Papodium issue 24

Pan_Podium_Winter_Issue_24.indd 1 09/01/2013 16:53

Pan Podium • Winter 2012



With members in Scotland, Devon and everywhere in between, the British Association of Steelbands is the UK’s only truly national cultural organisation. As the year draws to a close and we enter another new and exciting chapter in our history, we wanted to take the time to celebrate the outstanding and groundbreaking work delivered by our members over the past twelve months and to reflect on what we have been able to achieve in these difficult times.

Some of the highlights for 2012 were

• SV2G Wycombe Steel Orchestra performed at Buckingham Palace as part of Her Majesty the Queen’s Diamond Jubilee celebrations.

• Nostalgia put the UK’s steel band movement firmly on the international map when they performed at the London 2012 Olympic Opening Ceremony. With over four billion viewers worldwide, it is safe to say they have set an unbeatable record for the largest audience a steel band has performed for.

• Real Steel’s return to the UK National Panorama saw them become only the third regional steel band in the history of the competition to win the title.

• 1000 PANS held at the end of the Paralympics and to close off the Games was a record setting initiative led by Brent Holder and involving musicians from around the country performing “Brazil” in recognition of the Olympic torch being passed from London to Rio

• Not one to rest on their success, Nostalgia hosted a highly successful 4thInternational Steelband Conference focusing on the journey of pan and calypso.

Notably, 2012 is also the 60th anniversary of Russell Henderson OBE forming the steel band that supported the first Carnival procession through the streets of Notting Hill in 1964. Who knows where we or indeed all of carnival’s creative and cultural industries would be today if it was not for him, Sterling Betancourt OBE and those early pioneers. In fact, Russell’s con-tribution and importance to the Notting Hill Carnival was celebrated with a Blue Plaque being put up in his honour in 2012, on the corner of Tavistock and Portobello roads. In recognising his contribution to the Notting Hill Carnival, our position as the cornerstone of the Notting Hill Carnival is cemented in history.

On the subject of the Notting Hill Carnival, we would like to congratulate our colleagues on the Board of the Notting Hill Carnival Enterprise Trust and their production company,Realizer, for organising a highly successful event this year. Despite the limited resourcesand time, the event went smoothly and without major incident.

We wanted to give an outline of things BAS will be working on in 2013

• We will be working with Simeon Sandiford in Trinidad to determine how his ‘Pan in Education’ project can be rolled out in the UK to enable Pan Tutors to get that all es-sential teacher’s qualification.

• We will develop a programme of events for young panists to be delivered in partner-ship with our members. To this end, we have already agreed to host the 2013 Pan Explosion competition in Newcastle on Saturday 28September.

• Our colleagues in the UK Pan Tuners Guild are developing guidance on maintaining instruments. This will sit alongside the work they are doing on developing standards for the fabrication of instruments and will ensure bands enjoy maximum use and ben-efit from their pans.

Our AGM is to be held shortly. The focus of the meeting will be to take a critical look at how we operate and how we can best continue to support and empower our members. We expect this to be a difficult conversation but confident the end result will position BAS as one of the leading and most dynamic cultural organisations in the world.

As another year comes to an end we would like to thank all our members and the widercarnival community for their continued support. We look forward with anticipation to asuccessful and productive 2013.

Executive Message

Pepe Francis

Robbie Joseph

Debi Gardner

Eversley Mills



FROM THE EDITOR

The ‘Sunshine’ instrument has continued to bring that over-whelming Caribbean flavour to the UK. 2012 saw the further establishment of the instrument as an important ingredient in the fabric of multicultural Britain through its involvement in the Queen’s Diamond Jubilee celebrations, the 2012 Olympics and Paralympics, Notting Hill Carnival, the Guinness Book 1,000 Pans event and the 50th Independence anniversaries of Jamaica and Trinidad & Tobago to name a few.

The steel pan has risen from the deprived urban tenements of Port of Spain, Trinidad where it was forged, to ac-ceptance and promotion by the international community. From the Cuff Boom /Slap Bass, Kittle and Bass Kittle drums to the sophisticated digital steel pan inventions of today, the journey has been incredible and continues with great vibrancy. What has brought this instrument forward onto the world stage was the devotion, talent, com-mitment, conviction and industry of its early followers. This is a significant achievement in the face of the financial obstacles and disdain by society for the thuggery and violence once associated with it. Drum refers to the steel drum containers from which the pans are made; the steeldrum is more correctly called a steel pan or pan as it falls into the idiophone family of instruments, and so is not a drum which is a membranophone. It is the perfect instrument for developing teamwork and promoting social cohesion.

2013 will bring many new innovative ideas into the global quest to push the technological boundaries of the further digitalisation of the musical world. The G Pan, Hang Drum, PHI, E Pan, Pan Kat and Pete the Pan Stick were all innovations created in the past decade with new Pan Apps and sophisticated software for the production of steel pan music adopting its tonal qualities. The steel pan art form is no stranger to trials and tribulations and over its history has continued to overcome barriers like the continued digitalisation facing traditional pan tuners today. The ‘Pan Jumbie’ continues to prevail as the tonal quality of the traditional instrument certainly continues to capture the spirit with its musical embrace.

Having the steel pan instrument as part of the schools national curriculum in as many countries as possible, en-sures the art form’s continuity, development and success. More and more students and teachers are discovering that steel pans make great classroom instruments. The current digital push with the instrument will assist in its further establishment and acceptance by the younger generation. The UK’s SV2G’s ‘School of Steelpan’ project is working with the University of the West Indies and the Associated Board of the Royal Schools of Music to provide professional development for steelpan tutors, accreditation including steelpan graded examinations andsupport for the UK Steelpan Educators and Tutors Association (SPETA).

There are still numerous locations around the world that have not yet been exposed to this wonderful 20th century acoustic instrument and Pan Podium continues it promotional quest to expose and educate these audi-ences of the mystical musical prowess of the magical steel pan, spreading the Pan gospel worldwide with the global support of its media partners.

Pan 4 Life! - Robbie J - Editor



Editor: Robbie Joseph • Contributors: Laurent Lalsinghue, Brent Holder, Kerry-Ann Wright, Aubrey Bryan, Augustus Peters, Earl La Pierre, Delphina ‘Panness’ James, Rianna Gayle, Chris Storey, Anita Petri, Jolene Durrant, Cyril Khamani, David Chow, Rachel Hayward, Shareen Gray, Kirsty Robertson, Dr. Andrew R. Martin, Ray Funk, Sterling Betancourt MBE, Stephon Phillip, When Steel Talks. • Photography: Response Photography | Cover Design and magazine Art Direction - Jean-Pierre Potéon - www.poteon.com | Published by: British Association of Steelbands - The Tabernacle, Powis Square, London W11 2AV. • Telephone: 020 7565 7813 • Fax: 020 7565 7810 • Email: [email protected] / [email protected]: www.panpodium.com

The views published in Pan Podium are not necessarily the views of the editor or publisher. All material contained in this publication are the copyright of Pan Podium. No material written or photographic should be reproduced in any way without the written permission of the publisher. No liability will be accepted for any errors which may occur within the magazine.

Table of Contents - Pan Podium Winter 2012 - Issue 24

Center Stage with - Andy Narell ’s Steel Bandits 6Pan Podium Artiste Spotlight - Laurent Lalsinghue 8Center Stage with - Euphoria Steel Band 10Pan Podium Events in Tune - David Chow - IDSSL 12Pan Podium Special Feature - Pan Podium Memoirs 14CD/DVD/Book Reviews 15Center Stage with - Pandemic Steel Orchestra 16Pan Podium Events in Tune - Cudrefin Steelband Festival 18Center Stage with - UK Jouvert Champions - London All Stars 20Pan Podium Artiste Spotlight - Victor Phillips 24Pan Podium Special Feature - When Steel Talks 26Pan Podium Events in Tune - UK Panorama 2012 28

Center Stage with - Chestnut Grove Academy Steelband 32Pan Podium Artiste Spotlight - Cyril Khamai 34Center Stage with - Afro Pan Steelband 36Center Stage with - Pan Nation Steelband 38Pan Podium Events in Tune - 4th Steelpan Conference 40Pan Podium Events in Tune - 1000 Pans 44Pan Podium Events in Tune - Pan Clash 46Pan Podium Artiste Spotlight - Alfred Freddy Totesaut 48Pan Podium Events in Tune - BAS Awards 2012 50Pan Podium Events in Tune - Mangrove in Slovakia 54


For Andy Narell, steel pan has always been a family affair. For the past fifty years, Narell and his older brother Jeff have been two steadfast members of a small but growing number of steel panists that earn a sustainable income from the performance of steel pan.

Since 1979, Andy and Jeff have released dozens of studio albums and are consistently highly sought after clinicians and steel pan soloist in schools and universities across the globe. Yet, before Andy Narell was an internationally celebrated jazz panist and before his legendary work with Calypsocation, The Andy Narell Steeband, The Caribbean Jazz Project, and Coffee Street, there was his first band, the Steel Bandits. 2012 marks the fiftieth anniversary of the founding of Andy Narell’s first band the Steel Bandits and the occasion offers good cause to look back at this influential band.

The story of the Steel Bandits began in New York in the early 1960s where Andy Narell’s father, Murry, was a social worker on Lower East Side of Manhattan. Murry Narell was a fan of folk music and jazz, and he regularly exposed his family to the rich musical fabric of New York. Perhaps swept away by the calypso fever that struck America during the late 1950s, Murry and his family regularly attended folk music and calypso-themed concerts popular in and around New York during the late 1950s and early 1960s. At one particular concert in 1960, Narell was enchanted by a touring steelband from St. Thomas and the entire Narell family became taken with the unique and somewhat mystical sound of pan. But more importantly, upon hearing the stories of the birth of the steelband movement in Trinidad, Murry Narell recognized similarities between the young Caribbean men performing in the steelband and the young gang and at-risk youth with whom he worked as a social worker on a daily basis. He was hooked and set about forming a steelband at the Lower East Side Settlement House in Manhattan.

The Steel Bandits grew out of the Narell brother’s early steel pan exposure with the Lower East Side Settlement House steelbands. Because of their father’s occupation, Andy and Jeff heard steel pan on a daily basis, and the Narell brothers wanted to be like all of the other kids Murry Narell helped and play in steelbands. Later in his life, Andy commented on the sights and sounds of his early pan exposure at the Lower East Side Settlement House “I loved the vibe at the place and I loved going to work with my dad.” Andy was fascinated by the “beautiful sound” of the steel pans and was taken with the diversity and multitude of kids that gathered to participate in the Lower East Side Settlement House steelband ensembles.

Andy Narelland the Steel BanditsBOY MEETS PAN

by Dr . Andrew R. Mart in



In 1962, when Andy Narell was seven years old, Murry formed the Narell family into a small steelband. Andy and his brother Jeff showed the most interest in the band. The Narell brothers immediately excelled on the steel pans and quickly outpaced their parents in skill. In the interest of progressing as a band, a reorganization of the ensemble was inevitable and resulted in the jettison of family members (Murry and his wife) in favor of other neighborhood boys Paul Sibner, Alan Pensak, Victor Finnemann and Arthur Finnemann.

Andy briefly played the bass pans before switching to the lead pan and the Steel Bandits quickly became proficient enough to start playing public performances and paid engagements. The band relied on Rupert Sterling to provide the early musical compass for the band. An Antiguan by birth, Rupert Sterling (along with Trinidadian Joe Brown) was a steel pan instructor and social worker at the Lower East Side Settlement House prior to the arrival of Ellie Mannette in 1967. Sterling provided pans and a traditional Trinidadian rote-style steel pan learning experience for the boys. The Steel Bandits also learned a great deal from listening to records of all genres including calypso, jazz, rock, folk, etc.

As the regional popularity of the Steel Bandits increased throughout the mid-1960s, the band saw a proportional increase in the number of paid performances that ensued. For Murry Narell, who acted as the manager and booking agent for the band, the Steel Bandits soon became a second full-time job. In 1964, the Steel Bandits joined the local musicians union in order to gain access to a broader array of performance venues such as hotels, restaurants and other union-controlled industries previously unavailable to the band. By the time Andy Narell was approaching the age of fifteen in 1969, the Steel Bandits regularly surpassed some 175 performances annually in a variety of performance venues throughout the New York City area.

The Steel Bandits played an eclectic variety of performances including calypso clubs, cruise ships, talent shows, limbo dances, and novelty-style pre-and post-concert entertainment at larger classical venues such as Carnegie Hall, Town Hall, or the Philharmonic Hall. The band also performed on several television shows including The Ed Sullvian Show, Hullabaloo, and I’ve Got A Secret. The Steel Bandits also performed at countless boat parties—new ship launches, disembarking, short and long cruises, and the like—for the socially elite patrons of the Tri-State area. The Steel Bandits’ employer for many of these maritime concerts was the luxury cruise company Grace Lines. The Steel Bandits began working for Grace Lines in 1964 and continued until 1969. A popular attraction in Manhattan harbor, the boys charmed the passengers of luxury cruises as they embarked and/or disembarked the docked cruise ships destined to, or returning from, the Caribbean.

Stylistically, the music of the Steel Bandits was similar to other working steelband ensembles in New York. A balance of American and Trinidadian cultures, the diversity of the band’s repertoire is evident on the band’s only studio album The Steel Bandits Play Decca, recorded in 1967. The album is an amalgam of musical genres and styles and the depth of the Steel Bandits repertoire points both to the skill of the band and the specific elements of performance practice required of contemporary steelbands in New York during this time. Despite its importance in the overall history of the band, the album represents only a small part of the Steel Bandits’ available repertoire. Andy and Jeff studied piano and harmony along with playing steel pan, and the Steel Bandits were thus capable of taking on a wide variety of music including 1960s calypsos, classical music arrangements, rock’n’roll tunes, and Broadway tunes.

In 1970, amid his own growing health concerns, Murry Narell decided to move his family from New York to the San Francisco bay area. On the eve of leaving New York in 1970, tensions between the Narell brothers and their father reached a boiling point and the Steel Bandits disbanded. Because of the Narell family’s intention to relocate to the West Coast Andy decided to graduate from high school early, at the age of sixteen. He then enrolled and attended the University of California at Berkeley, earning a degree in music in 1973 at the age of nineteen. For Andy Narell, the Steel Bandits marked an important early musical turning point in his life. It set him on a path for a life in music and, thankfully for pan enthusiasts across the globe, a life in pan.

Pan Podium • Winter 2012 7


Born to an Indian family settled in Port Louis, Guadeloupe and La Réunion, Laurent Lalsinghué started playing the pan at the tender age of four. He belongs to the “Panatics family”, mystics of the unique instrument who believe that nothing is more beautiful than a perfectly sounding steel pan. This virtuoso instrumentalist is able to interpret Chopin and Pastorius in addition to traditional steel pan music.

Laurent’s efforts to acquire musical perfection also stretched to the violin where he earned the First Prize of the Music Academy with the instrument. Furthermore, he is the first French musician to obtain a steel pan diploma in Jazz. He studied steelband musical arrangements with Rudy Smith and Clive Bradley. His quest for knowledge with this 20th century musical acoustic instrument saw him study the art of tuning the instrument with the likes of Ivan Smith, the late Lincoln Noel, Toussaint Clarke, Clifford Alfred, and Darren Dyke.

Laurent has been teaching at Calypsociation, a steel pan music school, in Paris, France since 1998 where he has imparted his vast musical knowledge to new and existing pan players.

He has performed with renowned pan musicians, Andy Narell, Duvone Stewart and the maestro Rudy ‘Two Lef’ Smith. His musical prowess has also seen him performing with, Calypsociation, Pamberi, Arrogante Venganza Para Jaco.p; Les Alizés, Desperadoes, Glissando, Panash and the Andy Narell Steelband Project.

Laurent played with Mangrove Steelband in 1998 having been introduced by Michael ‘Bubbles’ Oliviere who was also instrumental in sharing his steel pan knowledge with him. Laurent professes that he was a big fan of Bubbles’ 20th Century Steelband which he described as, ‘One of the best teams ever!’ His performances also included

“This virtuoso instrumentalist is able to interpret Chopin & Pastoriusin addition to traditional steel pan music.”

LAURENTLALSINGHUE

..pioneering his owngenre of musical fusion..



“He takes Kompa, Biguine

Mazurka and Calypso, the

music of his French ‘West

Indian roots, and blends them

with more contemporary Funk

and Soul music to create his

musical compositions.”

appearances with CIIJ (Caraib to Jazz with Gregory Louis, Jonathan Jurion, Régis Thérèse) Miriam Makeba, Paco Séry, Eddy Louis, Bob Sinclair, The Wailers, Michel Alibo, Mario Canonge, Thierry Fanfant, Thierry Vaton, Bago, Jack Schwarz-Bar, Hervé Laval, Claude Vamur, David Patrois, Rheda Samba, Mohktar Samba, Weuz Kelly, Alexandre Desplats, Jean-Jacques Elangué, Fayadub and Unlogistic.

For a few years now, music professionals have started to notice a trend, the emergence of great musicians from the French Caribbean. Whether in solo acts or in groups of international acclaim, they carry with them the colours of the French West Indies.

The Group C II J symbolizes an encounter placed under the sign of audacity. In fact, the four young musicians, all originally from Guadeloupe and Martinique, assembled to combine their talent and conquer both Caribbean and International audiences. Rich from their individual experiences, these four gifted musicians quickly realised that with common talent, there also exists a common commitment. And so, C II J has taken the obligation to become an added value to an already vast musical heritage.

With over thirty years of playing and making music, Laurent has finally completed his debut album “Yon” (meaning “the First One” in Creole). He takes Kompa, Biguine Mazurka and Calypso, the music of his French ‘West Indian roots, and blends them with more contemporary Funk and Soul music to create his musical compositions.

“Yon” promises to take listeners to a new found musical ground, where the vibrant diaspora influences, ingested by Laurent over the years are fused together, deliciously dressing the centrepiece of the pan. Now Laurent would welcome the opportunity to arrange musical pieces for steel bands in Trinidad and London to spread the musical love that pan people have shared with him. His second album - Caraïb To Jazz Music was released in December 2012.

Pan Podium has known Laurent for many years and has followed his musical journey filled with trials and tribulations but his determination and musical ability continues to drive him towards his musical vision in pioneering his own genre of musical fusion.

In Pan We Trust!



Euphoria is unique in the south of England in being the region’s only pan-round-neck ensemble. This means that the pans are carried on straps across the back

and the players walk while performing in the original Trinidadian style.

Brighton has a vibrant musical scene and is home to several samba schools and other Brazilian, African and world music percussion ensembles. The Brighton Carnival Association realised that amongst all this activity there was no opportunities for local people to play in a steel band, and decided to rectify this situation by forming a new ensemble: Euphoria Steel Band.

This is a particularly timely development as 2011 represented the 60th anniversary of the first performance of a steel band in Britain. In 1951 the Trinidad All Steel Percussion Orchestra (known as TASPO) made the long sea journey from the Caribbean to London to perform at the Festival of Britain at the South Bank Centre, where they were a huge hit. The band subsequently undertook a tour of venues in both France and Britain. European audiences were entranced by the melodic power of the instruments and the dexterity of the players and over the years the sound of steel band has become a popular part of the British Summer - heard at fetes, parties wed-dings and of course the Notting Hill Carnival and BAS National Panorama competition.

A generous loan of instruments (from London-based Nostalgia Steel Band www.nostalgiasteelband.co.uk ), the as-sistance of Lionel McCalman, and the kind agreement of Same Sky to allow the band to use their facilities for their rehearsals, made it possible for band leader and arranger Rachel Hayward (www.steelpan.co.uk ) to establish an initial series of workshops in March 2011. The band’s first official performance was at Brighton’s spectacular Children’s Parade 2011, where they received an ecstatic response from the crowd and participants.

by Rache l Hayward



Euphoria is unique in the south of England in being the region’s only pan-round-neck ensemble. This means that the pans are carried on straps across the back and the players walk while performing in the original Trini-dadian style.

This also means that both players and audience get a much more immediate and intimate musical experi-ence; much more fun than performing on a float or lorry! Brighton Carnival is passionate about ‘feet on streets” and pan-round-neck fits perfectly with their philosophy. More information visit www.brightoncarnival.co.uk or like our page on Facebook.

Since its formation the band has been inundated with requests for them to perform and appeared at the Play-group Festival, Brighton’s night-time Solstice parade: The Burning of the Clocks, Pride, & at the Black History Month Family Day at Hove Town Hall.

In the Jubilee and Olympic year they have been excep-tionally busy playing at the Brighton’s Jubilee Beacon Lighting Ceremony - which turned into an impromptu night-time beach party - and for the arrival of the Olym-pic torch in the city, when they played a calypso version of ‘Chariots of Fire’.

In September 2012 they performed their first sit-down formal concert at Hailsham Pavilion as part of the town’s arts festival where the audience were drawn out of their seats to dance to Kitchener’s ‘Sugar Bum Bum’ and ‘Trouble In Arima’. Their latest performance was at Seaford Bonfire Parade - part of Sussex’s longstanding Carnivalesque tradition of night-time torchlight, bonfire and fireworks celebrations that are held throughout the Autumn and culminate in Lewes Bonfire Night Parade on 5th November.

Rachel says: “I have been involved in pan for nearly 30 years now and am thrilled to bits to have the chance to establish a band in my home town of Brighton. I have been delighted by the enthusiasm of both players and audiences down here, and although we have only been playing for just over a year, I am certain that Euphoria is here to stay. Pan-round-neck is a flexible and fasci-nating form and I have been so inspired by seeing and playing in bands such as Nostalgia and Pan Nectar. I hope to take some players up to perform in the Notting Hill Carnival soon, and it is my ambition that one day Euphoria will perform there in our own right.”

For more details about tuition or bookings please callRachel on 07811 208926,email [email protected] find us on Facebook: (search) Euphoria Steel BandPhotos by Andy Stiller, Robert Rankin and Rachel Hayward



If young Trinidadian David Chow has his way, in the near future, steelpan music - indigenous to the Caribbean land of his birth - will be regularl y played in a full symphonic setting at music houses the world over, from Sydney in Australia, Beijing in China to Rio de Janeiro in Brazil.

For now, this talented 24-year-old electrical engineer is content in honing his creation the Indigisounds Digital Steel-pan Sample Library (IDSSL). And, very much like Mary Shelley’s Victor Frankenstein, he spends most of his waking moments inside his St Augustine studio, consumed in breathing life into what can be best described as the digital future of the pan.The glitter in his eyes, as he explains the technology, tells you that this is a dude who is seriously committed to his craft. And what exactly is IDSSL? Simply put, David has through collaboration with some of the finest pan minds in the world, created a library and a digital interface whereby the authentic sound of the steel pan can be reproduced via a MIDI instrument or from a score writing program. It’s playing pan music without the actual pan, and not being able to tell the difference.

Of course, the pan purists and armchair critics in his native Trinidad would probably scoff at the idea of playing pan on a keyboard. They would say that there is a certain melody from a pan that cannot be replicated. And who knows? They may be right. To the naysayers, David coolly responds: “If drums, saxophones, flute and guitars can be played on a keyboard which is so programmed, why can’t the same be for the instruments of a conventional steelband? This way, pan music can be created and played in places where the distance and cost would make purchasing and maintaining the tuning of actual pans a problem. This technology will help spread pan music to all corners of the globe.” “And not only that, these authentic pan tones will be digitally accessible in classrooms across the world, thus making it an ad-ditional aid to teaching the instrument to a new generation of pan playing enthusiasts,” he added.

And what would make a young man whose background is electrical and computer engineering, in this age of Nano-technology choose a career involving pan music digitizing? Well, you can say that David was hearing the sounds of the steelpan from inside the womb. Prior to his birth on January 27 1988, his mother used to sit in with the choir, which included steelpans, at Our Lady of Fatima RC Church during the weekend Mass. One day, late in 2008, he stumbled upon the Steelpan Lab at the University of the West Indies, St Augustine campus while a student at the university pursuing a BSc degree in Electrical Engineering.

At that time, confidential research was being undertaken for preparation of a patent for the “G” pan. Needless to say, David was chased out of the lab after asking too many questions. However, because of the persistence and interest he showed, in the months that followed, David was allowed unhindered access to the lab during his final year at the university, after signing a non-disclosure agreement. His subsequent summer job was spent at the lab working as a research assistant under Mr. Randall Ali. In the final semester of his degree, David took up a steelpan-tuning course spearheaded by Prof. Brian Copeland and Mr. Denzil Fernandez (inventor of the bore pan). At this point, there was a sense of greater appreciation for the instrument.

Upon graduating in 2010, David took up full-time work at UWI’s ‘Steelpan Initiative Project’ under the guidance of Professor Brian Copeland, first as research assistant and later as research engineer, investigating vibration analysis and acoustics of the steelpan. Subsequently, David went on to work with the Percussive Harmonic Instrument (PHI) project at Panadigm Ltd and was subsequently responsible for the digital tuning and production of the PHI’s steelpan tones.

David ChowIndigisounds Digital Steelpan Sample Library

by By Ken Chee H ing



In May 2011, having no prior experience in recording, David was asked by Mr. Keith Maynard, a director at Panadigm, to visit master musician Mr. Len ‘Boogsie’ Sharpe’s house and record him playing a few songs on the PHI. Despite an initial trepidation, a close personal bond eventually developed between master musician and the young engineer. To this day, whenever Boogsie performs publicly with the PHI, David is the required tech support. The musical vibe from this single assignment blossomed into three-hour sessions at Boogsie’s home two to three times per week, over a pe-riod of four months. It was at these sessions that the album, “A Tribute to The Mighty Sparrow”, was conceptualised.

When he subsequently decided to use Leston Paul’s services as mixing engineer for the album, Boogsie requested that David sit in for the process because of his intimate knowledge of the steelpan tones as well as creative inten-tions for each song. That he is credited, on the album as assistant mixing engineer to Eric Michaud and Leston Paul, underscores David’s natural ability.

In March 2012, he was contracted to teach the module “The Science of Sound” in the Advanced Steel Pan Tuning Program for master tuners, run by the University of Trinidad and Tobago (UTT). At the end of one of these classes, a student Mr. Anthony Duncan, who knew of his work with the PHI, approached David. Mr. Duncan, owner of SteelPan Tuning Facility Ltd, located in the panyards of Sforzata, St Augustine, and Scherzando in Curepe, told David that he was dissatisfied with the steelpan tones then available on the market, and asked him to develop some samples for his personal use in developing musical arrangements. Choosing steelpans produced at Mr. Duncan’s facility, David began the project. During the stage of digitally mapping and processing of the notes, he liaised constantly with Mr. Duncan and his resident tuners Wayne Parris, Cyril Henry and Junior Peters. They critiqued the timbre and harmon-ics of the resultant tones to ensure and confirm that they were faithful replications of the actual instruments’ aural responses, from piano to fortissimo playing levels. Needless to say, this persistent quest for perfection turned the project into a time-consuming labour of love, long outgrowing its cost-effectiveness as a personal-use item.

Fast forward to the present and future. After making enquiries and receiving extremely positive feedback from Leston Paul among others as to the commercial potential of the project, David then developed a business plan, which he proposed to Mr. Duncan. They agreed to ownership terms, and the task for the commercial development of the Indigi-sounds Digital Steelpan Sample Library began. Several software companies were then approached for authorization to use their software players as platforms for the samples; however the only positive response he received was from Native Instruments. This was a happy coincidence since he then learnt that the company’s sample playing software (i.e. Kontakt Player) is presently the standard used by professionals in the industry.

David then carefully designed the user interface for Kontakt 5 Player (which incidentally, can be downloaded free of charge), subjecting it to constant testing, modification and re-testing. The objective being to offer a final product as user-friendly as possible, which facilitates the means of creative manipulation of each steelpan tone within the pa-rameters of note transposition, velocity control (of the pan-stick strikes) and its envelope (i.e. the shape of the sound wave which determines the note’s attack, decay, sustain and release characteristics).

After months of development and critical feedback, the final product, the first to offer authentic samples of the entire range of instruments in a conventional steel orchestra inclusive of the “engine room” which can be played via MIDI, was launched on October 7th, 2012. Check out the website at www.indigisounds.com. David Chow is the owner of DAC Acoustics Studio based in St Augustine. He can be contacted at [email protected]. Mr. Anthony Duncan can be contacted at [email protected].



14

TASPO leaves Trinidad for London on 6th July 1951 Port of Spain TrinidadT.A.S.P.O (Trinidad All Steel Percussion Orchestra) the first steel band to go to Europe, left Port of Spain on the banana boat “the San Mateo”, sailing to England. At the docks, in tears, were families and loved ones, Invaders steel band playing” my heart cries for you” accentuated the pain of the separation. At the first stop in Martinique, from the 12 members of the band, (our musical director included), only 11 carried on to the long journey across the Atlantic Ocean, leaving the sick one behind in hospital. Docking at Bordeaux, France, two weeks later, we then carried on to Paris and London by train and ferry boat to finally arrive at Victoria station. There, the Trinidadian, Edric Connor, a baritone and a famous calypso singer who gave lectures on West Indian folksongs and dances, met us. He was also a well known Shakespearian actor especially for his role in “Moby Dick” alongside Gregory Peck.

Edric who was in charge of us in London took us to his basement flat in Bayswater. All through the drive, I kept look-ing out of the window, wondering how one could ever find his way through the vastness of this city. While passing ‘Speaker’s Corner’ in Marble Arch/Hyde Park, Edric explained that it was a spot where people expressed their opin-ions/ideas on various subjects, most often to do with politics or religion; it reminded me of how back home we also express our opinions through Calypso songs. We rehearsed at Edric, our hotel in Leinster Gardens was only a short walk from his flat and we, slightly intimidated by the hugeness of the city would only venture to the ‘Speakers Corner’, listening to the speeches and debates, having been told that Karl Marx and Lenin spoke there and the journalist and writer George Orwell. At dusk we also noticed the many prostitutes standing by the trees or lying on the grass having sex there and then, making their living the only way they knew, (reminding us of Yankee Trinidad).

The day came when we were to make our first appearance at the South Bank outside the Festival Hall for the innovative Festival of Britain. Our yellow coach with Trinidad All Steel Percussion Orchestra written in large letters on both sides, dropped us by the Westminster entrance; people were everywhere, walking to all the different parts of the exhibition, stopping and looking curiously as our rusty drums were loaded onto trolleys and at us dressed in our tropical shirts, baggy trousers and Stetson hats. People thought we were one of the curiosities at the exhibition and walked with us to our performing spot.

While setting up our drums, a crowd of people had then formed around us, giggling and chatting while starring at us, pointing at the rusty drums. Through the first tune we could hear comments such as” it must be black magic, it isn’t possible it has to be witchcraft” then people started to dance. We received a great ovation. Famous Trinidadians who had come to give us their encouragement and support were amongst the crowd, to name a few. The 100 meters Olympic runner Mc Donald Bailey, P.L Ulric Cross, the celebrated pilot during world war II, the painter Boscoe Holder, Calypso singer Raphael de Leon (Roaring Lion), Lord Kitchener, Chris Lemaitre a lawyer and a fervent communist, who later on after our performance, convinced us to come back to London after our tour of England and engagement in Paris, saying that he will look after us and organise gigs. Five of us agreed but I alone came back, despite Lord Kitchener ‘s warning that “the only bad John in England is the cold”.

pan podium special event feature


I LOVE THIS! GET THIS 2 DVD SET! Andy Narell has made a DVD that not only highlights his skills as a pan player, arranger, composer and amazing professional musician, but humbly showcases, the other musicians in his projects. Totally enjoyable and inspirational. I will be watching this for weeks to come.

Disc One• Andy and the Jumbies • Calypso Fever

Disc Two• Live at the Koln Philharmonic - Andy Narell Steelband | Relator | WDR Big Band• Live at Queens Hall - Andy Narell and Trinidad All Stars• A short film - University of Calypso Sessions

THE VOICES OF PAN STEELPAN GOSPEL - Mighty Jamma ft. Jamani This album is a Father and Son Pan conversation with the Pan Gods. Beautifully orchestrated, religious songs we all know and love, in calypso. This album is extremely personal to these musicians and I’m glad they have shared their passion with the world. Another big CD hit from the Mighty Jamma and family. The future of Pan is surely secure with the likes of Jamani Stewart – who improvises very well on a number of pieces. You will sing all the songs and share with the whole family. Highlights – Old Rugged Cross, Running Skipping

HER FAVORITE SHADE OF YELLOW - Victor Provost First off, let me say the skill Victor has on his Pan is astounding. This album is heavily Jazz orientated from the standards chosen to the improvisation from the musicians. Even the calypso and reggae are in Jazz, which is nice to hear. I feel that this is an album from a band rather than a soloist as every musician’s talent is highlighted evenly. The production is excellent and professional and Victor deserves to be highlighted throughout the world. Highlights – Her Favorite Shade of Yellow, Mother Theresa

GENERATIONS/WE ARE FAMILY - Ralph MacDonald This album highlights (and rightly so) a family born talented. The Pan player on this album is one of my favourites, Double Seconds player – Robert Greenidge. Even though Pan isn’t the main instrument, it compliments the overall sound of the tunes. It should be said (just as a heads up) that Pan only features in 4 of the songs on this album. The late Ralph MacDonald is a superb percussionist and is one of the main composers on Generations. Generations/We are Family is sung with such passion and emotion that it almost bought a tear to my eye… Highlights – Cavern, Let’s Make Up

FUNKY STEEL - Funky Steel This album has a collection of great songs from Calypso and Soca, but the Classic ‘Air’ (J.S Bach) is re-freshing to hear on pan. It would have been nice to hear more Classical music on this album. However, the tunes on this album are a great choice. Even had a chance to move my hips to ‘Colours Again’. You can hear the fun in the music and the closeness they have with each other. Funky Steel worked hard and it will be great to hear another album from them. Highlights – Family, Black Orfeus

JUST PASSING THRU - Miguel Barradas Miguel has a beautiful, controlled, heart-warming touch when playing his pan. His improvisation is sweet, tuneful and totally enjoyable to listen to. The music is relaxing and great for a welcoming atmosphere. This album is magical in the sense that it takes you away to somewhere else; warm, and whomever hears this will ask ‘Who is this?’. This is a guess but I think every tune is a composition as there are no names after any of the titles – and you know I LOVE COMPOSITIONS…. Miguel is a great example for pannists every-where. Highlights – Terrado De Trinidad, Swing and Sway

ALIVE - Andy Narell


dvd review

by Delphina 'Panness' JamesCD review


Pandemic is based in the Bucksburn Academy in Aberdeen, Scotland. They were formed at the beginning of 2005 when a small group of interested pupils met at the Northern College who allowed them to use their steelpans. For several months following they rehearsed at the Northern College whilst they secured funding to buy their own set of steelpan instruments, which they achieved in time for their first official concert in the summer of 2005.

After that concert they worked hard on building their repertoire and also in setting up a younger group when their new S1 (age12) pupils started. This group of young pupils have been playing in the band since then and are now their senior players. Each year they recruit new pupils and currently have four groups that rehearse at school which amass to approximately sixty players who practice after school. The youngest players are in S1 (age 12) and the oldest are in S6 (age 17). Their ensemble comprises of three sets of bass pans, one set of triple cellos, one set of guitars, two double seconds and four tenor pans. It must be noted that their steelpans are not exclusively used for extra-curricular groups but are also played by all pupils of the school as part of their music curriculum.

Over the last five years they have taken part in many community and corporate events. They have always taken part in the Aberdeen International Youth Festival and have worked with the Tamana Pioneers, Diamond Vale Government Primary School and Gary Strakers Steel Orchestras from Trinidad. They have also performed with the Toronto All Stars Steel Orchestra from Canada and can always be seen performing in Aberdeen City centre at Christmas time.

They travel to London regularly to take part in workshops and learn new musical pieces. At the beginning of the 2012/2013 school year, Pandemic achieved something that no other school in Scotland has; a group of 16 pupils performed in the BAS National Steelband Panorama competition and also took part in the Notting Hill Carnival – Eu-rope’s largest street carnival. By doing this, Pandemic raised not only the profile of the school, steel pan playing and the cultural ties that come with the music but they increased their knowledge and skills and improved their already positive attitudes by working with a well-established steel pan group from Reading and with two professional musi-cians from New York.

PANDEMIC STEEL BAND Steelin' it in Scotlandby Kirsty Robertson



The ten-minute competition piece of music that the pupils had to learn was done mainly by rote - a very different way to which they normally learn. It was an extremely complex arrangement and tested the skills, abilities and patience of all involved. To work with professional musicians who had very different styles and approaches to those in Aberdeen and indeed Britain, was a real test of inner strength. The pupils’ commitment and determination was commendable. To see them work with another group in Reading for seven days prior to the event was a very proud moment for the

two teachers who were able to make this opportunity happen for the pupils. The performance in the competition was outstanding with the pupils playing extremely demanding and technical parts. Sharing a stage with semi-professional steel pan groups and participating in the Notting Hill Carnival was, for the majority of the pupils, a once-in-a-lifetime opportunity. The pupils worked and socialised with members of the Afro-Caribbean community and were exposed to the cultural aspects the festival had to offer - music, colours, costumes and food.

To take part in such an event required a lot of planning and fundraising. The pupils had to raise £10,000 to attend the event. This was done through performing in the local community and for local businesses, raffles, a race night, and very generous sponsorship from local companies, both large and small.

Steel Pans are not common instruments in Scotland, with perhaps only 3 or 4 schools lucky enough to have access to the Caribbean instruments. To have the opportunity to be in London for Panorama and the Notting Hill Carnival, the pupils were able to be part of an Afro-Caribbean community, contribute to the celebrations and absorb what such an experience had to offer. Being submerged in such surroundings played a major role in the development of the pupils’ technical and performing ability; for some, their pan playing made as much progress in the run up to the event than it did in the few years they had been playing.

Upon their return from London, the pupils shared their experience at a whole school assembly and with performances of the competition piece. A presentation of their experience was made and shown to the primary schools in the ASG, which raised awareness not only of the local steelband but also of the national and cultural heritage associated with the steelpan artform. Some of the senior pupils involved in this trip have now left school but will soon be replaced by the 60 younger pupils eager to follow in their footsteps. Steel pan playing is now part of the music curriculum at Bucksburn Academy partly due to the interest and enthusiasm generated by these senior pupils.

Pandemic have recently won an award that recognises an individual young person or group’s outstanding achieve-ment in any arts discipline, either by producing outstanding work or by raising the profile of arts, creativity, culture and heritage. The Children and Young People’s Services Awards run by Aberdeen City Council was held in The Beach Ballroom in Aberdeen on 12th September 2012.

The nominees deserved the award to acknowledge the efforts and resulting progress made - in particular the musi-cal development of the pupils involved and the impact that this has had on raising the profile of the school and steel pan music. Kirsty Robertson, the Music Teacher at Buckburn Academy in Aberdeen has nurtured this secondary school steel band that has grown in leaps and bounds and taken music outdoors around the North East of Scotland and beyond. Kirsty has done some recording of their performances, which can be viewed on You Tube. Pan Podium congratulates Kirsty and everyone at Pandemic for spreading the Pan Gospel in Scotland.



The 20th Cudrefin International Steelband Festival was held at Lake Neuchatel in Cudrefin (VD) on Saturday 28th July 2012. The organisers surpassed their promise to host two of the best steelbands in the world to headline the 20thanniversary of their festival.

Mangrove, the 2011 UK Panorama Champions and CSI, North Tyneside, TLA and all the Swiss steebands cer-tainly treated the audience to some catchy, captivating and melodic music throughout the weekend of the event culminating with awe-inspiring performances on the eve-ning.

It was a huge honour for the organisers to be able to welcome all the steelbands to this iconic event that war-ranted a huge amount of event management as the Eng-lish bands arrived at Basel airport on the Wednesday and had to be ferried to Cudrefin where accommodation and meals were organised as well as arranging extra concerts for the visiting UK steelbands at different res-taurants in the area that funded the festival and assisted in making the bands’ visit financially viable. Naturally the Swiss steelbands, some of which have appeared in the initial festival were also in the spotlight.

On Friday the 27th between 7:00 – 10:00 p.m. Man-grove/CSI performed at the Tennishalle Dudingen whilst TLA played at TCS Camping Salavaux and NTSB gigged at Baywatch Summer Terrace (Cudrefin). On Saturday 27th between 11:00 a.m. and 2:00 p.m. NTSB played

at the Trois Suisses, TLA performed at the L’Equinoxe whilst Mangrove/CSI were at the Camping Erlach. The final performances on Sunday the 28th between 11:00 a.m. and 2:00 p.m. saw Mangrove/CSI return to the L’Equinoxe whilst TLA performed at the Auberge de la Sauge.

Sunday morning saw CSI and Mangrove play at a local business. After a lovely lunch provided by the organis-ers, both bands proceeded in entertaining the crowd with the sweet strains of steelband music. Mangrove played a range of music, from ‘Iz a Trini’ to ‘Wonderful’ with Jus-tin Russell astonishing the crowd with his solo over the well-known Bob Marley song ‘Jammin’. The crowd was truly overjoyed at this beautiful amusing accompaniment to their Sunday lunches. It was after this performance that Mangrove were taken to the side, thanked and re-quested, if possible, to come back again next year.

A ‘Steelboat’ cruise was also organised for festivalgoers to enjoy the sweet strains of steelband music. A one-hour boat cruise on the Neuchatel Lake was an additional fea-ture to this year’s festival. Top UK steelbands, Mangrove and CSI supplied the music. This unique experience al-lowed participants to witness a magnificent sunset while listening to the captivating musical renditions of steel-band music. There were two cruises one at 4:30p.m.and the other at 6:00p.m. The concerts were billed to take place in all weather conditions with shoreline perfor-mances in the event of rain or stormy conditions.

The Festival programme saw Pandora, Los Panitos,

Cudrefin InternationalSteelband Festival

Lake Neuchatel Cudrefin, Switzerland

by Jolene Durrant



as a fully-fledged modern orchestra. With an enormous following of supporters they are one of the largest/most travelled and most professional Steelbands in Britain and are seven times winners of Panorama, the UK’s Na-tional Steel pan competition.

Los PanitosNine amateur and enthusiastic musicians founded Los Panitos in November 1997. They now have 15 players from Embrach, Rorbas, Eglisau, Rafz, Bülach, Koten and Rümikon who are active in their group. Each Thurs-day they rehearse in Embrach at their own local.

No PaniqueFounded in May 1992, they are described as varied ow-ing to the mixture of its membership, sound, gender and age. The band’s limited rehearsals dominated by their professions and families do not stop their undying love for producing ‘straight music’ that thoroughly entertains their audiences. That’s why they just show their pas-sion for this kind of music to their audiences shaped in a multi-coloured bunch of flowers.

Steelband PandoraFounded in 1989 and hailing from Bern, they conjure up musical surprises from their highly tuned steelpan instru-ments depicting the singularity of the Caribbean Islands. Their varied repertoire includes Latin American rhythms, and Caribbean melodies. Their membership of eleven members plays the groovy pan music with exaltation to their audience. Their musical director, Pat Bernhard, mu-sically arranges their repertoire with a lot of professional skill and artistic flair.

Festival ContactsWebsite: www.festivalsteelband.chEmail: [email protected]: Nicholas Leuenberger: +41797678170Secretary: Laura Girod: +41797307170Bands: David Girod: +41795482912

Napf, CSI and Mangrove steelbands delivering some powerful, rhythmic and melodic renditions from a wide repertoire on stage from 5:00 p.m. to 12:30 a.m. whilst on stage 2, No Panique, TLA, Pandora, Napf and North Tyneside steebands were equally entertaining thewelcoming audience with renditions from their reper-toires that span several genres.

Band ProfilesTLA SteelbandThe award-winning TLA Steel Band is based at The Lit-tlehampton Academy. Formed in 2005, the band current-ly has over seventy performers in four bands. 2011 saw them perform in Germany and Switzerland. They hosted the first ever event steel band festival in Littlehampton and their advanced band won an award for outstanding performance at the Music for Youth National Festival in Birmingham.

North Tyneside SteelbandThe North East of England’s top steelband perform-ing nationally since 1992 at official, corporate and pri-vate functions. Recent credits include: Royal Albert Hall Schools Proms 2003 & 2008, National Festival of Music for Youth 2003, 2004, 2005 & 2008, Millennium Dome 2000, National Youth Arts Festival 2000 & 2002 and BBC Young Folk Musician of the Year Semi-Final 2001.

CSI Trust“CSI – The National Lottery Peoples Millions Grant win-ners 2008!” Caribbean Steel International aka CSI Steel-band Trust is a voluntarily run charity steel band. Their aim is to give the public the opportunity of learning about, and how to play the steelpan instrument. They are the current UK Junior Steelband Panorama Champions and UK Pan Explosion soloist Champions.

MangroveThe Mangrove Steelband is one of the most prominent in Europe. Formed in 1980 on All Saints Road in Not-ting Hill the band started as a “Pan Round Neck” band of the traditional type they have established themselves



London All Stars dominatethe London Jouvert Bomb CompetitionThe annual London Jouvert celebrations took place at 6:00 a.m. on Sun-

day the 26th August from the Sainsbury’s car park at the top of Ladbroke

Grove.

The procession of bands snaked its way down Ladbroke Grove towards

the judging point under the railway bridge at Ladbroke Grove station. As

the bands played their renditions to the judges Anise ‘Halfers’ Hadeed,

Robert Bailey and Nestor Sullivan, Pan Podium was busy capturing the

memorable moments on camera whilst enjoying the high quality of steel-

band music on offer at the BAS ‘Bomb’ tune competition. London All

Stars have become known as the BAS ‘Bomb’ tune champion winning

this competition five times since its rebirth in 2004.

The London JouvertEight years since its revival, London Jouvert celebrations has seen Lad-

broke Grove invaded by revellers adorning themselves in mud, powder

or brightly coloured paint depicting the celebration of the emancipation

of slavery. The pre-dawn tranquillity was broken by the sweet strains of

steel band music in West London and saw masses of people chipping

down ‘the Grove’ in true Trini style. This all steelband event provided

lively steel band music that was well received by the public and contin-

ues to grow in popularity. The British Association of Steelbands (BAS)

continue to work laboriously to ensure its growth is sustained through

London Jouvert Celebrations 2012



21


LONDON ALL STARSBAS BOMB TUNE CHAMPIONS

the inclusion of more steelbands and masqueraders and continues to be an important ingredient in the fabric of

Notting Hill Carnival. The 2012 Jouvert/Notting Hill Carnival also fell in between the London Olympics 2012 and the

Paralympics and followed the Queen’s Diamond Jubilee celebrations in June 2012 that boosted its popularity with all

the global tourists in addition to the locals.

London All Stars have become known as the BAS ‘Bomb’

tune champion winning this competition six times since

its rebirth in 2004. A hat trick of wins from 2004 – 2006,

followed by wins in 2008, 2010 and 2012 established

them as the UK Jouvert Bomb tune victors.

This all family steelband started with Frank Rollock’s

seven children performing on a variety of brass and reed

instruments as ‘The Royaltys’ until London All Stars was

formed in 1974 under Frank’ musical direction. He direct-

ed the band through many successes including winning

the first UK National Steelband Festival Championship in

1983, capturing the title of ‘Champions of Steel’ by win-

ning the National UK Steelbands Panorama competition

in 1980, 1985 and 1989 and placing second in 1987 and

third in 1981 and 1982.

Frank and Gerald Forsyth were responsible for the for-

mation of the UK National Steelband that played at Buck-

ingham Palace for the Queen’s Golden Jubilee celebra-

tions in 2002 and London All Stars players were notably

included for this event. London All Stars continues their

tradition of being an all-family steelband as all of Frank’s

grand and great grand children are now players in the

band ensuring that the legacy he has started will live on

for many generations to come.

2004 – Crying2005 – She2006 – Romeo and Juliet2008 – Softly awakes my heart2010 - Liebestraum2012 - Feelings

The Future of London Jouvert

BAS is planning to host more steel bands for the 2013

Jouvert ‘Bomb’ competition; this action will ensure conti-

nuity and a well-contested competition. Everyone is look-

ing forward to an even more successful Jouvert in 2013

and BAS will continue to develop stronger operational in-

teractions with the various Carnival authorities.

BAS will continue its development, expansion and further

establish it as an important ingredient in the fabric of the

Notting Hill Carnival and multi-cultural Britain.



23


He later joined Tropical Harmony, Earl Rodney’s band. At this time, Victor was also trying his hand at pan mak-ing, but was not taking it very seriously. He also played with Southern Symphony.

In 1962, he decided to come to England, where the streets were paved with gold! He travelled on the Can-berra and spent all his money on the boat with his friend Hugh. He lived in Birmingham and worked in a factory. He did not enjoy this new life, and only wanted to make the money for his passage back to Trinidad.

He started to play in the local steel bands and quickly discovered that pans were not up to scratch. He felt that he could give them a better sound and this is where his pan-making career really began. Victor started his own band and called it Tropical Harmony.

He was a serious pan man, arranging music, managing the band, driving the van and everything else associated with running a steelband. He also composed songs and had an original composition called ‘Zabooka’.

After years of factory work and running his band, Victor was offered his dream job. Lecturing on steel pan in schools for the Commonwealth Institute. This involved talking about the history of pans, playing music, show-ing slides of Panorama and Carnival and demonstrat-ing on double second pans he used to carry with him.

One of his school visits led to him making pans for El-mwood Primary School in Croydon that boast of hav-ing the first school steel band in the country. This job took him to the length and breadth of the country. His job brought him to Coventry, where they were so im-pressed with his aura and expertise they offered him a job teaching in schools. One of the schools Broad Heath was to provide Victor with fantastic success.

The school band was called BHSO (Broad Heath Steel Orchestra) and at primary school level they had a mas-sive repertoire and recorded an album. BHSO later be-came Phase One Steel Orchestra, as Victor brought in pupils from some of the other schools where he taught.

VICTORPHILLIP

Pan Pioneer with theutmost dedication

Victor was born in Southern Trinidad in Lot 10, a small village near Point Fortin. He began playing pan as a child and along with his brother Morriel, formed

the 6 10 (six ten) steel band, which operated from under their house!

by Stephon Phil l ip



He was very creative at this time and composed two songs for this new band. One was called, ‘Pan Vibes’ and the other, ‘Phase One’. Whilst teaching in Coventry, Victor was offered another job. This time it was at a place called Topshop, where school leavers could undertake youth opportunities (YOPS) to obtain experience in a variety of careers. Victor was giving 16-18 year olds practical experi-ence, making steel pans.

He bought his friend Dudley Dickson to work with him at Topshop and they had a great time working together. To-gether they invented the ‘Tubaphone’, which is a double ended pan based around a tenor bass, so two people play at the same time and the ‘Philson’, a pan with no curved grooves and the notes were diamond shaped.

In 1982, Victor wrote a song called, ‘Task Force’, in honour of the Armed Forces leaving for the Falklands’ conflict. In the following years he became a regular judge for UK Pan-orama. In 1983/84 Victor exported pans back to Trinidad for Dunlop Tornadoes including a large number of tenor pans with a gold finish. He also did extensive work on the bore pan, after first seeing one in the mid 80s.

At one stage, Phase One’s entire high and middle pans were bore pans and it was at this time that they won the UK National Panorama competition in 1987. In fact, when Phase One won that Panorama, Victor had arranged most of the tune along with his son, Stephon. Apart from every-thing else that he was doing for Phase One, his schools and pan making, Victor was also driving the band’s bus, revealing what a dedicated pan man he was.

Victor is an innovator and pioneer. He still feels that there is a long way for pan to go. He feels that steel bands have to be properly amplified in order to compete on a level playing field with DJs. Also, believes a steel band with a singer with their own material could have a chance of chart success. Victor has always had high standards and expects a band to be well presented both in costume and pans.

Though long retired from teaching, Victor is still making pans today and is at his happiest with a pan stick in one hand and a hammer in the other.



New York, New York - In an historic pairing the Brooklyn Philharmonic and Sonatas Steel Orchestra per-formed together at the World Financial Center Winter Garden in downtown Manhattan as part of Soundcheck Live! presented by Arts Brookfield. On this notable occasion new music works for the distinguished Sonatas Steel Orchestra and the Brooklyn Philharmonic chamber ensemble joint performance were premiered.

The packed concert audience was treated to the world premiere performance of “Flows Beneath” - a piece written specifically for the collaborative performance of the steel orchestra and chamber ensemble by Christopher Cerrone. Cerrone was commissioned along with Kendall Williams to create original musical compositions for the event. For the piece, Cerrone sought the advice of his friend and noted composer and accomplished steelpan instrumentalist, percussion musician Andy Akiho. Akiho advised Cerrone that the family of steelpan instruments was like any other instrument. “Steelpan is like any other instrument... it can do a wide expressive range and many other things.”

The composer had already been enchanted with the sound of the steelpan from a previous encounter with the in-strument at the home of Akiho. Now Cerrone’s quest was to create a piece that took advantage of its unique sound combined with the traditional instruments, resulting in a new voice in that blend. Cerrone says he was having some difficulty coming up with a title for the composition and turned to noted American poet Carolyn Forché - who upon hearing the piece thought that overall it came across like a frozen lake, with the steelpan sounds conjuring up im-ages of the body of water not yet frozen that flows beneath the lake. The steelpans simulated that river that “Flows Beneath,” hence the title.

In what had to be viewed as truly a “Tale of Two Cites” becoming one without collision - the event was brought to the stage to produce a signature moment around cultures, fortunes, music and Brooklyn. The mature, very time-conscious, professional Brooklyn Phil paired with the very talented, young, genius level, unseen, affable and adapt-able Sonatas from Crown Heights - was much, much more significant than a mere ‘odd couple’ moment at the Winter Garden.

Ironically, and probably unwittingly and unknown to Mr. Cerrone (and then again maybe not), he produced and cap-tured much more reality than he could have ever imagined in his piece. The sometimes arduous life of a Brooklyn steel orchestra is very different than that of their Brooklyn Philharmonic counterpart - yet the goals and aspirations are the same. They, the steel orchestras are massive (100 players), beautiful, proud, culturally inspired, community-based - and completely unsupported by New York government while operating in the shadows and sometime bowels of the

BROOKLYN PHILHARMONIC ANDSONATAS STEEL ORCHESTRA MAKE HISTORY

‘Flows Beneath’ captures the Tale of Two Cites while mimicking the existence and true life of a Brooklyn Steel Orchestra

26 Pan Podium • Winter 2012


w h e n s t e e l t a l k s s p e c i a l f e a t u r e s

To read these and many other exciting and interesting articles from the team atWhen Steel Talks logon to: www.panonthenet.com

Big Apple, in an increasingly changing and hostile envi-ronment that is always threatening their very existence. Indeed they are the ones that ‘flow beneath.’

The voice and primary function of the steel orchestra is that of storytelling through music, and in this regard Chris Cerrone’s composition is very creditable. The life of steel orchestras can quickly vacillate from calm, joy and ecstasy to utter frustration, tension and agony - while the surrounding neighbors are completely oblivi-ous to their fate.

Odd couple/odd moment, indeed, as the orchestras re-ceived thunderous applause from a world and people that normally never meet but, as the poet aptly sug-gested, flows beneath and in the background under fro-zen tundra. Even at this performance, while surely not intentional, if you were not told that the steel orchestra was on stage, visually you would not have known of their presence.

And as the Sonatas Steel Orchestra left the stage, host John Schaefer of WNYC radio and producer of Sound-check Live! mentioned that Sonatas was the ten-time New York Panorama champion - and again the audience gave thunderous, warm applause.

And there again is that reoccurring theme and reality of “Flows Beneath.” Of course the audience is unaware that the prestigious New York Panorama title, while mu-sically significant and globally respected, is financially bogus and bankrupt because of the event producers, and leaves the participants at a huge financial loss every year.

Moreover as the group exited the World Financial Cen-ter Winter Garden stage, Sonatas Steel Orchestra—a 40 year-plus institution of musical, community and civic excellence which had been a critical part of the cultural fabric of New York—was heading home, like all New York steel orchestras, to a life of uncertainty.

Threatened with removal from their practice spaces every year or worse, a complete shutdown by NYPD (New York Police Department) as they rehearse for Panorama competitions. One would not imagine that this same organization with these same young people - is responsible for the creation of some of the most im-portant New York Panorama music and performances of all time; and moreover, some of the most influential and culturally significant pieces written in our time that are reflective of the people of Brooklyn. Unfortunately the umbrella of uncertainty over this magnificent mu-sical organization and other Brooklyn steel orchestras alike is a reality.

Much kudos must be given to Alan Pierson, artistic di-rector and conductor of the Brooklyn Philharmonic for having the foresight and courage to step outside of his norm to see, acknowledge and embrace the genius, in-tellect and talent of the young people of Sonatas. And probably more importantly, is Pierson’s clear under-standing that ‘different’ does not mean ‘wrong’ or ‘can’t’ or ‘not good’ - just different.

The iconic Sonatas continues to chart a series of new firsts for steel orchestras from Brooklyn and in North America. It was only few months ago that Sonatas per-formed with NYU Steel at the 2012 PAS KoSA NYU Weekend of Percussion.

In the coming together for the Arts Brookfield Winter Garden Performance, what was truly impressive about the young Sonatas, is that although they were seem-ingly out of their normal comfort zone, environment and ways of doing things, these young people were un-phased. Moreover, it was indeed an exchange of concepts, approaches and worlds. Now wouldn’t it be something if the Brooklyn Philharmonic, with Sound-check Live!, came out and performed at Sonatas’ band launching next year as a continued celebration of the diversity of the music crested in New York?

27Pan Podium • Winter 2012


Real Steel Orchestra led by Leroy Clarke haling from Plymouth captured the 35th BAS Notting Hill Steelband Panorama 2012 ‘Champions of Steel’ title – celebrating the 50th Anniversaries of the Independence for Trinidad/Tobago and Jamaica as well as the Queen’s Diamond Jubilee, Olympics and Para Olympics in the UK.

Real Steel led by the young, innovative and talented Leroy Clarke has toppled the London steelbands which have dominated the winning podium since 2002 when North Stars tied with Mangrove and back in 1987 when Phase 1 of Coventry led by Victor Phillips captured the coveted title. Leroy and Real Steel have been in the winners’ shadows for some time. In fact, the first year that they entered the competition, they attained 2nd place, a massive feat for an orchestra new to this level of competition. They did not compete in last year’s competition. In this iconic year for the UK, they finally achieved their goal of being the UK’s ‘Champions of Steel’. Leroy’s rendition of Tellison ‘Tello’ Forde’s, Prophet of Pan - sung by Keith ‘Designer’ Prescott saw them amass 270 points, eight points clear of last year’s Champions, Mangrove Steelband, led by Andre White.

Speaking to Leroy after the Panorama he confirmed, ‘ the band played well on the night, we executed superbly and playing in the rain certainly seemed to give us that extra drive and enthusiasm to deliver a winning rendition. I will like to congratulate all my players as well as all the other bands who played in another successful UK Panorama competi-tion after battling with the rainy weather on the day.’

2012 marked the 50th Anniversaries of the Independence for Trinbago and Jamaica as well as the Queen’s Diamond Jubilee, Olympics and Para Olympics in the UK. Steelband music has firmly rooted itself in the UK’s culture. It is an important ingredient in the cultural fabric of multi-cultural Britain and has spread virally throughout the UK and Europe. Panorama is a focal point for all Carnival celebrations globally where top steel bands come together in a musical battle for supremacy. The Notting Hill Panorama was held on Saturday 26th August 2012 at the Horniman’s Pleas-ance, Kensal Road off Ladbroke Grove. The event started at 8:00 p.m. and was finished by 10:30 p.m. as

U K N A T I O N A L P A N O R A M A ‘ C H A M P I O N S O F S T E E L ’ 2 0 1 2

REAL STEEL STEALS THE SHOW

UK NATIONAL PANORAMA‘CHAMPIONS OF STEEL’



directed by the Metropolitan Police and other authorities.The ‘Drag’ where the bands practice on Kensal Road before the competition was opened from 2:00 p.m. giving the pan lovers the opportunity to listen to all the bands before the competition started. Unfortunately, the prevailing weather saw the heavens open and heavy sporadic thundershowers stopped the players from practicing for long periods having to seek shelter from the heavy downpours.

Mangrove Steelband, defending Champions played first and placed second with 262 points from their Andre White’s rendition of ‘All Over’ by Fay Ann Lyons and Baron and produced by Penn & Ace of Studio 758. Mangrove treated the audience to a musical rendition that left everyone singing along to their captivating delivery.

In third place was CSI with 261 points. Brent Holder’s musically arranged rendition of Destra Garcia’s, ‘Vibes’ was cer-tainly a musical treat to all in attendance. Brent is the first UK based Trinidadian to have his own composition played at this iconic competition, Pan in the Panyard.

Ebony Steelband Trust who has dominated this competition, winning it nineteen times since its inception achieved fourth place with a Seion Gomez’s rendition of Destra Garcia’s, ‘Vibes’ amassing 248 points. This is Seion’s first ap-pearance at this competition and judging from the exhilarating music that he produced and which was well executed by Ebony’s talented players, Pan Podium hopes that he returns next year to continue his winning chances at this competition.

In 5th place was Metronomes Steel Orchestra who was absent from last year’s competition. Playing a Ken ‘Profes-sor’ Philmore’s rendition of the legendary Len ‘Boogsie’ Sharpe’s ‘Archbishop of Pan’ saw them attain 247 points. Professor and Metronomes continue to produce a high level of musicality ensuring that the standard at this competi-tion is maintained and continues to progress towards the ultimate goal of perfection.

Paul Dowie and CSO continued their musical quest to achieve the Champions of Steel title with his rendition of Edwin Pouchet’s ‘Gie Dem Tempo’, sung by Denyse Plummer, written by Pouchet and Alvin Daniel. CSO achieved 6th place with 232 points. It is evident that Paul continues to work with his young and talented players to achieve the pinnacle of steelband music. They are present at every panorama and Pan Podium fully supports them in their quest for musi-cal stardom.






BAS/LNHC UK NATIONAL PANORAMA 2012

J 'OUVERT BOMB COMPETITION

BEST TRADITIONAL STEELBAND ON THE ROAD

BEST CONVENTIONAL STEELBAND ON THE ROAD

PLACING BAND TUNE POINTS

1st. Real Steel Orchestra Prophet of Pan Leroy Clarke 270

2nd. Mangrove Steel Band All Over Andre White 262

3rd. CSI Steelband Trust Vibes Brent Holder 261

4th. Ebony Steelband Trust Vibes Seion Gomez 248

5th. Metronomes Steel Orchestra Archbishop of Pan Ken ‘Professor’ Philmore 247

6th. Croydon Steel Orchestra Gie Dem Tempo Paul Dowie 232

PLACING BAND POINTS

1st. London All Stars 251

2nd. Ebony Steelband Trust 228

3rd. Real Steel Orchestra 220

4th. CSI Steelband Trust 207

PLACING BAND POINTS

1st. Panecktar 166

PLACING BAND POINTS

1st. Ebony Steelband Trust 179

2nd. St Michael & All Angels Steelband 167

3rd. Endurance Steel Orchestra 165

4th. Metronomes Steel Orchestra 164

5th. Croydon Steel Orchestra 160

6th. CSI Steelband Trust 151

7th. Stardust Steel Orchestra 138

The UK National Panorama, is the biggest showcase for steel pan music in London and it was an evening filled with steelband music at its highest levels. The musical war between these magnificent steelbands saw this musical battle keenly fought by all competitors vying for the coveted title of the UK’s ‘Champions of Steel’. The musical supremacy on the night certainly belonged to Steelband Music with Real Steel Orchestra being crowned the UK Steelband Am-bassador for 2012.

The judges for the 2012 production were Anise ‘Halfers’ Hadeed, Nestor Sullivan, June Ifill-Bacchus, Robert Bailey and Rudy ‘Two Lef’ Smith with Robbie Joseph as the Adjudicator. Everyone is now looking forward to the 2013 UK Panorama ‘Champions of Steel’ competition. LIKE and visit the Pan Podium Facebook page for photos, comments and updates.

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Year First Place Second Place Third Place

2011 Mangrove Steel Band Ebony Steel Band CSI Steel Band/Real Steel

2010 Ebony Steel Band Mangrove Steel Band Real Steel Orchestra

2009 Ebony Steel Band Mangrove Steel Band CSI Steel Band/Real Steel

2008 Ebony Steel Band Real Steel Orchestra Southside Harmonics Steel Orchestra

2007 Ebony Steel Band Stardust Steel Orchestra Mangrove Steel Band

2006 Ebony Steel Band Stardust Steel Orchestra Southside Harmonics

2005 Ebony Steel Band Stardust Steel Orchestra Southside Harmonics

2004 Mangrove Steel Band Ebony Steel Band Glissando Steel Band


2002 Mangrove/North Stars NA Real Steel

2001 Ebony Steel Band Mangrove Steel Band Metronomes


1999 Ebony Steel Band Mangrove Steel Band Glissando Steel Band

1998 Ebony Steel Band Southside Eclipse

1997 Ebony Steel Band Glissando Steel Band Eclipse

1996 Ebony Steel Band Eclipse Mangrove Steel Band

1995 Ebony Steel Band Pantonic Lambeth Youth

1994 Ebony Steel Band Pantonic Lambeth Youth

1993 Ebony Steel Band Metronomes Mangrove Steel Band

1992 Ebony Steel Band Mangrove/Metronomes Pantonic

1991 Ebony Steel Band Mangrove Steel Band London All Stars/North Stars

1990 Mangrove Steel Band Ebony Steel Band Metronomes

1989 Ebony Steel Band Mangrove Steel Band Metronomes ( Issac Newton School)

1989 London All Stars Stardust Bromyard Centre

1988 Ebony Steel Band Mangrove Steel Band Metronomes

1987 Phase 1 London All Stars Stardust

1986 Mangrove Steel Band Ebony Steel Band Stardust

1985 London All Stars Mangrove Steel Band Ebony Steel Band

1984 Metronomes Ebony Steel Band Mangrove Steel Band

1983 Ebony Steel Band Metronomes Mangrove Steel Band

1982 Metronomes Ebony Steel Band London All Stars

1981 Mangrove/Metronomes London All Stars

1980 London All Stars Ebony Steel Band Metronomes

1979 Metronomes Paddington Youth Ebony Steel Band

1978 Paddington Youth Metronomes Glissando Steel Band

Br it ish Associat ion of Steelbands' UK National Panorama Past Winners

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Steel Pans have become one of the most popular activities forstudents to participate in at Chestnut Grove Academy.

Their super talented pan teacher and arranger, Chris Storey, had to audition over seventy Year 7 students who wanted to join the new Year 7 group in September. They have had numerous invitations from their local community to play at events including fairs, openings, Caribbean days and many more. In the seven weeks preceding the summer holiday, the steel pan groups had to perform at events every Saturday and sometimes twice in one day.

Chestnut Grove AcademySteelband by Rianna Gayle



They also participated in the Music for Youth Festival every year and in 2011, the Sixth Form and Year 9 band merged and were invited to perform at the national festival in Birmingham.

So, naturally it was not surprising to find that over half the musicians who came on the music tour to Lake Garda in Italy were from the various steel pan groups.

Unfortunately, whilst on their Lake Garda tour they seemed to have brought the English weather with them, so they were unable to perform their outdoor concerts as originally planned, owing to the rain that affects the pan instruments. Rain and Steel is not a good mix. Luckily, they had some fans wanting to watch them perform at the hotel, and after some quick planning from their tour representatives a new concert was organised.

The steel pan groups performed after the choir and jazz band, and they were something totally different for their re-ceptive audience as most had never even seen let alone heard steel pans before. They loved all the groups and were soon dancing (mash potato included).

Chestnut Grove Academy steel band, made sure they played all the old classics including ‘Rock Around the Clock’, ‘Volare’ and ‘Mama Mia’. The audience loved it so much they asked for an encore and they were able to sell more than half their steel pan CDs to the people in the hotel. As well as the classics, they performed some of their more modern renditions of their repertoire including‘Unfaithful’, ‘Vibes’, and ‘Starships’.

On their last evening of performing, the musicians were re-ally buzzing, especially the steel pans’ students. The crowd of German and Swiss tourists appeared to be mesmerised by the sweet strains of steel pan music, they continuously danced and clapped throughout their musical renditions. After the sixth form steel band performed, they received a standing ovation and took the opportunity to play another song. The audience applauded them constantly even as they carried their pan instruments of the stage.

A very generous German man who donated one hundred and fifty (150) euros to the Chestnut Grove Academy Music Department brought a great evening and excellent perfor-mance to an end with them selling all their CDs.

Steel pans play a really important part of school life; it acts as a medium for unifying the students from year 7 to year 13 whilst developing teamwork.

The students have confirmed that through playing pans they have all had opportunities that they will never forget.



Year after year, the loud and busy streets of Notting Hill Carnival are a joy for the senses. Look closely and you’ll see a small man with a big smile, a pan man, the scratcherman for Nostalgia; that’s Cyril Khamai. This quiet man with a big presence loves pan, early on built pan, and plays pan and percussion, has made pan an integral part of his life since he was a child in Trinidad. Chasing a dream, Cyril came to the UK in 1957 and has been playing pan in his new home ever since. Pan has taken this small man from a small island to big things and Cyril has traveled the globe from Russia to Hong Kong and all over Europe playing pan with a number of different bands. Cyril started playing pan as a child in Trinidad with the Free French Steelband in San Fernando. The band’s leader at the time was Theo Stephens who had been a member of TASPO. Stephens’ TASPO stories inspired the young Cyril and he would later set his sights on traveling to the UK. From the Free French Steelband, Cyril moved on to another San Fernando steelband called Melody Makers. Here, in addition to honing his playing skills, Cyril became a self-taught builder/tuner of steel pans during his time with Melody Makers. He then went to another steelband in San Fernando called Rogues in the Irving Park neighborhood and for a short while in Rhythm Stars with Nerlin Taitt. Indeed, it was as a builder/tuner that Cyril got his chance to leave Trinidad for the UK in 1957.

In Cardiff, Wales, a homesick batch of Trinidadian boxers wanted to have a steelband and Cyril was just the man for the job. He built the instruments and played with the band, staying about nine months. Cyril then decided to move to London where he became part of one of the earliest steelbands based in the London area. Once in London, Cyril joined a band known at the time as the Tropicana Steelband many who had been part of the Rogues band in San Fernando. It featured brothers Carl and Winston Jones, Tony Charles, Karl Boyd, Kay Sammie, Sonny Hart, and Lynn Kenkaran. The group started in 1959 and rehearsed in a basement near the Chelsea Art School. One day, students from the art school heard the steelband rehearsing and invited them to play for a party and later to play at events around the school. Building on this early success, the Tropicana Steelband moved on to various extended nightclub residencies as well as popular shows at the Royal Festival Hall in 1960 and Royal Albert Hall in 1961.

by Ray Funk

CYRILKHAMAIQuiet Pan Pioneer



Later in 1961, the band trimmed-down to five members and embarked on an important month-long booking in Spain where they played in clubs and restaurants all over the country. The Tropicana Steelband thrived on the road and from Spain the band continued to travel and perform throughout Europe. England served as a home base for these intercontinental tours and Cyril and company worked the London nightclub scene where they were popular at the Latin Quarter as well as university and hospital events scattered throughout the area. They worked with the top band leaders to do balls and society functions all over the country.

One of the most exciting tours for the Tropicana Steelband of this early period came in 1968 when the band was brought to Germany. In West Berlin, the band recorded an album under the name The Original Trinidad Steel Band and then moved on to playing in nightclubs and doing a film in East Berlin. From Germany, Cyril and the band launched a tour of Russia. Groundbreaking on many levels, Cyril and the Tropicana Steelband have the distinction of being the first steelband to tour the Soviet Union, going to five republics. The tour was part of a variety package of Latin American performing groups led by the Paraguayan band Los Paraguayos and featured several other bands from Mexico to Chile. The tour was based in Moscow. Over the course of ten weeks, the band performed all over Russia and the former Eastern Bloc countries of Georgia, Ukraine, and Estonia.

Cyril has fond memories of this tour, especially the five pan players and two limbo dancers that comprised his portion of the show. Coming back from the tour of Russia, a four per-son version of Tropicana went on a 9 month non-stop tour of England, Scotland and Wales. Throughout the early to mid-1970s, Cyril performed in several steelbands at spots all over England and Europe. Notable among these steelbands was the Caribbean Trio with the late legendary panman Sel-wyn Baptiste as well as continued work with the larger Tropi-cana Steelband. The Caribbean’s Trio went to Switzerland in 1964 playing at mountain ski resorts, U.S military bases in Germany, NATO bases in France and hotels and other gigs

throughout Holland. In 1972, Cyril was the lead pan man for the group that played music for the ‘Play Mas’ production that included actors Rudolph Walker, Corrine Skinner, Steve Caliper and Norman Beaton.

In 1975, Cyril spent the summer performing with a steelband in St Tropez, France. In 1979, he was booked as a single pan player to accompany the German-based Trinidad-born calypsonian, Lord Ambassador, for a three months’ tour of Hong Kong. As the years went by, Cyril continued to play pan with countless steelbands. In addition to fronting his own bands, Cyril was a regular with bands led by Russell Henderson and Tony Charles. He remembers playing a regular gig entertaining the audience at the Goodwood horse racing track in Surrey during the summers. With Tony Charles, he was there playing at the opening of the Dubai International Hotel. Little known was his leadership for a couple years in the Seventies of the steelband for the Buddhist Association of England.

Recently he keeps winning awards. In 2006, he won the Black History Month award. In 2011, he was one of the pan legends honored by the Commonwealth Arts and Cultural Foundation with the High Commissioner of Trinidad. He still plays pan on occasions but more often plays various percussion instruments, mostly scratcher. For London Pan-orama, he has appeared with Ebony, London All Stars and Metro on scratcher and on the road with either Nostalgia or Pan Nectar. Though, once a pan man always a pan man, and Cyril has been known to jump up and play with almost any pan side when the spirit takes him! He played this year with Nostalgia both for Notting Hill Carnival on the road and for the opening ceremony of the 2012 Olympics. Indeed, young folks in these bands have no idea that the gentle man with the big smile next to them is, in fact, a legend who has taken pan all over the world for well over half a century.



It’s true what they say, “A Family that plays together Stays together.” And no truer words can be spoken when referring to Afropan Steelband. Afropan is a very family oriented band from its creator to its members. One can find multiple generations of pan players, passing in and out of the band, much like an heirloom gets passed down throughout the years. In 1973, the pioneers of the band, at that time known as “The Harriet Tubman Survivors”, formally founded the group as Afropan Steelband.

Since its inception, the band has won 28 titles in competition (most recently in 2011) and ranked in the top 3 on all other occasions, an achievement no other band in Canada has the honour of upholding. From its keen players to talented arrangers, Afropan Steelband sits on the forefront of musical supremacy, presenting a repertoire of complex and entertaining selections that cater to every taste. Known for its variety in song choices and inclusive demeanor, Afropan has become known as “The People’s Band”. No matter where the band may perform, along with them follows a sense of community and belonging for both players and spectators alike.

Band leader Earl La Pierre Sr., who now resides in Grand Cayman Islands, is not only a world renowned pannist and arranger, but an ambassador for pan. Having arranged for steelbands in Toronto, Trinidad and Cayman Island, Earl constantly pushes his limits as an arranger. To date, he has accumulated 32 winning arrangements across the board and continues to work towards upholding his reputation as one of the best. Earl’s expertise and passion for music is the reason why many players, who started under his instruction, have grown up and created their own pan initiatives, from his example. Though he has arranged for many bands over time, he will always call Afropan home.

Steelbandby Kerry-Ann Wright

and Earl La Pierre



As difficult as it is to lead a steelband from out of country, Earl La Pierre Sr. has successfully learned how to find bal-ance in the process, with the help of his children and other members of the Afropan family. The younger La Pierres; Noel, Earl Jr., Olujimi and Aziza all play key roles in the development of Afropan over the years. Most directly, Earl La Pierre Jr. acts as the manager of the band taking care of all Afropan business in the absence of his father.

As a non-profit organization, Afropan can often be found participating and hosting community events, in hopes of in-spiring others to learn about the steelpan and promote the culture. The band also offers steelpan classes for people of all ages and skill levels. Outside of the classroom, Afropan helps bring people together through family friendly events such as blockos and concerts. Blockos, otherwise known as street festivals, are one of the band’s most anticipated events. The combination of great music, food and positive vibes keeps people coming back for more everytime!

Afropan has also given birth to amazing steelpan events such as Ivory & Steel and Pan Launch which always leave audiences dancing in their seats! This past summer the La Pierre sons came together in an event they warmly called “Sons of Steel”. Being the first time they’ve all graced the stage together, the “Sons of Steel” made history as they promoted steelpan to the Toronto community, honoured their father/family and paid respect to the culture they were raised within. The show was so well received that the “Sons of Steel” will be touring in Trinidad (Feburary) and Grand Cayman (April) as well.

In 40 years, Afropan steelband has grown immensely from its start as a small collective of Afro-Caribbean pannists. Led by arranger Earl La Pierre Sr. , the band has become a powerhouse steelband and, over the years, developed into a household name in pan, both locally and internationally. The band has taken its talents on tour in Bermuda as well as Gabon, Africa, helping both countries with their independence day celebrations. Being a major tourist at-traction in the city, it is common for foreign players and supporters to travel to Toronto; just to play with Afropan and participate in their festivities.

While the band’s 40th year has not even started yet, plans are in the works to make it a milestone to be talked about for years! Through its accomplishments and ambitions, it’s no wonder how Afropan has made it through the test of time. Many groups and organizations seldom last long enough to celebrate such an occasion! Afropan looks forward to sharing their 40 year anniversary with the world, as they embark on yet another year of family, successes and the sweet sounds of steel. Visit them at www.afropansteelband.com

Celebrating their40th Anniversary

1973 - 2013Steelband



Pan Nation is an excit ing and l ively community steel band based at the Green School, Tottenham, North London. The band was formed in late 2009 from the vision of their expert arranger and talented leader, Chris Storey. The main band comprises of ap-proximately 30 members, including a combination of talented young steel pan students between the ages of 14 - 25 and more experienced players, some of whom are pan soloists in their own right and pan teachers.

Most are local to Tottenham, but they also have players from all parts of Greater London. Chris also teaches the Pan Nation beginners band, which at present is made up of around 15 adults, a number of whom have children in the main band, although the class is open to all ages whether they are beginners or those wishing to get back into pan.Pan Nation is establishing itself as a gigging band playing a fresh fusion of different genres of music and their diverse repertoire includes calypso, reggae, classical, folk, ballads and popular melodies. The band has played at a wide selection of both public and private events, in London and other parts of the UK.

by Diana Royand Chris Storey



In summer 2011, Pan Nation took part in the celebrations of the 50th anniversary of the Festival of Britain, widely recog-nised as the event that brought steel pan to this country. The event showcased 6 bands from across England at London’s Southbank and culminated in all 6 playing together in the Royal Festival Hall.

In the summer of 2012, the band returned to the Southbank when it had the privilege of joining 15 other bands to take part in the fantastic world record breaking ‘One Thousand Pans’ event.

In August 2011, 10 players from Pan Nation got the opportu-nity to play at the “Champions of Steel” Panorama competi-tion with CSI Steel Band Trust. This was a great experience for the younger players as many had never performed or even played a 10-minute panorama arrangement in their life. Pan Nation also managed to secure one of only a tiny hand-ful of grants available for organisations to take part in the an-nual Lord Mayor’s Show, the oldest and longest civil proces-sion in the world. The band’s float became a desert island for the day with supporters and players dressed as pirates.

The BBC coverage described the band as bringing crowds to their feet, saying that the atmosphere around the float as ‘vibrant’ and ‘electric’. As a direct result of Pan Nation’s par-ticipation in the Lord Mayor’s Show, the band was asked to play at the World Traders’ Association Installation Banquet at Stationer’s Hall in the City of London in October 2012. For this event, they collaborated with a young violinist on one piece, as well as performing another classical piece and some of their more regular calypso tunes.In 2012, Pan Nation has played at venues and events as di-

verse as St Paul’s Cathedral, where they raised the roof for a Fair Trade celebration, and London Zoo where they pro-vided some sunshine for a corporate event on a cool summer’s evening. They have travelled as far afield as Notting-ham to take part in the Stapleford Carnival for the last two years at the invitation of UK Trini and Friends organisation, where they won first prize for best float and to deepest Wales to provide the entertainment for a Trinidadian wedding.

Closer to home the band has performed at schools, community events, Jubilee celebrations and a wedding blessing in a local park. Pan Nation is a close-knit band that constantly support, teach and learn from each other. They are enthusiastic and passionate and take pan playing seriously but also know how to have fun. All of this shines through whenever they perform.

Pan Nation are currently working on upgrading their website www.pan-nation.co.uk and have a Facebook page at Pan Nation Steel orchestra. If you wish to contact Pan Nation you can do so through Facebook or by emailing Chris at [email protected] for information.



Steelpan and Carnival were part of the Opening Ceremony of the London 2012 Olym-pics on 27th July 2012. To have been invited to be such an integral part of one of the world’s foremost events is an irrefutable testimony to the extraordinary commitment and contribution made by West Indian musicians and artists since the early days when the legendary Lord Kitchener’s arrived on S.S. Empire Windrush in 1948.

This conference, funded by Arts Council England, celebrated this epic journey and mapped out some of the promi-nent moments in this short history that is now at the forefront of British arts. Nostalgia Steelband, in collaboration with the University of East London, The Association of British Calypsonians and The London Calypso Tent, Carnival Village, The British Association of Steelbands, The School of Steelpan High Wycombe and the UK Steelpan Tuners Guild, held the 4th Biannual Conference (26-28th October, 2012) at the University of East London to coincide with 25 years of Black History Month and 50th Anniversary of the Independence of Trinidad and Tobago. This meeting was dedicated to the late Crystal Holder for her enormous enthusiasm and considerable contribution to steelpan in the UK.

by Prof . Haroun Shah and Dr . L ionel McCalman

The Fourth InternationalSteelpan Conference

‘From Empire Windrush to London 2012 Olympics : ,An Epic Journey for Steelpan, Calypso and Carn ival ’



The conference programme consisted of four sessions over two days; an evening at the Carnival Village entitled ‘Just Kitch: A Celebration of the Grandmaster Lord Kitchener in Calypso and Pan’ (The Yaa Centre, London, W9 2AN), a Plenary Lecture by Professor Dawn K. Batson (Florida Memorial University) entitled ‘The Triumph of Steelpan’ and a presentation by Dr. Andy Smith, (University of Glasgow) that reflected the enduring intellectual les-sons of C.L.R. James’ ‘Beyond a Boundary’. A poignant message of this book is ‘the potential capacity of human beings to turn constraint into freedom, a feature so well exemplified in Carnival arts.

London is the Place for MeCalypsonian, Lord Kitchener, was one of those pioneers aboard The Windrush who sang his iconic calypso “London is the Place for Me” upon his arrival in London and set the scene for the ensuing years. Fittingly a cultural tribute, “Just Kitch” was staged at the Carnival Village’s ‘Yaa Centre’ on the Saturday evening as part of the conference. Nostalgia Steelband, St Michaels All Angels Steelband and Debra Romain’s ‘Sisters of Steel’ played some of Kitch’s cherished calypsos such as ‘Bee’s Melody’, ‘Sugar Bum’ and ‘Old Lady’. The calypso tributes were led by Alexan-der-D-Great. The main focus of the evening was a reflective, profound presentation on the Grandmaster by carnival historian, Ray Funk.

Unlike previous conferences that focused on development and visionary aspects of carnival arts, this meeting cel-ebrated its success. This was elegantly narrated in Professor Dawn Batson’s Plenary Lecture expounding the huge strides made by steelpan in a riveting lecture entitled “The Triumph of Steelpan”.



Brit ish Calypso and Carnival Nicole Rachelle Moore opened the meeting on Saturday, with an eloquent presentation titled “Sowing the Seeds of Calypso; History of the ABC” which laid the foundation for the success of the ABC today. It’s work was clearly mani-fested in school projects undertaken by Alexander-D-Great and Celia Burgess-Macey that featured the composition and performance of many school children while the pivotal role of women in calypso was delightfully enunciated by ‘Cleopatra’.

The perplexing problem of financing was expertly articulated by Kemi Sobers whose experience in the field was clearly evident. How this translated to Notting Hill carnival was followed up by Suzanne Burke (UWI, Trinidad) who explored the ways in which festivals such as Notting Hill carnival may be used as a platform for creative entrepreneur-ship.

It utilised the Trinidad Carnival as a model with five main strategies, marketing, funding, innovation, community de-velopment, clustering and talent as a platform to facilitate both social and business entrepreneurship. Suggestions on how the festival can be re-purposed and developed to benefit the primary stakeholders and creators through the promotion of cultural citizenship and the generation of income and employment were described.

Ruth Tompsett utilised her ‘Midnight Robbers: exhibition based on “The Artists of Notting Hill Carnival’, (2007 – 2010) to open the debate on the recognition for mas as art. Vivid demonstrations of this were demonstrated by Greta Mendez, protégé of the legendary Peter Minshall. The vision of the Carnival Village, which embodied these art forms were covered by Carole Morrison, director of the Carnival Village Trust. Finally, Ray Funk authoritatively covered the ‘Claudia Jones Carnivals’, which was a precursor to these events.



The Triumph of SteelpanFaustin Charles’s “Folklore and Poems in Steel” and Keith Morton’s trailer on the ‘Birth of Steelpan’ provided a highly entertaining prelude to the huge triumph of steelpan which focused largely on the events of 2012.

Engaging youth projects by Marvin Barbe combined with a witty argument to state the need for change by Laila Shah received vociferous ovation and set the scene for absorbing presentations on Nostalgia’s Journey to the London 2012 Olympics (Lionel McCalman, André Rostant, and Haroun Shah), SV2G’s appearance at the Queen’s Diamond Jubilee (Jacqueline Roberts), the unique One Thousand Pans Project (Colin Salmon, Fiona Hawthorne, Josephine Scorer, Musical Director - Brent Holder) while Stephon Phillip (Phase One) recounted his captivating experience of playing pan in the UK, the USA and Trinidad.

Previous attempts to engage the Pan Tuners (whose work underpin the entire process of this unique instrument) were unsuccessful. For the first time this year, Robbie Joseph, Chairman of the UK Pan Tuners Guild and Execu-tive of BAS, accompanied by tuners Dudley Dixon, Aubrey Bryan, Toussaint Clarke and Grafton Yearwood, reported encouraging progress by the UK Steelpan Tuners’ Guild in developing specialist education, training and accreditation both within and alongside the existing British educational establishment, which should help to ensure retention of skills in an “aging” industry. Another function of the Guild is that of a benevolent society, supporting pan craft workers and their families.

This conference also celebrated 50 years of Trinidad and Tobago’s Independence from Britain on 31st August 1962. The history of the steelband from post-independence to the present time was entertainingly covered by NestorSullivan (Trinidad) to close an exceptionally productive, successful and memorable meeting.



The Mayor of London’s Thames Festival 2012 included a record breaking attempt by a group of UK steelbands made up of a nation of steel pan players, culminating in a performance-as-one to represent the greatest number of instruments playing together in a single steelband ensemble.

The steelbands - CSI, CSO, Harlow, Long Eaton School, Metronomes, NTSB, Nostalgia, Pan Nation, Pan Jazz International, Pantonic, Pure Steel, Phase One, RASPO, Steelpan Academy, St Michaels & All Angels, TLA and individual players from various bands including Ebony, Mangrove were invited to take part and contributed to the impressive sound of ‘Aquarelo do Brasil’ to a cheering audience at the Jubilee Gardens on the Southbank next to the famous London Eye. That particular arrangement was selected to reflect the handing over of the Olympic flame to Brazil; from London 2012 to Rio 2016.

Unity, Professionalism and Musicalityb y R o b b i e J o s e p h a n d F i o n a H a w t h o r n e

What more could be askedfor to pass the torch to Rio 2016



The 1000 pans event was born out of an idea by ac-tor and musician, Colin Salmon, who noticed at a CSI Blockorama, held in July 2011 on the White City estate in West London that several of the bands played the stan-dard “Brasil”, a beautiful rhythmic 1939 classic written by Ary Barroso. He told his partner Fiona Hawthorne, a former artist in residence to the Royal Philharmonic Orchestra, “Wouldn’t it be wonderful to have 1000 steelpans playing Brasil for the handover of the Olympic Torch from London to Brazil,” One Thousand Pans was born.

Fiona felt very strongly that pan in the Olympic period should have the opportunity to be mighty, eclectic, di-verse and unified, and that the skill and virtuosity of many pan players – and the simple joy of the instrument – should be shared with the world. She made an appli-cation to the Arts Council of England just three months before the event and ACE encouraged the project and agreed to fund it.

The dynamic Brent ‘Antics’ Holder, manager and mu-sical director of CSI steelband and the steelbands en-semble was the musical mastermind behind the event. He was positive and keen from the word go. His efforts saw players learning the musical arrangements by dif-ferent methods including You Tube. He commanded the attention of the crowd and musicians alike. It was heart-warming that so many bands and players supported the project and came from far and wide asking for nothing and offering abundant enthusiasm, teamwork and musi-cality on the day.

It was clear that in the end everyone involved saw and felt the power of one-band unity, the impact of artistic staging, which assisted the astounding group musical-ity, led charismatically by Brent on the day, who gave it all despite the very sad loss of his wife Crystal Holder only a few days before. Samuel Dubois gave a rousing tribute speech in commendation to Brent and the chil-dren for the drive and determination displayed in such sad times.

Master of Ceremonies was Adrian ‘Smokey Joe’ Joseph and Matthew Card who conducted their duties with ultimate professionalism. The event was a celebration of pan, and a tribute to the loved ones who could not be present, especially Brent’s wife, Crystal Holder, who sadly passed away on the 5th September, to witness such an immense coming-together of the community.

Congratulations to all steel pan players on a fantastic job as ambassadors of the steel pan. A brilliant day was had by all, the sun was shining brightly, the warm weather depicting that of the Caribbean which was also a fitting tribute to the feat of playing a 1000 pans in the rendition of ‘Aquarelo do Brasil’ musically arranged by Brent. The crowds lapped up every minute of the rehearsals and performances; cheering and applauding all day long.

The audience loved it, and One Thousand Pans ended up live on Brazilian TV! What more could be asked for to pass the torch to Rio 2012 – a torch of unity, teamwork and a vote of confidence that people can come together to create memorable impact, which One Thousand Pans certainly did. This was a steelband event that was defi-nitely one to remember and all players, supporters and attendees should give themselves a well-deserved pat on the back and a hearty round of applause for a job well done!

Sincere thanks and appreciation goes out to Josephine Scorer, Marsha Jackson, Gerard Williams, Steel Drum Trust, Pan Podium, the Thames Festival Team led by Kitty Ross and Festival Director, Adrian Ev-ans.

Pan Nation and CSI continued playing after the 1000 pans rendition was finished with Pan Nation entertain-ing the crowds with a wide repertoire of musical genres. They had the audience begging from more when thefinal tune ended a truly enjoyable evening of sweet and captivating steelband music.




On a chilly, wind swept Halloween night in the heart of Notting Hill at the Mau Mau Bar on Portobello Road, dozens of pan players converged to cheer on three of their own to compete for the sixth clash of young pannists age 13 to 24.

The event had single minded been organized byShareen Gray of the Steel Pan Agency who has put it on each year. Shareen worked hard to come up with the substantial prize of £500, two tickets to the MOBO Awards and the opportunity to perform at the V.I.P MOBO reception; which took place on Saturday 3rd November.

Pan Clash begun in 2007 with a goal to increase confidence in young pan players and give them an opportunity to be heard, the event has been a annual gathering that celebrates these players.

Each of the three contestants had to perform to a hushed crowd, their soloing on two classic tunes, the reggae clas-sic, Bob Marley’s “No Woman No Cry” and recent British star Adele’s “Make You Feel My Love”. Competing were last year’s champion twenty two year old David Ijaduola from Ebony Steelband who has been playing the instrument for eleven years and is currently studying music at university.

He triumphed over excellent performances by two young players from CSI, Dougie ‘Swizz’ Dallaway and Christopher ‘C.J’ De-Gallerie who displayed amazing confidence for a fourteen-year-old player. Debi Gardner predicted ‘C.J.’ would surpass Brent Holder (CSI Steelband Director) in five years.A comment met with a roar of approval from the crowd.

The judges were a distinguished panel of Debi Gardner, secretary of BAS and member of Mangrove, Debra Romain, pan teacher, soloist and leader of the Women of Steel in London and the Ladies of Steel at Cambridge University. Michael “Bubbles” Olivierre who was dressed to the nines

PAN CLASH

2012PAN CLASH

2012by Ray Funk



in a shimmering suit, cut a noticeable suave figure on his birthday. ‘Bubbles’ was the founder of the 20th Century Steelband and his composition “Heaven and Earth” has since been one of the most sample pan songs. Positively effervescent, Bubbles offered his version of a song by Abba followed by his singing and pan solo rendition of Louis Armstrong’s “What a Wonderful World”.

After each performance the judges offered words of encouragement. The rowdy crowd was hushed and attentive during each performance in the competition, with a dozen mobile phones recording the proceedings and the audi-ence enjoying the different approaches each would take on the test compositions.

Generally the crowd was moved along by the assertive and entertaining MCs, Kayleigh ‘Loud Mouth’ Lewis and Joel ‘Tubbs’ Hamilton. The evening was briefly diverted by the unexpected appearance of an inebriated witch dancing out during the second round to return to gyrate to the soloing during the jam session before the results were announced. The show re-opened with a short set by Samuel Dubois and Thomas Sinclair.

The recent death in September 2012 of Brent’s wife, Crystal Holder, herself a major force in the British pan world, first in Ebony and then running CSI with Brent had a noticeable presence on the night. The judges and background musicians for the competitors were all wearing special t-shirts in her memory. A minute of silence for her passing was observed as well as a beautiful heart felt solo tribute piece by Samuel Dubois that had some in the audience unable to hold back tears.

It was a memorable night with the pan community coming together to celebrate three young pannists who all showed amazing promise and already great ability.


Freddy Totesaut started playing at a very young age with Mexitones, moving on to form his own band called Dixie Harps. He joined Dixieland Steel Orchestra and, in 1960, won the Trinidad & Tobago Music Festival providing him with an opportunity to tour England with the band in 1961. With other members of Dixieland, he joined Les Flambeaux to un-dertake several European tours and a record album.

In 1977, he joined Metronomes Steel Orchestra and ploughed all his energies into rebuilding the band - making pans as well as arranging. His efforts played a major part in the band winning four National Panorama titles and es-tablishing the band as one of the UK’s leading steel orchestras. During his time with Metronomes, he was a musical mentor to many of the players including the then young Eversley ‘Breeze’ Mills, who is now the Band’s Manager and Vice Chair of the British Association of Steelbands.

These days his work focuses on disadvantaged young people. For the past 16 years he has been working with the St Michael’s Youth Project dedicating his time and energies into making young people exceptional musicians and part of an excellent steel band: The St Michael & All Angels Steel Orchestra.

Through the project’s programme “Steel Pan in The Community”, young people befriend the community through community performances, at residential care homes and day centres for Older People and people with disabilities. They travel and support other voluntary organisations and work in partnership with Voluntary and Statutory sector agencies for the benefit of the wider community. This is now done weekly around the borough and now includes visits to wards at Northwick Park Hospital, Willesden and Central Middlesex Hospital. His work has been rec-ognised and celebrated by a variety of organisations, including Brent’s Community Champions and the Marsh Christian Trust.

ALFRED ‘FREDDY’

TOTESAUT He is a legend and one of thoseresponsible for the introduction,

integration and continueddevelopment of the

steelpan in the UK



He arranges and teaches the young people outstanding classical compositions by Mozart, Tchaikovsky, Elgar and others, in which only highly talented people could do and would charge thousands of pounds for. Freddy does this for the love of the young people, allowing those from disadvantaged backgrounds to benefit from his tutoring and becoming the best they can be! He usually says “the sky’s the limit for these young people!” and this is definitely true when he teaches!

Through his inspiring teaching they have become the first steel band to play at St Paul’s Cathedral (twice), the first steel band in Brent to take part in the Notting Hill Carnival in 2009 and again in 2010. In November 2009, St Michael & All Angels Steel Band became the first Steel Band to perform at the Houses of Parliament.

Alfred Totesaut has also taught the young people of St Michaels Youth Project a wide selection of popular songs covering the past 100+ years. From Michael Jackson & Stevie Wonder songs, to Bonanza (TV Theme), Stand By Me, You are my Sunshine, and You’ll Never Walk Alone to Whiter Shade of Pale and Only You.

In 2011, he was one of the pan legends honored by the Commonwealth Arts and Cultural Foundation with the High Commission of Trinidad and Tobago for his contribution to the artform and to celebrate the 50th anniversary of the Dixieland Steel Orchestra.

The Lifetime Achievement Award is the British Association of Steelband’s highest accolade. It is presented to an individual who has worked continuously and tirelessly to promote the music, culture and traditions of steel pan. Membership of the Hall of Fame is of the UK steel band community’s elite - Sterling Betancourt OBE, Pepe Francis MBE, the late Randolph Baptiste, Russell Henderson MBE, Gerald Forsythe OBE, Arthur France OBE, Earl Rodney, Frank Rollock, Ricky De Cairos, Dudley Dickson and Victor Philip.

Freddy was the recipient of the 2011 BAS Lifetime Achievement Award. He is a legend and one of those responsible for the introduction, integration and continued development of the steelpan in the UK. It has not been easy to find information on this outstanding musician, as he is an extremely private and humble individual.

The St Michael & All Angels Steel Orchestra’s management continually thank Freddy who throughout his whole life to this day, only asks and encourages young people and children to do their best in all things.




ON SATURDAY 1ST DECEMBER 2012, THE HOLIDAY INN IN BLOOMSBURY WAS THE VENUE FOR THE BAS 14TH ANNUAL AWARDS PRESENTATION AND DINNER.

Pepe Francis MBE, Chair of the British Association of Steelbands opened the evening with a very up beat speech addressing the positives rather than dwelling on the negative elements facing the steelband community over the current and past years. Distinguished guests included Sterling Betancourt MBE, Russell Henderson MBE, Gerald Forsyth OBE, Frank Rollock, Dudley Dickson, Freddie Totesaut, Toussaint Clarke, Grafton Yearwood, Cordelia Johnney, Hopeton Walker, Tony Isles, Pax Nindi and Vincent John.

14th ANNUALAWARDS

PRESENTATIONAND DINNER



2012 saw BAS and its member bands celebrate the 60th Anniversary of Russell Henderson forming the steel band in 1962 that performed at the first Notting Hill Carnival procession, the Queen’s Diamond Jubilee, the Olympics, Paralympics, UK National Panorama, Jouvert and Notting Hill Carnival ‘On the Road’ com-petitions, the 1000 Pans Event, Pan Clash and a highly successful 4th International Steelband Conference focusing on the journey of pan and calypso in the UK.

The UK Steel Pan Tuners Guild is working to develop guidance on maintaining instruments alongside the work they are doing on setting stan-dards for the fabrication of instruments and will ensure bands enjoy maximum use and benefit of their pans.

The mouth watering West Indian cuisine provided by Holiday Inn’s manager, Gerald Joseph, was second to none with attendees making several trips to the buffet before the start of the presen-tation of awards. MCs on the night were Martin Jay of Choice FM and Kayleigh ‘Loudmouth’ Lewis, outstanding stand up entertainer.

For the first time in the history of this event a Pan Quiz was introduced and was a great success with Ebony steelband winning the tie breaker and leaving Real Steel with a dry taste in their mouths having won the prize of several bottles of alcohol.

DJ Mike Forbes not only provided outstanding music on the night, he also tested the audience’s knowledge of pan music with a ‘Name that Tune’ competition. Wow! Talk about setting the stan-dards. BAS certainly keeps stretching the hori-zons for the other cultural organisations.


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PLACING NAME

1st. David Ijaduola

2nd. Douglas ‘Dougie Swiss’ Dallaway

3rd. Christopher ‘CJ’ De Gallerie-Cox

PLACING NAME

1st. London All Stars

PLACING NAME

1st. Panecktar Steelband

PLACING NAME

1st. Ebony Steelband

PLACING NAME

1st. Real Steel

The Awards presentation was followed by an awe inspir-ing performance by the UK Women of Steel who mes-merised the audience with their excellent pan playing skills coupled with some captivating vocals.

The Awards presented on the evening, were as follows:



B A S H A L L O F FA M EL I F E T I M E A C H I E V E M E N T AWA R D

E Z E K I E L Y E A R W O O DO U T S TA N D I N G A C H I E V E M E N T

R A N D O L P H B A P T I S T EO U T S TA N D I N G A C H I E V E M E N T

Crystal Gail Holder Victor Phillip Cyril Khamai

The BAS Executive and Members extended their gratitude to all in attendance for their continued support of this important event. The evening ended in the wee hours of the following morning with the younger pan people taking over the dance floor to show some great dance moves of their own and looking forward to the 2013 event.



30 players from the Mangrove Steelband were in-vited to play at the Pohoda festival in Slovakia, with an attendance rate of over thirty thousand; over a hundred acts all based in a sunny climate from Thursday the 5th till Saturday the 7th of July 2012. Well of course they jumped at the chance!

The Pohoda festival, located in the city of Trencin, started in 1997 as a one-day event and grew in pop-ularity to the extent that since 2004 it has spread to over three days, with ten stages, two tent towns and overnight camping. It is widely described as Slova-kia’s ‘finest music festival’, often being compared to Glastonbury and displaying an astounding set of per-formances from a wide range of artists in the past such as, Lou Reed, Bat for Lashes, Totally Enormous Extinct Dinosaurs, Chase and Status, Orbital, Nir-vana, Two Door Cinema Club, The Kooks, Sly and Robbie and Aloe Blacc.

The Mangrove players were flown out to Bratislava, the country’s capital, on the Thursday of the festival, and the pans were to be driven there the day later. Upon arriving at the airport the band were picked up by a private minibus and transported to the hotel. Man-grove players were treated with wonderful hospitality and assigned a tour and event guide named Monica who translated and checked on their needs.

During the day on Friday, Mangrove open up the Ba-zant stage with an eclectic ensemble of songs, which attracted the festivalgoers’ attention in an instant. They included classics such as Bob Marley’s ‘I shot the sheriff’ and Ceelo Green’s ‘Forget you’, played with vibrancy and enthusiasm to a crowd who to some, seeing a Steelband was a first. Mangrove ‘jammed’ the stage despite an initial worry that the pans may have not turned up on time! The applause and feedback proved amazing with some players receiving personal hip-hoorays after the set was completed.

On Saturday Mangrove’s first performance was at the kid’s park with families laid around on the grass scantily clad in the mid afternoon’s sun. Mangrove began this half hour set with a melodic favourite, ‘Brazil’, which enabled listeners to get a true understanding of the ca-pability of the instruments. Softly played yet with an ex-cited feel, which brought the audience within earshot.

That evening, Mangrove played the closing set for the thousands of festivalgoers who had been able to sur-vive the three days of great music and excitement. This was with no doubt, Mangrove’s most impressive, en-ergetic and well-received performance of the festival. They wowed the crowd with well known songs such as Maroon 5’s ‘This love’ and Bob Marley’s ‘Jamming’, causing a sing-a-long effect amidst the tired yet excited festival goers.

Mangrove’s final performance on Sunday was in Trencin Square. The diverse audience moulded their repertoire. An initial energetic and upbeat rendition of ‘Ramajay’ saw the shoppers congregate for a show to remember. They described the band as amazing, well organised, exciting and innovating. Next, the band lulled the crowd with their rendition of ‘Wonderful’, a sweet and beautifully arranged piece of music. After finishing the 45minute set, the band was called on for an encore to which they obliged, giving the listeners a final taste of musical excitement in the form of the lively song ‘Baddist’. The crowd cheered and will not forget the musical treat they were exposed to that afternoon.

The trip was a huge success which without a doubt, opened unknowing universal eyes to the delights and beauty of the Steelpan.

by Jolene Durrant

Mangrovedoes the

PohodaFestival

2012



Papodium issue 24

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Transcript of Papodium issue 24