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

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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

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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