent of the effect of Germany on that travesty. A name review was on the horizon. The band was formed in 1941.

As time passed one day while practicing police made a raid … some of the men run but who stayed they took our names and summon us to go to court but, no one went to court. On that day of the case deceased Magistrate Cazabon tried the case exparty and charged the players ninety six dollars ($96.00-) or six (6) months in jail. Some men gave bogus names, so warrants were out for them. They picked up with one man, Kelvin Williams, and he had to do his time.(in the penitentiary)

The pint size pannist reminisce that all that time his grandmother did not know what was going on until the warrant officer approached her one day with the news. She paid the fine of $96.00 which in those days was a whole lot of money.

Following that episode everything went dormant until the end of the war in 1945. Then the guys had to start all over once more. They had the ping pong … the one Meadow always kept at home and the other one in George Presell’s shoemaker shop.

A bemused Meadow iterated to Clifton the 9:00 AM to 12 midnight Celebration they had which saw Tallboy and himself embark on a “pan search”. It took them all night … they had to cut and burn before tuning. They expended a whole lot till about 6 o’clock in the morning, then as Meadow was about to take a nap a cab owner solicited his services to repair a busted wheel band. Even though the artisan pleaded he was inexperienced on such a job the cab driver insisted in engaging his services.

For a while Meadow pondered … the $96.00 his grandma had paid wavered in his mind ‘… nothing ventured, nothing gained’. He suddenly had the motivation… Hell yes! He confidently gave it a shot. Tallboy passed to see how he was going so:-

I told him to go ahead and I will meet the band

In response Tall boy retorted: “without the ping pong?”

“I told him I will meet them by the Library so when I was finished and went for my pan it was not there.”

“My grandmother informed me that `Veda gone with it’ so I thought she had carried it for me but when I got to the Promenade I was hearing the sound of a ping pong so I thought it was Billy but I was also hearing the bugle and Billy was the Bugler but when I reached in the band I saw it was Veda … I felt good so I let her carry on. She learnt on her own when I was not at home.

I took a few men with me to the Police Station for the pans that were confiscated … they had to be tuned over.”

That in a nutshell was the birth of the steelband or pan in San Fernando, Trinidad

“Julian `Tallboy’ Benjamin was the man behind it all. I would have liked him to be around today.” Bless his soul - He was employed with S.M. Jaleel Sweet drink Factory as a salesman in the Fyzabad and Siparia area.”

Another member was Aubrey “Dollar” Jeffers who was employed with ‘Dipraj Samaroo Soft Drink Factory’, as a salesman for Point Fortin and Cedros area.

Pearl Harbour steelband was situated on Mucurapo Street, obliquely opposite Johnstone Street. It lasted up to the year 1948. There after some of the members went over to the Cross of Lorraine Steelband led by Emile “Zola” Williams.

Veda Samuel was the first female to beat a steelpan in San Fernando. She was also the first person to beat a ping pong on the streets of San Fernando. That was in 1945 in the post war period.

Other members of Pearl Harbour included John Patterson, Lincoln Pascal and Kelvin Williams.

THE BIRTH OF THE CROSS OF LORAINE STEELBAND

Following the demise of Pearl Harbour, Meadow became a member of the Cross of Loraine steelband in 1948 {The Cross of Lorraine was a 1943 Metro-Goldwyn-Mayer war film about French prisoners of war escaping a German prison camp and joining the French}. It is interesting to note that Pearl Harbor, like most bands of that era, chose names in relation to popular movies or international events of the period. [PS – Casablanca, Tokyo, Red Army, Invaders etc.]

By this time Meadow was building quite a name for himself as a tuner cum arranger. At a fete in Couva he was approached by one Victor from that area who requested his assistance in the formation of a band. He could not resist so that within a few weeks he was on the ball. Because the band was in a back street it was called BACK STREET BOYS. Later they moved on to the main road where Victor resided. They then took on the name EAGLE SQUADRON. The outfit included the Pascal brothers, Ray, Boysie, Moy (a female) among others. That was around 1949-1950.

CROSS OF LORAINE GIVES WAY TO FREE FRENCH

By 1951 the band undertook yet another name change in FREE FRENCH and soon after went on a tour to Martinique and Guadeloupe. On his return Meadow was again approached on the formation of another band in California by Lenny Lamont. He again obliged especially since he had some pals in Central – Carl Shipley, Errol Maynard, Selwyn John, Fabien among others.

Free French, meanwhile, was preparing for the inaugural biannual Steelband Music Festival in 1952. The test piece was “Under Marabella Bridge” plus a tune of choice. The band was led by its founder, Emile “Zola” Williams with Theo Stephens as arranger. {Theo had just returned from the U.K after performing at the Music Festival of Britain in London with TASPO – Trinidad All Percussion Steel Pan Orchestra - from July 06, to December 12, 1951.}

Meadow tuning pans at home – St Joseph Street, San Fernando

An amused Meadow related to Clifton an incident which occurred some sixty (60) years ago, on the day of the Festival ... Meadow was accosted by Theo about an arrangement change in the “tune of choice” … the pans had already gone to the venue … the other players were not cognizant of the change. He was not happy with it as it was merely a few hours before the competition but was assured by the arranger that it would be easy for the players to catch.

Following the performance Meadow thought he had made a mistake with his solo run … but according to Adjudicator Dr Sydney Nortcote the pans were well tuned the error was in the tune of choice; “the composer did the piece for strings and strings only” it took several years to put the piece together and it remained incomplete to date… and we got there and pound it out on oil drums … “what an insult it was!” affirmed the learned Doctor of Music

THE CHIMES OF METRONOMES (1952 - 1956)

By year’s end Theo took over the band from Zola … all the members followed … the new name was now METRONOMES. It was now situated on Rushworth Street where Theo’s family resided. Some of the instruments were had from Zola whereas Meadow got some from the bands he tuned for – Couva, California and Oropouche. Metro was ready for the Queen’s Coronation Celebration.

Come 1953 Metronomes got engagements playing for dances and during the Lenten season they played at the residence of the Montanoes in Vistabella. The following morning, however, the instruments were transported to Cunupia as Theo had unilaterally organized a sale for them. This almost caused a fracas in the camp save for the timely intervention of Meadow who got some of the boys to remove the remaining pans from Free French pan yard to his home on Johnson street where they attempted to reform the band … until low and behold Theo struck for a second time; this time he took pannists with him, including Alan Bishop, Neville Alibocas, H. Boodoo, Kenneth “Heads” Baptiste among others, leaving three (3) of the guys ………….. Webb, Eric Tony & Meadow. This resulted in his formation of All Stars in 1953.

Meadow made a valiant attempt to keep the band going … including asking the neighbor to allow her children to play. This is how the Lackatoo brothers came into the picture… so too did Roy Ackee, Moses, Steve Drayton and others. Webb emerged as the tuner cum captain. Meadow was the arranger. The struggles continued past 1954 when a sailor band was added to the carnival presentation. In 1954 playing in dances with brass bands became part of our feat. All credit to the Lackatoo boys who were taking dance classes at the YWCA on the Promenade. That was for gratis but it appeared to have opened the doors to lucrative gigs and more important … recognition.

Metronome’s carnival presentation for 1955 was entitled “The Bronze Warrior”. It saw the band receiving the two major awards at Skinner Park and at Rushworth Street but it was, indeed, a rainy day. It was a tough time for Meadow as he had precious little help.

The following year, 1956, the band played “Red Nose Sailor”. Even though Meadow portrayed a “Prince’ his thoughts were “outside the box” … the Music Festival.

FESTIVAL TIME AGAIN

On the heels of a successful carnival the members appeared to be getting conceited, as the talk about the town was about “Metro, Metro and Metro”. Meadow was in a quandary in the selection of a tune for the Festival – “Gold & Silver Waltz or Granada Mambo” … but the band members would not attend practice. .. this caused Meadow to throw in the towel.

When Zola got wind of Metronome’s non participation in the Festival he asked for some pans and some of the senior players inclusive of Webb, Tony and Meadow himself. Following discussion with the other players, who were not selected, it was agreed that the both bands would merge and participate under the banner of FRENCH-METRONOME.

At the first rehearsal Meadow was selected as the arranger; “Indian Love Call” was the tune of choice for Free French and after a tossup “Gold and Silver Waltz” received the nod viz a viz” “Indian Love Call”. Eventually they qualified for the semi-finals together with Southern Symphony which was led by Belgrave Bonaparte. They, however, did not go beyond the semi-finals in Port of Spain in what was considered controversial as the announcer had to run for cover following his pronouncement.

Following the Festival it was agreed to continue performing as an alliance. That too proved futile causing Meadow to walk. (abandon the steelpan movement)

MEADOW’S FINAL CURTAIN IN PAN

Meadow became disillusioned with the pan fraternity from 1956. Then after some sixteen (16) years of watching history created, from the sidelines, he jumped back into the fray in 1972. He was then 42 years young and chose to play the six (6) bass with Sando Organettes where he remained for another seven (7) years.

In 1980 Meadow again switched bands, this time he chose Olympians playing with them for panorama. As if that was not enough the next year he jumped ship and played with Southern All Stars for panorama 1981. He never turned back and delved deeper into a totally different genre - sports -----.

In 2000 Meadow was recognized as a Pan Warrior by the Southern Pan Warriors Research Foundation

Meadow with other honorees of the Southern Pan Pioneers

at the turn of the turn of the century at Skiffle Bunch Pan Theatre

Wednesday, August 8, 2012

One one One with Hollis J. Clifton - Steelpan Vibes

Pan Visionary Hollis John Clifton in the Spotlight

A Steelpan Vibes interview by Barbara Sealy Rhoden

Hollis J. Clifton

Pan Diaspora Visionary

Florida, USA

Spotlight Guest: Hollis John Clifton, Teacher/Guidance Counselor/ Motivational Speaker/Videographer

Spotlight Theme: “Growing appreciation for the steelpan internationally”

Barbara - Greetings and welcome to the SteelpanVibes Spotlight, Mr. Clifton. I’ve been giving our listeners some highlights of your career and the many hats you’ve worn over the years, especially your involvement in the steelpan art form. During this interview I’d like you to talk about how you see Pan growing internationally.

Tell us briefly how you first became involved in the steelpan art form? What motivated you and what was the social environment like then?

Clifton - Thank you Barbara, for the invitation to share my experience with you and your listeners.

It was during my student tenure in England in the early 1970s, as fate would have it I became a member of the Ebony Steelband. But, with the social stigma attached to the steelband that feat could not have occurred with the type of parents I had in Trinidad. I eventually became Ebony’s PRO where I was responsible for introducing “pan on wheels” with canopy … the first of its kind in the UK and by extension Europe. I also instigated the concept of (so called) steelband sponsorship. (St Clair’s Hair Stylists, Marble Arch, London).

Barbara - You spent 18 years teaching Social Studies at Pleasantville Senior Comprehensive School in Trinidad (equivalent to high school for 12 to 17 year olds) and you managed the school’s steel orchestra. What were some of the highlights of that experience?

Clifton - This was an historic period for me and for the Pleasantville Pan fraternity as we had the privilege of working with the likes of Ken “Professor” Philmore. “Pro” inspired a whole lot of panists some of whom have become top players and/or arrangers on either side of the Atlantic Ocean. These include Liam Teague, Darren Sheppard, Leon “Foster” Thomas, Dwight & Darryl Belgrove, Curtis “Sleepy” Marcelle, Roger Charles, Sean Ramsey, Wentworth & Brent Richardson, Ancel Webb, Darrel Edwards, Aldon Moore, Richard Ian Gittens, Ian “Cokie” Beckles, Wade “Blobber” Austin, Sherwin Cooper and Rawle Mootilal among others.

Pleasantville was the feeder school for most of the community Pan sides in and around San Fernando, especially around Panorama time. The group was the backbone of the school’s then-roving “Performing Arts Society (PAS).” In that respect Pleasantville was the envy of most schools in T&T (Trinidad & Tobago)… and by extension the Caribbean. We were the first school steelband to acquire our own set of instruments - and thus never had to go to any outside Pan theatre to practice. For a while we were the only steelband representing South Trinidad for schools Panorama and Music Festival…

PS: we almost got into trouble with the law for playing Pan on the road without a police permit for San Fernando Kiddies Carnival Street Parade.

Barbara - From 1999 to 2007 you taught in schools in Africa. How did that come about and what role did the steelpan play there? Did your students see a connection between the African drum and the steelpan?

Clifton - I taught, firstly, in Nigeria (1978-79) and more recently in Botswana. I left a teaching career in the UK in favour of another in Nigeria. There I acquired a tenor pan from the Trinidad and Tobago High Commission in Lagos. This I used to accompany sing-a-longs at the weekend retreats at the Children’s House School, Abeokuta, Ogun State - the boarding school to which I was the House Master. However, a few months prior to my arrival on that continent’s most populous state, the steelpan had already made its mark when Starlift Steel Orchestra represented Trinidad & Tobago at Nigeria’s FESTAC (Festival of Arts and Culture, 1977).

Many years later, in 1999, in response to an invitation by the Government of Botswana to assist in the development of the country’s human potential, I picked up a teaching assignment for Moral Education in the “landlocked diamond rich” State. I was the first to introduce the steelpan to a number of state schools – Lobsec, Marang CJSS, Tloga Tloga CJSS, and Rainbow High School.

My students readily saw the link between the steel drums (Pan) and the African drums as they were both percussive/acoustic instruments. The marimbas, however, were more significant as a “twinning factor” as they both required a pair of sticks (mallets) to play and were national instruments of their respective states with the Pan emerging from the African Diaspora – Trinidad & Tobago.

Barbara - Why did you introduce the instrument and how did the students respond?

Clifton - It was by pure accident that in 1999 I was “knocking pan” in the Grand Palm Hotel in Gaborone, Botswana awaiting my posting to Lobsec (Lobatse Secondary School) in Southern Botswana when my services were solicited to assist the organisers of Miss Botswana Universe competition. I obliged … emerging as the dance choreographer cum pannist for the pageant. I evidently ended up teaching the winner, Ms. Mpule Kwalagobe, to play the steelpan and generally preparing her for the Miss Universe finals, which coincidentally, was hosted by Trinidad & Tobago. She eventually emerged the winner following on the heels of Wendy Fitzwilliam of Trinidad & Tobago who won the title in 1998.

Barbara - Tell us about the steelpan ensemble you led in Botswana?

Clifton - Being in Botswana was either make or break and I surely didn’t break. The opportunity saw me founding my own family steelband – Kaisoka (with Mokojumbies). We traversed most of the countries in Southern Africa. (Unlike my sojourn in West Africa where I was a one-man band).

We received special invitations to provide the rhythm section in support of the touring West Indies Cricket Team at various stadia throughout Zimbabwe and South Africa. The steelpan was the drawing card for people of Caribbean origin who were sojourned in various states in Africa as well as Europe. Some supporters even came all the way from the West Indies I seized the opportunity to merge the traditional marimbas with the steelpans for “World Teachers Day”with fellow teachers from Marang Community Junior Secondary School. This was a special feature at the Botswana National Stadium.

Barbara - Part of your international Pan experience took place in London where you performed and worked with Ebony Steelband. When did this take place and what did you learn from that experience?

Clifton - “Nuff Respect” to the Ebony experience as, believe it or not, that encounter together with my Caribbean background landed me my first job as a teacher, without me having to apply for same.

I had not even completed my final exams in college (Digby Stewart) when I was made the offer. Normally foreign students were expected to return home at the expiration of the visa. But, one needs to appreciate that in the 1970s London was experiencing the development of the second generation Caribbean youth who found it difficult to identify with the schools’ ethos. (Mind you … there were little or no professionals that looked like them) Ipso facto, the ILEA (Inner London Education Authority) must have been taking affirmative action to address a situation in which children of colour in the school system were simply being referred to as ESN (Educationally Subnormal). That had a lot to do with cultural differences. That was a massive learning curve for me.

Again, with annual trips to Huddersfield, Ebony helped to establish that carnival which for a while was second to Notting Hill’s. We were also doing the club circuits – upstairs Ronnie Scotts (Jazz) to concert halls – Royal Albert Hall to Wembley Stadium to open for Mick Jagger and the Rolling Stones Concert Tour. That was an exceptional learning curve.

Barbara - Over the years, you’ve played Pan on three continents. What is most outstanding about the growth of the steelpan art form in each continent?

Clifton - The UK almost certainly was the first PAN DIASPORA simply because of the arrival of TASPO (Trinidad All Steel Percussion Orchestra) to participate in the Festival of Britain in 1951. TASPO presented the newly-invented Steelpan to an international audience for the first time ever. Following the demise of TASPO, Nostalgia emerged as the first steelband outside the Caribbean.

The teaching of Pan in schools, however, began in 1969 in London under the tutelage of Gerald Forsyth at Islington Green School and before long a department for steelpan tuition was set up.

I recalled by sheer accident a school in Croydon (south of London) had sent a group of students outside as a form of punishment where they began a rhythmic clapping in the school yard. This immediately drew the attention of the rest of the school’s populace. That event served as a fillip for the introduction of the steelpan to that group who were largely of Caribbean extract. Back in the Caribbean in 1949 the Antigua Steelband Association was formed.

Meanwhile across the Atlantic it was as early as 1951 Winston Spree Simon got a contract to teach Pan music at University of Nigeria & Ghana. I am not sure how that panned out.

Barbara - What do you see as the value of the steelpan art form in the teaching of children?

Clifton - Pan, like other forms of music education, not only enhances a child’s academic performance in Math and Science, it also encourages teamwork, communication and other social skills that are critical to the success as an adult. Intercultural education also has a marked effect on the social and personal development of students.

Pluralism in practice means that different cultural and ethnic groups in the society do not merely exist side by side but understand sympathetically each other's folkways, lifestyles, customs, literature and aspirations. This is now a challenge in education, as the diversity of the school population has resulted in the need for an appropriate response. Hence schools have a crucial role to play in attaining the aims of multicultural society.

Barbara - As a performing artist and trainer, what were some of the challenges you overcame to reach your goals? Give us one or two examples.

Clifton - Well, well … At many a gig I often had to explain to people that Trinidad & Tobago is not a part of Jamaica, but an independent state, at a distance of some 1852 kilometers away from each other.

Another challenge was that of proving to beholders that there were no electronic gadgets attached to the underside of the instrument while playing.

A few years ago I was driving my car in Gaborone (the capital of Botswana) when a Motswana pulled alongside, looked at a dangling CD with Trinidad &Tobago - inclusive of T&T national colours. His statement was “Hey, brother; Trinidad & Tobago - what part of Jamaica is that?”

Barbara - You are now based in Trinidad & Tobago, the home of the Steelpan. What, in your view, needs to be done to promote Pan at home and internationally?

Clifton - In the first instance many people in T&T have not accepted the Steelpan as “our” national instrument. That in itself is, indeed, a challenge.

•Secondly, Pan tuning together with music literacy should be taught as a subject in school… so there won’t be a problem replacing the current aging tuners – Lloyd Gay, Bertram “Birch” Kelman, Zuzie, Bertie Marshall et al.

•Again - all instruments made in Trinidad & Tobago should include the stamp “Trinidad & Tobago the Home of the Steelpan” so that all Pans being exported will be able to market the country as “The Land of the Steelpan”

•More Pan music should be played more often on the Radio and on TV

•There needs to be training on an ongoing basis, say, like the OTJ (On the Job) program

•A lot of schools do not have instruments and some of those with instruments have no tutors.

•The tutors are employed on contract… suddenly as the contracts expire they are not being renewed

•Pan Trinbago needs to stake its claim as the World Governing Body for Steel Pan; ongoing contact needs to be made with the other steel pan organizations overseas e.g. New York, BAS (British Association for Steelbands), Holland, etc. Pan Trinbago should be like what FIFA (Fédération Internationale de Football Association) is to football. No organization should be having a festival/competition without the input of Pan Trinbago.

Barbara - Hollis, our studio engineer—Dennis King—would like to ask you a couple of questions.

Dennis - What part does your national government play in fostering the ongoing development of the instrument?

Clifton - The previous administration introduced the “Pan in School Project” which has been going well for a number of years. However, there is cause for concern now as some schools have been awaiting promised instruments for over a year now without explanation.

The Ministry of Science and Technology has a program at UTT (University of Trinidad & Tobago) where young Pan tuners are being trained and the older ones are being graded from, for example, Grade 1 to Master Tuners etc. That UTT program is headed by Bertie Marshall.

Dennis - What is the attitude of the government towards making it (Pan) more a national entity of Trinidad & Tobago?

Clifton - The answer here borders on “politicks” and if you don’t mind, I would rather stick to Culture. I just don’t want to open a can of worms.

In closing: condolences to a former colleague of mine Selwyn Baptiste who passed away January 5 in the UK… he was a former drummer/pannist who was at the forefront of the development of Caribbean Culture in the UK.

Thanks again, Barbara, for allowing me to make a contribution to your programme.

Barbara Sealy Rhoden

Producer & Host, SteelpanVibes

“Pan is our passport”

Listen to "SteelpanVibes.... It's More Than Music" Saturdays, 11am EST on WNRG 107.9FM, Palm Bay, Florida and streaming live at energydancemix.com

Thursday, February 9, 2012

Historical Notes from The Bishop - Panman & Historian Allan Leslie Bishop aka Laddie

Historical Notes from The Bishop - Panman & Historian Allan Leslie Bishop aka Laddie

The evolution of the steelpan - Down South

Hollis J. Clifton chats with Pan Pioneers Secretary - Allan Leslie “Laddie” Bishop

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An elated Allan Bishop celebrated his eightieth (80) birthday on November 14, 2011, having outlived most of his Pan pioneers. He was honoured by Pan Trinbago in 2010 for his contribution to the development of the steelpan. He credits his longevity to daily treks out the streets for his newspapers. If ever there was a true “ Coffee boy “ then it must be Bishop as he was born and bred at 101A Coffee Street in San Fernando, Trinidad, the industrial capital of the English-speaking Caribbean.

Bishop’s venture into the steelpan world began sometime around 1942 when Bataan steelband of Skinner Street took up residence at his mother’s residence on Coffee Street. During his association with Bataan he functioned as a ping pong player alongside Reynold “Little Brave” Gaskin. On hindsight he reiterates that his sojourn at Bataan was, indeed, gratifying since steelbands of that era laid the foundation for today’s perfection.

Bataan met its demise around 1946/47 when Emile “Zola” Williams asked Bishop’s mother for him to join “Cross of Loraine” Free French. At that time Bataan’s membership included the likes of Captain Herman “Teddy” Clarke, Norman “Youth” Curtis, Reynold Gaskin, Mickey Cardinal, Kenneth “Gulab” Belgrove, Mac Copeland, Radcliffe Copeland, Errol James, Errol White, Joseph, Babsy “Semitone” Lashley, Hugh Barr, Peter Forde, Joseph Barriteau, Alvin Cardinal, Edward Cardinal, Mickie Cardinal, Thomas Squire and Ralph “Chicken” Blackman among others too numerous to remember.

The experience with Bataan was etched in Bishop’s mind simply because he played alongside some of the great players of old times – Theodore Stephens who toured England with TASPO in 1951. He had the honour of competing with such bands as Casablanca, Invaders, Red Army, Hill Sixty, Southern Marines, and Southern Symphony among others of the mid century.

Playing against Casablanca in 1947 at Queen’s Park Savannah remains vividly in his mind to date … he hums the memorable “Bells of St Mary” the tune they played on that occasion. Again, Bishop aka “Laddie” recalls accompanying Governor Shaw from Palms Club, San Fernando to Skinner Park when the band played the French national anthem throughout … he once more interjected with the tune.

The year was 1950 when they played at Royal Cinema in Port-of-Spain coming up against All Stars, City Syncopators, and Casablanca among others. “City Syncopators did a wonderful rendition of “Come Back to Sorento” but “they could not undo us” as we got a standing ovation with “Stormy Weather,” remembers Laddie.

Steelbands in the 1940’s and 1950’s changed dramatically as the pans, particularly the ping pongs, were tuned from Coconut Growers Association (CGA) drums mainly with an approximate width of 14" or thereabouts in diameter. Pans were “pushed up” (convex) and could only play “Mary Had a Little Lamb” and “Alan Ladd This gun For Hire” among other songs of that era.

Recalling an Anglican Church Hall train excursion to Couva, Central Trinidad on Empire Day, May 24 - Bishop recalls seeing a sinkin’ small ping pong resembling a clock in a band called “Swanee River” from Port-of-Spain, and that the instrument was played by Mr. Kerkham Polo who subsequently became a resident of San Fernando.

OVERSEAS TRAVEL

The former Pan maestro made his first trip abroad in 1951 performing in Martinique, Guadeloupe, St. Lucia, Grenada and Barbados with Free French. To do that, however, it took the intervention of
George Goddard as President of the then-Steelband Association, to apply for no-pay leave for him [Bishop] to accompany the band as he had only just gotten employment with (TLL) Trinidad Leasehold Ltd. at Point- a-Pierre. Among the players who made the tour were Emile Williams (captain), Neville Ali Bocas, Lloyd “Inventor” Merchant – the calypsonian, Winston Chrichlow, Errol “Blocka” Phillips, Theophilos “Shamba” Jackson, Louis Stewart, Harry Boodoo, Meadow Williams, Spence and others beyond his recollection.

COMPETITIONS

During the period 1942–1950 there were quite a number of steelband competitions organised. People like Messrs Roy Joseph, Albert Gomes, Lennox Pierre and Cannon Max Farquhar all came to the protection and existence of the steelbands which were stigmatized by certain sections of the population and law enforcement, as most of those persons were totally against what Bishop would term the only creative invention of modern and ancient musical history getting all the praise today. Steelbands in the 1940s were called noisy instruments.

Going back to 1951 on the return of Theodore Stephens from England where he played with
TASPO,he remained with Free French until 1952 when the band performed at the music festival of that year at Roxy Cinema, gaining top points for the test piece. Racking his brain, Bishop speculates that the test piece could well have been “Taking the Long Road Home” but their tune of choice was “Handel’s Largo.” Mr. Hoyte was criticised by the adjudicators Mr. Wiseman and Sydney Northcote as an unfinished piece that, therefore, should not be played. There was an option or an alternate song - “Delilah” - which the band had learnt, and Bishop told Theo, (as the arranger) to play [it] instead, but the latter did not listen.

Eventually Boys Town of Carenage led by Clem Bellerand emerged champions of the festival. Bishop surmised that they may have played “Beautiful Dreamer’ or “You are my Heart’s Delight.” Subsequently, Theodore Stephens and a few members formed a band on Johnstone Street named Metronome. Bishop found himself in a quandary… still having great love for Free French but finding himself playing with Metronomes, particularly because it was the same fellas - with just a name change. What appeared to have worked in Bishop’s favour was that he had secured gainful employment with TLL at Pointe-a-Pierre in the ‘oil belt.’

With the passing of time Theo decided to form his own band. This resulted in the emergence of Southern All Stars. Again, a different name but a recycling of players – all from the mother band, Free French. Bishop again found himself in a dilemma but nonetheless, took the position “if you can’t beat them join them.” His similarly-aged cohorts were the likes of Theo and Selwyn Stephens, Kenneth “Heads” Baptiste, Harry Boodoo, Neville Alibocas, Rolly Wong, Lloyd “Inventor” Merchant, Hugh Barr, Kenneth “Rebels” Wyke, Young Melody, Owen “Tackie” Donovan, Louis Stewart, Barber Stewart, George Roberts among others.

Southern All Stars was a grand band and was able to win the Music Festival of 1954 with the unforgettable “Anna” beating Trinidad All Stars into second position with a piece entitled “La Mere.” One band, which he believes maybe Dixie Land, was debarred from participating as they had gone beyond the requisite number of players allowed for the competition.

THE EFFECT OF MIGRATION

The quest for a better life saw Theo and his brother Selwyn together with Rebels and Blocker migrating to the United Kingdom. The band was left to the mercy of ‘steelband plunderers.’ The outfit firstly went to Roy Joseph Scheme, then to Cipero Street, San Fernando; not long after they moved to Leotaud Street.

During this period the band developed a powerful ‘sailor band’ image. Bishop was not impressed so he took a leave of absence for a while as he felt that the band could not last. Not far from the truth … the band again moved… this time to Medine Street. Management woes saw the members beckoning Bishop to return to the fold. The love of Pan saw him adhering to the call. But, however, there was an opportunity cost. Next to 90% of the players were not gainfully employed. Thus he found himself deviating his time and limited resources to pander to the needs of the band which incidentally moved again, this time to Tanty Myra’s home on the corner of Coffee and Drayton Streets.

THE MULTIPLIER EFFECT
- Band, after band, after band

Notwithstanding those events All Stars remained rather popular in mas attracting a large cross-section of supporters. Turbulence, nevertheless, remained the order of the movement. It was in 1964 when a few players pulled away resulting in the founding of Silvertones – they quickly found sponsorship in WASA (the Water and Sewerage Authority). The members of that new outfit included Randolph, Boy Grant, Felix, Cocona and David Balbosa to name a few.

All Stars were left with the Cooper brothers –Ashley and Ali, Charles Des Vignes, Francis Le Carde and Owen Donovan. That split without doubt resulted in the merger of All Stars and Antilleans following a meeting on Carib Street at the home of Jamil Whiby at which Ashley Cooper suggested the term Antillean All Stars.

Without a sponsor the mantle of Antillean All Stars rested heavily on the shoulders of Bishop. What was thought to be insurmountable for the band was more than ably dealt with by Bishop. Maybe only David Balbosa could attest to this. The task was just humongous.

It was through the generosity of Donovan and Bishop that Kenneth “Gulab” Belgrove (deceased) and Mr. Weeks, Foreman at Terco Rethread, that Pans were given towards the formation of Fonclaire.

TRIALS AND TRIBULATIONS with ANTILLEAN ALL STARS

Without the assistance of a sponsor Bishop acquired drums, pipe among other things and solicited the assistance of his wife’s brother-in-law to construct the stands for the band until the $3.00 band fee per player would have been collected from the masqueraders. That, however, was another story since people were not willing to pay, so it was a straight case of hide and seek.

Despite Bishop’s administrative responsibilities he still made time to play his favorite ping pong. At one stage he found himself borrowing money from the Credit Union, Point-a-Pierre from whence he went straight to Hunt Road, Bagatelle, San Juan [in North Trinidad] and purchased five tenor pans. After taking three taxis to reach the pan yard everyone started scrambling for the new pans. He gave way for the sake of the band and continued playing the old “boxy” tenor as before.

Reminiscing the good old days Bishop alluded to an occasion when they did a gig at Naparima Club with Bert Bailey and the Jets, Johnny Lee and the Hurricanes, Kabuki Strings and Antillean All Stars. At the end of the dance all the players were nowhere to be found. It was then up to Bishop to ensure that all the instruments got back to the pan yard. To date, he affirms, he has not yet received any compensation … all in the love of the art form … no stress.

All Stars were never the recipient of any form of financial sponsorship until 1968 when they became victorious in the Southern Panorama with “Miss Tourist.” He laments, however, not being privy to arrangements regarding same. However, he persisted with the band seeking for solutions by and by.

In reference to a case in 1969 Bishop reiterated when one supported got some pipe to make stands. Whenever he collected band fees he would give the cash to the arranger. He was home Carnival Tuesday when his wife told him that he should rest as he looked rather tired. He defied her and was glad he did for as he got to the yard one supporter emphatically informed him that the band could not leave unless he got his money - one hundred and twenty dollars ($120.00). He was also told to keep out of it. Bishop then told him that he wanted the band to play.

Subsequently he went to his Aunt’s house on Drayton Street and coolly borrowed the money and gave it to the supporter. In return he asked him to assist him in collecting band fee from masqueraders. On reaching Skinner Park Bishop retrieved the $120.00 - which he borrowed from his Aunt and took out $100.00 - to compensate the two individuals who assisted in collecting band fee. In full view of the captain, who was playing congas on the float he gave the arranger three Addidas bags of money and departed to get some rest as he was tired and famished.

After carnival when he inquired about the amount of money collected he was told [it was] three hundred and something dollars ($300.00 plus). Unfortunately the members of the band accepted that and felt he cheated them. Some even went to the extent of abusing him. The supporter almost damaged the captain because he was well aware that the allegations against Bishop were false.

Bishop made reference to some drums which he had taken to the pan builder for tuning. The arranger was privy to the arrangement. The band, nonetheless, refused to release the money to pay the tuner to this day. A remorseful Bishop thinks that maybe today Kelman [the pan builder/tuner] still has him in his mind but God knows he is still innocent. In his own words “I am innocent; I have dealt with heartless persons all my life but my association with Antillean All Stars is unforgettable. I continue. With the band now being sponsored no longer a factor - I took the opportunity to look after my neglected wife and children but I still have a deep love for the band.”

The fall and RISE of ORGANETTES

Nevertheless, time heals and a new band was about to be formed in 1975 with David Balbosa, Leary Newallo, Libert Newallo, Norman Curtis, John Sheppard, Marshal, Ray Davis, Neville Moe, Charles Des Vignes, Emery and others, particularly all Silvertones members. They named the band “Organettes” which was subsequently sponsored and called “Damus Organettes.” “I was elected secretary of the band and remained in that position until the band dissolved a couple of years after.”

Ms. Marjorie Wooding was the band’s arranger. Differences between Captain Norman Curtis and David Balbosa saw the latter taking his marbles and joining the fold of Hatters. It took the intervention of Bishop, who crusaded for the return of Balbosa because he was a founding member. Captain Curtis eventually relented which saw the return of Balbosa to the fold of Organettes.

Sometime later it was revealed that Balbosa was mistreated by someone in authority at Hatters. Later on Balbosa, as a member of Organettes, was elected to office in Pan Trinbago. Three decades later Balbosa has returned to office as a member of Hatters.

THE FATE OF ALL STARS

Bishop laments the demise of his old band All Stars all because of greed “what they did ... all those opportunists they kill the goose hoping to get all the golden eggs … I knew for a fact that that couldn’t happen because steelbands are beyond ridicule and abuse, you need to be professional and I did not see those traits in anyone after I left the band. They were bent on plundering the band and when the band started to decline one captain went with Phase II, another went with Invaders others became Despers supporters …you name it.”

Bishop continues “The existing Southern All Stars is now owned by a family in Claxton Bay. What a shame. Antillean All Stars, once a great band is hardly with supporters. I have no regrets I’ve had my happy years around Pan and enjoying myself, although not actually playing the instrument.”

“It would be remiss of me if I did not mention my mother’s and family interest in the steelband. I remember on one occasion a resident of Coffee Street in my presence, told her nephew who was attending a prestigious college in Port-of-Spain and who, ironically, became a comedian and steelband man afterwards - that he should not associate with Miss Daisy children because they have some hooligans in her yard only making noise whole day.

“I immediately went home and told my mother what was said by the individual. She promptly replied “don’t take her on, this same noisy thing would become famous and everyone who disliked it now, would get all the fame.” She urged me to continue playing, but just keep away from lawlessness. Those words were said to me around 1945/46.

“The union between Free French, Metronomes and Southern All Stars was evident as Free French and Metronome joined forces in 1959 and played in the music Festival at Empire Cinema in San Fernando. We were victorious playing “Mambo Granada and Gold and Silver Waltz” Southern Symphony emerged second playing “Alma Llanera.” Cross Winds and other bands participated in that Festival.”

He recalled that in 1948-49 Ossie George and he participated in the “Local Talent on Parade” at Globe Cinema in San Fernando. The programme’s host was impresario Sam Ghany of Radio Trinidad. The duo emerged second in the competition with a piece entitled “Old Ansine.”

Note: Bishop will like to mention some of the women who vastly assisted in the development of Pan in the early years:-

Daisy Hunt, Myra Le Carde, Amanda Sandy, Mrs. Lalsingh.

In an expression of gratitude Bishop stated “I am the Secretary of the Southern Pan Pioneers. An organization of retired pan players; almost everyone is in his seventies. We are being housed at the Skiffle Bunch Pan Theatre and may I say that we are very well respected and treated by all concerned. Our prayers go out to Skiffle Bunch, its leader Mr. Regrello and all others, particularly Southern bands, and the executives in all the regions of Pan Trinbago.”

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“Laddie” is appears to be somewhat of a perfectionist hence, this story took almost two years to complete.