Top of Form

Bottom of Form

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

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.”

________________________________

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

Hollis John Clifton

Pan Diaspora Visionary

Pan Genealogy Foundation—Linking Steelbands Worldwide

Similar articles on the evolution of pan in T&T at www.pangenealogy.com

1 (868) 462-2738

Like

Share Twitter

Comment

Top of Form

Follow – Email me when people comment

Bottom of Form

© 2012 Created by When Steel Talks.

Badges | Report an Issue | Terms of Service

Members Online (70)

Main Room

©2009 When Steel Talks. All rights reserved

---

Search for Anything Steelpan Music Related


Top of Form

	Web www.panonthenet.com

Bottom of Form

THE EVOLUTION OF THE STEELPAN

ANOTHER SOLDIER HAS FALLEN – the life of Cyril “Nick” Boxill

Although he was born in Port of Spain the capital of Pandom “Nick,” as he was fondly called, grew up in San Fernando. For the greater part of his life he was involved in the steelpan movement.

Small wonder he was also known as “Bredwin” due to his kind heartedness. His was a founding member of Mayo Starlif which, with Vic Lange as arranger, made quite an impression in the Steelband Festival in the 1950s with a piece entitled “Waltz of the Sugar Plum Fairies”.

The former mechanic with the now defunct Trinidad & Tobago Railways eventually moved to San Fernando where he played with a number of bands including Teenage Symphony, Q. T. Minors, Sea Bees, Guinness Cavaliers and Pearl Harbour. He even had a pan round the neck outfit called “Sounds 2001”

Bredwin was a founding member of the San Fernando based group “South Steelband Pioneers”. In recognition of his contribution to the steelband movement Pantrinbago gave him an award in 2010.

His associates in pan included the likes of the late Gulab Belgrove, Meadow, Alan Bishop, Angus “Laddie” Lalsingh, Fitzroy Lyons (of Southern Marines) and Errol James – the tin smith.

Seventy nine year old Nick was laid to rest at the Broadway Cemetery on Wednesday November 2, 2011 following a service at the St Vincent De Paul Home for the Aged where he was domiciled for the last three years. His last place of residence was on Skinner Street in San Fernando, the said address where “Laddie” and the Lalsingh brothers lived downstairs of which was also the pan yard of Maestros Steelband.

Hollis J. Clifton

Pan Diaspora Visionary

pandiaspora@gmail.com

Vanessa Wins Scholarship to Berklee

Vanessa at Berklee

VANESSA - A HIT AT BERKLEE
Pan Visionary Hollis J. Clifton Chats with Pan Gem – Vanessa Alexandra Headley
BERKLEE FIVE-WEEK SUMMER PERFORMANCE PROGRAMME
In response to a question from Hollis J. Clifton about her immediate future plans Vanessa Alexandra Headley, a 2011 graduand of The University of the West Indies retorted:
If never before, now I firmly believe that if there is a will there is a way. At the dawning of the year 2011, I was ruminating on what exactly was the next step of my life. I knew for certain that it was rooted in Music and that I HAD NO INTENTIONS of being a one-trick-pony. I wanted to fulfill everything that my gift allowed me to.
I began an on-line search for my “destiny” if you will: “summer courses for music majors”. “Berklee College of Music” appeared as the first item in the search engine. Skeptically, I clicked. It was as though a whole world of opportunity had revealed itself to me. I browsed the pages for the Five-week Summer Performance Program and read the reviews. I distinctly remember my heart racing as I flew off the bed and ran to tell my mother (Franka) that I knew what I wanted to do this summer. She turned to look at me. I couldn’t read her expression, but waited with bated breath for her response. To make a long story short, she was thrilled, I was ecstatic. Within the hour she had managed to ignite the same enthusiasm in 16 year old Naparima College student, Daron Roberts and his mom, Bernadette, as I had insisted that he go too.
VANESSA PANS HER WAY TO THE TOP AT BERKLEE
Pan Visionary Hollis J. Clifton Chats with Pan Gem – Vanessa Alexandra Headley
BERKLEE FIVE-WEEK SUMMER PERFORMANCE PROGRAMME
In response to a question from Hollis J. Clifton about her immediate future plans Vanessa Alexandra Headley, a 2011 graduand of The University of the West Indies retorted:
If never before, now I firmly believe that if there is a will there is a way. At the dawning of the year 2011, I was ruminating on what exactly was the next step of my life. I knew for certain that it was rooted in Music and that I HAD NO INTENTIONS of being a one-trick-pony. I wanted to fulfill everything that my gift allowed me to.
I began an on-line search for my “destiny” if you will: “summer courses for music majors”. “Berklee College of Music” appeared as the first item in the search engine. Skeptically, I clicked. It was as though a whole world of opportunity had revealed itself to me. I browsed the pages for the Five-week Summer Performance Program and read the reviews. I distinctly remember my heart racing as I flew off the bed and ran to tell my mother (Franka) that I knew what I wanted to do this summer. She turned to look at me. I couldn’t read her expression, but waited with bated breath for her response. To make a long story short, she was thrilled, I was ecstatic. Within the hour she had managed to ignite the same enthusiasm in 16 year old Naparima College student, Daron Roberts and his mom, Bernadette, as I had insisted that he go too.


April, May and June turned out to be some very trying months. We has applied later than most f the 900 applicants from across the world and it was a race to get all our documents and funding organized in time for the start of what was now affectionately called “5-week”. But, sacrifices were made and we pushed real hard. Golden Hands and some true friends selflessly supported us in our musical quest. It was nail-biting from day to day.
On July 3rd, 2011, we were on a plane to Boston, Massachusetts, albeit without all our funding in place. The energy of our dream, fuelled by serious prayer, and resolute parents, friends and well-wishers, had ensured that by the time we were attending our orientation, all school fees were paid. Though we still had accommodation costs to cover, we were certain that the provision for that would be seen in time. Indeed they were about two weeks later.
CLIFTON: What was it like at Berklee?
VANESSA: Berklee was everything and more than what we had expected. Berklee has its own culture. Nestled in a city of musicians, music is everywhere - in the malls, in the restaurants and on the street corners. It was so refreshing to be in a non-competitive environment where a passion for music was everyone’s driving force. It may sound surreal, but these were true musicians, who uplifted each other and played music together for no particular reason. We got to understand for the first time what “music is the universal language” really means. It means music is equal to love.

Vanessa jamming with the Vinx’s FunkFusion Ensemble
CLIFTON: What was the Five-week Summer Performance Program like?
VANESSA: The 5-week was a very intense music performance program that is organized in a very enjoyable, stress-free kind of way. It was created to make tons of information readily available in a low-pressure environment. It was designed to encourage accelerated learning and to equip the hungry musician with musical life skills. Daron felt right at home as a drummer and I was welcomed with open arms as a pannist. My double seconds, made by Master Pan Builder and Tuner Bertrand Kelman, was a source of great interest. Many people had never seen one before and they were simply enthralled with its tone and yes, I guess, my playing especially when I used 4 sticks (or mallets as they say).
The rich diversity of the 1000+ students from across the world, immersed us in a microcosm of experiences that is beyond my ability to adequately describe. These young musicians, aged 14-25, are some of the best in the world. Some are endorsed by top-of-the line music companies and have recording contracts. Each day we learned something new, and that is no exaggeration. The lecturers were willing and humble. Their approach to teaching was very hands-on. As professional musicians, they could play ANYTHING that they were teaching. They were always practicing in their offices or jamming with us in the concert halls and classrooms. Their advice was priceless and we loved them all right off the bat. Each week, world-renown musicians would visit the campus to perform for us and interact with us. They took the time to answer questions and offer words of wisdom from their experiences in the world of music. Some of them even taught classes each week as part of the Berklee staff.
Such musicians included the likes of:
Dawaun Parker - Grammy Award winning multi-platinum musician, record producer and rap artist who has worked with Dr. Dre, 50 Cent, Busta Rhymes and
Eminem.Tia Fuller - Alto Saxophonist for Beyonce,
Donald Harrison- Saxophonist,
Livingston Taylor - Singer/Songwriter,
Abe Laboriel - Mexican Bassist. Referred to as "the most used bassist of all time"

Everyone would always stress that recreation was just as important as practice. So the Student Activities Centre (SAC) made sure that there was always a wide range of activities for us to participate in – movies, Red Sox games in Fenway Park, games, picnics and excursions. It was impossible to not have fun.
The last week of the program proved to be the most hectic, but the most fulfilling. It was performance week and every student was scheduled to perform with his/her Ensemble at one of Berklee’s performance Halls. The ensembles were categorized by genre –Jazz, Pop/Rock and Funk/Fusion. Placement auditions and placement examinations took place on the second and third day. We both had chosen Funk/Fusion as our Ensemble of preference during the application process and we were both successful, attaining a ¾ status. Three (3) represented the genre of our ensemble and four (4) represented our level of musicianship and skill. Four is the highest level.

During this week Berklee would also traditionally feature 3 ALL STAR Ensembles –Pop/Rock, Funk/Fusion and Jazz. Daron and I were in the company of 150 musicians who auditioned for the ALL STAR Funk/Fusion. We were both short-listed among the 15 that got a call-back. I was also fortunate after a second audition, to qualify as one of six members of the ALL STAR Funk/Fusion Ensemble. That definitely was a milestone for our National Instrument, and myself, I may add, as it was broadcast all over the world and received rave reviews.
It was also the week that the announcement awards of scholarships were made. Out of a total 441 applicants from around the world, I was one of the 71 who received a scholarship to attend the College and complete the fulltime Degree program. This is of great significance, as I was the only pannist at the 5-Week. I am also the first to receive such a scholarship. This has brought me even closer to two of my main goals:
• Sharing the beauty of our National Instrument with the global community and
• Demonstrating that the steelpan is a bona fide musical instrument that can hold its own in any musical context.
Daron and I returned to Trinidad on August 14th 2011, bursting with musical ideas and a whole new attitude and approach to our music practice. We have started sharing with our own musical brothers and sisters in Golden Hands and we look forward to extending this to those in the wider community.

Daron performing with his Funk/Fusion Ensemble
CLIFTON: Did not Daron win a National Award in Trinidad during your absence?
VANESSA: Oh yes! On the heels of a great experience, we tried to settle down and pack to return to Trinidad. The settling down was hopeless as we were informed that at the Trinidad & Tobago Annual National Awards Ceremony Daron had been presented with the 2011 National Youth Award for Music (12-17). Daron went to bed. I called Golden Hands, who were practising at the time. They were oblivious of this development and were waiting for news. Well, they demanded that I awaken him. I did so with trepidation, as he gets a little cranky when sleeping. The noise on the speaker phone was unbelievable as they shouted congrats. The energy was great as they were already celebrating the Captain’s (Pete Braxton) birthday. Jonathan Grant, the 2008 Golden Hands recipient of the award made a very succinct statement congratulating Daron, to which we all roared in laughter. This was really great as Daron had felt a little depressed not qualifying for the All Star Band. I do remember that when I went for my audition the panel commented that he was an awesome drummer. This was really great news. Daron smiled and went back to sleep leaving me in the phone celebration.

Vanessa leading Golden Hands at St. Margaret’s Boys A C Steelpan Extravaganza 2010

Special thanks to our Moms-Franka Hills-Headley and Bernadette Roberts, our family, GOLDEN HANDS, friends and well-wishers who supported us especially:
Ueline Joseph Yvonne Hills
Andrea and Wayne Grant and Family
Dane Hinds Alice Thomas
Bertrand Kelman Dr. Wendy Diaz
Sandra Pariag and Friends Turon Roberts
Raf Robertson Alison Sloane-Seale
Annette Hunte-Lessey Andell Roberts Anika Phillip
Toyota Trinidad & Tobago Ltd.
Cowen Duncan Silent Sah
Damian Melville Dr. Anne Osborne
First Church of the Open Bible
G Tees Print Shop Haygem Travel Service
Jessel Murray Jeffrey Ali
Joyce Grant Junior McLeod
Keshia’s Catering Margaret Drayton
Mark The Moment Mr. and Mrs. Ian Anthony
Mr. and Mrs. Knights
Neal Corke Ora Hillarie
Pan Elders PANVESCO
Members of Revival Time Assembly
San Fernando Music Festival Association
St. Peter's Private Primary School
Sandra Phill Tameka Griffith
Unicomer (Trinidad) Ltd
Valini’s WACK RADIO
YARA

Vanessa is the arranger of Golden Hands and has been arranging since the age of fourteen (14) for the band. She has successfully led them to 2nd and 3rd place in the Junior Panorama on the three occasions. In 2010 and 2011 she again led the band to 2nd and 3rd place in the National Panorama (Small Band).
Among an exhaustive list of championship titles, Vanessa has won the Trinidad and Tobago Music Festival Adult Solo Category on three consecutive occasions. She has also been the National Junior Under 21 Solo Champion, and shared in Thirty (30) Festival trophies of Golden Hands.
Vanessa is currently involved in composing and transcribing music for book publications. One of these is a bilingual work for Kindergarten in three volumes.
The other is a series of folk stories and songs of Trinidad and Tobago.
Vanessa was the first student of St. Joseph’s Convent San Fernando to sit the Caribbean Examination Council (CSEC) Music Examinations. She placed first in the Caribbean in the 2004 on entering the UWI to pursue a Liberal Arts Degree in Musical Arts; Vanessa obtained and maintained a scholarship from the Trinidad and Tobago Music Literacy Trust for her entire period of study.

This talented young woman is always ready to share her musical knowledge and skill. She has facilitated music workshops in the USA and the Caribbean and teaches CSEC music.

Her aspirations are:
- To be a premiere international performer and so act as a global crusader for youth empowerment.
- To change the paradigm that exists in Trinidad and Tobago with respect to career and life paths.
- To compose and direct a symphony featuring the steelpan at international concert Halls and so validate its authenticity and recognition as a bona fide musical instrument.
If you are interested in stories like this and of how the steelpan, the national instrument of Trinidad and Tobago, has impacted the universe you could follow the website: www.pangenealogy.com or info@pangenealogy.com or tune into WACK Radio 90.1 FM (Trinidad) and follow the interviews live on the last Sunday of each month from 3 – 4 PM or check the website: www.wackradio901fm.com.
If you have a pan story to share with the world contact- pandiaspora@gmail.com



Hollis John Clifton
Pan Diaspora Visionary

HARMONITES HISTORY REKINDLED

This chap, Sterling, got this permit to perform for a Carnival in London. We have to do it right now or loose being able to participate in the Carnival for this year”. We gathered the following people together, Pedro Burgess, John Belgrave, Leroy Edwards, Wilmot Joseph, Lloyd Greaves, Archibald Cephas, Leslie Palmer, Harold Bruce along with Herman Betancourt and myself Justin L. Frederick, never realizing that we were making history.
We were the only band there with our pans and my snare drum strapped around our necks.”




Justin with Wack CEO Kenny Phillips





These were the words of Justin “Barber” Frederick in an interview last Sunday on WACK Radio 90.1FM during the Pan Diaspora segment of “Pan in Yuh Puefen” with Steve Sealy and Hollis Clifton.
Barber was alluding to a statement made by Herman Betancourt, Single Pan Musician, Photographer and Impresario who went to his home located at 171 Harvest Road, London, UK.


BLUE NOTES STEELBAND
Featuring: Silbert Walker, Pedro Burgess, Arthur Peters, Frederick Delphis, Lloyd Greaves, Alvin Alexander, Justin Frederick aka "Barber", John Belgrave, Irwin Armorer, Ancil Armorer, Wilmot Joseph, Leslie Palmer and Lystra Gibbs.

“Barber” further alluded to Television Journalist, Aman Andrews, who pursued them in a van as they walked up and down Lancaster Road, Ladbroke Grove in 1965. “Nobody, but us participated in this event. The only people we saw were the local residents who opened their doors to see what was going on and those who looked out of their windows to listen to the music”.


Justin – the limbo dancer

It has been a great tribute to the “Bluenotes Steelband” that after forty plus years many people want to remain associated with their history. Our supporters coined the phrase, “Bluenotes Captured London”. Journalist and interested participants continue to write editorials about who we were and what they know about us, the originators of the first carnival in Ladbroke Grove, Today, the original carnival that we started in Ladbroke Grove is now known as the “Notting Hill Carnival”, UK.


Herman Betancourt, some of the original members and I continued the tradition that we started in London in 1965, by playing in the streets of Calais, France in 1966 and Boulogne, France in 1967 for “Bastille Day” with our instruments strapped around our necks.
I joined “Mario and his steelband” in 1967 and performed for the hotels in Barcelona, Spain.
In 1968, I joined the Trinidad Tropicana steel band as their drummer. We performed on tour in Russia as well as East and West Germany.
While in West Germany, we made an album entitled, “The Music of Trinidad”, now a cd that can be purchased on line.

In reference to a question from Clifton as to how he got involved in the Steelband business Barber iterated that it all began in Trinidad, West Indies, in the country where we were born, a place where all of the sounds around you became music and a way of life. Music was the introduction to our future and the inner spirit that we would carry with us around the world for the rest of our lives. Our natural musical drive was the core that produced the penetrating need to capture the sounds we knew and incorporate them into Steelband.
The first Steel Band I was associated with was known as “WONDERLAND”. The name “Wonderland” was soon changed to “HARMONITES” and it became synonymous with the band’s sponsor “SOLO”. “SOLO HARMONITES” went on to become the first Steelband in Trinidad to win four (4) Panoramas within a seven year span and I am proud to note that I, Justin L. Frederick aka “Barber” was their first (1st) captain.

It is important to note that the original musicians of the “BLUE NOTES STEEL BAND” formed in London, England, came from bands that were started and performing in Trinidad, West Indies.



Pelham Goddard, Vincent Lila aka "Hueloy", Justin Frederick aka "Barber", Earl Rodney and Savvy. Arrangers, Composers, Musicians and Friends gather together in solidarity sharing a moment in time.

In 1976, Madison Square Garden, New York City, the “Harmonites” was one of four steelband
opening acts for Mick Jagger and “The Rolling Stones”. I played bongos for the”Harmonites” and I performed as a solo act with Mick Jagger and Billy Preston on stage with Billy playing keyboard and I with my bongos, strapped in the traditional style of pan players, around our necks.
I have had the opportunity to perform for some outstanding occasions such as: the British Film Stars Academy Awards Reception, Barbados Independence at the Lyceum in the Strand. The most rewarding of all occasion was volunteering our performances for the Disabled Children's Homes throughout England.
The CD, “Let's Sing Again” by Jade, was produced, published, all songs composed and arranged by me, except “wwurk”, featuring pannist Earl Brooks: on, "I Remember You/Remember Me".

Barber a former Sergeant in the US army established himself as a renowned “Limbo Dancer” entertaining the Troops on the Base at Fort Lee, Virginia where he would appear every Saturday dancing on the Army Base TV. By then the affable Sergeant – one of Sergeant Murray’s loos jointed cooks - had established the feat of dancing under a ten inch (10’’) high (or is it low?) flaming limbo rod in the final of his act.

Again, when the State of Virginia was testing its first Cable TV Network they requested the Army to send Justin to make an appearance on the Show. He also appeared on “Dial for Dollars”, a popular weekly TV Show.

A number of callers phoned in to compliment Barber. These included Alvin Alexander – a former alto player of Blue Notes. Then there was Ian R. Franklin author of the book: “400 Questions & Answers on Pan 1960 to Present.”
An unnamed caller from Pennsylvania expressed high praise for the show and was elated having learnt to play pan with Harmonites.

Tune in to Pan Diaspora on the last Sunday of each month from 3 – 4 PM on WACK Radio 90.1 FM


Hollis Clifton
Pan Diaspora Visionary

CARLIE JAMES – PANMAN, ARRANGER, SINGER, PARANDERO, GUITARIST
In a live interview on Wack Radio 90.1 FM, San Fernando, Trinidad on Sunday January 30, 2011 Hollis Clifton managed to unravel some of the untold anecdotes of Canada based pannist Carl James aka Charlie. That first edition of “Pan Diaspora” for the New Year occurred inside “Pan in Yuh Puefen” with Steve Sealy.



(r to l)Carl James, DJ Steve Sealy & Hollis Clifton at Wack studio in San Fernando
The versatile Arima born Carlie spent most of his formative years in San Fernando prior to migrating to Canada in 1970. Like so many other migrants he saw his hopes of becoming a member of “Local 46 Welder and Pipe Fitters” in Canada dashed in his quest for survival. The multi talented Captain cum Musical Director of Toronto Metrotones Steel Orchestra wasted no time in succumbing to his first love, music, away from the Prairies Provinces. In the formative years of the band it performed under the sobriquet of Guinness Cavaliers. Over the years the bands tuners included and the late Errol Moore, Ed Peters, Tommy Crichlow and Gerard Clarke, to date Metrotones have made two videos with Comedians Oliver Samuels of Jamaica together with Marvin “Trini” Ishmael.
When asked by Clifton how he got involved with Metrotones, a pensive Carlie retorted ... “it must have been share coincidence” that Groovers International, of which he was singer/keyboardist/arranger happen to be practicing next to Metrotones had one day requested his services in arranging a tune when they got stuck ... the rest is history.
Groovers International, a brass band, consisted of about ten players, mostly Trinis and included the likes of Leo John, Leader and Musical Director, Mikey Hyndman, David John, Dodd Shepherd, Dick Lochan (singer) with Carlie as one of the keyboardists.
Over the years Carlie takes time off from pan to play quatro with Los Parangderos in Toronto for which he has written two parang ditties ...soon to be released.
In the early pan days in Canada, Carlie recounted when finding a rehearsal venue for Metrotones proved difficult so he had to forged ties with an Elementary school in Toronto ensuring that he taught pan to students in exchange for accommodation for the band.
Since 1977 the ace pannist has been like the “Snow Bird” heading down south when the goings (temperature) gets tough ... returning to Trinidad at winter to play catch-up ... playing firstly with Olympians Steelband then with Chocolate City where he arranged “Taxi Talk”. Later on he did Baron’s “Soca Man” for WACK Radio’s Old Time Calypso Competition.
James revealed to Clifton that he must have inherited his musical veins from his father Vincent Hernandez who was a pannist and pan tuner who had the distinction of playing for the first National Steel Orchestra under the late George Goddard. Carlie in turn, passed on the pan vibes to his daughters Natasha and Carla who were players with Metrotones.
Carl James at Pan Elders Pan Theatre, San Fernando where he spends most of his time during carnival time 2011

Carlie acknowledged that his first encounter with the pan was with grapefruit tins which he tuned for himself. Laughing all over his face in satire Carlie reminisced to the unusual way in which he acquired his first ping pong ... as a naughty boy in his youthful days he was fooling around in the pan yard of Sea Bees when he somehow got into the way of the band’s captain, Steve Lalsingh (dec) who was really struggling to tune a pan. In truth and in fact Steve had just damaged the pan, in error, and in frustration took the pan and pelt it at Carlie. The impish young man saw this as an opportunity to own his first instrument... the rest is history.
Later he was to be introduced to Melody Makers by Reynold Joseph (dec.) in 1959 where he remained until 1965. He nonetheless, admitted that it was at Melody Makers where he encountered the likes of Radcliff Baker who greatly inspired him into arranging music... “nuff respect”. Thereafter he became a member of the Guinness Cavaliers until 1970 when he migrated to Canada. With Cavaliers he got the opportunity to travel to such places as Surinam, Grenada and Venezuela. His greatest moments with Cavaliers, however, were winning panorama in 1965 and 1967 with a close second in 1966 and 1969.
Pan Diaspora could be heard on the last Sunday of each month on Wack Radio 90.1 FM


Hollis J. Clifton
Pan Diaspora Visionary

The Earl La Pierre Wears His Crown Proudly

THE EARL OF PAN WEARS HIS CROWN GRACEFULLY
“In 2004 Hurricane Ivan destroyed The Cayman Islands and evidently shattered my personal possessions including steelpans and household articles. The Canadian government hurriedly sent passenger planes to evacuate all Canadians which included me and my family” - the Lapierre Family Steelband.
These were the words of Trinidad born Earl La Pierre recently on “Pan Diaspora” during an interview on WACK Radio 90.1 FM with Hollis Clifton and Steve Sealy.



Earl speaking via telephone (from the Caymans) revealed that prior to that natural disaster he had spent 18 prolific years in the islands. It was in 1986 when he was invited for the Pirates Week Festival an opportunity to teach pan arose.
While there he opened a school called Cayman School for Pan, had a carnival steelband named
Panoramers and taught pan at the primary, middle and high schools, as well as Catholic Schools,
in Grand Cayman. As a result of Earl's efforts all the schools offer steelband as part of their educational program. Earl won every School Music Festival and every Carnival Pan Competition in Cayman Islands from 1988 - 2004. His three year old college band (PANDEMIX) is getting stronger and seems to be giving his own Panoramers, some serious competition. From 2008, to present Earl has been the arranger for Pandemix steelband which has been running 2nd to Panoramers.


As steel band teacher, and a performer, La Pierre performs at all the major hotels in the Cayman
Islands, but mainly at Treasure Island Resort. He is credited with introducing Trinidad and Tobago's national instrument to this island grouping to the extent where it has become an indelible part of that country's culture.
La Pierre took up residence in Toronto from 2004-2006 but returned to the Cayman in 2006 where he’s now domiciled. The pan aficionado however, takes a time out every summer to fulfill contractual arrangements with Afropan for Caribana.

Afropan
Formerly of St Clair, Port-of-Spain Trinidad, La Pierre is one of many Trinidadians who have
made their mark in the pan diaspora. While living in Canada he taught steel pan
music at the University of Toronto, North York Board of Education and the Toronto Board of
Education. Earl was instrumental in getting the Steel pan offered as a credit course in the North
Schools. Earl has won all Kiwanis Music Festivals in the Steel band category in Secondary, Junior and Primary School from 1979 - 1986. During that time the bands under Earl’s tutelage (most notably those from West View) received 29 wins at Secondary level (with 1 second place in 1983) and 6 wins at the Primary level. In the Jazz and Pan category the West View Steel band received 3
wins from 1984 thru 1986. At West View Earl was instrumental in getting no less than 8 steel bands
started; at the Secondary level there was Pangroove, Pantario, the Senior Band, the Junior Band
and the Open Band, and at the Primary Level there was Topcliffe, Day Strome, and Firgrove.

When asked by Clifton about where he honed his skills La Pierre revealed that he was a former member of Metronomes where he place 3rd as a soloist in the Trinidad Music Festival. He arranged for Invaders steelband where he placed 2nd in the bomb competition: placed 5th in Panorama Final, he was also a member of Starlift Steel Orchestra and for the past 26 years has played as a member of Phase II Pan Groove.
In 1999, he arranged the panorama tune for Southern Marines Steelband Foundation and for the past several years he has
been arranging for Harmonites Steelband garnering several accolades. In 2002 he placed
1st in the East and 4th in the finals of the Pan in the 21st Century competition.
In the Panorama competition with Earl as their arranger,
Harmonites were the People’s Choice in 2006, and received 7th place in 2007 and 10th place in 2008.

In the ‘Bomb’ competition, Earl and the Harmonites have also garnered several notable awards. In 2006 they achieved 2 firsts, 3 seconds, and 1 third place. In 2009, they placed 12th, Panorama. Pan In The 21st Century: In 2007, Harmonites garnered 3rd place; in 2008, 5th place; In 2009, 6th place. In 2007 they received 1 first, 2 second, and 2 third place; and in 2008 they received 2 first and 1 second place.

The La Pierre Family
Back in North America Earl has distinguished himself as Canada's Top arranger, by being adjudged the Best Playing Steelband at Toronto's annual Caribana celebrations for the unprecedented 30th time.
Earl La Pierre Sr. has garnered 31 wins out of 40 times with 8 seconds and 1 third.

In 2002 in recognition of his contribution to the steelband movement at the annual Snowflakes of Steel show, the Pan Arts Network made Earl La Pierre their first ambassador of the Pioneer In Pan Award. This was followed by the Counsel General Diaspora Award for excellence in 2008
and then the 2010 Caribana Tribute Award.
Currently the Lapierre Family Steelband consists of three boys and one girl. Earl La Pierre jr is a pan tutor in Toronto while Olujimi teaches in Grand Cayman and Noel teaches in Trinidad.
During the discourse Clifton questioned the purpose of a set of PHI instruments on location at Afropan’s Pan Theatre near Lamport Stadium in Toronto during the bands rehearsal prior to Pan Alive competition 2010. In response Earl quipped that they were simply for display purposes. Again Clifton asked La Pierre if, in his view the PHI could ever be incorporated into the traditional steelband. La Pierre appeared to have eluded the question and threw it back at Clifton.
Clifton then drew reference to the Pan/Jazz fest held the previous evening atop the San Fernando Hill. He cited the use of the PHI by two of the bards – Darren Shepherd and Earl Brooks of the Kenny Phillips led 90.1 Degrees Band. Shepherd played three instruments – the traditional ping pong (1940s), the modern tenor/soprano and the PHI which he referred to as the futuristic pan but, he would rather stick to his “Betsy” – conventional tenor.
In elaboration Clifton referred to a chat he had with Professor Brian Copeland of UWI the same evening with respect to Sheppard’s reference to the PHI as part of the pan family. The Professor lamented the assertion positing that the PHI – Percussive Harmonic Instrument - in the strictest sense is not a pan. It is the marriage of pan and modern technology. Its DNA link to pan is its shape and note layout. The goodly Doctor recons that one can call it a PHI Pan if one thinks of Pan as its surname. For those who are still working hard to get it to a level of product of which our nation could be proud, it’s just PHI. The inventors, apart from Copeland include Keith Maynard, Marcel Byron and Earl Phillips.
Pan Diaspora brings to bear individuals who promote the national instrument of Trinidad and Tobago in the Pan Diaspora. It could be heard on the final Sunday of each month on WACK Radio.

Hollis J. Clifton
Pan Diaspora Visionary

SALAH, ONE PLY AHEAD OF THE PACK- Pan Alive, Canada

When our band came up to the front there was an obvious plan of Action (logistical Battle plan for the musical War)...the tents came up first (camouflage covering).....followed by the plywood on the floor (secure a beachhead) ... and then some raised platforms for the basses and the drum kit (battle props for the equipment) ......then the pan stands (battle equipment) ...then the Pans.( weapons) .... Obviously it had to be a co-ordinated action, (battle plan of action) with all the necessary details worked out ahead of time to avoid confusion. This shows that we were simply ready and not only had the music covered but how to execute other details The tune of choice for the competition was entitled “Battle Zone” (Battle preparedness).
This was the response of Salah leader of Salah’s Steelpan Academy in response to a question from a caller from Toronto during the Pan Diaspora segment inside “Pan in Yuh Puefen” Sunday on Wack Radio90.1 FM with Hollis Clifton and Steve Sealy behind the controls. The caller had questioned the bands use of plywood on the floor during the band’s 4th straight winning presentation at Pan Alive (panorama) 2010 at Lamport Stadium, Toronto.
But there is scientific logic of using the ply wood, affirmed Salah. The first year at Lamport they allowed us to play on the grass and we realized how effective the ply wood was since the grass absorbed the sound and with the plywood in place there was a great acoustic effect so we have continued that concept ever since. No one seemed to pick up on it yet but I am sure by 2011 they will....we were also the first to introduce tents.... and amplification at the other place when it was allowed......all of this is because we take our work seriously and plan for the event and always seek to improve on what we did the previous year....like for next year God’s Willing we know that we have to beat our own song, in other words, do a better arrangement of this year's song in order to be one step ahead of the pack. But a lot of it is also based on experience, for instance the concept of using a base like wood for acoustics reminded me of a time I played with Exodus and they played a song called Baillamos ...I recall the effect it had on me at the Grand Savannah in Port of Spain. I played with the band and on stage when the first notes were sounded it literally lifted me off my feet… the effect of the sound bouncing off the wooded floor of the stage, so that effect remained with me.
Another caller from Toronto added a touch of humor positing that he would have to go and do some plywood research… Lol
Salah recalling his initial plight to Clifton highlighted his first gig two weeks after arriving in Montreal in 1972. If ever there was an illusion this must have been it. It took years before another engagement was to follow. So off he went to the Black community in Cote des Neiges where he impacted on their first ever
“Carifete” parade. The event was so grand that it drew imminent personalities cum Mohammed Ali, et al however, for reasons untold Carifete met its demise in the ensuing years.




Salah & Family
Montreal appeared a bit on the slow side for the budding pannist. So he packed his bag and took his wife, Adiylah, to Vancouver where he linked up with a few of his home boys (Trinidadians) including
Kenrick Headley, Jimmi Phillip, Orvis & Hamish Noel, Sammy Morris, Patrick Wilson. There they were doing the circuit fairly regularly. However, the young, restless and daring Salah picked up a ‘vaps’ and decided to acquire a complete set of steelpans to form his own band. He managed to convince a few of the guys with whom he played in other bands to move on to Edmonton. (Jimi Phillip, Gale Hunt, Vin Thomas, Nicky Asson). The move resulted in the crystallization of his first steelband – Pan Vibes Exhibits.
Financially the outfit did not show much promise so with his wife returning to relatives in Montreal the group enrolled in “Grant Mc Ewan Community College” to do a music programme, performances at the university, schools, coffee shops and recording for a radio station, inclusive of vocals. This must have been a first for a steelband anywhere.
With all this going, however, Salah found that the thought of Montreal always conjured up images in his mind and so with the upcoming Summer Olympics in 1976 he returned to Montreal. Pan Vibes Exhibits eventually met its demise. This led to the emergence of the Galaxy Vocal Steelband with Trinidad’s Junior Byron as lead vocalist. Internal migration again saw the band return to Edmonton in 1978. This time he took his wife and two children.
A couple years later, 1980 the band continued to search for the establishment of its own identity which meant travelling between Montreal and New York. His wife gave birth to another son, this time in New York. Alas the family returned to Trinidad where another child was born before returning to Montreal in 1984.




In an effort to put food on the table Salah revealed to Clifton that he became a Street Busker, playing on the streets, the Metro (subway) and the parks, almost anywhere to get ends to meet. The period 1984-1987 was truly trying times but in which he took pride in his profession as a pannist. It enabled him to establish contacts and contracts so that he was gigging all over Montreal. Most important of all he was able to attend Mc Gill Conservatory of Music where he completed his Secondary III, IV and V.
Salah took the opportunity to revisit the Montreal’s Black Communities establishing steelpan programmes in Cote Des Neiges and N.D.G... His experience as a Street Busker, nonetheless, continued unfolding motivating chronicles.
The genesis came in 1988 when the pan maestro decided to put together “Salah & Family Steelpan Workshop” in his own apartment. The aggregate thrived till 1990 when another kid arrived on the scene. His wife then emerged as the band’s vocalist.
It was in 1991 when Salah made inroads into the public schools, starting with Coronation Elementary then the following year Somerled Elementary came into the fold. Later Shadd Academy, John Grant High et al were added. Today Salah and his family provide pan programmes in seven English schools and one French school.



Salah in Hong Kong
In 1992 Wilson seriously began writing a Steelpan Text Book entitled “Steelpan Playing With Theory”. He also enlisted for a degree at Concordia University. This made it the first time that the steelpan would be accepted at a major university in any part of Canada – Salah spearheaded the project. In 1995 he graduated with distinction obtaining a BFA in jazz specialization with the steelpan as his principal instrument.
With so many schools involved in the steelpan programme Salah, in 1992, configured a Summer Festival – Pan Jamboree - to channel the efforts of the young players. Together with his own Salah & Family Steelpan Academy, among other community groups, the event was held at the Bill Durham arena in Cote Des Neiges. A winter Yuletide event entitled “Classics to Calypso” was later created on par with pan Jamboree. “Pan Quebec” was significant in producing this annual event.



Salah’s Steelpan Academy

In 1995 the pan family headed to the studio with the resultant debut CD entitled “Good Feelings”. That same year Salah with his six member family band went to Toronto and created hysteria when they when they won the coveted “Panorama” title eliminating other bands four and five times their size.
In 1997 Salah established his own private “Salah Steelpan Academy” and open its doors to John Public.
By the turn of the century Salah’s elder children were by now assisting in the teaching of steelpan music in the public schools.
Clifton then asked Salah about fallout he had in 2005, to which he humbled himself in reference to an Ethnomusicology Masters programme which he was pursuing at the University of Montreal and was really struggling due to his inability to effectively comprehend French as a second language. He eventually had to drop out. This nonetheless gave him the opportunity to go to Trinidad and Tobago to have talks with the government. The result was that his book “Steelpan Playing With Theory” was formally adopted into the public schools’ curriculum. He went on to pen five additional Steelpan Text books designed for different levels of comprehension. Three of the books have been translated into French.
In 2006 he opened his store Steelpan Plus, which also serves as the centre for the private classes. With Hameed Shaqq, he has a branch in Toronto.
Over the years The Academy has served as an outreach location for troubled youths where they are given a disciplined art form and an environment to interact with their age mates. It has also served as a meeting place for young adults and senior citizens. The positive effect on the group with Autistic students has also been noted.





Salah laments that to date the Academy has managed to survive without funding but they need to go beyond merely survival. Their desire is to create employment of students, offer the programmes in French inclusive of other aspects of the Arts. To this end they seek partners to fund their programmes.
Pan Diaspora can be heard on the last Sunday monthly on WACK Radio90.1FM from 4–5 PM

Hollis J. Clifton
Pan Diaspora Visionary