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 26^th 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.

MEADOW WILLIAMS – THE EVOLUTION OF PAN (Down South)

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

THE BAMBOO TAMBOO ERA - 1935

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

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

                                    MEADOW’S FIRST ENCOUNTER WITH PAN

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

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

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

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

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

MEADOW VISITS PORT OF SPAIN

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

                                                        Pearl Harbour with Meadow stooping at right

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE BIRTH OF THE CROSS OF LORAINE STEELBAND

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

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

CROSS OF LORAINE GIVES WAY TO FREE FRENCH

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

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

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

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

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

THE CHIMES OF METRONOMES (1952 - 1956)

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

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

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

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

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

FESTIVAL TIME AGAIN

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

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

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

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

MEADOW’S FINAL CURTAIN IN PAN

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

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

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

                            Meadow with other honorees of the Southern Pan Pioneers

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

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