Well, it’s all over and now most of us are back to sobriety, especially those of the Christian faith for the next 42 days during Lent, until Easter Saturday. Entertainment-wise, the major events include Talk Tent and UWI’s Tribute to Black Stalin at the Hyatt Regency this weekend, Jazz on the Greens and Tobago Jazz. 

However, before those, the finale of Carnival 2015—Pan Trinbago’s Steel Plus—takes place tomorrow at the Queen’s Park Savannah. Billed as a night of champions, this event will showcase the winners of Carnival, plus some very special guests.

I have many fond memories of this Carnival, but these were sobered by sadness, including the murder of media colleague Marcia Henville; the passing of media icon Raoul Pantin and politician Martin Joseph; former national calypso monarchs Black Stalin and Singing Sandra being sidelined from the festival because of illness; and, the destruction of former monarch Duane O’Connor’s home in St James by fire.

An amusing and memorable Carnival moment for me was on J’Ouvert morning when the band Mudders 34 appeared on South Quay just as the sun was beginning to peep over the Laventille Hills. There they were, hundreds of masqueraders covered from head to toe in caked mud, suddenly stopping the music and standing at attention to face the judges and sing the band’s anthem, its refrain “haul yuh mudda....shhhh.” 

Among my other pleasant memories this season were Machel Montano’s flawless Machel Monday; LIME all-inclusive at the Hyatt Regency; and, Lingo’s overwhelming win at the National Extempore Monarch final on Carnival Thursday night. 

Also high up there is Chucky’s performance in the second round of National Calypso Monarch singing I Believe. After his performance, Chucky was unbeatable and went on to win the 2015 National Calypso Monarch title, beating out two previous monarchs (Karene Asche and Duane O’Connor), and pre-competition favourite Devon Seale, in the process. Chucky is only the sixth calypsonian to register back to back victories in this competition, the others being Atilla the Hun, Striker, Duke, Sparrow and Chalkdust. I rank Chucky’s I Believe, written by Fazad Shageer, Ray Holman and Chucky, and produced by Junior “Ibo” Joseph, right there amongst the better composed calypsoes through the years.

Other memorable moments include Olatunji’s performance of Ola in the Digicel International Groovy Soca Monarch final; Stephanie Kanhai’s performance of The Sweet Waters of Africa, on ten-foot-tall stilts to earn the Queen of Carnival title; and, Yannick Holdip’s energetic performance of When You Say Africa...I Say Shaka to cop the Junior King of Carnival title.

One regret I had though was that one of the sweetest songs for Panorama this year wasn’t played by any large conventional steel orchestra. I’m referring to Lucy, performed by Destra.

I must also compliment the T&T Police Service and members of the protective services for maintaining law and order and ensuring that Carnival 2015 was one of the safest ever, though marred by one murder on Ariapita Avenue on Tuesday night.

Looking forward to next year’s Carnival, the National Carnival Commission (NCC) and its Special Interest Groups have less than 12 months to improve on some of their shortcomings this year. At the top of my head is a need for Trinbago Unified Calypsonians Organisation (TUCO) to take another look at its judging process and its production of competitions. I feel that selecting 40 calypsonians for the semi-final in Skinner Park, San Fernando is much too much, especially with the wishy washy songs selected by what I feel is flawed judging process. 

I also feel that TUCO needs to revert to days of yore and make the singing of two selections at the semi-final a requisite for qualifiers. The poor calypsoes performed on Carnival Sunday night at the Queen’s Park Savannah final ought to be ample proof of that.

Pan Trinbago also has to pull up its socks as no competition/show should last 12 hours. The steelband body needs to also take another look at these competitions and maybe find some other formula to accommodate the medium sized steel orchestras on a night apart from the competition for large bands.

The National Carnival Bands Association (NCBA) should not stage its junior Carnival on the same day as the staging of the National Panorama final. This year, after the junior mas, minutes before the start of the Panorama final, cleaners were hastily trying to clean the premises for incoming patrons, made to stand in a long line at the Savannah for over two hours. Staff were also observed in a frenzy stencilling letters of the alphabet on the floor for row seating, as well as affixing chair numbers. One idea would be to move the junior competition away from the Savannah all together and stage it at the South Quay venue?

I feel that Pan Trinbago should make it mandatory that no large conventional be allowed to play a calypso from yesteryear. Enough new music is composed each year for bands to resort to vintage songs as their tune of choice. Retro calypsoes should only be played by bands in the smaller categories as it is good to hear the arrangements of the old calypsoes, especially of songs that were never performed in Panorama, like Duvonne Stewart’s winning arrangement of Bally’s Party Time for Pan Elders.

With thousands of satisfied visitors leaving our shores it’s waiting time again for Carnival 2016, scheduled for February 8-9. With Carnival being even earlier next year, the first fetes may very well be held before Christmas? There is precious little time to fix the ills, especially with the World Panorama competition being scheduled for August.

Next year, don’t look for me on the streets of Port-of-Spain in a Carnival band. After almost half a century of playing “town mas” and being involved in Carnival events, I am suffering from burnout and in 2016 intend taking things easier, possibly playing mas in Tobago instead, especially with so many nearby beaches to cool down after a day of revelry.

Based on reports reaching Pulse this year, Tobago had one of its best Carnivals, although having two J’Ouvert celebrations simultaneously—one in Scarborough the other in Roxborough—caused a split, with Scarborough having a meagre turnout of spectators.

The two-day Carnival celebrations launched early on Carnival Monday morning with J’Ouvert; revellers celebrated in the streets of the capital Scarborough until daylight. The party continued throughout Carnival Monday to late Carnival Tuesday with the parade of masquerade bands. Dressed in colourful costumes, masqueraders danced to the rhythm of the latest soca songs that blasted from large music trucks.  

Before the parades, Carnival activities in the sister isle were many and included the Windward Afro Queen Show and Calypso Monarch competitions staged on Valentine’s Day by the Tobago House of Assembly at the Cyd Gray Sporting Complex.

Now in its 46th year, eight contestants, aged 17 to 25, took part in the beauty pageant. Representing Betsy’s Hope, Anna-Lisa Roberts dazzled the judges and was declared the night’s winner. 

In the Calypso Monarch competition, nine of Tobago’s most seasoned calypsonians entertained the audience. The event, which began in the village of Roxborough, has continued to grow over the years. 

By all reports, Carnival in Tobago was a wonderful and memorable experience for all. Secretary for the Division of Community Development and Culture Denise Tsoiafatt-Angus said: “This year’s Carnival proves you don’t need bacchanal to have a good Carnival...Tobago’s Carnival is not just alive and well, but thriving nicely.”

The culture secretary said there were more spectators and tourists playing mas on Carnival Monday and Tuesday. The Junior Carnival competition, held on Valentine’s Day, also enjoyed an upturn, with over 800 masqueraders.

“The bands showed growth with the increasing numbers of young people and children in costumes,” Tsoiafatt-Angus said. She described the quality of the mas as “undisputedly elevated.”

Pan in the sister isle also made an impact, with 11 bands qualifying for the national Panorama semi-finals this year, of which six reached the finals, a first for the island. An unprecedented ten calypsonians also made it to the national calypso semis.

Tsoiafatt-Angus congratulated those calypsonians, as well as the medium steelbands which participated in the 2015 Panorama finals, including second-placed NLCB Buccooneers, NGC Steel Xplosion (third place) and Petrotrin Katzenjammers (fifth place).

During the briefing, chairman of the Windward Carnival Committee Julian Celestine echoed the secretary’s sentiments of a positive Carnival season.

“Carnival 2015 was a tremendous success for us,” he said, saying 13 schools participated in the Junior Extravagant, up from nine schools last year. 

Tsoiafatt-Angus said there was more collaboration between stakeholders, including the Tobago Festivals Commission and the Tobago Carnival Committee, and her division. She commended stakeholders on their “willingness to work together to nurture the potential of Carnival in Tobago.”

Tobago Carnival is also almost entirely crime-free: an attractive feature. Police reported only two incidents of note for Carnival in Scarborough. There were no such reports at Roxborough or Crown Point.

So, after ten years each, of playing mas with Minshall, Berkeley, Poison and Tribe, and a few others in between, in 2016 I will be going to that paradise found by Robinson Crusoe.

The next mega event in Tobago is the 2015 Tobago Jazz Festival, scheduled for April 18-26. It is being headlined by American Grammy Awards winners Jennifer Hudson, Jill Scott and Kool & The Gang, and fast-rising R&B star Miguel.

Most of you will not believe this but I have served as a Phagwa judge on more than one occasion, as well as attended many a pichakaaree contest, thanks to my friend Ravi Ji. So, I know a great deal about Maakhan Chor and Ranga Barase competitions. 

My favourite is the Maakhan Chor in which ten-member teams are required to form a human pyramid to get a pennant suspended many feet overhead in the quickest time. Bachon ka Khel (children’s games) is also great fun with several children participating in wholesome fun, including the sada and condense milk eating competition. 

It is why I am so excited to attend this weekend’s 24th annual Kendra Phagwa Festival tomorrow and Sunday. Holikaa Friday is scheduled for today at 6.45 pm, and Pichakaaree Sunday takes place on Sunday, from 2 pm. Both events will be held at the Kendra Grounds, located at Gilba Trace, Raghunanan Road Extension (off Southern Main Road), Enterprise. 

The Holika Dahan effigy will also be burnt tonight. Holika Dahan (Kamudu pyre) is celebrated by burning Holika, the devil. For many traditions in Hinduism, Holi celebrates the death of Holika in order to save Prahlad, and thus Holi gets its name. 

Phagwa is a spring festival also known as “the festival of colours” or “the festival of love.” It is an ancient Hindu religious festival which has become popular with non-Hindus nationwide. Participants douse themselves with abeer (coloured water) during celebrations. 

Twelve finalists will vie for the Kendra Phagwa Festival’s Pichakaaree Championship. The 24th edition of the annual festival was launched on the occasion of Vasant Panchami on January 25, with the traditional “chulha boiling” of the first abeer and the vibrant sounds of chowtaal by the Sumatee Dabha Ramayan and Chowtaal Group. Organisers and contestants have since been busy with preparation for this weekend’s two grand events. 

The qualifying round of the pichakaaree competition was held last Saturday and a dozen finalists were chosen by the panel of judges. Several first-timers and pichakaaree veterans will attempt to dethrone the reigning champion Mohip Poonwassie. 

The finalists are Mukesh Babooram, Christopher Joseph, Ricky Khandoo, Jagdeo Phagoo, Toolsie Ramdass Singh, Nirmal Ramdass Singh, Nirmala Ramdass Singh, Kamaldai Ramkissoon, Giselle Ramoutar, Genevieve Ramtahal, Reena Teelucksingh and Poonwassie. 

One of the things to impress me about the pichakaaree competition is the social and political commentaries sung by some of the finalists. Also impressive are some of the props and costumes used by contestants. 

Geeta Ramsingh (Vahini), president of the Kendra, indicated that the 2015 theme, Enlightened Citizenship, was chosen in response to the many troublesome issues affecting our nation. Pichakaaree, she said, is a conscious, intelligent voice and the standard of pichakaarees this year is very high. It was very reassuring to see several first-timers and teenagers participating in the qualifying round, ensuring longevity for the art form. 

By the way, I have also been a judge at the inaugural Saaj Sammelan competition on more than one occasion. 

Don’t stop the party 

Contrary to this year’s popular soca item Party Done by Machel Montano and Angela Hunte, there will be no stopping the party for the short Carnival 2016 season. 

With next year’s Carnival scheduled for February 8 to 9, it is very likely that the first fete of the season will be held before Christmas. As expected, the jostling has started among fete promoters to find the best date for their events. A lot of clashing is expected. 

The earliest news reaching Pulse shows that as soon as the new year opens, with Tribe Ice and Trinity College’s Soka in Moka expected to be held on Saturday, January 2. Other tentative dates include QRC Fete Royal (January 9); Stumped!!! (January 9); Old Hilarians (January 16); Blue Flame (January 23); St Mary’s Fete with the Saints (January 23); Yorke Masquerade (January 24); Tribe Ignite (February 4). 

Dates of which one can be certain are National Calypso semifinal (January 23); National Panorama semi-final (January 24); Machel Montano (January 25); Tuco Kaisorama (February 4); National Kings & Queens Finals (February 5); International Soca Monarch Finals (February 5); National Panorama final (February 6); Dimanche Gras (February 7). 

Sparrow hails All Stars 

“All Stars forever!” said Mighty Sparrow on Monday, hours before departing for New York for a routine medical check-up. The Calypso King of the World continued, “You should hear me bragging ‘we win, we win’ when we won Panorama. 

Then there was more bragging after Carnival when we won the Band of the Year.” 

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Massy Trinidad All Stars and Sparrow have had a close affinity for decades, the band having won much acclaim in 1984 for its rendition of Sparrow’s Road March Doh Back Back. Said Sparrow: “Congratulate Berry (manager Beresford Hunte) and Smooth (arranger Leon Edwards) on their achievements and making me a happy man this Carnival. When I saw the band on Carnival day I said ‘now that is mas’,” 

Sparrow said he will be in and out of the country regularly this year as he is booked for several engagements. Up to last Sunday he performed at Iere Theatre Productions and Canboulay Productions’ production of Ten to One, at the Southern Academy for the Performing Arts (Sapa), San Fernando. 

The freak next door 

Veteran actor Raymond Choo Kong is funny but Carolyn Taylor was downright hilarious when Party Done for the Freak Next Door premiered last weekend at Queen’s Hall, St Ann’s. Produced by Raymond Choo Kong Productions (RCKP) and First Instinct, the play stars Cecilia Salazar, Arnold “Peenie” Goindhan, Kevon Brooks, Trevor C Jugmohan, Choo Kong and Taylor. 

What surprised me early o’clock about the play was there was absolutely no reference to the soca hit Party Done by Machel Montano and Angela Hunte, nor even the closest connection to the bacchanal issues of the just concluded Carnival. Nonetheless, it was well-scripted and came across well-rehearsed on opening night. 

Portraying the ditzy Pauline, wife of “village ram” Ron (Goindhan), Taylor was given some really funny lines while Choo Kong, as Barry Clarke, was his normal self, portraying the stereotypical feisty “Chinee man” we’ve seen him as before. The most excitable character of the cast was Cecilia Salazar in the role of Janice, wife of Barry. Jugmohan, also the play’s producer, was casted as Alan, a deadpan character, young son of Barry and Janice. Brooks plays persistent police officer Curtis.

Party Done for the Freak Next Door was reprised last night at CLR James Auditorium, Cipriani Labour College, Churchill Roosevelt Highway, Valsayn, and runs at this venue until Sunday evening. 

Dancehall in the jazz 

Things are progressing nicely for this year’s Tobago Jazz Experience (TJE) and two Caribbean stars have been added to the mix. Jamaican dancehall stars Romain Virgo and Busy Signal have been added to an already star-studded cast for the 2015 Tobago Jazz Experience.

The two will join the legendary David Rudder who has also been added to the TJE cast along with local acts Kes the Band and this year’s International Groovy Soca Monarch, Olatunji. 

They will be part of the Experience that includes mega stars Jennifer Hudson, Miguel, Kool & the Gang and Jill Scott, in what promises to be another huge TJE. 

The Experience, which is much more than music, takes place from April 19 to April 26 and will begin in Speyside, with shows all over the island, culminating in a weekend of music, fun, food and dance at the picturesque Pigeon Point Heritage Park. 

Announcements of additional artistes will be made as the build-up to the festival continues. 

• For more information, please go to wwwtobagojazzexperience.com or the Facebook page at www.facebook.com/tobagojazzexperience.

Legendary local musician Clarence Curvan has added his voice to the growing confederacy of supporters of Massy Trinidad All Stars winning this year’s Band of the Year title. Based in New York for several years, Curvan, who returned home for this year’s Carnival, lamented the dearth of “creativity in mas” in T&T Carnival.

Said Curvan, now aged 76: “I am in total agreement with the Band of the Year for the past two years. All Stars deserves to win, as it was the only band portraying anything recognisable. It is difficult to choose a winner when all the bands are playing the same thing, perhaps only different by colour.”

An acclaimed T&T musician, Curvan has a deep and special affinity with the steelpan. His musical roots are deeply embedded in the national instrument: from being a pan player and steelband captain, he rose to lead one of this country’s top orchestras.

“I was born on St Vincent in 1939 next to a calypso tent (The Old Brigade),” said Curvan, “and, around the age of six, my mother and the neighbours would go to the calypso tent yard and peer through the holes in the fences. We enjoyed a night’s performance, so you could say I was nurtured on calypso and music. I grew up knowing all the popular calypsonians of that era, like Growling Tiger, Dictator, Commander, Spoiler, Spitfire and Lord and Lady Irie. This was the start of my experience in the calypso business.”

“Around the age of of 16, my mother began sending me for piano lessons by Norman Simmonds, a recognised pianist. I grew up as the eldest of three children, with a younger brother and sister. My father, a well-known prison officer, was very close to me, and he had other children, four all told.”

Curvan’s initial love in music was percussion, despite his piano lessons. “This was probably because of my steelband connection,” he surmised. 

Starland days

Divided between his love of band music and pan, Curvan devoted some of his youth to the steelband. He explained: “As I got older, year after year, my interest in the steelband grew, and I was playing bass with Starland at the age of 15. When the original guys gave up the band, and being born and raised on St Vincent Street, and having a recognised steelband on St Vincent Street, I couldn’t just let it die. Having virtually grown up in the dance hall, panyard and calypso tent, I was already in the belly of the beast.” 

Before devoting all his attention to his fast-rising orchestra, Curvan also took his Starland steelband to lofty heights. Following the success of the band’s 1956 presentation of Zapata, Curvan unleashed a huge Sea Bees band on the streets of Port-of-Spain on Carnival Monday of 1963. He followed this up on Carnival Tuesday with Back to Mexico. Curvan remained with the steelband for two more years before extending his talents internationally.

Learning in the orchestra

During his transition, Curvan began realising that orchestras were a vital commodity at dances and school fairs; his favourite group was then Sel Duncan Orchestra.

Duncan’s music and band had a positive impact on young Curvan. He said: “My entry into band music is a curious tale. One night, a neighbour gave a dance in Manzanilla and I somehow ended up on the stage with the band, knocking a cow bell. The band, Sonny Lewis Orchestra, elder brother of Joey Lewis, was one of the leading bands in the country back then, so being seen on stage with them increased my popularity. In that band there were musicians like Joey Lewis on piano, and Boyie Lewis on guitar. When the dance was over the bandleader paid me a dollar. After that night I found wherever the band had to play, and was very present on stage each time.”

The Sonny Lewis Orchestra became Curvan’s apprenticeship as an aspiring musician. He recounted: “I continued with Sonny (Lewis), all the while observing how a band was run. I also began messing around with other instruments. Two of my relatives abroad eventually got me a pair of bongos and I then eventually got into the Phill Britto Orchestra, the resident band on Radio Trinidad. I began learning the drums and just kept myself going after that.”

His own band

The Rediffusion Radio had two programmes for teenagers: Hi Teens in the morning, produced by Trevor MacDonald and Ashton Chambers, and an evening show.

Curvan remembers: “One day, one of the show’s producers asked me if I could find a small band to perform on the show. That’s when I got the incentive to form my own band, taking some of the guys from my street. I knew Beverly Griffith’s brother Selwyn, arranger of Starland steelband, so I invited Beverly, and had Stan Chaman on guitar. Back then I was already considered to be an accomplished drummer.” 

The band was named Clarence Curvan Combo Estrellas Juveniles (Young Stars) and it became very popular, being fully booked and selling out for every engagement. Curvan eventually decided to add horns to his aggregation.

Observing that Sel Duncan’s band, consisting of just two saxophones in its frontline, garnered a tremendous following nationwide, Curvan decided to follow suit—but with two alto saxophones in his band to form a full orchestra. “I did this in 1960,” recalled Curvan. “My first sax men were Carlton Amand and Roy Cape. Cape and Amand gave me a sweeter tone. I also used to record with Joey Lewis’ band and Cyril Diaz Orchestra. I did all of Diaz’s recordings, working with Sparrow.

“At that time, Joey Lewis had a Chet Atkins tune named Teensville that was very popular across the land. I watched him perform it and saw its popularity. After Joey experienced a lot of technical problems with manufacturing stampers in the US, I went to Cook right here in Trinidad and did the stamper for Teensville at Cook on Sackville Street. Cook decided to record the band on a Monday afternoon. He had a radio programme on Radio Trinidad at 7 pm on a Friday, playing all the new recordings. My recording of Teensville was ready to be aired as a new release and the rest was history. That was the true genesis of the Clarence Curvan Orchestra being one of the leading bands in T&T and the Caribbean.”

Travelling the Caribbean

Fame came fast and furious for the young, talented and ambitious musician. He said: “My orchestra began getting contracts travelling up and down the Caribbean from the mid-60s. We spent more time abroad than at home during the year. 

“I was the first dance band to secure a sponsor, sponsored by Fernandes Rum Company. Fernandes equipped us very well. Through impresario Choy Aming, every Sunday we played at the Penthouse at a rum punch party which was very popular. I eventually picked up an 18-month contract with the Bahamas Ministry of Tourism and grabbed at that opportunity with both hands.

“Even back then, I began seeing changes coming to our music. Smaller combo groups with younger musicians began growing in prominence. I thought it would do my country good if I could get out there and play our music in foreign lands.”

In the Bahamas, Curvan’s band was based at the government’s club—The Cat & Fiddle. 

“While there, when popular American artistes like Percy Sledge, Carla Thomas, Tyrone Davis and Clarence Carter came to the Bahamas, my band was hired to accompany them,” related Curvan. 

“I followed many popular Trini musicians who paved the way for me in the Bahamas. At the end of the contract, I was faced with three choices; remain in the Bahamas, return to Trinidad, or go to the States. I chose the latter, going there in 1971.”

New horizons in the States

Curvan said that going to the United States was a wise decision as it opened up new horizons for him: “After a few months of relaxation I put a group together in New York, with my agent Oswald Rodgers from Holland. I have always insisted on including a steelpan in my band. From New York, Rodgers secured contracts for us in Europe.” Curvan revived having pan and brass in fetes in New York and, in 2007, his band shared the stage with 2006 NY Panorama champion Pan Sonatas.

With New York as his base, Curvan began spreading the music and culture of T&T as far as he could. He said: “When I was abroad, I became involved in T&T culture in every nook and cranny. I judged carnivals in Nottinghill, UK, New York and across the Caribbean. I was well respected wherever I went. My band has played for T&T Independence balls in New York, Atlanta, Miami, Connecticut and Washington DC.”

Lament for Carnival’s glory days

Looking at today’s T&T Carnival, Curvan asked: “What has become of our beautiful and glorious Carnival? Where has the creativity in our festival gone? I hope All Stars’ win would make other bands and designers take a closer look at what they have been presenting for years.

“There isn’t too much creativity in the music, either. It’s only Joey Lewis and Roy Cape who are holding out today and keeping dancers on their feet. Having said that, I am realising that a lot of young people and women are getting involved in the music. Long ago we had to depend on the orphanages to supply good musicians. I feel that there is a lot of room for both dance music and soca music.”

Curvan does see some promise amongst some of our young musicians, composers and artistes: “It is my hope that the young people would properly learn music and bring back dance hall music so people can dance and have a good time. 

“I enjoyed the standard of some of the soca music this year. Olatunji, Benjai and Destra did some good work. Machel is exceptional. He has a lot of strategy and knowledge and it is working for him. Soca music today is making a turn that is going to make it very big on the international market, especially the music being produced by Bunji Garlin. 

“Our music has simmered to what it was a few years ago, making it more attractive and appetising to the foreign market. I myself have found myself moving to some of the music. I hope the young people can remain in that trend.”

For many years I have advocated that the relevant arms of the state, inclusive of the ministries of Finance, Tourism, and Arts & Multiculturalism, National Security, as well as the National Carnival Commission (NCC) and its related special interest groups (Pan Trinbago, NCBA, TUCO) do long term planning for the annual Carnival festival. 

It is why I am heartened by Rhoma Spencer’s suggestion, published last Monday, that, “by the time Ash Wednesday is done, we should be beginning to plan for the next Dimanche Gras show.”

Spencer is an actor, director, storyteller and broadcast journalist who resides in Canada. Having won much acclaim for her role in Tony Hall’s 1994 play Jean and Dinah, she directed this year’s Dimanche Gras and acted in Kurt Allen’s The Barrack Yard Tent Experience kaiso theatre show. I would take Spencer’s suggestion even further and suggest that planning be ongoing for carnival for the next five years. We should already be thinking of what format, shape and intricacies Carnival 2020 should have.

We are now well aware of the world’s economic challenges and having that information should be seriously looking at the fiscal elements of Carnivals to come and how global prices might impact on our annual festival. Yes, we are in an election year and the administration could change but, with prudent and established procedure in place, some modicum of smooth transition and planning could be achieved.

Arriving early at the Queen’s Park Savannah, Port-of-Spain for shows staged this Carnival I was disheartened to witness the unpreparedness of the special interest groups in having their productions begin on time. Punctuality is critical for any stage production especially if producers are serious about having shows transmitted and streamed live, especially to global destinations. I am yet to comprehend how, after having an entire year to plan an event, a producer can still be late in actually commencing a show.

The face and nature of T&T Carnival is changing quickly and significantly. For instance, crowds no longer throng to the Savannah to see productions, aside from the national Panorama semi-finals. The demographic for patronage has shifted significantly for every aspect of Carnival stage show. This fact makes one wonder why millions of dollars are wasted on constructing and dismantling a North Stand that is full for just one show. 

Years ago it was the norm for calypsonians vying in the national final to practice singing two of four verses to a packed North Stand; the other two to an equally packed Grand Stand. Now that is but a memory as the wider public is no longer interested or inspired to spend lots of money for admission to the North Stand for Dimanche Gras, not to mention that at least 50 per cent of the calypsoes being sung should not be there in the first place.

The jury’s still out on the relevance of The Greens at the national Panorama semi-final. Originally seen as a cash cow for generating much needed revenue for Pan Trinbago this year’s venture seemed fraught with problems and not as attractive as that of the previous year.

As far as Panorama is concerned, it may be beneficial to the 20 participants in the national finals for medium and large bands to have their eight minutes of glory before the judges? But, for the average spectator, no production should last for nine hours, regardless of how much of a pan jumbie you might be. Simply have the medium bands category on a different night; maybe at a different venue as well, and produce a tight, properly coordinated five-hour final for ten large conventional steelbands?

In terms of new ideas, the Socadrome offers some relief to a congested parade route on Carnival day. But, it is yet to be embraced by the public as attendance continues to be low. In contrast, Carnival Village at the Savannah can be deemed a success story, maybe because it is free, in the heart of the city, and offers much more than just pan, calypso and mas. Attendance on closing night of the City suggests that this idea is crying out for a much extended life span, perhaps something that can be kept  alive for at least a couple months after Ash Wednesday.

Another success story, although I didn’t actually witness it, seemed to be Kurt Allen’s The Barrack Yard Tent Experience kaiso theatre show, pitched on the grounds of the National Academy for the Performing Arts (Napa). Allen’s production came as a blood transfusion into the Carnival and calypso this year and should be continued and better subsidised.

Seeing that T&T Carnival unfortunately continues to be a competition-driven phenomenon, protests and threat of law suits by begrudged participants continue to be the norm. In competition of any nature contention comes with the territory. So, it’s no surprise that both the NCBA and Pan Trinbago are being villified for some of this year’s results. Complete transparency and the hasty release of results must be mandatory in all results. 

Years ago, I also suggested that, if competition has to continue among steelbands, Pan Trinbago gives seriously consideration to the methodology used in adjudicating diving and gymnastics at the Olympics. At the end of every performance, post the composite scores of the band on huge video screens strategically erected in the venue. TUCO might do well also implementing this technology, especially at the national monarch semi-final at Skinner Park, broken down to display what scores have been awarded in every category for a performance.

Speaking of the semi-final, there is no need to select 40 calypsonians, with more than 20 of them singing mediocre songs for Skinner Park. Why not select 20 semi-finalists, each singing two songs?

On the subject of calypso, this year’s Kaisorama could be deemed a crowd-puller, especially for its Extempore semi-final, staged at the Kaiso House tent in the Savannah. This is a well produced show with patrons getting value for money.

In terms of crowd-pullers, the most successful were Machel Monday, Ladies Night Out and Battle of the Sexes, all privately produced events. In contrast, we see diminishing audiences almost every other NCC-run event. Perhaps, just perhaps, the time has arrived for the NCC to consider leasing out some of its events to private entrepreneurs? Dimanche Gras is now staged to just a Grand Stand audience and every aspect of the King and Queen of Carnival competition is staged before disappointingly small audiences, audiences which shrink with very passing year.

The private promoters, like Ultimate Events (Tribe Mas), prove that they are serious about planning and successfully executing a production. For instance, one promoter who is ready for Carnival 2016 is Randy Glasgow Promotions (RGP). They already know that, after staging Ladies Night Out on a Friday night for the past 12 years, will stage next year’s production on  January 23—a Saturday—at Jean Pierre Complex. The show is being billed as Lucky 13 and will have its usual giveaways. This year, RGP gave a dozen women who attended this event $12,000 each as door prizes. This year’s show was one of the biggest staged, second perhaps to Machel Monday.

Also ready, if their events were being held tomorrow, are St Mary’s College Past Students whose Fete with the Saints is scheduled for January 16, most likely back at the college’s grounds in St Clair, and Gerard Yorke’s Masquerade all-inclusive, to  be held the following evening, January 17.

100% Real Calypso

With Carnival 2015 done and dusted lots of exciting things have been happening in the calypso world. Two former national calypso monarchs—Black Stalin and Singing Sandra—are on the mend and live shows have resumed at De Nu Pub (The Mas Camp) in Woodbrook.

Last Wednesday night, Kalypso Revue deputy manager Carlos James (Skatie) premiered his 100% Real Calypso series hosted by Sprangalang and having musical accompaniment by The Joey Rivers Band. This week’s show featured Abebele, Tenille Cooper, Sprangalang and Skatie and it was outstanding. Skatie’s interpretation of David Rudder Calypso Music is worth every cent paid for admission as was Abebele’s entire performance. The Joey Rivers Band was amazing and provided some of the best rehearsed and tight accompaniment I have heard for some time for calypsonians. The band’s horn line is spot on,

One of the highlights of this series is Skatie’s attempt to create unison between veterans in the art form with some of the young, upcoming bards. He explained that the youngster will be rendering “vintage kaiso” by some of the masters, like Roaring Lion, Spoiler, Radio and others.

The series continues next Wednesday and will feature Bro Valentino, Pink Panther, Ninja and Skatie. The cast for Wednesday 25 will include Luta, M’ba, D’Diamond and Skatie.

In hospital since February 10 after undergoing a hernia operation, Singing Sandra wad discharged last week Thursday and said that she spent “a great weekend.” 

Sounding much improved, Sandra added: “My husband cooked for me a delicious meal of vegetables and shrimp, a very healthy meal. This week I will be resting, mostly being on Facebook, playing Panda Cop. I have to do a thanksgiving soon.”

Patsy Calliste, wife of Black Stalin had a hearty laugh when told of sightings of her husband in Port-of-Spain, at Wendy’s in Woodbrook last week. Said Patsy: “Leroy is coming along nicely. He definitely was not in Woodbrook and has been at home convalescing. His weekend was great and he was on top of the world as he had a visit by Roy Cape and some people from Grenada. They had a nice little session on Sunday and Leroy enjoyed that.”

The road to Carnival Medea

Lordstreet Theatre Company, producers of the critically acclaimed plays Miss Miles and Jean & Dinah, will present a workshop production of the new play Carnival Medea: A Bacchanal, written by Rhoma Spencer and Shirlene Holmes, directed by Spencer herself. On its way to the Edinburgh Fringe Festival in Scotland, Medea will make a pit stop in Port-of-Spain on March 21, at 8 pm, at Trinidad Theatre Workshop, Jerningham Avenue, Belmont.

This re-visioning of Euripides' Greek tragedy sets the timeless classic in 1950s Trinidad. The play brings it’s audience an eclectic mix of traditional Carnival characters, Orisha deities and dance. In addition to a very stirring narrative written in poetic prose that will surprise even those familiar with the original. 

Spencer and Holmes take a daring deviation from the known narrative of Medea’s revenge against her unfaithful husband Jason, bringing the audience to both tears and laughter. 

The director has brought together a cast of this country's leading theatre elders and young actors, including Kearn Samuel, Elisha Bartels, Theresa Awai, Brenda Hughes, Myron Bruce, Mark Nottingham to name a few in presenting this workshop production on the road to its T&T premiere in April 2016.

For almost four decades I have been known as a scribe of culture, entertainment and the arts. It may surprise some of you that I am also an avid sports fan, one with close emotional ties to cricket, football and athletics, especially cricket. It is why I have not had a full night’s sleep for the past three weeks, staying up all night at times to witness the ongoing ICC Cricket World Cup tournament in Australia and New Zealand.

My fervour for cricket goes back to my boyhood, as my late father, a member of Essex Sports Club, used to take me to the Queen’s Park Oval to see every international game played there, as well as to club matches in the Queen’s Park Savannah. In fact, it may very well be true that my father knew that I’d be passionate and in love with the game, as he named me after two famous English cricket captains and not after Errol Flynn’s swashbuckling character Dr Peter Blood as many people think. He named me Peter after Peter May, and Ray after Ray Illingsworth. 

As a teenager, I took umbrage at my father’s choice of names, asking him why he couldn’t have named me after famous West Indies cricket icons; perhaps Frank, after Frank Mortimer Maglinne Worrell, or Everton, after Everton Weekes. Who knows, had he done so my name would have most likely been Frank Everton Blood.

I had a very short career in cricket, one which ended practising with the college’s Colts team and ducking into a cork ball, bowled by one Noel Callender, which deviated from a crack on the QRC concrete pitch. The cherry missile connected with my jaw and I never played the game again.

I have so many fond memories of cricket, especially West Indies cricket. I have nothing but fond memories of so many of our gladiators, giants like Michael Holding, Vivian Richards, Conrad Hunte, Roy Fredericks, Gordon Greenidge, Wesley Hall, Clive Lloyd, Lance Gibbs, Charlie Griffith, Malcolm Marshall, Deryck Murray, Curtley Ambrose, Courtney Walsh, and of course Prince of Port-of-Spain Brian Charles Lara.

The Oval was like a second home to me, particularly the Dos Santos Stand. It was a home that provided me with some memorable moments, some of them having nothing to do directly with cricket. Like the day when, during a test match, with the ground bathed in sunshine, a swarm of bees swept across the ground, sending every player and the two umpires on their stomachs.

Then, there was the test when, as the morning’s play commenced, a strong earthquake rocked the ground. First down the stairs from the stand, next to the western side of the pavilion, were two famous politicians at the time, much to the amusement of those who saw them.

As I grew older, I became a member of the Concrete Stand Posse, a West Indies support outfit which occupied the ground tier of the Constantine Stand for many years. We had some wonderful, colourful members in our posse, like Toco/Sangre Grande councillor Terry Rondon, Rupert “Socks” Pantaleon, Gabriel “Blue Food” Belfon, Rawle Dove, the Keller brothers, Andrew Clarke, the Andrews brothers and the late Nora Rose.

The Concrete Stand created history at the Oval, and the first time that music and a steelband were allowed into the hallowed precincts of this pristine ground during a cricket game, that honour fell to Scorpion Pan Reflections of Carenage. Another first by the Concrete Stand was the distribution of

of awards to deserving cricketers, including Mikey Holder, who eventually became an honorary member.

I subsequently became part of the all-inclusive Trini Posse Stand and remain in its midst after more than two decades. 

The foregoing preamble is merely to try and emphasise the continuing, gnawing pain and distress I am suffering with the current West Indies team. It is with great trepidation that I watch tonight’s quarter-final match against New Zealand, to be played at the Westpac Stadium in Wellington. 

The Kiwis will be the toughest opponent we have faced this tournament. Captain Brendon MCCullum has been outstanding as a leader and strategist, especially in the areas of field-setting and rotating his bowlers, not to mention his batting prowess. In the team’s bowling department, speedsters Trent Boult and Tim Southee, aided and abetted by experienced veteran Daniel Vettori, are probably the most dangerous of the entire tournament. In batting, opener Martin Guptill is also a formidable opponent.

I agree 100 per cent with Lara in that we are doing the same things over and over, expecting a different result.  I am truly concerned—which Chris Gayle will turn up at Wellington tonight? With my supposed limited knowledge of the technicalities of the game, I think that Dwayne Smith ought to be rested tonight as he seems to be out of it. The selectors should place Lendl Simmons in his slot, to open the innings with Gayle. A slightly injured Gayle must be better than whatever Smith is at present. I would bat Johnson Charles at one down, and rest Marlon Samuels. I would also rest Kemar Roach who seems to have a significant reduction in pace since his injury. I would replace Roach with Cotterell. The two Jamaican pace bowlers ought to be able to lay a good foundation for us, especially in the first ten Power Play overs.

I have seen West Indies previously snatch victory out of the jaws of anticipated defeat; I hope it will be that way tonight. Far away from home, and without the pressures of home advantage and WICB stress, and with a large antagonistic crowd against them, one can only hope that our lads would be sufficiently angry and focussed to give the Black Caps the hiding of their lives.

Jazz is in the air

The world’s biggest soca superstar Machel Montano (Monk Monte) has been added to the cast of the Tobago Jazz Experience (TJE).

Montano, who in 2015 again won the Soca Monarch and Road March titles, will perform at the Pigeon Point Heritage Park on Friday, April 24 alongside American stars Jenifer Hudson and Miguel.

Montano, who had a fantastic 2015 Carnival season, will bring to the festival his usual high energy performance and will be backed up by his full band.

TJE, which takes place between April 18 and April 26, will see a number of world renowned acts performing including Jill Scott, Kool and the Gang, David Rudder, Kess the Band, Busy Signal, Romain Virgo, Machel Montano HD, Sherwin Winchester, Jenifer Hudson and Miguel.

It will take place throughout the island starting with a free concert at Speyside and includes shows at Castara, Scarborough, the Shaw Park Complex and culminates in a weekend of music and fun at the Pigeon Point Heritage Park. 

However, before TJE is held there is some truly great authentic jazz taking place tomorrow, Saturday, on The Greens, WASA Grounds, on Farm Road, St Joseph. Production One Ltd is the outfit staging Jazz Artists on the Greens, from 5 pm to 11 pm.

Leaning towards the Caribbean Jazz idiom for inspiration, Jazz Artists on the Greens has grown into the largest Caribbean jazz event in T&T, with the potential to expand further. This year, the event is celebrating its 13th anniversary, a milestone in the entertainment industry locally and regionally, which points to its validity as an entertainment option here. As with previous editions, the 2015 event promises a powerful mix of contemporary Caribbean jazz styles, delivered by some of the most talented performers to grace our stages. 

This year’s line-up includes one of the Caribbean's finest musicians, Bajan saxophone superstar Arturo Tappin, American steelpan jazz fusion artiste Jonathan Scales Fourchestra, Trinidadian smooth jazz guitarist Clifford Charles, and powerhouse songstress Kay Alleyne along with other surprise performers. The audience is in for a delightful treat. Fans are invited to walk with their mats and folding chairs and come and enjoy the open air ambience tomorrow.

First up in parang

Last week I wrote about the nearness of Carnival 2016, but even closer is this year’s Christmas, just 280 days away. It is not surprising that parang groups and seasonal artistes have already started planning for Christmas. First out of the blocks for this year is parang group Latino Soy of St John’s Road, St Augustine, with the release of a ten-track CD titled First Up.

Group leader Vincente Mario Holt told Pulse, “Latino Soy is a unique and exciting addition to the Trinidad and Tobago musical landscape.  Founded in 2008, we have over the years embraced and carried the banner of the parang culture proudly.”

The group comprises Anthony Duncan (cuatro); Lee Cummings (lead vocals/percussion); Francisca Lucio and Franklyn Garcia (lead vocals); Christopher Tronchin (congas); Vibert Francis (bass); Kenneth “Panam” Clarke (arranger/keyboard /percussion); Godwin Bowen (piano/keyboard); Nicholas Jones (tenor sax); Leonardo Morales (drums); Aida Clarke (back-up vocals/diction coach); and Holt (back-up vocals/maracas/percussion).

 Latino Soy has morphed into this formidable hybrid musical expression that has warmed the hearts and tingled the dancing feet of a wide cross-section of the Trinbago society. The group boasts a repertoire that embraces a collection of local, regional and international genres and rhythms. You will also find all tracks loaded with musical ideas out of the mind of renowed arranger Kenneth “Panam” Clarke and the fresh, exciting, contemporary playing of keyboardist Godwin Bowen, a prolific arranger of Pamberi Steel Orchestra.  

Recorded at St Augustine’s Crossfade Studio, tracks on First Up are My Girl, Someone Loves You Honey (Latin Version), Only a Fool Breaks His Own Heart, Rikki Jai’s Barman, I Could Fall in Love, Selena’s Como La Flor, Daisy Voisin’s Vamos A Gozar, Explainer’s All Inclusive, Marc Anthony’s Vivir Mi Vida and a reggae version of Someone Loves You Honey.        

Produced by Clarke, with some beautiful engineering by Adrian Jaikaran and Renaldo Taylor, First Up is the first 2015 Christmas release, but it’s also a great gift and collector’s item. The CD was mastered by Side One Studio. It truly is a work of beauty.

Although its local premiere is still sometime away, the producers of Carnival Medea: A Bacchanal have been having stage readings, the last of which was held last weekend at The Black Box, Murray Street, Woodbrook. The Lordstreet Theatre Company production is scripted by Rhoma Spencer and Shirlene Holmes, and the challenging role of Medea will be played by Elisha Efua Bartels. In supporting roles are Kearn Samuel, Theresa Awai, Brenda Hughes, Myron Bruce and Mark Nottingham. 

Visiting the T&T Guardian, Bartels said: “I got into Medea somewhat late. I got a call late into the game when they were already in rehearsals. I got a call at three in the morning, three days before the actual reading from my good partner Nicholas Salcedo. He asked me if I knew anybody who could do a particular role—the actor required to deal with large chunks of text, and be articulate in pronouncing Orisa names. He explained everything about the role. He told Rhoma about my interest and they called me right after, inviting me to a reading the next day. After that everything just fell into place.” 

Medea was staged last year but this reprise will field a somewhat changed cast. “This time around, the actors who played in Medea last year are not on stage for this production,” revealed Bartels. “Actors like Salcedo, Che Rodriguez and Cecilia Salazar and a few others are not in it, perhaps not being available. I embrace this opportunity to be more involved with the rehearsal process and different actors.” 

Bartels explained: “The play is based on the Greek tragedy Medea and it is localised in the setting of a J’Ouvert band. Knowing that I was coming into the process late served to free me from venturing with trepidation. Rhoma liked what I did. The text itself isn’t challenging for me, but the role of Medea is larger than life. She is a character who plays emotional extremes.” 

Involved in the arts since childhood, Bartels has been dancing since six; more than 30 years ago. “I am a founding member of Metamorphosis Dance Company,” she disclosed, “and I am involved in the group’s 20th anniversary, to be held on the weekend of April 18 at Queen’s Hall. I have been dancing quite a lot. For all of 2014, continuing into this year, I have been dancing six days a week. 

“I really enjoyed getting to work with Sonja Dumas’ Continuum Dance Project last year. I have been dancing with them since I returned home to Trinidad in 2008. Last year, for the group’s tenth anniversary, Sonja creates a full length ballet called The Museum of Difficult Women. I loved it and really enjoyed it all. 

“I have also been dancing with Astor Johnson Repertory Dance Theatre (Rep). Rep is trying to rejuvenate itself and keep Astor’s work alive. Getting to learn Astor’s choreography has been a joy and amazing.” 

So, beside dancing, what else does busy-as-a-bee Bartels do? “I enjoy writing,” she said, “but I like doing short fiction stories. But, in general, it’s difficult to get short fiction writing published because publishers prefer novels, especially first novels, because, they say novels sell. I have been working on a script. What I performed in The 3Canal show this year was actually a little piece from my script. The script is about half way completed. Hopefully, if I make enough money, I’d be able to complete by the end of the year. I have been working on this script for about two years, but I have thrown away so much of it during that time.” 

Bartels reiterated, “Although I have been acting I have been doing a lot of dancing as well. I am enjoying being able to do both. 

“Being involved in The 3Canal Show and doing Medea is exactly where I will like to be. Of course, when I am able to finish my script then I will be able to direct, something I truly enjoy doing. For me, as someone who loves theatre, I always want to see different types of shows on local stages. I also love seeing people doing new and experimental things. I would like to see different genres being explored; different types of roles made available to actors.” 

Bartels thinks that local theatre is one-dimensional. She added: “We are not exploring other forms of the theatre art. I thought that Kurt Allen’s Barrack Yard for Carnival was a great experiment, one which worked. I must admit that I fell for Myron B in a big way because his performance was unexpected, and he surprised me more than once in a single performance. All his technicals were spot on, including diction, projection, and his songs were strong and well written. It was obvious that he gave careful thought to production. I also thought Kurtis Gross was great, as were the children who sang a David Rudder song. 

“I must add that Dave Williams’ show at The Black Box was the best show that I saw for 2014. Sadly though, I don’t think more than 200 people saw this production.” 

What’s next for Bartels? “Beyond Medea, the next thing for me would be welcoming an opportunity to do some more acting, as well as definitely doing much more dancing. But, I am trying to focus on creating some new theatre.”

Carnival Medea: A Bacchanal will be staged on August 5 to 15, at the Edinburgh Fringe Festival. The festival is the forum where the world of theatre practitioners and artistic producers present new works.

Sunday will mark 30 years since the passing of Rudolph Charles and he is still fondly remembered. A musician and pan innovator, Charles, who died at the age of 46, was a pioneer and leader of the steelband movement in T&T, specifically Witco Desperadoes.

Nicknamed “Trail,” “Charlo” and “The Hammer,” Charles was part of the talented small band called Spike Jones in the 50s. In 1958, at the age of 20, Charles gravitated towards the Gay Desperadoes Steel Orchestra and was made leader three years later because of his ability to read music. In 1965, the orchestra entered into a sponsorship agreement with Witco, providing Charles with the financial backing he needed to implement his many innovative ideas for the steelpan. In 1970, the band won the National Panorama title and began touring the USA and Europe. Later on, the band’s name was changed to the Witco Desperadoes.

Because of his strict disciplinary manner, and because he always carried around a tuner’s mallet, Charles became affectionately known as “The Hammer.” 

It was he who gave Desperadoes its characteristic mellow, organ-tone that it has kept even to this day. On the steelband’s finest inventors/innovators, Charles was the first to chrome pans, which enhanced their tonal quality, durability and appearance. He was also the first to improve the steelpan canopies by using aluminium to make them, and by designing them in a new shape. 

Charles’ creativity led to the development of several new instruments that are visible in all steel orchestras today. 

He collaborated with master tuners such as the late Bertie Marshall and Lincoln Noel, which led to the invention of the Rocket Pan (1971-1972), named for its unique rocket shape; the Twelve Bass set of pans (1975-1976); the Quadraphonic Pans (1978); and, the Triple Second Pan with foot bass.

In tribute to these outstanding contributions, Pan Trinbago created the Rudolph Charles Award for Innovation in the creation of steelpans. Perhaps today more than ever Charles is greatly missed by his steelband, its supporters and the people of Laventille Hill.

Put a red circle around March 12, 2016,  on your calendar. That’s the date set aside for the 14th edition of Jazz Artistes on the Greens (JAOTG), consistently one of the best “authentic jazz” productions in the land. Staged by Production One Ltd last Saturday, on The Greens of Wasa, St Joseph, the show was simply exhilarating in terms of music and ambience, despite a heavy downpour at the show’s start. 

Comments overheard throughout the evening gave testimony to the high quality of performances, especially that of Arturo Tappin’s aggregation. A female patron summed up Tappin’s performance succinctly when she said: “Arturo Tappin is the Machel Montano of Caribbean jazz.” 

Despite the inclement weather at the show’s start, a heated repertoire by the Princes Town Musical Ensemble warmly opened proceedings. This relatively unknown act kept many patrons rooted under umbrellas to their seats as its young musicians, drawn from the H Maharaj School of Music, competently performed a variety of musical genres.

In existence since 2006, the school is run by Harripersad and Karen Maharaj. At the school, students from the age of four learn music practice and theory, and learn to play a number of instruments. They play all genres of music, including rock, reggae, alternative, soca, R&B and jazz. 

They were followed by Clifford Charles’s group. With Charles on guitar, the group comprised Allan Nelson (trumpet); Malcolm Boyce (saxophone); Stephen Villafana (trombone); Ron Clarke (keyboards); Sean Friday (bass); Jerome Charles (drums); and Jason “Fridge” Seecharan and Anastasia Richardson (vocals). 

Charles’s ensemble played some lively music, including its original Strollin, Seecharan’s wonderful treatment of Let’s Stay Together and What You Won’t Do For Love, guitar instrumentals of Love Never Felt So Good, Happiest Man Alive, Epic, Call My name and Dance With You. During a merge of the latter two, Clifford invited female patrons on stage to sing the songs’ refrains. 

The Jonathan Scales Fourchestra was up next, fielding Cody Wright on bass, drummer Chaisaray Schenick and Scales on double seconds. Theirs was an eclectic set with each musician copulating with the other in some unique musical shapes and shades. Playing mostly originals, the band’s repertoire included Life after D, Air Borne, Pink Brigade and Desert. I enjoyed all of Scales’ music but was particularly enthused by its cover of Seal’s Kiss from a Rose and Wright’s bass solo of Lone Wolf, a piece he later told me consisted of a medley of popular past hits. 

I thought that Production One should not have slotted Tappin to perform before final act Kay Alleyne as his music and performance was the night’s most dynamic and infectious. For his performance, Tappin brought his Barbadian music compatriots Andre Daniel (keyboards); Jermone Waithe (guitar); Kirk Layne (bass); Melvin Alick (drums); Kweku Jelani (trumpet); and Matthew Squires (trombone) to play with him and did they work up a storm.

Jelani and Squires, just 20 and 21, respectively, played with the competence of much older and experienced musicians. They had been mentored by Tappin for the past two years. Also efficient was 21-year-old Waithe, who was doing his first gig outside of Barbados. 

Tappin can be defined as “the mother lode” of Caribbean jazz. He and his band played a plethora of popular music, mixing Be Bop with pop, with R&B, with reggae, with straight ahead jazz, and with soca. Opening with Earth Wind & Fire’s In the Stone they gradually increased the intensity of their set with covers of Jay Z, Rihanna, Usher, Maroon 5, Eddie Harris, Stylistics, Bruno Mars, John Legend and Michael Jackson. With patrons, mostly women literally jammed against the stage dancing with gay abandon, Arturo unleashed a sizzling soca set of covers from Fadda Fox, Lead Pipe & Saddis, Olatunji, Benjai and Machel Montano. 

There was some local input with Tappin as his guest vocalist was Moricia Cagan of Pelham Goddard’s Roots and also a past Digicel Rising Star standout. 

When Tappin ended his set, it seemed that many patrons, believing it to be the finale, began heading for the exit. But, there was much more to come and Digicel Rising Star winner Kay Alleyne didn’t disappoint. Accompanied by Reuel Jerford Lynch (keyboard); Jeremy McIntosh (guitar); Billy-Joe Saunders (bass MD); Dareem Mickaiel Chandler (drums); and background vocalist Jhmac McCoy, the Tobago songstress opened with Sam Cooke’s A Change Is Gonna Come. Her repertoire also included Saving All My Love, Giving You The Best That I Got, If You Asked Me Too, My Girl, Stand by me, On Broadway, I’m every woman, Part Time Lover and Chaka Khan’s Ain’t Nobody. 

Alleyne is blessed with a beautiful voice and her singing enticed many of the patrons to stay throughout her performance, well beyond the scheduled cut-off time for the event. 

This year’s Jazz Artists on the Greens was an extremely entertaining and enjoyable experience one which is well managed and planned but should be marketed internationally more aggressively as a “must attend” event on the country’s tourism and music calendar.

Seems that it was just yesterday we were attending Carnival all-inclusive fetes, singing the refrain of Like ah Boss and revelling in the street. Ash Wednesday is but a memory, the final day of Lent is here and it is the long Easter weekend holiday once more.

Easter is ushered in with the “40-day, 40-nights” Lenten period for Christians where traditionally, many discipline themselves to eating fish and seafood while abstaining from drinking liquor and alcoholic beverages, smoking and having any carnal activity.

The actual Easter weekend itself, culminates with Holy Week that tail-ends with Holy Thursday, Good Friday, Glorias Saturday and the holiday Easter Monday.

In days gone by it was deemed taboo to sing, even whistle at home, a calypso during Lent. Calypso was not played on the airwaves as the music was deemed to be “satanic.” The calypso “ban” however was rested on St Joseph Day and completely lifted on Glorias Saturday, when the playing of calypso resumed. No one knows when the blackmark against calypso during Lent was relaxed and subsequently removed?

Perhaps the most significant day of the year on the Christian calendar, today (Good Friday) is steeped in tradition and myth. The morning traditionally opens with a sumptuous breakfast in which hot crossed buns are the requisite item. Breakfast is normally followed by attending the three-hour Station of the Cross church service.

Late lunch, with fish as the main ingredient, usually was embellished by white-coloured food, usually white provision, white peas (gub gub or lima beans), and, white wine. 

A major myth of Good Friday was that if you should bathe in the sea before 6 pm today you would turn into a fish. No one has ever witnessed this but many adhered to the myth and stayed away from beaches on Good Friday. 

Another myth of yore dealt with egg white and a glass of water. When placed in the sun if the egg white changed into a church steeple, you were blessed and would have prosperity.

Good Friday tradition also included the beating of the bobolee, a stuffed effigy made in memory of Judas Iscariot, the villain in the betrayal of Christ. Through the years, bobolees have evolved, from being reincarnations of Judas to effigies of public figures the public is aggrieved with, to celebrities who are wed, complete with ceremony and procession, like the annual bobolee festival in Maraval. This being an election year one expect there will be several political figures portrayed. The remainder of the weekend is usually occupied with family outings, mainly to the beach or to wide open spaces, like Port-of-Spain’s Queen’s Park Savannah, to fly kites of every design and variety, from little chee-kee-chongs to huge, elaborate mad bulls.

One expects beaches nationwide to be chock-a-block with seabathers and sun-seekers on Monday. However, a popular and traditional Easter Monday pastime is horse racing and the second of the year’s triple-crown races–Easter Guineas–will be held at the Arima racing facility. This is a gala affair and attendees dress to the hilt in sartorial fashion splendour.

Whatever you choose to do Pulse wishes you a safe and enjoyable Easter holiday weekend.

This year’s Tobago Jazz Experience begins on April 19, but Randy Glasgow Promotions is staging a big curtain-raiser one week before, April 11, in Buccoo. Billed as Bacchanal in D Jazz, the concert will feature former National Calypso Monarchs Cro Cro and Pink Panther, past Extempore Monarch Brian London, Mr Shak, Skatie, comedian Tommy Joseph and more.

But, it is Good Friday and today ushers in a long weekend of fun and entertainment. Perseverance Sports and Action Community Council hosts its annual Good Friday Sports & Family Day at the Hugo Francis Recreation Ground, Woodford Lodge, Chaguanas. The action commences with a 5K race at 7 am and continues from 3 pm with athletics, novelty events and an Easter Bonnet Competition.

Good Friday fun continues at 1 pm when Causin Rabb holds its annual Good Friday cricket street tournament, on Thomasine Street, Success Village, Laventille.

At the same, Tuco will begin its  annual Good Friday fete match, at The Paddock, Queen’s Park Savannah, Port-of-Spain. 

Jazz is also in the mix as the Women in Jazz series of shows begins tomorrow at Fiesta Plaza, MovieTowne, Port-of-Spain. Beginning at 8.30 pm the star of the night will be Krystal Khanye.

Many parties are planned this weekend and one of the biggest will be the annual Yorke Inc Glorious Saturday Party, also to be held tomorrow, at Pier 1, Chaguaramas. Music will be by DJs Howie T, Mr Q, Richard Simply Smooth and Sensational Sammy.

On Sunday afternoon, at 2 pm, DC Shell Theatre continues its run of Sinbad at Queen’s Hall, St Ann’s. A second show will be staged that evening at 6.30 pm.

ComPANion will hold its Steelbands Sports and Family Day cricket preliminaries on Sunday, at 2 pm, at Republic Bank Exodus Pan Amphitheatre, EMR, St Augustine.

That evening, from 4 pm, Belmont Cultural Improvement Committee will hold its annual easter Bonnet Parade 2015, at Belmont Community Centre on Jerningham Avenue.

Weather permitting, outdoor activity ought be extremely enjoyable for all  this Easter weekend.

Professor stars in Baltimore

Popular Trinidadian steelband arranger/composer/musician Ken “Professor” Philmore was the star of The Baltimore Sun newspapers last month when coached students of Catonsville High School in playing the national instrument. Philmore was invited to do the workshop by the steelband’s musical director Jim Wharton who annually invites a professional musician to come and teach members of the school steelband.

Philmore worked with the students for one week, his course culminating on March 27. Beaming with pride and a sense of accomplishment, Wharton likened Philmore’s visit to the school’s football team acquiring the services of acclaimed football coach Joe Flacco. During his visit Philmore taught the young pan musicians, ranging from freshmen to seniors, how to play the instrument without reading a music score. In a published feature in The Sun, Wharton said: “He (Philmore) is absolutely a virtuoso performer and a star arranger … it’s really an honor to have him here.”

Also interviewed, Philmore told The Sun: “I know music just naturally, kind of like the wind does. I have ears as big as an elephant’s. I can’t read or write music, but I feel music. For me, it’s a very spiritual thing.”

The Sun reported that Philmore's goal is for more children to learn to play ‘steel drum’ and for more people worldwide to respect it like traditional drums, guitar or piano.”

He added: “I love teaching kids, because I like to see the joy in their faces. It’s easier to work with kids than with big people …with kids, it’s just a joy. It’s fun.”

A living musical legend, Joey “Pal” Lewis, now 77, no longer performs with his band but is alive and well at his home on Gonzales Hill, Gonzales. Born on October 26, Lewis has lived his entire life in this sleepy East Port-of-Spain district and has never turned his back on his community. 

Lewis has been playing music for more than six decades having started at the age of ten. His wife Julia recalled: “Joey began playing with his brothers Randolph and Sonny. He was so little that he had to be placed on a box to play the piano. Joey was born with music in his blood as his father used to play the guitar and his mother sang in the church choir. He just had a knack for the piano. Joey was self taught and he grew to love music very much. The guitar made him popular but the piano was his first love.” 

Lewis formed his first band—Joey Lewis & The Teenagers—at age 16. Julia recalled: “He was the youngest in the band. They didn’t play for much money but did so for the love of music. When a fete busted and the promoter couldn’t pay, they used to get paid in ice cream. 

“Joey was blessed with a loyal band of musicians. One of them, George ‘Birdie’ Boucaud played with the band for 52 years. Other long serving members include Felix Corbie, Johnny Bristol, Horace Gordon, Ernest Guerra, Cecil Rudder, Jeff Jordan, Lionel Boucaud and Noel Prout. 

“As the years passed by and members died, Joey recruited new members. This is why the band never broke up and had continuity as well as longevity. Some members stayed with the band for as much as 30 years. After a while, Joey got musicians like guitarist Freddie Harris and Bede Mohammed. At that time Joey played the piano in the band. But, when the organ was introduced into music bands he bought a big Hammond organ and he began playing the organ, giving up guitar to Reynold Boucaud. 

“Joey later decided to return to guitar-playing. That is when his son Gerry joined the band in the ‘80s and began playing synthesizer keyboards. Up to now Gerry is still at the helm of the band with me assisting him.” 

In 2010, Joey began complaining about not feeling well, revealed Julia. She said: “We went to a few doctors for about four years and none of them diagnosed what was wrong with him, but he continued complaining about abdominal pains. In 2011, Joey was admitted to St Clair Medical and the doctors there detected nothing wrong with him after he spent four days in that hospital. Thereafter, that same year, the band’s trumpeter of 25 years, Selwyn John, fell ill and taking him to the Community Hospital in Cocorite, I asked the doctor to examine Joey. He told me right then and there my husband needed to do a CT scan. We did it and the doctor said immediately that Joey had to undergo surgery right away. The doctor said that Joey had a growth in his colon. Within a week of surgery and being discharged we went abroad on a vacation.” 

Julia also recalled that, in August 2012, Lewis began chemotherapy and did treatment for a year. She added that he was still active at that point in time but the chemo sessions began weakening his body. She added: “I took Joey to about four different doctors and they all agreed that the chemo had affected Joey in a very negative manner. Right now Joey’s mobility is limited and he has to be assisted to walk.” 

Now unable to play, Lewis holds on to beautiful memories of his career, one of the high points being winning the Brassorama title in 1979. In 1964, Lewis and his band toured the United States where he met Harry Belafonte and Dizzy Gillespie. The following year he did a command performance in Guyana for President Forbes Burnham. Julia said: “Joey says that was one of the best tours he ever had.” 

In 1976, the Solid Gold company took Joey and his band to New York for performances where the band won large acclaim. The band has toured regularly every year and has regularly performed in every Caribbean island with the exception of Dominica. 

About how Lewis got the nickname ‘Pal’, he got that from seeing Pal Joey, a 1957 American movie which starred Frank Sinatra, Rita Haywood and Kim Novak. He has been referred to by that monicker since and his band has carried the name as well.” 

Julia said: “Joey’s first love has always been his music and you couldn’t take that away from him. Every year, after Carnival, he would produce two albums. Joey Lewis made calypso popular in Trinidad. Long ago, after Carnival you heard no calypso but he would take popular calypsoes and record them as instrumentals. This is how calypso became popular dance music. People used to enjoy buying Joey’s albums so they could dance to the music when Carnival ended. The popular calypsonians through years, like Kitchener, Sparrow, Chalkdust and others, realising the effect Joey’s music had on people, would bring their music to him for him to do cover versions.” 

Another living music icon, now domiciled in the United States, Clarence Curvan, said that he and Lewis grew in music in the same era and were colleagues in the Sonny Lewis Orchestra, led by Joey’s brother. After the band broke up, Joey formed his band a little while before Curvan, too, formed his band. 

Curvan said while most bands in Trinidad was focused on the music and styles of North America, Lewis chose to musically set his sights on South America. Said Curvan: “This can be endorsed because between Latin musicians Joe Loco and Stanley Black and Joey Lewis, it was very difficult to differentiate who is who. Joey was versed in Latin music. Joey, going in that direction, paid off immensely because today his music is just as relevant to the ear.” 

Curvan, who has been a fan of Lewis’ music and playing, said: “As a person. I remembered Joey recommending promoters to hire my band, and that’s before I even had a record. To me that says a lot about a person’s character. Just as the youngsters today, the Machel Montanos and Iwers etc, we (Joey and I), as two young band leaders in our era got together and created our own recording company under the label Jovan records. We have maintained our relationship to this day.” 

• To be continued in tomorrow’s paper with inputs from Roy Cape, Pelham Goddard and fans of Joey Lewis.

Relaxing at home after his daily massage last Wednesday, Joey Lewis said: “I am feeling well; so far so good. I am just here, just chilling. I get my massage in the morning and my masseuse is really good. Just let the fans know that Pal Joey is well.” 

A protege of both Clarence Curvan and Joey Lewis, Roy Cape has also been an admirer of Lewis for more than half century. He said: “The joke with me and Joey is that the first big band I ever had an audition with was the Joey Lewis Orchestra in 1961. I failed the audition. 

“Joey had staying power. Since my playing with Clarence Curvan and Ron Berridge, since back in the day, bands came and bands went, but Joey Lewis remained there. He is like the Rock of Gibraltar.”

Cape also said he is greatly impressed by Lewis’ influence on the local music landscape. He explained: “Outside the calypsonians Joey was the first musician and band to begin composing his own songs. In those days there was the Saga Ting dance and Joey actually composed a song named Saga Ting. I have many good memories of Joey like in the 60s when there used to be a lot of ‘non-stops’; that is bands succeeding each other, one behind the other, on stage at a fete. We played a lot of non-stops with Ron Berridge, Dutchy Brothers, Clarence Curvan and Joey Lewis. It was continuous music from the time the party began til it ended.”

Cape hailed Lewis as an outstanding musician and band leader, adding: “Joey is the longest serving band leader in entertainment in this whole wide world. After him is Byron Lee, followed by me. It is a major challenge to successfully keep a band going for more than 60 years and Joey has done so successfully. 

Joey has been committed to local music for many years. He has made a significant contribution to composing local music, like his hit Joey Saga.

One of the creators and progenitors of the soca music genre, Pelham Goddard also has fond thoughts of Lewis. He said: “Joey Lewis is a child prodigy. As a young guy playing guitar, I admired him and his versatility. Joey could play any instrument. He inspired me in a big way. He was one of the first musicians to play the electric keyboard in this country.

“I also admired him as an arranger/producer as he had a vision and was the first musician to have a home studio.”

Echoing Cape’s views, Goddard continued: “Joey’s music has lasted a lifetime. For somebody who had no formal training in music this is phenomenal. When superstars like Frank Sinatra began performing, Joey was already in music. I really admire Joey’s style of doing Latin music. He is incomparable in this area. Joey has endured since the days of Clarence Curvan, Dutchy Brothers, Mano Marcellin and all those heavyweights. I really hope that he beats the illness which had him laid up as he still has so much inside him, and so much to offer.”

Like so many of Lewis’ fans who grew from childhood enjoying his music, Woodbrook resident Michael Germain is a life long devotee of the music guru: He said: “My first exposure to Joey Lewis and his music was while attending school at St Mary’s College. Back then combos were the big thing. Growing up with Rediffusion and Radio Trinidad we got to hear the big bands of the day so we were exposed to good music as young people. I was on the committee for the school’s graduation fete at the Hilton. It was unanimously decided that Joey’s band would play at our HC (Higher Certificate / Sixth Form) grad. It was amazing because, at that time, Joey actually had a band in a band. At the start of the fete his full band would play and afterwards would be replaced by his smaller Latin combo. Joey influenced me more than anything else in the kind of music I would like and embrace the rest of my life.” 

As he attained manhood, Lewis’ music continued to have an influence on Germain. “I followed Joey’s band for many years as his was one of my favourite bands,” he confessed. “Then, in 2000, I was asked to be the musical director for a Latin band (Pa’l Destino). At first we played no where public for six months; just doing rehearsal after rehearsal. Joey heard the band and called me and said that Latin music is our tradition as Trinidad is closer to Spanish-speaking people that we imagined. Both he and the late Andre Tanker encouraged me not to reduce the size of the band but play always with full force. The first time Joey heard the band live, we were performing at a function at Grand Bazaar and he told me afterwards that he was ecstatic about the band and our music. This has given me encouragement and today the Pa’l Destino CD is a collector’s item.”

Wishing Lewis a speedy recovery from his illness, Germain said: “I think Joey had been one of the forgotten icons in our nation. We need to let our young people know from whence our music originated. We need to play more of the old music on the airwaves; the music from both the combos and big orchestras. We have a treasure trove of good, amazing music that is just lying in the dust.”

Lewis’ fans are numerous and are spread across our entire twin-island state, and abroad. Now resident in Pennsylvania, USA, Jackie, 66, actually lived for a while with Lewis and his family. She said: “What can I say of Joey Lewis? He is truly a Godsend, having myself and son living with him and his family for two years.

Joey is caring, trustworthy and always willing to give advise. My family and I will always be indebted to the family. He is a father to my nephew and nieces who lost their father at an early age. Of course, I am also grateful to God for giving Joey the gift of music and him sharing that gift with so many people.”

Avid ballroom dancer Irene Lewis is also a fan of Joey Lewis. The Chaguanas resident said: “Joey is the best. There is no other band that can touch him and his band. His music is incomparable.”

A 60th anniversary celebration is being planned to commemorate Lewis’ musical career on May 30 at a venue to be chosen. Many of Lewis’ past colleagues and fans are to be invited.

The weekend past provided me with much needed rest and enough down time to watch some old classical Biblical movies, like The Bible and The Robe. Also got to watch Bucket List, starring Morgan Freeman and Robert De Niro, for the umpteenth time as it’s one of my all time favourite movies. 

It’s back to the grind and the weekend’s entertainment pulsates tomorrow evening at the Queen’s Park Savannah, Port-of-Spain when Trinbago Unified Calypsonians’ Organisation (Tuco) stages the eagerly awaited final of the 2015 National Humour Calypso Monarch Competition, at 8 pm. After two rounds of elimination competition eight contestants have been selected to challenge defending monarch Myron Bruce (The Incredible Myron B) of the Kaiso Karavan tent. 

The judges of tomorrow’s final have their work cut out if one is to judge the quality of the “humorous” compositions offered in the earlier stages of the competition. It was obvious that most the participants didn’t have a clue as to what was a humorous calypso, with many apparently assuming that smut was humour, as well as social and political commentary. It was also obvious that today’s calypsonians fail to learn from, or take a page from, some of the old creators of humorous calypso, like Spoiler, Popo, Melody, Funny and Bomber. 

Arts and entertainment actually get going this evening with theatre having a big bite of the weekend agenda beginning with the University of T&T’s Academy for the Performing Arts (UTT) presenting Derek Walcott’s The Odyssey at Theatre 1, UTT campus, Napa, Keate Street, Port-of-Spain. This production features the students of the Acting Programme and guest artiste Che Rodriguez. With showtime tonight scheduled for 8 pm, it will be repeated tomorrow at 2 pm, and on Sunday at 7 pm. 

Running tonight and through the weekend is RS/RR Productions staging of Looking for Mr Big, starring Richard Ragoobarsingh, Debra Boucaud-Mason, Clifford Learmond, Ria Ali, Leslie Ann Lavine, Aaron Schneider and Sunny Bling. This is being staged at Queen’s Hall, St Ann’s. Another rib-tickling theatrical production on this weekend is Man Cyar Take Horn at Central Bank Auditorium, Lower St Vincent Street, Port-of-Spain. It stars Kearn Samuel, Penelope Spencer, Nikki Crosby, Abeo Jackson and Jayron Remy. 

Billed for 8 pm this evening at St Dominic’s Pastoral Centre, St Finbar’s RC Church, Morne Coco Road, Westmoorings is Ramajay, a feast of excellent pan music. Produced by QLIFE Productions, the show features Annise “Haffers” Hadeed, Ken “Professor” Philmore and Derron “GhostMan868” Ellies. 

A protege of Len “Boogsie” Sharpe, Hadeed cut his teeth in pan playing as a student attending Queen’s Royal College and subsequently at Phase II Pan Groove. 

Graduating to arranging for large conventional orchestras at the National Panorama competition, he has performed extensively at home and abroad, especially in Europe. 

Philmore is no stranger to pan fans. The resident arranger of NLCB Fonclaire, he also arranges for Courts Sound Specialists of Laventille and is a regular crowd-pleaser whenever he does a solo performance. Philmore was headline news in The Baltimore Sun last month when he conducted a one week workshop in pan for students at Catonsville High School. 

Ellies is a gifted young pan player, poet, singer/songwriter, arranger and budding producer from the village of Manzanilla, who aims to take the music of T&T to the world in his own unique style. 

Ellies, 28, began his musical training in May of 1993 under the tutelage of Cedric Urquhart, Clint Mahon and Marcus Baptiste at the Manzanilla Police Youth Club. At Queen’s Royal College, he joined the QRC Scouts and its resident band. 

Ellies has been performing with many bands including popular parang group Los Tocadores, rock sensation Orange Sky, young jazz band Blue Culture of which he was a founding member, and most recently Rhapsody Next Generation, a crew of musicians dedicated to promoting the PHI (Percussive Harmonic Instrument) and steelpan to the local public and the world. 

Internationally, Ellies has performed in New York, Washington DC, Virginia, India, China and London. He also continues to collaborate closely and regularly with Nigel Rojas to deliver their unique combination of acoustic renditions of classic and new calypso, Latin and popular music. 

The Women in Jazz series continues tomorrow at 8.30 pm at Fiesta Plaza, MovieTowne, Port-of-Spain. This weekend’s show stars popular Barbados artiste Nikita. 

Sunday is relatively quiet so most of you might be returning to the beach for more of what you enjoyed last weekend. 

Calypso and pan in cricket duels 

Calypsonians and pan people had an enjoyable Easter weekend, playing cricket against each other. On Good Friday, I95FM trounced Tuco in their annual windball encounter, held at The Paddock, Queen’s Park Savannah. The radio station easily surpassed the calypsonians’ healthy score of 169 runs to win the game for the second consecutive year. 

The pan folk gathered at Republic Bank Exodus pan amphitheatre on the EMR, St Augustine, on Easter Monday for a fantastic evening of cricket hosted by comPANions. It was enjoyable to witness the support shown for each other’s team as this showed the camaraderie of the steelband fraternity. The bowling of the female players, many of them never played cricket before, created an exciting atmosphere, especially with their slow bowling. 

In winners’ row on Monday were Massy Trinidad All Stars, Scherzando, Renegades and Exodus. As comPANions continues its steelband games, All Fours and football will be played at SIS Harmonites panyard in Morvant this evening, with more elimination rounds carded for tomorrow at Trinidad All Stars panyard on Duke Street. 

Round 2 of the cricket tournament will be contested on Sunday, April 12, also at Exodus Amphitheatre, starting at 2:30 pm. The cricket semi-finals and finals will be held on Thursday, April 16 at Exodus. 

Cruising for a cause 

While thousands were having the time of their lives for Carnival, the homes of Gerry Evelyn and Simone Pierre were completely destroyed by fire on Carnival Tuesday and the Saturday after Carnival, respectively. Come Saturday, April 18, the members of La Flor and BAP are turning on their heart lights to raise funds for the unfortunate two. Both party outfits will host the Part Aid fund-raising cruise aboard the Harbor Master at 11 pm. 

This is a party with a purpose and a cause to support with real vibes coming from Alicia the Duchess, John Boi and Ezel, Custodian Int, Studio Production and Kerry D drummer. Tickets are reasonably priced $150 and are available at Bazo’s, Jem’s, Italians and Committee members, and by calling 685 1068. Landlubbers will receive welcome drinks from Brydens upon boarding.

National Humour Calypso Monarch Competition 2015 finalists, tent and selections

1. Brother Alpha (Kaiso Karavan) – I Ain’t Hold Nobody

2. Brother Ebony (Klassic Ruso) – Sign Language

3. Snakey (Kaiso House) – Cyar Rhyme

4. Kid Kallaloo (Kaiso Karavan) – Deafy Claire

5. Ninja (Kalypso Revue) – Level the Playing Field

6. Brown Boy (Kaiso House) – Captain Rowley

7. Mr Mike (Klassic Ruso) – Naked

8. Bunny B (Kaiso House) – Tame, Tame, Tame

9. Defending monarch The Incredible Myron B (Kaiso Karavan) – Ebola Scare / Bacchanal Bacchanal

• Reserve: Spicey (Kaiso House) – D’Advice

Brother Ebony (Fitzroy Joseph) has dethroned The Incredible Myron B (Myron Bruce) as the National Humorous Calypso Monarch and taken home the top prize of $50,000. Third place was captured by Bunny B (Neville Brown), followed by Snakey (Heaven Charles) and Ninja (Kenson Neptune). 

A large audience was in attendance for the staging of the 2015 Final at the Queen’s Park Savannah, Port-of-Spain on Saturday night. The programme was opened at 8.15 pm by emcees Godfrey Pierre, Tommy Joseph and Damion Melville and they kept the audience entertained through proceedings as they introduced the evening’s contestants.

The night’s first guest artiste, Sheldon Nugget, sang his 12-year-old High on Calypso and The Specialist. In the latter song, Nugget established an appropriate mood for the evening as he related his plight with his wife who he described as a corn beef “specialist.”

Nine contestants faced the judges in the first of two rounds of competition. Of the nine, just a few impressed with authentic humorous calypsoes. But, Brother Ebony, singing Sign Language in position six, drew sustained applause for his creatively composed song. The emcee had to remind patrons that encores we1re not given in competitions as they sustained their thunderous ovation. 

The actual competition was opened by Mr Mike singing Adult Toy, a song which was cheered by patrons. He was followed by Kalypso Revue’s Ninja, popularly known for his parang soca ditty Parang the Wrong House. Ninja rendered Level the Playing Field, a ditty which spoke to women who possessed male tendencies and mannerisms. Ninja demonstrated good diction, a quality maintained by the next singer, Kid Kalaloo of the Kaiso Karavan tent. His was a well articulated and deliberate delivery of Deafy Claire.

A perennial crowd-pleaser at Kaiso House, Bunny B evoked ripples of laughter through the audience when he performed Tame, Tame, Tame, his take on once boisterous politicians who had grown ‘tame’ in the PP administration. Bunny B dramatised his performance with several stuffed animals as his props. Defending monarch The Incredible Myron B sang Ebola Scare in position seven, also using several props. His song didn’t have the same effect on patrons it enjoyed three months ago for Carnival. But, Myron B creditably enough in his performance, signalled that it would only take a knockout punch to unseat him as a two-time monarch in this genre of calypso.

Humorous calypso veteran Brown Boy, hailing from Kaiso House, sang Captain Rowley. And, Snakey, complete with three male dancers and an entire circus set, sang Cyar Rhyme. Too vigorous and animated in parts of his song, some of Snakey’s lyrics were lost in haste.

The judges’ panel, headed by TSTT CEO Everald Snaggs, included Peter Ray Blood, Lois Lewis, Eric Powder, Wendell Etienne, Norma Padmore Clarke and Felix Edinborough. Among the dignitaries attending the show was Arts & Multiculturalism Minister Dr Lincoln Douglas.

The show resumed at 10.35 pm and the second half, which ended at 11.50 pm, was an easier contest to judge as the finalists could sing any ditty they chose, their songs judged in just three categories – Rendition, Presentation and Crowd Response.

Brother Ebony again impressed in the second half with his rendition of My Wife. In this very funny calypso, Ebony sang of his dim-witted wife who, purchased two 4 1/2 sized shoes when she couldn’t get a size nine and, unable to find the three daily newspapers to buy, bought three Guardians. But, despite her shortcomings, he still loved his wife.

In the second half, almost all the finalists elicited laughter with final contestant Snakey performing The Dhoti Song.

As the results were tabulated there were guest performances by Funny and Relator. Musical accompaniment was by Cummings & D’Wailers and also among the finalists were Brother Alpha, Kid Kalaloo, Brown Boy and Mr Mike.

Lead actress Abeo Jackson sizzles as Lucinda “Lucy” Lewis in the play Man Cyar Take Horn and Kearn Samuel who plays Stanley Braithwaite is the perfect foil to her. Man Cyah Take horn is directed by Penelope Spencer and staged by 3Hah Theatre Productions in collaboration with Funny Farm Factory Productions and Abeo Jackson Productions stage. 

The two-act production premiered at Central Bank Auditorium on April 9. Lucinda is 36, divorced and is seen as loose and is even referred to as a “slut,” entertaining different men in her Belmont apartment with dizzying regularity. She is a driven young woman, motivated by sex and only takes stock when her former schoolmate is diagnosed as HIV positive. Her mother, Margaret Lewis, played by Spencer, a dominating woman who, despite being apparently happily married, has had her fair share of men.

Also giving a strong performance as nosey neighbour Abigail MacBride is Nikki Crosby. Abigail is Lucinda’s good friend who has had a litany of jilted relationships and borders on being inhibited and being somewhat daft. In the supporting roles are Jayron Remy—said in the play to have “the sweetest and longest middle finger in the world”—Keron Leela, Jeremy Thomas and Javasio McShine.

Jackson, previously seen in productions like 50 Shades of Gravy, XXX-posed and Act Like a Lady, continues to grow as an actress and a producer. Man Cyar Take Horn, stage managed by Gregory Singh, will now be reprised in San Fernando at the Southern Academy for the Performing Arts (Sapa), located at the corner of Todd Street and Rienzi-Kirton Highway on April 18 and 19. 

• For information call the Sapa box office at 657-4380.

It was one of the best shows staged at De Nu Pub for the year. Celebrating his birthday, ace drummer Kelly Green organised a celebration concert which featured some outstanding artistes including Baron, SuperBlue, Twiggy, Brother Valentino, Stinger, Cardinal, Ken “Professor” Philmore and Jamila Fortune.

Accompanying artistes were Green’s Harmony aggregation, an acclaimed band which has served big productions like the International Soca Monarch and National Calypso Monarch semi-final competitions, and features accomplished musicians like guitarist Lance Nicholls, bassist Russell Durity and saxophonist Joseph Bishop. The night’s cast was introduced by comedian Tommy Joseph.

First up was guest artiste David Baptiste and his covers of GB’s Calypso Rising and David Rudder’s Calypso Music had patrons calling for more as he was vociferously encored. 

He was followed by Stinger who gave a remarkable performance, his set including his Take Two (Panadol) and Voices from the Van, and a rivetting and articulate interpretation of Mystic Prowler’s Beneath the Surface.

Always a crowd-pleaser, Cardinal had patrons, especially the women, eating out of his hand when he performed. He embellished his repertoire by giving jokes between items, causing Tommy Joseph to comment on how good he was at giving jokes. He closed his set with Only the Police.

When Baron performed, many patrons vacated their seats and danced. He rounded off his set with his perennial favourite Sweet Soca Man. 

Harmony female vocalist Jamila Fortune made a good impression when she rendered a reggae version of I Want To Know What Love Is. Also getting a warm reception was former calypso queen Twiggy.

Brother Valentino, now past 70, showed that he has lost none of his intensity when he performed some of his vintage material, including Stay Up Zimbabwe and the 40-year-old Life is a Stage.

In spite of the loud music and heavy vibrations inside the venue, a 5.4 magnitude earthquake around 10.25 pm didn’t go unnoticed causing some concern among patrons. But the show continued unabated.

Of more than 20 episodes of Pan in De Countryside staged nationwide, last Sunday’s was the biggest. Held at the recreation grounds by Pan Trinbago in Blanchiseusse, hundreds filled the venue to be entertained by Scherzando, Sapophonics, Super Novas and Massy Trinidad All Stars. Absent was NLCB Fonclaire. Serving as the evening’s emcee, Pan Trinbago secretary Richard Forteau opened proceedings just after 4 pm with a performance by Curepe Scherzando.

Seen amongst the crowd were  past PSA president Jennifer Baptiste-Primus; Ministry of Community Development director Susan Corbett; Tuco president Lutalo Masimba (Brother Resistance); and, his Pan Trinbago equal Keith Diaz. Hundreds of pan lovers from the north and south converged on the venue, to be joined by several from the district and neighbouring communities.

Blanchisseuse folk also plied a brisk trade selling “Sunday lunch,” handicraft and confectioneries, including homemade ice cream. It was the first time I’ve tasted tonka bean ice cream, made by Lonie Charles, mother of Rapso artiste Karega Mandela, and her family.

Arriving late at the venue was Sapophonics and the Carenage ‘pan-’round-neck bank offered a well balanced repertoire. Next up was the pick of the evening, Super Novas from Surrey Village, Lopinot. Led by Jit Samaroo’s son, Amrit, the band showed Pan Trinbago and patrons just how potent a steelband can be in any setting, once it selects an infectious repertoire.

The Super Novas set, opened with Portrait of Trinidad as a tribute to Jit. They then ventured into a medley of 80’s pop salsa songs, including Baby I love your way, Nothing’s gonna change my love and Lady in Red; Besame Mucho, composed in 1940 by Mexican songwriter Consuelo Velázquez; The Slipper and Que Sera.

Super Novas then did Sparrow Medley, followed by Ed Sheeran current smash hit single Thinking out loud and Lou Rawls’ Lady Love. It was at this point that the band displayed its versatility in song selection, digging into the retro book of calypso to pull out Organiser’s Doh Tell ah Soul and Sparrow’s Ah ‘fraid Pussy Bite Mih. Farmer Nappy’s My House and Ricardo Drue’s Vagabond preceded Swallow’s Don’t stop this party. For its “outro” Super Novas played Kitchener’s Carnival is Over.

The band’s performance set tongues wagging in anxiety and early anticipation of next year’s Panorama competition as in 2016 Super Novas will be jumping two steps to compete as a large conventional orchestra from being in the Small band category. 

A past champion in this category, this year the band was unseated by Arima Golden Symphony by three points. With All Stars and Phase II Pan Groove already seen as favourites for next year’s title, some folks were speaking about the showdown between arrangers Amrit Samaroo and Duvonne Stewart (Renegades), two young and talented arrangers in the large band race.

With nightfall now covering the recreation ground, up next was All Stars. With a legion of supporters in tow, most wearing the band’s supporters’ jerseys, the reigning National Panorama champion didn’t disappoint with its normal well rehearsed set, enhanced with a couple new pieces, including Fay Ann Lyons Rave. The band’s set also included its Unquestionable, it winning Panorama tune, Procul Harum’s  Whiter Shade of Pale, Magic’s White You Gotta be so Rude, Do it fluid and the band’s two signature Panorama classics Unknown Band and Woman on the Bass.

It was now 8 pm and, with patrons still enjoying the exhilarating pan music, Sapophonics was recalled for a lagnaippe set. Patrons took this opportunity to dance up a storm, many of them seemingly upset when Forteau announced the end of the show half an hour later.

Next stop for Pan in De Countryside is Guayaguayare on the date to be decided. However, described by pan enthusiasts as “the biggest steelband competition in history,” the World Steelband Competition has now been scheduled for Sunday, August 9, at the Queen’s Park Savannah, Port-of-Spain.

On Sunday, Pan Trinbago trustee Allan “Pablo” Augustus, on confirming the venue, said: “A competition of this magnitude can only be staged in the Savannah, the Mecca of Panorama.” Qualifiers for the competition are the top seven-placed large conventional orchestras in this year’s National Panorama final, as well as the top for bands in the Medium category. Top steelbands from North America, Europe and across the Caribbean are expected to face off against the locals.

This month, something special has been happening at Fiesta Plaza, MovieTowne. It is the annual Women in Jazz series which features an outstanding female vocalist each weekend and is hosted by Plaza Events Manager Heathcliff West. Last Saturday, the month’s third installment was held at the open air venue and not an empty seat could found. Former Digicel Rising Star winner Moricia Cagan was the night’s star act and she gave an outstanding performance.

Having recently wowed an audience at Jazz on the Greens when she performed with Arturo Tappin, Cagan continued her winning ways, backed by a sextet of musicians and accompanying vocalists Kadija Jeremiah and Nigel O’Connor.

To open her set Cagan emerged from the rear of the Plaza singing I Will Survive, a la Gloria Gaynor and Celia Cruz. She followed this with covers of I’m so excited (Pointer Sisters) and Bob Marley’s Could You be Loved. For Santana’s Corazon Espinado, Cagan brought guitarist Michael Chang Wai to the forefront for a solo and he was superb

At this stage of her performance, Cagan seemed to be exponentially intensifying her performance on each successive item seemingly determined to established a crescendo with her singing. Wonderful with Randy Crawford’s One day I’ll fly away, she was mesmerising with Ed Sheeran’s Thinking Out Loud before being simply amazing with Aretha Franklyn’s Natural Woman.

Spicing up Michael Bolton’s You don’t know what it’s like with a calypso flavour, Cagan remained in the calypso genre to render GB’s Calypso Rising and David Rudder’s Calypso Music. Now with all patrons on their feet cheering, Cagan’s rounded off her night’s chore with Fay Ann Lyons’ Raze.

Other members of Cagan’s band were Jonathan Hensley (Drums); Kevon La Fluer (Bass); Ron Clarke (Keyboards); Kensa James (Trombone); and, Joseph Melville (Trumpet) Tomorrow, Saturday, night, Digicel Rising Stars 2011 winner Camille Comas will bring the curtain down on the 2015 Women in Jazz series from 8 pm.

You may not have realised it before but the only month without an official public holiday this year is November. Apart from holiday activities being planned, this is an extremely hectic year for culture, especially pan and calypso. This weekend, Point Fortin Borough Day celebrations reach fever pitch with J’Ouvert, the parade of traditional Carnival characters and the annual steelband parade taking place tomorrow, beginning at 4 am and going through the entire day. 

Pan on the Move will be held on the streets of Point Fortin tomorrow, from 5 pm. Seventeen popular steelbands are expected to parade, including 2015 National Panorama champion Massy Trinidad All Stars, runners-up Petrotrin Phase II Pan Groove and Republic Bank Exodus, respectively, PCS Silver Stars, BP Renegades, CAL Invaders, Witco Desperadoes, RBC Redemption Sound Setters, Skiffle, NLCB Fonclaire, Super Novas, SIS Harmonites, T&TEC Tropical Angel Harps, Pan Elders, Tornadoes, NLCB Buccooneers and Starland. 

Pan Trinbago’s most ambitious production this year is its inaugural August 9 International Conference and Panorama (ICP), to be held at the Queen’s Park Savannah, Port-of-Spain. Themed Crescendo…Elevating The Steelpan and launched last August at the Central Bank Auditorium, the event has the blessings of President Anthony Carmona, Professor Clement Sankat (Patron of the Conference) and Minister of The Arts & Multiculturalism Lincoln Douglas. 

An international competition, the ICP will field champions steelbands from around the globe, from North America, Europe, Asia and the Caribbean. They will test local champions, including Trinidad All Stars, Pan Elders and Arima Golden Symphony, as well as the top six-placed large conventional orchestras in this year’s National Panorama competition, the top four medium bands and the top two small steelbands. 

Notables who have not qualified are previous Panorama winners Desperadoes, Starlift, Harmonites and Nutones. 

To be held in memory of late broadcaster Holly Thomas, this year’s edition of Pan on the Avenue is being held in honour of Black Stalin and 24 pan tuners. Staged by the Woodbrook St James Community Association along Ariapita Avenue, Woodbrook, the seven-hour show and parade will be held on August 22. Also on the billing is the Susan Mohip Dance Troupe. 

Despite losing its home base, Carib Woodbrook Playboyz will stage its annual pre-Independence Day steelband parade along Tragarete Road, Newtown, on August 30. Traditionally a crowd-puller this event features invited steelbands performing on three stages between Colville and French Streets with calypsonians and other artistes appearing on a fourth fixed stage. Popular acts who have graced this show are SuperBlue, Scrunter, Pelham Goddard & Roots and Blaxx. 

At just the age of 15, Luke Samerson and his brother Joshua, performing as LuJoE, have what promises to be the big hit single this Mother’s Day. Under the watchful eye of Richard “CharSu” Ahong the teenagers have released Song for Mama, a single which is embellished with some beautiful harmonies. 

The brothers were born in a musical family—their grandfather was calypsonian Cedric “Chiller”   Pierre, their aunt is Carlene Wells the chutney star, and their parents, Nigel and Camille Samerson, are also singers. Music has been a part of LuJoE’s life from a very young age, and they were exposed to all types of music by their father who inspired them to pursue their dreams in a music career. 

Luke, the older of the two, had his first appearance on stage at ten, singing calypso in school. At 13, he won the NYAC Junior Calypso monarch and as champion performed among the winning calypso monarchs and queens of that same year. From singing calypso he explored genres like blues, jazz, R&B and classical, and he started emulating the greats like Michael Jackson, Sam Cooke and Stevie Wonder to name a few. 

Luke has been involved in major musical productions such as First Instinct’s Sound of Music in 2012 and JCS (Jesus Christ Superstar) in 2014, in which he landed a lead role. 

At 15, Luke realised that his younger brother Joshua had an amazing voice and a passion for playing classical guitar. In 2012, Joshua placed second in his category, playing classical guitar in the annual National Music Festival, a great achievement at his age. Luke decided to join forces with him to form LuJoE (Lu as in Luke, Jo as in Joshua and the E for entertainment). 

In 2014 LuJoE was introduced to producer Ahong who co-wrote and co-produced the Billboard Dance hit What I Want by Fireball. Ahong decided that they would be the ideal group to spearhead his vision of an alternative music movement from T&T, where young talented artistes can pursue international recognition fusing Caribbean genres with international standards. 

The duo has since sharpened their vocal and performance skills, and have appeared at many shows including opening both the Junior Soca Monarch and International Soca Monarch competitions, singing the National anthem. 

LuJoE’s music is considered   “Caribbean pop” and this is evident in Song For Mama, a cover of the Boyz 2 Men classic. LuJoE combines R&B-styled vocals with a Caribbean swing. It was produced by Ahong, with vocals coached by Keston Rosales of H2O Phlo and mixed by Grammy winning engineer Dexter Simmons who has worked with Michael Jackson, Beyonce, Whitney Houston and Britney Spears to name a few. 

The video for Song For Mama is directed and edited by videographer Neil Alexander and is on rotation on Caribbean television channels.

Like his name implies, Wanderer has traversed calypso’s terrain for the past 53 years. Born in San Fernando, the diminutive bard, real name Peter Herbert, has been knocking on the doors for wider recognition in the art form for half a century and believes his latest single—Baby Grant—shall reap him success and that recognition he so richly deserves and wants. 

“I feel that calypso is dying in this land of its birth,” said Wanderer. “I believe that the art form is already in the grave and now it’s just for the grave diggers to shovel in the dirt on top of it. “Imagine in ‘the land of calypso’, with 35 radio stations, just two play calypso. This year, calypso fell flat. There were no sweet melodies and no more proper rhyming or proper construction of lyrics. 

“The young singers no longer rhyme, not to mention cannot render calypsoes. It’s only old stagers like myself and Black Stalin who still maintain the craft of this art form, and continue to do important things like proper stage craft.” In 1984, Wanderer released the single Prematee with the late Ras Shorty I. Today this song has a high listenership of YouTube. 

“Shorty and I worked together for 15 years,” said Wanderer. “And he wrote many of my songs. It was Shorty who hired Baron and I at the OYB in 1971; Baron for his voice and me for my humour. 

“There is a significant shortage of good humour in calypso.  I believe that props are a part of a good humorous calypso. There are few calypsoes that Trinis would accept without props. The few calypsonians who can pull off a good humorous calypso without a prop are Cypher, Brigo, Funny, Trinidad Rio and Bunny B. There are also too many lyrics and lines in the songs composed now. The more unusual your topic is, you stand a better chance of capturing an audience.”

Baby Grant is a take-off on the launch of the baby grant by the Government. “This is the first time I am singing a calypso like this without calling anybody’s name in it, I don’t see poor people benefitting. The beneficiaries of anything from this Government are those people who already have money and who are rich.”

Reigning National Panorama champion and Band of the Year Massy Trinidad All Stars literally painted the town white on Saturday when the band performed at Pan on De Move, the steelband finale to the week-long Point Fortin Borough Day celebrations. 

Following a painted J’Ouvert celebration from four in the morning, the legendary Duke Street orchestra “invaded” the southern borough with a legion of masqueraders in tow in the evening, many of them wearing white t-shirts emblazoned “unquestionable” and “champions,” throwing white powder into the air. 

Although All Stars won the favour of the huge crowd, the police poured ice water on the festive mood by ordering the band to curtail its performing outside the Atlantic hospitality and viewing pavilion. As the band was about to commence its playing of Black Stalin’s Black Man Feeling to Party, a police officer brusquely ordered the driver of the trailer to drive off and the band to cease playing.

Although the players and revellers vociferously expressed disappointment, some of them saying the police had “disrespected All Stars and steelband music,” they moved off quietly into the night. 

“This was unfair,” said a senior member of All Stars. “It is unfair to have travelled from so far, with our supporters and masqueraders also travelling from far distances just to entertain the people of Point Fortin and to have the police treat us in such a disrespectful manner. The police seemed unaccustomed to this event as it is traditional for All Stars to play at this venue before going on to Frisco Junction.” 

All Stars went to Point Fortin well prepared to not just perform as a champion band but also to entertain the spectators who lined the streets in their numbers. The band played some really beautiful music and, like the fabled Pied Piper, had a large following of people chipping along with it. 

All Stars’ exhilarating repertoire included Brother Marvin’s Carnival Time Again; Swallow’s Doh Stop Dis Party; Fadda’s Fox’s Ah Feeling; Rikki Jai’s Barman; Mr Dale’s Soca Junkie; Ras Ilie’s Spring Garden; Edwin Yearwood’s What A Feeling; Natasha Wilson’s I’ll Always Be There For You; Merchant’s Be Careful; theme from The Good, The Bad & The Ugly; Fay Ann Lyons’ Raze; Benjai’s Phenomenal; Machel Montano’s Like a Boss; a Sparrow medley; Blue Boy’s Unknown Band; and Unquestionable, the band’s winning 2015 Panorama selection. 

Getting the news of the death of past captain Michael Phillip while in Point Fortin on Saturday evening didn’t seem to affect the enthusiasm and energy of Petrotrin Phase II Pan Groove’s playing at Pan on De Move. The 2015 National Panorama runner-up thrilled with Black Stalin’s Come With It; Sparrow’s Saltfish, Lyrikal’s Cloud 9; and, the band’s Panorama tune of choice, Happiness, arranged by Len “Boogsie” Sharpe. 

Pride of Laventille, Witco Desperadoes (like All Stars) also had a large crowd in tow when the band paraded along the main street and at the three competition venues. With arranger Carlton Alexander present, the band’s selections included Farmer Nappy’s My House, Black Stalin’s Come With It and Love Is A Many Splendoured Thing. Also with large contingents of fans were BP Renegades, Super Novas and CAL Invaders. 

Renegades was at its usual best, its repertoire including Stalin’s Bu’n Dem; a Kitchener medley and Carnival Is Over; and Sparrow’s Memories. Considered by many as Renegades’ “sister band” because of the relationship with the band’s arranger, Amrit Samaroo, and Renegades iconic past arranger Jit Samaroo, Super Novas continued to impress with some infectious panmanship, playing a Sparrow medley of 60 Million Frenchmen, Natasha and Statue; Stalin’s We Could Make It If We Try; Ronnie McIntosh’s Shaking It and Panorama tune Dr Samaroo. 

Invaders also rocked Point Fortin with a very musical selection of songs including Stalin’s We Could Make It If We Try; Shaking It; Baron’s This Melody Sweet and Tell Me Why; I Am Soca and A Little Wine by Patrice Roberts; Vampire by Blaxx; Nelson’s Mih Lover; Ah Feeling, Ola, Phenomenal; and Bunji Garlin’s Red Light District. 

Well organised and tight, despite fielding a young contingent of musicians, was Republic Bank Exodus playing Raze, Come with it, Tambu’s Free Up and Panorama tune Puna Band. 

At the market, Point Fortin Mayor Clyde Paul played host to several politicians and dignitaries including Opposition Leader Keith Rowley; Point Fortin PNM candidate Edmund Dillon; MP Paula Gopee Scoon; Port-of-Spain Mayor Raymond Tim Kee; his deputy Kerron Valentine; former Point Fortin mayor Francis Bertrand; and, the executive of Pan Trinbago. 

Other bands listed to perform on Saturday included PCS Silver Stars, RBC Redemption Sound Setters, SIS Harmonites, T&TEC Tropical Angel Harps, Pan Elders, Tornadoes, NLCB Buccooneers and Starland. Mayor Paul, his burgesses and the organisers of Pan on De Move should take a bow for staging another incident-free and enjoyable edition their annual steelband extravaganza. 

Weekend for mothers 
It’s Mother’s Day weekend and the period is filled with events catering to pampering moms across the land beginning with tonight’s Bottle & Spoon Jam at the new Kaiso Blues, located on Woodford Street, Newtown. The jam features former calypso king Relator and Roy Cape All Stars frontman Blaxx. One other enjoyable show on this evening is Mahalia: A Gospel Musical, staged by JCS Entertainment at Little Carib Theatre, White and Roberts Streets, Woodbrook, at 8 pm. This musical stars  Mandisa Granderson, Conrad Parris and many more talented singers. 

The weekend’s most advertised show, specially designed for mothers, is tomorrow’s A Mother’s Love—Enchantment The Concert at Hasely Crawford Stadium, Port-of-Spain at 7 pm. The show is headlined by Michael Bolton, Richard Marx, Kes the Band and Karma. 

Tomorrow, from 7 am, why not take mom to the Family Fitness Fair at Nelson Mandela Memorial Park, St Clair Avenue, St Clair? This fun event is being held by En To To, in collaboration with Gold Package. In the southland, at Naparima Bowl, All For Mom will be held from 7.30 pm.

Headlined by past Digicel Rising Stars winners Ancil Valley and Kay Alleyne, the duo will perform covers of past hits by Sam Cooke, Aretha Franklin, Otis Redding, Roberta Flack, Frank Sinatra, Nina Simone, Bill Withers, Billy Holiday, Al Green, Lou Rawls, Ella Fitzgerald, Dean Martin and the Temptations. 

Also on tomorrow evening are Pyar Ka Bandhan (The Bond of Love - Our Mother’s Love), featuring Kumar Sanu, Indar Kanhai, Nirmala Sesnarayan and Satnarine Ragoo, at Centrum Auditorium, Centre Pointe Mall, Chaguanas and the annual Blink bMobile Mother’s Day Spectacular, at Centre of Excellence, Macoya, headlined by Anil Bheem and Azmat Hussain, Kavita Bissoon Sookoo, Pritivi, Ken Supersad, Sally Sagram and Avinash Maharaj. 

On Sunday, Mother’s Day, D’Bocas Restaurant at 68 Independence Square, Port-of-Spain will celebrate its 30th anniversary with Jazz @ Dusk, featuring Ray Holman & Friends, from 4.30 pm. So, who are Holman’s “friends”? They include vocalists Scouting for Talent star Errol Asche, Gerelle Forbes, Ricardo Lucien and Dianne Blackman Simpson. 

In fact, Sunday’s event would be the introduction to the club’s R&B/Jazz at Dusk Sundays which will be held on a monthly basis and would feature live performances in the Jazz/R&B genre. D’ Bocas director Judy Agard said this week: “D’Bocas plans to attract music lovers of all ages and so act as a catalyst to rejuvenate the heart of  the city of Port-of-Spain by presenting the talented musicians and vocalists of the country. With the recent improvements to the lighting and sound systems and the decor, management hopes to create a relaxing early evening ‘live’ club experience.” 

Class Act Promotions is staging its annual I Am Woman, A Tribute to Calypso Rose concert at Queen’s Hall, at 5.30 pm on Sunday. On the playlist are Calypso Rose, Alicia Jaggassar, Neisha Guy, Akeisha Ke Ke Lewis, Judy Davis, Malick Folk Performing dancers, Philomena Alexis, Pedro Lezama and Vince Rivers & D Soca Unit.