Monday, October 21, 2013
Sunday, March 24, 2013
Radcliffe "Bakes" Baker
Radcliffe Baker aka Bakes
THE
EVOLUTION OF STEELPAN (South Trinidad)
Meet the Baker, the Panman, the Bandleader
Steelpan researcher Hollis John Clifton goes into
the memory of Radcliffe “Bakes” Baker at his home on Black Street, San
Fernando, Trinidad & Tobago on his contribution to the only percussion
musical instrument founded since the twentieth century.
In his effort to fulfill a childhood dream to become
a panman Radcliffe Baker enlisted as a member of Destroyers Steelband at the
age of 17. The band was then located at the corner of Marryat and Cooper
Streets in San Fernando, Trinidad. “Bakes” as he was fondly called resided on
Drayton Street then, and he used to lime with a side from on the Coffee named
“Limers” with whom he attended fetes and bazaars, among other pleasurable
activities.
Baker, now eighty one years young, was employed at
TCL (Trinidad Cement Limited) as a rigger but his basic trade was that of a
mechanic as he had successfully completed his apprenticeship at TGR (Trinidad
Government Railways). In those days TGR was located at “Channel” – the
waterfront Kings Wharf, San Fernando. That location is now used by PTSC as a
bus garage.
As a visionary Bakes always believed that pan would
reach the standard that it has today. He, nonetheless, had a job attempting to
convince his cohorts as they felt that classical music was not suited for pan
but rather for traditional orchestras which embraced violins and other wind
instruments - trumpet or flute. He cited the days of the Trinidad and Tobago born
renowned pianist Winifred Atwell and he collaboration with the legendary Pan Am
North Stars steelband in 1969 deep “Down Under” in their world tour. This
resulted in the album “Ivory and Steel”.
Radcliffe & wife Judith
The Coffee Boy, Bakes, procreated six sons with his wife
Judith. They include Canada based Rodney who continues to play pan, though in
church these days; Raymond (deceased); Renwick, Richard, Gerrard and Valdez. Three
of the boys played pan with Hillside Symphony which as the name suggest was
located on (Upper) Hillside Street, a stone’s throw away from the Baker family
homestead. Hillside was then led by Juno Hinds with Ali Cooper as Musical Director.
Richard, Renwick and Valdez continue to be the backbone of a DJ outfit called
Black Gold.
FROM
DESTROYERS TO MELODY MAKERS
Within a year the band started a metamorphosis. A
name change was in the making. The name Melody Makers emerged in lieu of Destroyers.
In the 1940s, during the formative years of pan, this
definite pitch percussion instrument in the idiophone
class, didn’t have many notes and “Bakes,” like all other pannist of his
time was not conversant with the theory of music he, nonetheless, was a lover
of classical music which he use to “hum and lala” in his effort to teach the other
players. So if the band had a gig over the weekend and classical piece(s) was
to be a part of the repertoire they were faced with a big challenge. They,
therefore, had to create the required note(s). The ingenuity at the time on the
island saw them pushing a note up or down to meet the required sound.
“Bakes” recalled that on one occasion the band had to
participate at a Local Talent Show at Globe Cinema on Prince of Wales Street in
San Fernando. It was a regular feature hosted by Holly Betodeau. The Destroyers
came up against the likes of Southern Marines Steelband, among others.
One day as “Bakes” strolled into the pan yard he was
cordially greeted by the band’s first captain, Neville “Bolvin” Sandy who
informed him that he was voted captain of the band in his absence. A studded
“Bakes” protested saying “Sandy alluh crazy, I don’t know anything bout pan” In
response Sandy replied “… never mind that was unanimous”.
A self-effacing Baker eventually took up the
challenge.
Prior to that Melody Makers was being accommodated
at Rupert Bob father’s premises and as the group evolved there appeared to have
been a fracas among members which did not go down too well with Bob’s father. This
resulted in band being evicted. Alternative accommodation was had at La Cour Harpe
Settlement – St Joseph Street, between two barracks building.
Later the outfit moved to Coffee Street at Ms
Mander, under a large tamarind tree, in a barrack yard. Ms Mander was “Bolvin’s
mother who turned out to be the custodian of the instruments when the band was
not practicing.
Unlike most other bands Melody Makers never had an
outside tuner. Prior to Baker’s involvement with the band Neville Sandy was the
tuner, cum captain. In fact there were a few guys who could have tuned pans. There
was also Cyril aka “Dougla” who came from Free French. But Baker challenged him
as to why would one want to leave a big band like Free French to come to play for
Melody Makers – a less popular outfit?
In response Dougla recounted … “because Theo
Stephens aka “Black James” won’t give him a break and he feels he could tune
pan too”. Following some deliberations
the members agreed and Baker gave Dougla the opportunity to tune instruments
for the band. With time fresh barrels were acquired and the band went further
into tuning its own pans. As it panned out Baker admitted that he was much more
skilled than the others as he actually prepared the barrels for tuning ie cut,
sink, grove and burn. When the instruments returned from the tuner he would
further clean and polish them.
Between Dougla and himself they were able to place
the notes which were deficient in the original set of Destroyers pans.
Eventually, however, Sandy emerged as the background tuner specialist while
Dougla focused on the front line pans.
It is interesting to note that in 1949 another band
with the same name of Melody Makers emerged though, briefly, in Port of Spain
under contrasting circumstances. Through share determination Curtis Pierre
defied his middle class Portuguese parents when he got involved in the poor
Afro centric subculture. During his student tenure at St Mary’s College he
recruited some of his cohorts of White, Portuguese, Chinese and Black middle
class backgrounds. As leader of the band Pierre changed the band’s name from
Melody Makers to Dixieland in 1951 when they paraded the streets for the first
time during carnival. Many moons later the said Pierre were to become a Lawyer
cum Social Worker where he kept himself busy defending
steelbandsmen in the courts of law and organizing the movement into a
representative body.
THE
EFFECT OF TASPO ON THE STEELBAND MOVEMENT
Dougla remained in the band in excess of two years
after which he migrated to the United Kingdom just after the Trinidad All Steel
Percussion Orchestra (TASPO) appeared at the Festival of Britain on the South Bank
on July 26th 1951. The experience of TASPO caused the bands in
Trinidad & Tobago to progress from playing pan around the neck to the use
of stands.
The departure
of Douglar heralded the emergence of Edwin “Fire” Jack as a tuner from within
the band.
L-R – Lennox “Gunz” Gonzalez, Keith Cassiram,
Michael “Scobie” Joseph, Radcliff “Bakes” Baker, Angus Lalsingh
Baker recalled that Lieutenant Griffith (of Barbados)
who was the musical director of the T&T Police Band was given the
opportunity to prepare the TASPO for the trip to the UK. He was in fact on his
way to undertake further studies in music in the UK when he was made the offer.
Melody Makers met its demise when Baker threw in the
towel after the island’s premier music festival which was held at Empire Cinema
in San Fernando. A union among Free French, Metronomes and Southern All Stars appeared
evident as Free French and Metronomes merged in 1959 and participated in the
music festival. Melody Makers were victorious playing “Mambo Granada and Gold
and Silver Waltz”. Southern Symphony
emerged second with a piece entitled “Alma Llanera”. The lineup included Cross
Winds, among other steel orchestras.
The circumstances saw Sandy going to Port of Spain
to join forces with Carib Tokoyo as a bass player. He was so skilled on the
bass that they gave him the sobriquet “Baseman”. George aka “Starlight”, one of
the best tenor players migrated to the United Kingdom; Carlton “Screw punch”
Wallace joined Cavaliers as a tenor player.
An interesting character of the band was Tunkey Boy
(of East Indian descent). He never played pan during rehearsals but, will take
a knock after practice. Vic Lange used to attempt to teach music to the players
by writing the chord structures on the board. The seasoned players, however,
never showed any interest except for Tunkey Boy who would write down the theory
in a copy book. The two Ferguson brothers, Collin & Ken, who were also
accomplished guitarists, got so frustrated that they eventually pulled out and
formed their own combo side in Volt Express. In fact they used to have to walk
from Ste Madeline to de Coffee and back for practice.
THE
SOCIOCULTURAL IMPACT OF PAN
During the 1950s steelbands were a must at carnival fetes.
The more popular dance halls included Eastern Unity, Windsor Hall, The Loan,
Hart and Hand Lodge, The Coterie, E C School (Coffee EC). J’ouvert morning at
the culmination of fetes it was customary for all partygoers to head for the
Coffee. Most revelers were waiting for Melody Makers to chip down the road.
Such was the popularity of the band. It’s interesting to note that all the fete
venues were on or around Coffee Street.
In the year 1956 Melody Makers participated in a
competition in which there was a test piece plus two tunes of choice. The venue
was St Benedicts College Grounds (now called Presentation College Grounds). The
test piece was Toselli’s Serenade – the said piece which was played at the Festival
of Britain in 1952. Other band included Sea Bees and another one from Princes
Town. Melody Makers had a lineup which included some seven ping pong players.
The players included Starlight, Screw Punch, Padmore, Stork St Hill, Dougla,
Cyril “Skull” Barker Cedrick and Freddie Whorwood and Carlton “Musmus” Lynch on
guitar. He will be remembered for tuning his own pan so that when Makers folded
he teamed up with Winston Moore as a tuner.
According to Bakes people from North Trinidad only
recognised one band from South – Free French. He recalled Oscar Pile leaving
Port of Spain on a visit to San Fernando scouting for players with the
intention of forming the island’s premier Steelband Association.(1950). This
led to an encounter with Emile “Zola” Williams who, in the view of Bakes, erred
in that he only made reference to Casablanca from where pans were had which led
to the founding of Free French.
Again, Bakes
posited that Spree Simon is alleged to be originally from Point Fortin but,
however, his family engaged in internal migration in an effort to gain social
mobility and they thus ended up in the nation’s capital, Port of Spain.
THE
EFFECT OF THE WORLD WAR ON THE STEELBAND MOVEMENT
It is argued that the first steelband emerged from
Kings Wharf in San Fernando; whereas the first steelpan is said to have been
made from a TM&R drum (coconut oil container). It was much smaller than the
present 40 gallon drum now commonly used in shaping the only musical instrument
to have emerged since the twentieth century. It was played with the use of a
broom stick. Again, the first steelband to hit the road in San Fernando was
Pearl Harbour, i.e. as far as he could recall. That most significant event
occurred on “V-J Day.”
(On August 14, 1945, it was announced that Japan had
surrendered unconditionally to the Allies, effectively ending World War II.
Since then, both August 14 & 15 have been known as “Victory over Japan
day,” or simply V-J Day.” The term has also been used for September 2, 1945,
when Japan’s formal surrender took place aboard the U.S.S. Missouri, anchored
in in Tokoyo Bay. Coming several months after the surrender of Nazi Germany,
japan’s capitulation in the Pacific brought six years of hostilities to a final
and highly anticipated close.
On that occasion revelers with Pearl Harbour recited
a chant as they chipped down the road
with a rhythmic motif accompanying the chant
wells. The chant was:-
“Chinee
never had a V-J Day”
Chorus
- “Lai Fung, Lai Fung Yeea”
The man on the ping pong was “Tall Boy”. Free French
went through its own transformation in that it was at one stage called “Snow”
and before that “Cross of Lorraine” well before its demise as “Free French.”
An emphatic Bakes posited that the majority of bands
emerged from the bowels of Free French and Bataan. The former was located in
the Bideau (a short cut leading from upper Cipero Street to Roy Joseph Scheme
houses, HDC nee NHA; while the latter was located on Medine Street just behind the
Ice Factory on Coffee Street.
From his recollection some of the bands which were
around during the early post war period were: Lil Carib, (Upper Hillside)
Melody Makers nee Destroyers, (Coffe St.) Texas, (Train Line, Mon Repos) United
Circle, (Jarvis St.) Sea Bees, (Mon Repos, Skinner Street by the Lalsinghs),
Southern Marines, (Marabella), West Stars, (Springvale) Hoytonians, (La
Romaine) Criss Cross, (Victoria Village), Teenage Symphony, (Prince Alfred St.),
Rogues Regiment, (Irving St.) Vibratones,
(Broadway) (Hatters) Southern All Stars (Carib St.), Sundowners, Southern
Symphony (Oropouche).
By Hollis John Clifton
Pan Pan Diaspora Visionary
pandiaspora@gmail.com
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 contact info@pangenealogy.com.
Saturday, October 27, 2012
MEADOW
WILLIAMS – THE EVOLUTION OF PAN (Down South)
Hollis J. Clifton, Pan Diaspora Visionary, chats
with 86 year old Pan Pioneer, Meadow at his home on St. Joseph Street, San
Fernando, on his involvement with the national instrument of his native Trinidad
& Tobago.
THE
BAMBOO TAMBOO ERA - 1935
Meadow recalled growing up with his grandmother,
Albertha Watson on Drayton Street, in Trinidad & Tobago’s Industrial
Capital, San Fernando in the 1930s. In 1935 Meadow was 8 years old. He recalled
that apart from the Coffee Bamboo Band there were two (2) other such bands in
Sando … the Toll Gate Band, on Cipero Street and the Wharf Band. They
functioned primarily at carnival time. His grandmother and great uncle were
both members of the Coffee Street band which was then situated at the corner of
Drayton and Coffee Streets. The women would dress like the Martiniquais with
the stick fighters in front wearing black trousers, yellow satin puff sleeve
shirts, broad contrasting sash around the waist and head ties. Whenever the two
bands met it was ‘open war’ (with stick fighting).
Like most other children in those days Meadow pitched
marbles – single or three holes and button win; he also indulged in three line
(spin top). During the carnival season the yard would normally be a beehive of
activity attracting lots of his cohorts who will be doing their own thing
including beating discarded bamboo and some would even play stick. Meadow was
no exception and was having a go much to the displeasure of his uncle who
promptly chased him home. The timely intervention of the band’s captain saved
the day having recognized the talent displayed by Meadow, a self taught
percussionist. His grandmother was informed of the episode. At night Meadow
with his friends would gather discarded bamboo and imitate the band. The uncle
again chased him home but again the captain intervened this time he took him
into the bowels of the band and had him play. His uncle again reported what had
played out to the grandmother who eventually had a talk with Tarzan, the then
captain. She eventually gave in
acknowledging that he was in good hands. There after he became a full fledge
member of the Coffee Bamboo Band. At eight (8) years of age he got to wear long
pants for the first time - in the bands costume in which he played mas
(masquerade) for the first time. A couple of years later the family moved down
to Johnstone Street. He may have been
around 10 years or so by then.
MEADOW’S FIRST ENCOUNTER WITH PAN
Pan is said to “appeal to the heard instincts of
man” Meadow was not singular in that respect as he found himself wandering into
the nearby “German Camp Yard” to ‘take in’ some pan. Eventually Julian “Tall
Boy” Benjamin asked him his name and address and of his interest in the steelpan.
An elated Meadow answered in the affirmative which resulted in his being “given
a beat.” (allowed to play the pan)
That first encounter went down well as it resulted in “Tall Boy” telling Meadow feel free to come
to the yard … “that pan is yours”. That gesture saw the youngster clandestinely
frequenting the pan yard until his grandmother got wind of it… surely, he was
grounded since in those days Mucurapo Street had a reputation of which no well
meaning guardian/parent/care giver would be proud of.
While panmen worked tirelessly at developing the
only melodic, steel percussion instrument invented in the 20th
century, the steelband was not openly embraced by the citizenry. Panmen
generally came from the poorer, lesser-educated, Black segments of the
population and their music became synonymous with their plight; steelband music
was the poor Black man's music. In reality, steelbands attracted many
lawbreakers and associating with a band was not considered socially acceptable.
Many panmen belonged to gangs and, as a result, steelbands were perceived by
most people as extensions of these gangs. There were numerous fights among
steelbands that, in many instances, led to bloodshed with the use of weapons
(such as knives, razors, and cutlasses) and missiles (such as bottles and
stones). These violent clashes were reflected in the calypsos of the time
The prohibition failed to stop the pan aspirant and
so he duped granny making her feel he was going to the cinema. (or so he
thought to himself) The “Coffee Boy” was also a Trainee Blacksmith. One day a
neighbor visited his grand mom who boasted of the boy’s talent, in agreeing the
neighbor quickly interjected … “he’s the best pan beater in the yard too”. On
hearing that granny just smiled. Meadow felt a sense of comfort … oblivious to
what she had in store.
Later that evening after work Meadow told his
grandma he was going to martinee, (cinema) as was the norm. He was surprised,
however, when she said she wanted to talk to him and pulled him inside. The
fourteen (14) year old was the recipient of a ‘sweet cut tail’ {blows} from
granny … with the accompanying words “I’ll show you how to beat pan.” On
hindsight he refers to it as the last licking he received as it had him musing
at something she said which turned out to be a big joke afterwards.
MEADOW
VISITS PORT OF SPAIN
The event failed to encumber Meadow from going into
the pan yard. “Tallboy” ( who was originally from Port of Spain) eventually
asked him to accompany him to Town (Port of Spain) as he was going to visit family
in Belmont… an enthusiastic Meadow obliged. Meadow was fascinated by the Trolley
Buses and the Tram Cars on rail in Town. After visiting his family Tallboy took
him into a yard next to the Salvation Army Church called “Hell Yard” where they met Fish
Eye and his family. From the time the gate opened “I was hearing pan
knocking and when I went towards the river I saw the fellas beating. I saw Neville Jules tuning a pan …I didn’t
know who he was then but, it was like magic… well! Don’t talk about the
gambling. I watched and listened; they had some Trinidad Government Railway
pans, grease pans with four (4) notes which were the ping pongs and four (4) notes
kittles pans and a larger one. To me it looked like it was not tuned but it was
a kittle. Well, we stayed for three (3) days in Town during which I was
learning to play the ping pong and a bit of tuning … all by watching. We went
in “Bar 20” yard. On our way we met Dudley Smith, Oscar Pyle and later on I
met Mc Kingsale and others I can’t
remember.”
Pearl Harbour with Meadow stooping at right
THE BIRTH OF PEARL
HARBOUR – Trials and Tribulations (1940 – 1947)
When we were leaving Town
Fish Eye gave me a four (4) note ping
pong … so that was the only tuned pan in San Fernando in the year 1940; but shortly after “Tallboy”
and myself would go on a Pan Search until we got the amount of pans we needed
to start with and by the end of the year we had formed the band “Pearl Harbor” and for the Christmas from the yard we went by
Miss Tackoo’s Restaurant to perform. That was the only time we hit the
road during the war and it was a short distance on the same road with two (2)
names, Mucurapo Street and Prince Alfred Street. We started to practice regular
on evenings until we got it clean.
During the war pan was not allowed to
play as it was considered an unholy din. Mind you other musical genres did not
endure such prohibitions, these included bottle & spoon, violins, chac chac,
maracas, cuatros.
All that time we were
practicing without a “boom” i.e. until Big David walk into the yard beating one
a day while practicing. Now we wanted a bugle … but we had the most important
instrument – the pans.
Meadow
displays the bugle which was part and parcel of the rhythm section in the
formative years of pan
People would come in to
see and hear because it’s something strange so one evening it had a crowd so
Tallboy pass a hat and collected some money; then the next day he built a tent
and charge six (6) cents to enter with children one penny (2 cents). That was
in the year 1940. Later on, Tallboy called a meeting to give the band a name
and a captain. The name of the yard was German
Camp i.e. before World War II – reminiscent of the effect of Germany on that
travesty. A name review was on the horizon. The band was formed in 1941.
As time passed one day
while practicing police made a raid … some of the men run but who stayed they
took our names and summon us to go to court but, no one went to court. On that
day of the case deceased Magistrate Cazabon tried the case exparty and charged the
players ninety six dollars ($96.00-) or six (6) months in jail. Some men gave
bogus names, so warrants were out for them. They picked up with one man, Kelvin
Williams, and he had to do his time.(in the penitentiary)
The pint size pannist
reminisce that all that time his grandmother did not know what was going on
until the warrant officer approached her one day with the news. She paid the
fine of $96.00 which in those days was a whole lot of money.
Following that episode everything
went dormant until the end of the war in 1945. Then the guys had to start all
over once more. They had the ping pong … the one Meadow always kept at home and
the other one in George Presell’s shoemaker shop.
A bemused Meadow
iterated to Clifton the 9:00 AM to 12 midnight Celebration they had which saw
Tallboy and himself embark on a “pan search”. It took them all night … they had
to cut and burn before tuning. They expended a whole lot till about 6 o’clock
in the morning, then as Meadow was about to take a nap a cab owner solicited
his services to repair a busted wheel band. Even though the artisan pleaded he was
inexperienced on such a job the cab driver insisted in engaging his services.
For a while Meadow
pondered … the $96.00 his grandma had paid wavered in his mind ‘… nothing
ventured, nothing gained’. He suddenly had the motivation… Hell yes! He confidently
gave it a shot. Tallboy passed to see how he was going so:-
I
told him to go ahead and I will meet the band
In response Tall boy retorted: “without the ping pong?”
“I told him I will meet
them by the Library so when I was finished and went for my pan it was not
there.”
“My grandmother informed
me that `Veda gone with it’ so I thought she had carried it for me but when I
got to the Promenade I was hearing the sound of a ping pong so I thought it was
Billy but I was also hearing the bugle and Billy was the Bugler but when I
reached in the band I saw it was Veda … I felt good so I let her carry on. She
learnt on her own when I was not at home.
I took a few men with
me to the Police Station for the pans that were confiscated … they had to be
tuned over.”
That in a nutshell was
the birth of the steelband or pan in San Fernando, Trinidad
“Julian `Tallboy’
Benjamin was the man behind it all. I would have liked him to be around today.”
Bless his soul - He was employed with S.M. Jaleel Sweet drink Factory as a
salesman in the Fyzabad and Siparia area.”
Another member was
Aubrey “Dollar” Jeffers who was employed with ‘Dipraj Samaroo Soft Drink
Factory’, as a salesman for Point Fortin and Cedros area.
Pearl
Harbour steelband was situated on Mucurapo Street,
obliquely opposite Johnstone Street. It lasted up to the year 1948. There after
some of the members went over to the Cross
of Lorraine Steelband led by Emile “Zola” Williams.
Veda Samuel was the
first female to beat a steelpan in San Fernando. She was also the first person
to beat a ping pong on the streets of San Fernando. That was in 1945 in the
post war period.
Other members of Pearl
Harbour included John Patterson, Lincoln Pascal and Kelvin Williams.
THE
BIRTH OF THE CROSS OF LORAINE STEELBAND
Following
the demise of Pearl Harbour, Meadow became a member of the Cross of Loraine
steelband in 1948 {The Cross of Lorraine
was a 1943 Metro-Goldwyn-Mayer war film about French prisoners of war escaping
a German prison camp and joining the French}. It is interesting to note that Pearl Harbor,
like most bands of that era, chose names in relation to popular movies or international
events of the period. [PS – Casablanca, Tokyo, Red Army, Invaders etc.]
By this time Meadow was building
quite a name for himself as a tuner cum arranger. At a fete in Couva he was
approached by one Victor from that area who requested his assistance in the
formation of a band. He could not resist so that within a few weeks he was on
the ball. Because the band was in a back street it was called BACK STREET BOYS.
Later they moved on to the main road where Victor resided. They then took on
the name EAGLE SQUADRON. The outfit included the Pascal brothers, Ray, Boysie,
Moy (a female) among others. That was around 1949-1950.
CROSS OF LORAINE GIVES WAY TO FREE
FRENCH
By 1951 the band undertook yet
another name change in FREE FRENCH
and soon after went on a tour to Martinique and Guadeloupe. On his return
Meadow was again approached on the formation of another band in California by
Lenny Lamont. He again obliged especially since he had some pals in Central –
Carl Shipley, Errol Maynard, Selwyn John, Fabien among others.
Free French, meanwhile, was
preparing for the inaugural biannual Steelband Music Festival in 1952. The test
piece was “Under Marabella Bridge” plus a tune of choice. The band was led by its
founder, Emile “Zola” Williams with Theo Stephens as arranger. {Theo had just
returned from the U.K after performing at the Music Festival of Britain in
London with TASPO – Trinidad All Percussion Steel Pan Orchestra - from July 06,
to December 12, 1951.}
Meadow tuning pans at home – St
Joseph Street, San Fernando
An
amused Meadow related to Clifton an incident which occurred some sixty (60)
years ago, on the day of the Festival ... Meadow was accosted by Theo about an
arrangement change in the “tune of choice” … the pans had already gone to the
venue … the other players were not cognizant of the change. He was not happy
with it as it was merely a few hours before the competition but was assured by the
arranger that it would be easy for the players to catch.
Following the performance Meadow
thought he had made a mistake with his solo run … but according to Adjudicator
Dr Sydney Nortcote the pans were well tuned the error was in the tune of
choice; “the composer did the piece for strings and strings only” it took
several years to put the piece together and it remained incomplete to date… and
we got there and pound it out on oil drums … “what an insult it was!” affirmed
the learned Doctor of Music
THE CHIMES OF METRONOMES (1952 -
1956)
By year’s end Theo took over the
band from Zola … all the members followed … the new name was now METRONOMES. It was now situated on
Rushworth Street where Theo’s family resided. Some of the instruments were had
from Zola whereas Meadow got some from the bands he tuned for – Couva,
California and Oropouche. Metro was ready for the Queen’s Coronation Celebration.
Come 1953 Metronomes got
engagements playing for dances and during the Lenten season they played at the
residence of the Montanoes in Vistabella. The following morning, however, the
instruments were transported to Cunupia as Theo had unilaterally organized a
sale for them. This almost caused a fracas in the camp save for the timely
intervention of Meadow who got some of the boys to remove the remaining pans
from Free French pan yard to his home on Johnson street where they attempted to
reform the band … until low and behold Theo struck for a second time; this time
he took pannists with him, including Alan Bishop, Neville Alibocas, H. Boodoo,
Kenneth “Heads” Baptiste among others, leaving three (3) of the guys …………..
Webb, Eric Tony & Meadow. This resulted in his formation of All Stars in 1953.
Meadow made a valiant attempt to
keep the band going … including asking the neighbor to allow her children to
play. This is how the Lackatoo brothers came into the picture… so too did Roy Ackee,
Moses, Steve Drayton and others. Webb emerged as the tuner cum captain. Meadow
was the arranger. The struggles continued past 1954 when a sailor band was
added to the carnival presentation. In 1954 playing in dances with brass bands
became part of our feat. All credit to the Lackatoo boys who were taking dance
classes at the YWCA on the Promenade. That was for gratis but it appeared to
have opened the doors to lucrative gigs and more important … recognition.
Metronome’s carnival presentation
for 1955 was entitled “The Bronze
Warrior”. It saw the band receiving the two major awards at Skinner Park
and at Rushworth Street but it was, indeed, a rainy day. It was a tough time
for Meadow as he had precious little help.
The following year, 1956, the band
played “Red Nose Sailor”. Even
though Meadow portrayed a “Prince’ his thoughts were “outside the box” … the
Music Festival.
FESTIVAL TIME AGAIN
On the heels of a successful carnival
the members appeared to be getting conceited, as the talk about the town was
about “Metro, Metro and Metro”. Meadow was in a quandary in the selection of a
tune for the Festival – “Gold & Silver Waltz or Granada Mambo” … but the
band members would not attend practice. .. this caused Meadow to throw in the
towel.
When Zola got wind of Metronome’s non
participation in the Festival he asked for some pans and some of the senior
players inclusive of Webb, Tony and
Meadow himself. Following discussion with the other players, who were not
selected, it was agreed that the both bands would merge and participate under
the banner of FRENCH-METRONOME.
At the first rehearsal Meadow was
selected as the arranger; “Indian Love Call” was the tune of choice for Free
French and after a tossup “Gold and Silver Waltz” received the nod viz a viz” “Indian
Love Call”. Eventually they qualified for the semi-finals together with Southern
Symphony which was led by Belgrave Bonaparte. They, however, did not go beyond
the semi-finals in Port of Spain in what was considered controversial as the
announcer had to run for cover following his pronouncement.
Following the Festival it was
agreed to continue performing as an alliance. That too proved futile causing
Meadow to walk. (abandon the steelpan movement)
MEADOW’S FINAL CURTAIN IN PAN
Meadow became disillusioned with
the pan fraternity from 1956. Then after some sixteen (16) years of watching
history created, from the sidelines, he jumped back into the fray in 1972. He
was then 42 years young and chose to play the six (6) bass with Sando Organettes where he remained for
another seven (7) years.
In 1980 Meadow again switched
bands, this time he chose Olympians playing
with them for panorama. As if that was not enough the next year he jumped ship
and played with Southern All Stars for panorama 1981. He never turned back and delved
deeper into a totally different genre - sports -----.
In 2000 Meadow was recognized as a Pan Warrior by
the Southern Pan Warriors Research Foundation
Meadow
with other honorees of the Southern Pan Pioneers
at the
turn of the turn of the century at Skiffle Bunch Pan Theatre
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