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Nate Middleton
Island Jam - Steel Drum Players
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NATE MIDDLETON AND THE ISLAND JAM WELCOMES ALL ONLINE STEELBANDS WORLDWIDE DIRECTORIES:
The Steelbands of Trinidad & Tobago
WELCOME TO THE HOME of PAN, islands of Calypso, Soca, Chutney and so many other culturally diverse things, that there is neither enough space, nor is it the place here, to list them all.
EXPLORE THE ROOTS of PAN through these developing pages, and meet these utterly unique steelbands in their tiny home islands. WE SHALL REMAIN INDEBTED to ULF, both for his Steel Drum Research and for his foresight, for setting up such a splendidly accessible World internet Forum for Pan. His pages staggeringly illustrate just how, the preoccupying hobby of a few of our islands music lovers, whose legacy you visit here, has now rewardingly grown into an internationally accepted, world-wide musical experience.
ENJOY.
CONVENTIONAL STEELBANDS
[The big ones!] About them.
List Bands by Name About Names
List Bands by Zone About Zones
East Trinidad
North Trinidad
South & Central Trinidad
All Tobago
TRADITIONAL STEELBANDS
[Pan round the Neck] About them.
List Bands by Name About Names
List Bands by Zone About Zones
East Trinidad
North Trinidad
South & Central Trinidad
All Tobago
Pan PEOPLE List - Tojo dem see what dem say - Top CONTENT List Steelbands 2007 EVENTS Carnival 2007 [ Find the Panorama 2007 Results in Steelbands 2007 ]Steelbands 2006 EVENTS Carnival 2006 [ Find the Panorama 2006 Results in Steelbands 2006 ]Steelbands 2005 EVENTS Carnival 2005 [ Find the Panorama 2005 Results in Steelbands 2005 ]Steelbands 2004 EVENTS Carnival 2004 [ Find the Panorama 2004 Results in Steelbands 2004 ]Steelbands 2003 EVENTS Carnival 2003 [ Find the Panorama 2003 Results in Steelbands 2003 ]Steelbands 2002 EVENTS Carnival 2002 [ Find the Panorama 2002 Results in Steelbands 2002 ]Steelbands 2001 EVENTS Carnival 2001 [ Find the Panorama 2001 Results in Steelbands 2001 ]Steelbands 2000 EVENTS Carnival 2000 [ Find the Panorama 2000 Results in Steelbands 2000 ]Steelbands 1999 EVENTS Carnival 1999 [ Find the Panorama 1999 Results in Steelbands 1999 ]Steelbands 1998 EVENTS Carnival 1998 [ Find the Panorama 1998 Results in Steelbands 1998 ]
2007 PANO-BYTES
Political in-fighting and indecision finds still standing in mid-January 2007, but pending demolition for a new complex; The Grand Stand, TT's cultural Pan-Mecca and a focal venue of Port of Spain's carnival celebrations. Amid general controversy, abandoned by its management like rats off a sinking ship, the complex will remain closed to all direct Carnival 2007 activities. The TT National Panorama 2007 Conventional Semi-Finals, Junior Panorama Finals and the Single Pan + Small Conventional Finals will be held West of the complex for this season. The 'Big Yard' and 'Drag' or 'Barber-green' now out of commission; TT National Panorama 2007 Medium and Large Steelband Grand Finals are to be held at Skinner Park, San Fernando, Trinidad. Tongue-in-cheek; as many as can make the Grand Finals of the South & Central Regions steelbands, are sharpening their acts in rival anticipation to a Southern climax; to ward off a perceived 'slight' to their Skinner Park venue. "Over the last 40 years or so, we had to go North. Let them find out what it takes, to come South. The more of us that make it to the Finals, will cause less of them who want to 'stick', to worry about transport..." is becoming a familiar panyard comment from the region.
Find the stats on the few PANORAMA Champions and learn which bands they defeated to become Winners. All since the competition began in 1963. Can you remember all those tunes they were playing? And What Yester-year Band was a winner?
The ChampionsThe WinnersYester-Year WinnersABOUT THE SHOW
A Tribute to Master Arranger Clive Bradley (1937 - 2005) A Tribute to Clive Bradley - On-Line Where he Loved to Be - In Front de Band Clive Bradley with WI TCo Desperadoes at Panorama 2005 Images © NCC TV An Interview with Clive Bradley - On-Line
STEELBAND ORGANISATIONS
Ulf’s WORLD
CariPan[Processing]
Official Pan Trinbago UnOfficial WORLD GOVERNING BODY FOR PANThe Official & UnOfficial Web Sites admin@pantrinbago.co.tt
Forum for Pan STEELBANDS OF THE PLANETMaking Steel DrumsPan - News - Info - Directories
THE RELATED LINKS
STEEL DRUM RESEARCH
The Related WEB
®
INGS Links Page
Steelpan ResearchA Technology Resource byDr Anthony Achong
From the STEELBANDS HISTORIES Database
Forty Years in the Steel Bands by G Goddard [In part] - [e-Book Format] Tracing the roots of the first steelbands; and the struggle for the Steelband Movement.
Pan and Panmen by W Austin Simmonds A study of the Steelband dated 1959; with the "Mussel-Rat" story of rhythmic pan origins.
South Panmen by Donald ‘Dan’ Seon - [e-Book Format] A note on the first steelbands in the South of Trinidad.
Birth of The Southern Marines Steel Band - 1946 to 1996 by L Lewis Commemorating an early steelband from South Trinidad.
The 52nd Anniversary of Steelbands on the Streets by G Maxime Historic roots from ‘tamboo bamboo’ to the steelband.
Winston ‘Spree’ Simon the Father of Pan by Dr Blake and others Review of ‘Spree’ Simon’s discovery.
The Steelbands unusual US Ambassador - A Tribute Admiral Daniel V Gallery’s US Tenth Naval District Steelband
1947 Casablanca Steelband Recordings - Cover notes by Charles Edward Smith eMail note from John Schmidt detailing one of the earliest steelband recordings.
From the SECONDARY REFERENCE Database On-Site Links:
Tamboo Bamboo What is Tamboo Bamboo? With some pictures.
The ‘Bomb’ Competition Neville Jules from the famous Garret to the J'Ouvert morning Bomb competition.
TASPO - The historic Trinidad All Steel Percussion Orchestra Operation Britain’s TASPO of 1951; pivotal to the future history of the Steelbands.
From the STEELBANDS ARCHIVES Database On-Site Links:
RESEARCH - Papers
Steeldrums by Felix Rohner & Sabina Schärer Methods of Production, Tuning, Materials, Rawforms, Note Architecture, Pang drums.
Reflections on Aspects that Define the Steelband Culture of T&T by Dr Jeannine Remy & JG de Barry Definitions + History + Music Education in Pan at UWI.
An Interim History of the Pan in the 21st Century and Pan Down Memory Lane Events - 2005 by Dr Jeannine Remy & JG de Barry The events history from concert to competition; 1998 to 2005.
The Panyard as a Model Space for Training by Dr Jeannine Remy A review of traditional and academic methods of music learning used in TT panyards
DATA
The Trinidad & Tobago 1995 Pan Reference List and About it. All Conventional and Traditional bands known to be active at that time.
World Steelbands - 2005 Count A count of all the Steelbands in the World.
WORLD STEELBAND MUSIC FESTIVAL 200419th June 2005
Madison Square Garden, New York, USAThe USA SEGMENT - WSMF2004 - Orchestra Category FinalsExodus - World ChampionsTCL Group Skiffle Bunch Steel Orchestra - 2ndT&T Defence Force Steel Orchestra - 3rdCourts Sound Specialists of Laventille - 4th
On-Line Continuing WSMF 2004 - About - Results-----:: PREVIOUS LEG ::-----WORLD STEELBAND MUSIC FESTIVAL 2004&WORLD REGIONAL ZONAL T&T Orchestra QUALIFIERS10th - 29th August 2004Republic of Trinidad and Tobago
Exodus - 1stT&T Defence Force Steel Orchestra - 2ndTCL Group Skiffle Bunch Steel Orchestra - 3rdCourts Sound Specialists of Laventille - 4th
Each become the TT Qualifiers for the next leg ofThe WSMF2004 - Orchestra Category
On-Line WSMF 2004 About - SchedulesOn-Line Local TT events - Who - Where - Results - Pictures - News - Reports - Web links
WORLD STEELBAND MUSIC FESTIVAL 2002 &Trinidad & Tobago STEELBAND MUSIC FESTIVAL 2002 10th - 19th October 2002 Now over. Updates from TRINIDAD Republic of Trinidad and TobagoExodus - Trinidad - (Region) T&T - becomeThe World Steelband Music Festival Champions for the year 2002 TCL Group Skiffle Bunch - Trinidad - (Region) T&T - becomeThe T&T Steelband Music Festival - Pan is Beautiful X - Champions for the year 2002
O-L WSMF 2002 About - Description - Official Web links O-L WSMF 2002 Event - Who - Where - Results - Pictures - News - ReportsO-L WSMF2002 JS-Reports - by John Schmidt ( Processing all data )
WORLD STEELBAND MUSIC FESTIVAL 20009th - 21st October 2000 Now over. Updates from TRINIDAD Republic of Trinidad and Tobago TCL Group Skiffle Bunch, Trinidad - (Region) T&T become The World Steelband Festival Champions for the year 2000.
WSMF 2000 About - Description - Official Web linksWSMF 2000 Event - Who - Where - Results - Pictures - News - ReportsInternational Conference on the Science and Technology of the Steelpan - ICSTS 2000 - News Review
Pan Quote of the last Century [ From a Trinidadian steel drum tuner: ]
If in spite of all your efforts, some notes cannot be tuned, the pan is still not a total loss. You can do what, I fear, has been done before:Sell it to a tourist!1964 Peter Seeger Pg 23; STEEL DRUMS How to play them and make them.
PREFACE
The following notes could be of more interest to those who are not already familiar with the steelbands of Trinidad and Tobago; but should also entertain those who are. They are specific to the Steelbands of Trinidad and Tobago and attempt to briefly describe steelbands in the living environment in which they function. Being the home of the Steel Drums; there exists here, particular cultural and social mores and traditions that have grown up together with the development of the steelbands. It is hoped that these notes capture references to these traditions that form such a fascinating backdrop, to this unique facet of our musical culture.
The steel drum instruments themselves, are described in more detail in Ulf Kronman’s book Steel Pan Tuning; which is all about making and tuning these steel drum instruments. In his preface, which you should visit, can be found a heading STEEL PAN HISTORY; this of course is an amusing editorial shortform for what is dually, a concise History of the Steelband.
It is hoped that the reader will discover new detail of the steelbands colourful history; find alive some curious traditions; meet some of the characters; and understand better the steelbands of Trinidad and Tobago thereafter; from browsings within these developing themes.
THEMES of Content
CONVENTIONAL Steelbands
TRADITIONAL Steelbands
IRON
BAND NAMES and naming conventions
COMPETITION ZONES
THE PANORAMA COMPETITION
PANYARD
THE STEELBAND DRUM INSTRUMENTS
PAN PEOPLE
THE HEAD AND THE HEART OF PAN
There is one essential thing that one should always remember when entering into discussions about Trinidad and Tobago steelbands; these are the entities that evolved, to put music on the carnival "road".
CONVENTIONAL Steelbands
These are the more widely recognised bands, and are very active, as with all others, at carnival time.
The harmonically melodic steelbands we see today are a very different entity from the purely rhythmic monotonic steelbands of the late 1930's. They owe their presence to the turbulent and often violent, but misunderstood reaction, of a determined underclass to develop, express and enjoy a new musical art-form. The steelbands, with their astigmatised adherents, were at first despised and at times suppressed, by the colonial authorities of that time. These new steelbands of today, paving new grounds in expression of musical steel, follow on from the musical roots of the Traditional or Old Time steelbands, who cast the mould for the middle phase in the development of the steel drum and steelbands.
It is humbling to realise; after the great war and up to about 1967, as the popularity for this curious music of steel spread through our islands, to the time when the steelbands became truly accepted as an indigenous national cultural art-form; when the energies of the genius of these under privileged, often uneducated groups of dedicated individuals whose preserve were these drums of steel, and who had finally proven their ambition with this musical dream; that these unique steelbands were playing their way into one of the most extraordinary and commendable footnotes of our nations history.
In giving this nation a strong heart of shiny musical steel, that matched in beauty the iridescent greens of the common humming bird; having rhythmically pumped our universal and multiracial blood as scarlet as the common ibis; they had inadvertently, by preoccupation with their art-form, preserved this nations precious blood from spilling uselessly on the streets in civil revolution. For our steelbands people, this is an honourable gift of historical fact.
The conventional steelbands of Trinidad and Tobago today can range in size from about 10 to 140 members, although 100 members is more usual today, each playing steel drum instruments or steel “pans”, as they are called locally. Each member here plays 1 or 2 drums in the tenor range, and some up to 6, 7 or 9 drums in the bass range. The steelbands collective harmonic range is about 5 octaves.
There is also an accompanying rhythm section, affectionately known as the “engine room”, usually with a conventional drum kit, and tumbas (a pair of congas) at least. Other additions are timbolitas, cow bells, scrapers, chac-chacs or anything that makes rhythm; and the ubiquitous “iron”. You MUST have “Iron” - scrapped brake drums of cars and trucks, played with metal rods - 1 to 3 players; this is the “Iron” section. The “engine rooms” collective harmonic range is about deafening!
For Carnival and Panorama, where the bands have to be mobile or “on the road”, the entire collection of instruments, WITH PLAYERS, are supported on hazardous wheeled metal structures with planked floors and light metal or plastic canopies. Each structure comprising (sectioned by instrument type) 1 for the bass to as many 6 to 12 players for some mixed tenor racks. All of which is man-handled, by an army of loyal supporters, to propel them on their way. Some of the smaller bands, for the carnival “road” only, are carried in covered structures at the back of a flat bed lorry, or pulled by “farm-all” or tractor.
This is the conventional steelband; erroneously labelled by the toffee-nosed, those of higher learning and the establishment as the “Conventional Steel Orchestra”. The problem is the word orchestra. It is an imported concept, and although thoroughly understood, has no social resonance’s in the context of “pan”. It demeans and misrepresents what a Trinidad and Tobago steelband is about. The one and only word to correctly describe this entity is, the Steelband.
TRADITIONAL Steelbands
The roots of these bands lay at the very heart of the birth of the steelbands in Trinidad. These were the craftsmen and musicians who had experienced the tamboo bamboo, dustbin and biscuit tin phase of the moving street music in the carnivals of the 1930’s. They were now the beneficiaries of the demonstrated working models and copies of an idea and new invention, attributed to Winston "Spree" Simon, the contentious father of the steel drum.
To get in on the act however, required ingenuity, experimentation and hard work. The raw material for the first “pans” were indeed pans and biscuit tins. It is this early association with the steel drums development, that is now enshrined in our local vernacular, to call it a “pan”. The vital transition to a multi-note melodic instrument came with the manipulation of the 'dustbin', which could have been part of a discarded caustic soda drum. These drums, together with the larger oil drums, among others, were available but not that easy to get. And once you got them, either by bargain or theft, you had to now learn how to craft them into an instrument.
The early steel drums, with their handful of notes, tuned to whatever upper pitch you could get; became known as the Ping Pongs. (More a sound pun than a sporting metaphor). These were later to be called the Tenor “pans”. The knowledge of the genus of effort, and the genius of invention that broadened the scope of the instrument to include the mid rang and bass instruments; is more probably submerged, than quite lost, at this time.
So these newly invented primitive steel drum instruments, late of the 1930’s, had to be adapted to move with the crowd, and be played, on the road. This was accomplished by fitting a strap to the sides of the drum, and hanging it from around the back of their neck. These were the first members of the Old Time steelbands or Traditional steelbands, as they are now called.
Where the onset of war (1939) saw the banning of carnival and the restrictions of the street parades; the ambitions of these steelpan craftsmen and musicians, more likely took a turn for the better, although this was unrealised at that time.
Where the instruments have evolved tremendously since that time, and their harmonic ability much improved, the method of carrying the steel drum remains the same. The members each carry one steel drum instrument. Some instruments have shorter, cut down “skirts”, to minimise weight and the bass drums may be made from smaller stock. The tenor range is the same as that for conventional bands but the resulting bass sound, and bass percussive complexity, is more limited.
The rhythm section comprises, for each player, a single drum, African or Indian in origin, supported by a strap. There are all the other familiar hand carried percussive instruments; and “iron” of course.
The size of these bands ranges from 2 to 3 members to about 50. Many visitors to our islands have close encounters of a third kind with wondering groups of minstrels from sections of these traditional bands. There is less organisational stress associated with their movement, they are geared for mobility, so their members roam the tourist resorts; particularly in Tobago.
IRON
IRON, “Iron”, ‘Iron’, Iron, Iron, Iron.
Iron is the fusion energy source of the steelbands “engine room”. Iron; brake drums of scrapped cars or trucks, cut bits of “C” beams or any handy piece of steel; but mostly brake drums, because of their shape, size and 'sweetness' of sound. Iron is played with short steel (metal) rods. It can be carried singly, for one hand playing "on the road" or mounted in a stand (also mobile!) for two handed playing. However your iron is presented, you begin to have an Iron section in your “engine room” when you have two or more players; Iron men. Without the slightest hint of sexism implied; an Iron woman is by definition an Iron man. You have no steelband unless you have Iron. A steelband without Iron is unthinkable.
Steelbands and Iron are as synonymous as steelbands and corn-soup, shark and bake, pees and rice, crab and dumplin’, curry-goat and roti, souse and black-pudding, doubles and runnins’, bush-rum and headache. Steelbands and Iron have a marriage of consent that is so sweet, so inseparable, that it is blessed by every God that man has ever conceived to imagine on this planet.
The colour of sound from a brake drum is just right for Iron. It tinkles, it zingles, just with the right pitch. When the Iron men play their complex, in and out of phase, off-beat syncopation’s; it is a shower of sound that reaches around you. It grows to call you, to secretly invade you brain. You get locked into the beat, you twitch in sync, your feet behave as strangers until you understand they are yours and you must follow their steps, step, step. Ting-a-ling, step, step, step. Ting-a-ling, step, step, step. Oh-Yoooooo! step, step, step. Yes, it will never, ever, let you go!
Tick-e-der tick-e-dee Tick-e-der tick-e-deeTick-e-der tick-e-dee Tick-e-der tick-e-deeTick-e-der tick-e-dee Tick-e-der tick-e-deeTnag - Tnag - Tnag - Tnag - Tnag - Tnag - Tnag - Tnag! ...
Being an Iron man is a position of great responsibility within a steelband. A good Iron man holds tremendous respect from all. The question of whether to be or not to be an Iron man never really arises. Either you have failed, or you’re an Iron man. The Iron holds the timing and spins the engine. Without detraction to the desired efforts of the team who make up the rest of the “engine room”, Iron men are something special. In its own right; their rhythm is a counter-weaving art-form of sound. An Iron man requires an innate dexterity; an affection for steel that is close to an affliction; a constitution that does not recognise boredom or thresholds of pain; an unerring sense of timing; a stamina that is almost inhuman. Tradition has it that once a band is moving "on the road", the Iron never stops!
To a bystander at carnival “When ya hear de iron, ya does know a’ steelband commin’!”
BAND NAMES and naming conventions
FINDING THE ROOTS When the Old Time steelbands (who were not Old Time then!) started up in the late 1930’s early 1940’s; the names of the bands, and recognising the bands by their name, was straightforward.Alexander Rag Time Band, Oval Boys, Casablanca as an example. All remained relatively simple until fashion, bad communications, geography and economics intervened. The fashion and bad communications go hand in hand with names like United and Angel Harps, and gets worse with geography for All Stars. And don’t talk to me about Pan Groove! All the above names are the root names for the bands.
FIXING THE REGIONS The matter is cleared up with a regional forename on the root; so you getPoint Fortin United andSt James United It gets muddier withAngel Harps who went Tropical to beTropical Angel Harps, who were first before theTropical Angel Harps from Arima who back peddled from Arima Tropical Angel Harps to beArima Angel Harps But the prime hiatus is withAll Stars who because they were there first; became, as many who can claim they were there first; prefixed with Trinidad, so you getTrinidad All Stars but are still cherished on their local grounds asAll Stars; as opposed toTobago All Stars andSouthern All Stars - who were Antillean All Stars - andTunapuna All Stars.
THE SPONSORS PREFIX But when you add the economic necessity of a sponsor; the sponsors name precedes all else. This is a pain when seen over time as the sponsors change; and if it's a tough old band will spawn over the years names likeAll Stars, Trinidad All Stars, Catelli All Stars, Catelli Trinidad All Stars and Neil & Massey Trinidad All Stars.
DEFENDERS OF AFFECTION The coming of the sponsors in the early 1960’s (Pan Am North Stars ~ 1963), although of enormous benefit to the steelbands who were chosen, engendered some disquiet among steelband aficionados who defended their affection for their names on the local grounds, and disliked the sponsors required prefix. Over time some bands developed such strong and amicable quid pro quo ties with their sponsors; that both appear with equal strength and respect, to appear almost inseparable, and are accepted as such. Examples of these are WITCO Desperadoes, AmoCo Renegades and Fernandez Vat 19 Fonclair. The aficionados proved their point however when, for example, much to the delight of the sponsors, Catelli All Stars, Solo Harmonites and Carib Tokyo subsumed the tradition and nearly lost their identity by becoming known as Catelli, Solo and Carib respectively. But alas to Cavaliers; they got bogged down, and sank without trace, under that cool dark Irish froth of Guinness. The debate continues.
HOW THE MAIN LISTS ARE SORTED The main lists on these pages always separate the sponsor from the root. Where necessary a regional split may also be made. All the sorting is then applied alphabetically to the resulting root names only.
FINDING THE GROOVE OK then, what about Pan Groove? Well I gave up, didn’t I. I think it was a good back peddle, and hope to show why. But the Wonders of the Web allow me to change things easily, if necessary; so to that later. A sort of the Traditional or Old Time bands gave me five Pan Groove'sD Untouchables, La Creole, LH (La Horquitta), Nuttin' Big, and Scrunters and a generically closeHope Pan Groovers For a sort of the Conventional bands I found three Pan Groove'sHumming Bird, Phase II and Redemption. There was no regional contention, generics don’t count, and it was Phase II that settled it. It’s this affection on the ground for the name that did it. I couldn’t have Phase II hanging out with the sponsors; soPhase II Pan Groove, with all the rest, sits alphabetically dispersed on the right.
COMPETITION ZONES
For the Panorama competitions, Pan Trinbago has designated Competition Zones within specific geographic regions of Trinidad and Tobago. A bands panyard address locates it within its respective zone, and the band will begin its preliminary competition rounds, from the selected stadia within that zone.
The lists of steelbands accompanying these pages; name the zones attributed to each band, and also show the bands, sorted according to their competition zone.
These competition zones and their competition stadia, are listed below.
CODE
COMPETITION ZONES
COMPETITION STADIA
ET
East Trinidad
EXPO Site, Trincity, Trinidad (1999)
NT
North Trinidad
The Grand Stand, Queens Park Savannah, Port of Spain, Trinidad
SC
South & Central Trinidad
Skinners Park, San Fernando, Trinidad
TB
Tobago
Shaw Park, Scarborough, Tobago
[A previous East Zone site at the Eddy Heart Grounds, Orange Grove Savannah, Eastern Main Road Tacarigua, Trinidad, was used only once.]
THE PANORAMA COMPETITION
Every panwomans or panmans dream, is for their band to play at the Panorama Steelband Competition and win.
The Panorama Finals, held each year, always on the Saturday night prior to Carnival Monday, is the event that all ‘pan’ lovers never miss. This is the time that ‘pan’ people, stranded in foreign lands, have a sinking whole-body pang of homesickness. They can't turn on a radio to hear, or a TV to see, what is broadcast only on the local stations. But thankfully, even this is changing albeit very slowly. The finals of the event are held in the evening at the Grand Stand, Queens Park Savannah, Port of Spain in Trinidad.
The Panorama Steelband Competition, initiated in 1963; was not the first steelband competition to be organised, nor is it the only steelband competition held in these islands, but it became and is, the Premiere steelband event of the year. As Trinidad gained Independence on August 31st 1962, the Nations first Prime Minister, the inimitable Dr ‘Doc’ Eric Williams who was steadfastly and conspicuously fond of cultural events and their promotion, (He was also steadfastly and conspicuously fond of Broadway Extra cigarettes that finally keeled him over), was probably instrumental, together with his government, in sponsoring a National Steelband Competition to mobilise and inspire a musical resource of such obvious abundance and talent but was stuck to the carnival "road", with no other purpose on which to focus. So as a matter of no little National prestige, Panorama came to fruition the following year for a newly Independent and celebrating nation. Panorama flourished and remains. Its impetus and success has no doubt had incalculable beneficial effects for the steelbands, their promotion and for the world-wide recognition of their art-form.
Panorama involves virtually all the steelbands in Trinidad and Tobago. Conventional and Traditional steelband categories are represented. For 1998 a new Junior (conventional) category will be included. As the name implies, younger players under the age of 20 are being encouraged to form bands. The logistics of moving around large collections of ‘oil’ drums due to band size and because of the number of the bands competing, the competition begins with rounds of ‘preliminaries’ - as they are called. The preliminaries are held in four geographic competition zones, out of which the finalists emerge to compete, at their respective times, at their coveted grail at the Grand Stand, Queens Park Savannah, Port of Spain.
The finals for the Traditional steelbands are held a day before those for the big (now Senior) Conventional event. The time and place for the Junior events and finals, is presently being decided.
When the bands arrange themselves for the Panorama competition, they attempt to field as many players as they can muster. The sizes of the bands thus approaches the upper limits as described for conventional and traditional steelbands. For the traditional bands, there is a regulatory limit of 40 members. For the conventional bands however, where the attractions are grater, the regulation limit fell from 120 to 100 members for the 1998 competitions, much to the consternation of big band leaders. One explanation suggests that this levels the playing field; allowing bands from smaller communities, who struggle fitfully with 70 or 80 members, to compete more equally. For 1998 and today, that's it, but the limits may change again thereafter.
Whatever the size and form of the bands, Panorama provides an exciting, entertaining though exhaustive series of events. For the 1998 Senior Conventional steelband Finals, 15 bands, as set by Pan Trinbago, will compete. 15 out of 148 possible bands at the last count. 15 of the very best rolling on and off the Grand Stand. [Due to a tie in the Zonal competitions there were actually 16 steelbands for the 1998 season. The 1999 season will have 12 bands.] It nearly takes all night. It tries your patience. About 4,300 hand crafted, finely tuned, unique steel drum instruments will cross the stage accompanied by 1,350 hyped up musicians propelled and encouraged by 1,300 equally hyped helpers and devoted followers. (With another 5,000 to 8,000 enthusiasts left outside. [That's another story!] ) Organising this stand of musicians is prodigious. Controlling it is impossible. It all appears to just about happen.
The when frustrates you. But when for example, on 15 separate occasions, when it does happen, when the music sings, when the iron reverberates in your soul, when you are taken by the rhythm, when you recognise the familiar and hear the unexpected, when you are beaten down and then driven up into ecstasy, when you realise you will never hear it quite like that again, you know then; when you're at Panorama.
PANYARD
If you live next to a panyard you’re in deep s***! Your predicament just adequately described, as in some cases, you have been putting up with this behemoth of a sound engine, this iron age industrial complex, this collection of dustbins, this focal point of social intrigue, this gathering of Mozart's distant cousins gone crazy, for the past 50 years.
Panyards come in all shapes and sizes, and are generally not a pretty sight, with rough iron wire barricades placed around any structures, to protect the instruments from theft. The yards occupy all sorts of places; usually rough abandoned ground, land between buildings or even next to graveyards. The lands themselves may be on loan, rented, presented to or owned by the bands. Sometimes bands have to move if the landlord has other ideas for the site.
Some yards are very old and some are new. Some started near trees, used for shade, as is the fabled breadfruit tree of the Invaders yard. Hillside in San Fernando are under a tall chennet tree and Pamberi, north east of the Croisse in San Juan, on their graveyard site practice in an auditorium under the spread of a massive saman.
Some panyards have names of their own, but these are few, and have mostly passed into legend. One was the "Hell Yard" of Trinidad All Stars; but that is for another story.
The disposition of the panyards varies. From rickety wooden constructions, with peeling paint, rusty galvanised roof and even rusty drums; through those looking like small back street car parks with covered cages of drums, untidy stacks of steel trestles used for transporting the drums on the road, even with the odd old car under plastic storage hoping for better days. Then there are the yards with the concrete buildings with the iron gates. Some small and hot, some open and airy, and some like warehouses. The diversity is enormous.
Some yards have areas where the drums are cut and the tops are sunk, and they are scribed and hammered and tempered on open wooden fires, and teased again by the tuners in a process akin to dual alchemy; where an insignificant steel drum rises like the phoenix through the fires and the hammering to be metamorphosed into an instrument of charming purity. It is from these yards, about which alas my experience is only peripheral, [to be returned to later] that the name "panyard" is most probably derived.
The conditions of the yards and instruments reflect the fortunes of the bands to whom they belong. With hard work and good stewardship, some bands have built themselves substantial yards, adequate facilities and show shiny chromed instruments. Or with the aid of sponsorship from local businesses and the odd supportive local council, bands have been resited to new panyards or had their yards refurbished thereby being comfortably rehoused.
The common thing about all these panyards is that although at times they are empty and appear dead; there is always a space, an area, an auditorium where some instruments are protected from the sun and rain and laid out, waiting. In some, players will come in small groups to play and practice off and on, day or night. In more fortunate areas, steel drum players of stature and experience will come to share their great love for the instrument and teach groups of local teenagers in music workshops. In early December 1997 the Jazz steel drum wizard Othello Molineaux came all the way from Florida for a week, to do just that, with a group at the Pamberi yard.
But to an industrial world looking in on Trinidad and Tobago, familiar with the concept of "Just in Time" manufacturing, a concept a little advanced for these islands in general, will find an unlikely advocate in our panmen. For just before a steelband competition is due, or just before carnival time, our "Just in time" panmen will begin trickling into the yards to practice. People gather to watch and listen. Business has begun and the yard is alive again. And a "Boogsie", a "Birdie", a "Professor", a Jit Samaroo or whichever steel drum garu holds the rein of the band will coax them into musical form.
And they practice and practice and practice. You know there is a panyard there. And they practice when the garu is there. And you know you live near a panyard. And they practice when the garu is not there. And you wished you lived somewhere else. And slowly it happens. You know it because you have heard it over and over when it did not. You nearly don't mind, you are used to it now. You are drawn into this numbing phase where you listen docile and beaten. You don't really know what the garu really wants, but you know it is close; this thing that isn't written down, it's happening right now and right here, and you wait for it. You are living this repeat because it has now become your tune as well. It starts again, and it goes and you follow each note, every beat, and it goes, and it flows, and it goes, and it goes, and it goes and Yessss! They did it! Did you hear that? Eh! Magic!
Then its time for the next tune.
Where ever the band goes; with truckfulls of steel drums, or rolling out of the yard on their trestles, you are locked into the band. When the "Just in time" steelbandsmen play at that competition, or on the carnival "road", you follow those notes, each and every one of them, as much as the band, because they are your notes too - you earned them; and the band owns you.
THE STEELBAND DRUM INSTRUMENTS
It is not my intention to describe these unique hand made steel drum instruments here, as others have made a far better job of it. Ulf Kronman, in his book Steel Pan Tuning, has done excellent work on this topic; and it is to his internet pages that these links lead. He presents many practical pictures, and much informative information, on each of these instruments. His further references to a STEEL PAN HISTORY and THE STEELBAND are additive to these discussions.
STEEL DRUM INSTRUMENTS
Links to: Steel Pan Tuning by Ulf Kronman
Tenor (Soprano) PanDouble Tenor (Alto)Double Second (Tenor)Quadrophonic PanFour PanDouble Guitar PanTriple Cello (Baritone)Tenor BassSix BassNine Bass
The Trinidad Tenor Pan
The reason for naming the highest pan of the steelband ‘tenor’ is historical: In the early days the lead melody was played on a pan with less than 10 notes. These notes were bigger than on todays tenors and the pitch was in the tenor range - therefore it was suitable to call the pan a tenor. As the instrument developed, more notes were put into the tenor to increase its range. The new notes had to be made smaller, thus putting the pan in a higher tonal range. But the name ‘tenor’ prevailed. Today it would be more proper to call it a soprano, which is also the usual case outside Trinidad. © 1992 Ulf Kronman Pg 113; Steel Pan Tuning
PAN PEOPLE
No reference to the steelbands of Trinidad and Tobago could hold any weight, without some reference to the extraordinarily dedicated and talented men and women, who have in the past, or endeavour today, to make it all happen. These are some of the pioneers; steel drum makers, tuners, players, arrangers or composers who invented the steel drums, or captained bands, or created new sounds, or bent the rules, of not only music, to issue in this new dimension of musical experience. These are the people of the drums of steel, the poets of the soul in iron; the fathers and the mothers of steelband legend; the children and the heralds of our future “pan”. These are our Pan People.
Press
Authors - Arrangers - Campaigners - Composers
Press
CPNO
PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE
BIOG
Iron Players
Pioneers
Presidents
Band Leaders
CPNO
PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE PAN PEOPLE
BIOG
Press
Pan Players - Pan Tuners - Ethnomusicologists
Press
THE HEAD AND THE HEART OF PAN
What is not directly apparent to the casual observer, or nonchalant visitor, is that in Trinidad and Tobago and perhaps just about now, in some other places, is that the steel drum instrument has matured into, and is now fully accepted as, an ordinary musical instrument. It is used with the same degree of casuality; or engenders the same passioned obsessiveness; as that displayed by musicians of the saxophone or guitar for example.
Playing the instrument is taught in some schools. Players learn to read music. It can be found in some homes and on some street corners. Young and seasoned musicians alike, go to the panyards and play and practice when band members are away from using their instruments. Extemporaneous jam sessions evolve. Talented solo players are recognised, admired and sought after. Some bands play some tunes from a music score. Composers for steelband music, both written, and more traditionally directed by example or by vocal-delivery from the bands respected arranger or talented associates, abound.
Through the strong and heady rhythmic roots of calypso; the restrained, scornful and abstemiously pious directives of religious congregational appearances; the colonial classical bias of its early wealthy supporters; the romantic interlude of "Yellow Bird" tourist and Hollywood patriotism and popularity; the steel drum instruments, as with the steelbands themselves, have moved on to new dimensions in the experience of sound. Excursions into Jazz, Rapso, Soca, contemporary local compositions and cross cultural links with Indian Chutney, are being rendered and explored here, in Trinidad and Tobago.
The steel drum instrument, still in its plastic phase of development, has some way to go before it becomes common place and ubiquitous. It is still a hand crafted and craft tuned instrument; although phases of its manufacture have been mechanised. The sound it renders, copied with great precision but without its dissonant spectral heart in the electronic brains of such popular synthesisers as manufactured by Casio, Roland and Yamaha - to name but a few - and indeed imprinted within the electronics of nearly every sound-card - which could be part of this very computer you are using right now - is now recognised, the world over.
The forms of music that the steel drum instruments, together with their head of steelbands, will reproduce in the future, should thankfully remain limitless. It can only be hoped, that as these instruments mature; as the steelbands spread and clone across the globe; that a nuance of their rhythmic islands soul, remains.
Percussion Literature!
NATE MIDDLETON WORLDWIDE MUSICIAN WELCOMES ALL SITES ABOUT MUSIC TO HIS BLOG!
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As a musical language of communication, jazz is the first indigenous American style to affect music in the rest of the World. From the beat of ragtime syncopation and driving brass bands to soaring gospel choirs mixed with field hollers and the deep down growl of the blues, jazz's many roots are celebrated almost everywhere in the United States.
The city of New Orleans features prominently in early development of jazz. A port city with doors to the spicy sounds of the Caribbean and Mexico and a large, well-established black population, the Crescent City was ripe for the development of new music at the turn of the century. Brass bands marched in numerous parades and played to comfort families during funerals. Also, numerous society dances required skilled musical ensembles. New Orleans was home to great early clarinetists Johnny Dodds, Jimmy Noone and Sidney Bechet. One of the first great cornetist, Joe "King" Oliver and his leading student and future star, Louis Armstrong hailed from New Orleans along with other influential musicians including Jelly Roll Morton.
Chicago became the focal point for jazz in the early 1920s when New Orleans musicians found their way north after clubs in the Storyville area of New Orleans were closed. Jazz began to gain wider notice as recordings made in the Windy City sold throughout America. Chicago was a magnet for musicians in the Mid-West. Famous musicians who received acclaim for their work in Chicago were Earl Hines, Johnny Dodds, Louis Armstrong and King Oliver.
New York City contributed to the richness of jazz in many ways. The first piano style to be incorporated into jazz was stride which developed from ragtime and was popular in New York. The city was also the center of the music publishing business. Also in New York, James Reese Europe experimented with a style of jazz that involved large orchestras. Many of his early recordings would be considered ragtime, though his later recordings in 1919 clearly show jazz improvisation. In the 1920s, New York City had two pioneering orchestras that would eventually greatly affect jazz history. Fletcher Henderson put together a band that first appeared at the Cotton Club in New York in 1923. Henderson's unit featured future jazz stars Coleman Hawkins and Don Redman but it wasn't until Henderson brought Louis Armstrong from Chicago to play with his group that the band began to develop into a full-fledged jazz group which would help to usher in the swing era.
Duke Ellington moved to New York from Washington, DC in the early twenties and began to develop the skills as an arranger and composer which brought to him the great fame he enjoyed throughout his career.
Another transplanted New Orleans pioneer, Clarence Williams, had a hand in organizing many early jazz and blues recordings in New York. In the late twenties, the jazz center of the United States moved from Chicago to New York City as many musicians did also.
During the twenties and thirties there were many groups known as Territory Bands playing jazz in smaller United States cities. In the late twenties, Kansas City's Bennie Moten Band acquired members of Walter Page's Blue Devils which were formed in Oklahoma City. This group later evolved into the Count Basie Orchestra. Some other cities with burgeoning jazz scenes were St. Louis, Memphis and Detroit.
As jazz evolved, highly arranged dance music became the norm. When white musicians like Benny Goodman added black arrangements for their scores, jazz began to move into the Swing or Big Band period. Large black and white jazz bands toured the United States filling the radio airwaves with swing, a term which became synonymous with jazz. Great African American bands during the swing era were Jimmy Lunceford, Chick Webb, Mills Blue Rhythm and Andy Kirk's Clouds of Joy. It was also a time when vocalists came to the forefront led by such favorites Ella Fitzgerald, Billie Holiday and Fats Waller.
"First and foremost in bringing Broadway to Harlem.. and Harlem to Broadway."
The first Cotton Club revue was in 1923. There were two new fast paced revues produced a year for at least 16 years. The earliest shows were staged by Lew Leslie, famous for his "Blackbird" series. Some of the songwriters who contributed material to the Cotton Club Revues were Dorothy Fields, Jimmy McHugh, Harold Arlen and Ted Koehler. The Duke Ellington Orchestra was the "house" orchestra for a number of years followed by Cab Calloway. The revues featured glamorous dancing girls, acclaimed tap dancers, vaudeville performers, and comics. All the white world came to Harlem to see the show.
Let's take a tour through that time with sheet music covers from my collection that feature the music of the Cotton Club.
Classic Jazz.
jazz artists from New Orleans, try the Louisiana Music Factory
Henry "Red" Allen Jr.
Albert Ammons
Boogie Woogie Trio
Lil Hardin-Armstrong
CDs & Books in Print
Louis Armstrong
Hot Fives & Hot Sevens
Smithsonian
Louie Austin
Buster Bailey
Mildred Bailey
Paul Barbarin
Count Basie
Sidney Bechet
Bix Beiderbecke
Bixology
Barney Bigard
Jimmy Blythe
Jimmy Bertand
Buddy Bolden
Perry Bradford
Cab Calloway
Hoagy Carmichael
Mutt Carey
Benny Carter
Junie Cobb
Doc Cooke
Eddie Condon
Baby Dodds
Johnny Dodds
Natty Dominique
Jimmy Dorsey
Tommy Dorsey
Johnny Dunn
Eddie Durham
Honore Dutrey
Roy Eldridge
Duke Ellington
Duke Ellington Jazz Society
James Reese Europe
Pops Foster
Bud Freeman
Jean Goldkette
Benny Goodman
Bobby Hackett
Adelaide Hall
Lionel Hampton
W.C Handy
Coleman Hawkins
Fletcher Henderson
Earl Hines
Milt Hinton
Billie Holiday
Alberta Hunter
Harry James
Blind Lemon Jefferson
Bill Johnson
Bunk Johnson
James P Johnson
Lonnie Johnson
Pete Johnson
Freddie Keppard
Andy Kirk
Gene Krupa
Tommy Ladnier
Eddie Lang
Nick LaRocca
Jimmy Lunceford
Julia Lee
George Lewis
Wingy Manone
Fate Marable
Red McKenzie
Jay McShann
Mezz Mezzrow
Bubber Miley
Miff Mole
Jelly Roll Morton
Bennie Moten
Red Nichols
Jimmy Noone
Joe "King" Oliver
Louisiana Masters of Music
Kid Ory
Tiny Parham
Joseph Petit
Alphonse Picou
Armand J. Piron
Ben Pollack
Ma Rainey
Don Redman
Adrian Rollini
Teddy Roy
Jimmy Rushing
Pee Wee Russell
Luis Russell
Artie Shaw
Freddie Goodman (brother to Benny Goodman)
Frank Signorelli
Omar Simeon
Zutty Singleton
Bessie Smith
Jabbo Smith
Mamie Smith
Willie "The Lion" Smith
Elmer Snowden
Johnny St. Cyr
Erskine Tate
Eva Taylor
Donna & Gloria Wood
Jack Teagarden
Nate Middleton
Frank Teschemacher
Sister Rosetta Tharpe
Frank Trumbauer
Big Joe Turner
Joe Venuti
Fats Waller
Ben Webster
Paul Whiteman
Clarence Williams
Claude Williams
Nate Middleton
Mary Lou Williams
Henry "Red" Allen
Albert Ammons
Lil Hardin-Armstrong
Louis Armstrong
Lovie Austin
Buster Bailey
Mildred Bailey
Paul Barbarin
Count Basie
Sidney Bechet
Bix Beiderbecke
Jimmy Bertand
Nate Middleton
Barney Bigard
Jimmy Blythe
Buddy Bolden
Perry Bradford
Cab Calloway
Nate Middleton
Mutt Carey
Hoagy Carmichael
Nate Middleton
Benny Carter
Junie Cobb
Doc Cooke
Eddie Condon
Baby Dodds
Johnny Dodds
Natty Dominique
Jimmy Dorsey
Tommy Dorsey
Johnny Dunn
Eddie Durham
Honore Dutrey
Roy Eldridge
Duke Ellington
James Reese Europe
Pops Foster
Bud Freeman
Jean Goldkette
Benny Goodman
Freddie Goodman (brother to Benny)
Nate Middleton
Bobby Hackett
Adelaide Hall
W.C. Handy
Lionel Hampton
Coleman Hawkins
Fletcher Henderson
Earl Hines
Milt Hinton
Billie Holiday
Alberta Hunter
Harry James
Blind Lemon Jefferson
Bill Johnson
Bunk Johnson
James P Johnson
Lonnie Johnson
Pete Johnson
Freddie Keppard
Andy Kirk
Gene Krupa
Tommy Ladnier
Eddie Lang
Nick LaRocca
Julia Lee
Harlan Leonard
George Lewis
Jimmy Lunceford
Wingy Manone
Fate Marable
Red McKenzie
Jay McShann
Mezz Mezzrow
Bubber Miley
Miff Mole
Jelly Roll Morton
Bennie Moten
Red Nichols
Jimmy Noone
Joe "King" Oliver
Kid Ory
Tiny Parham
Joseph Petit
Alphonse Picou
Armand J. Piron
Ben Pollack
Ma Rainey
Don Redman
Adrian Rollini
Luis Russell
Pee Wee Russell
Teddy Roy
Jimmy Rushing
Johnny St. Cyr
Artie Shaw
Frank Signorelli
Omar Simeon
Zutty Singleton
Bessie Smith
Jabbo Smith
Mamie Smith
Willie "The Lion" Smith
Elmer Snowden
Erskine Tate
Eva Taylor
Jack Teagarden
Frank Teschemacher
Sister Rosetta Tharpe
Frank Trumbauer
Joe Venuti
Fats Waller
Ben Webster
Paul Whiteman
Clarence Williams
Claude Williams
Mary Lou Williams
Lester Young
