CANADA'99 Review

Steel drummers deliver smooth jazz interpretations

Toronto. They came from Trinidad and Tobago, New York, Montreal, Detroit and Ottawa to listen and be entertained by some of the world's best steel drummers. This was the kind of jazz interpretation by steel drums that music lovers will talk about for years.

Comparisons with groups who may allow a steel drummer to play the occasional solo would only underscore the lack of individuality of the musician and hide the versatility of the instrument. Jazzance provides a format for recognizing the contribution and potential of the instrument and acts as a forum for discovery. The compositions of John Coltrane, Toots Thielemans and other works that echo both contemporary and traditional jazz allow the steel drummer to make things happen as Smith and Hadeed demonstrated.

The musicianship of the quartet was high as expected. Rudy Smith brought a consistent gentle touch to his alto pans, plus a balance of technique that kept his phrasing well proportioned. He found ways to extend his thematic material, from time to time he altered his phrasing to provide contrast to the supporting rhythms. His opening Flamenco selection, "El Vito" was the highlight of his set as he transformed Hart House Theatre into an evening of meaningful moments.

His understudy, on alto pans Annise Hadeed was similarly focused and began his set with the jazz standard, "Bluessette." The audience was appreciative when he demonstrated his dexterity playing his alto pans as well as a tenor pan. His set offered a calypso and two of his own compositions.

Earl Brooks played easy listening and pop selections that most patrons were familiar with. Brooks connected with the audience and he impressed them as he "caressed" his tenor pan playing George Benson's "Breezing." It was evident that calypso rhythms was another genre where he felt comfortable. The Lord Kitchener medley was full of energy and truly Caribbean in approach.

Mark Mosca the youngest steel drummer opened the show and initially played with some slight hesitations before moving to more relaxed pieces.

Accompanying musicians for Rudy Smith bassist Kieran Overs, pianist Nancy Walker, and drummer Anthony Michelli stayed within clear margins and genuinely understood the tonal qualities of the instrument and Smith's creative energies. They worked well with Hadeed given this was his inaugural performance in Canada.

The quartet: "Muthadi and Friends" displayed a kind of radiance with handsome solo playing from percussion Muthadi, piano Bruce Skerritt, bass Lester Boyk and drums Peter Fraser. "Fancy Sailor" was played with refinement and unanimity. The finale provided a rare opportunity for the four steel drummers to perform in melodic eloquence.

A grateful thanks to Othello Molineaux who provided support and guidance on this special occasion. My sincere gratitude to all musicians for their time and effort in making Jazzance'99 a success. Product sponsors and Peter Aleong - Jazzance, Trinidad and Tobago are also appreciated for their support.

Jazzance 2000 will take place in Toronto. This annual concert will again include international steel drummers.

For more information visit our web site www.steelpan.com

or Caroline DeWitt

Tel: 1.613.523.9533

Fax: 1.613.523.9787

Email: steelpan@istar.ca

Othello Molineaux shows an irresistible passion for the steel drum

Othello Molineaux makes headlines whenever he performs in Japan. The inclusion of Molineaux in 1983 in the Japanese Jazz Encyclopedia has made the steel drummer famous in some quarters and certainly made the steel drum more acceptable in other musical genres. No one has played the steel drum on the international jazz circuit for as long as he has and few have played it as well as he does.

Recently, Molineaux played with pianist Ahmad Jamal in Toronto and talked about his career as a jazz musician, describing his musical experiences with enthusiasm. His profound respect for the steel drum is refreshing, exciting and his genuinely passionate thoughts of the culture are impressive. He embarks on thoughtful experiences as he describes his intimacy with the steel drum at an early age.

His musicianship, captured on the Nature ( Atlantic label) compact disc has been lauded by Herb Boyd who described the cd as "a resonate blend.... with Jamal's lush piano is both distinctive and quite appealing. They are like synchronized swimmers or divers with their unison attack,.....the alleged limitations of the pans are not apparent.'

In 1997, The Sunshine Jazz Messenger described him as "quite possibly the best living proponent of the art of the steel drum....he is the embodiment of the country of his birth, Trinidad and Tobago..... pulls more notes than you think the drum can hold."

In 1993, Gavin Zimmerman said of Molineaux's cd Its about time "Molineaux crosses the entire spectrum between melody expression and burning solos." The cd debuted on both the Gavin Jazz & A2 charts. It was also named the Best Jazz Album by (Miami) New Times.

Drawing influences from past musicians

like Jaco Pastorius, Molineaux has opened the door to a number of younger steel drummers including Len 'Boogsie' Sharp, Ken "Professor " Philmore, Liam Teague, and Darren Sheppard.

Without doubt, Molineaux's dedication to the instrument can be appreciated in his book: Beginning Steel Drum Warner Bros Publications, is about learning to play the steel drum. This method book is based on the generally accepted tuning by the majority of steel drum makers. It incorporates a circle of 4ths and 5ths from middle C up two octaves and a major third to E.

He is presently finishing a second manuscript for steel drummers who have mastered level one. In this intermediate text, Molineaux will again be including a CD with his own arrangements for the steel drum. As with any instrument, some music selections are more appropriate for the steel drum and Molineaux will guide the player in making these choices.

Molineaux is an impassioned critic of the term "pannist' and a key figure in keeping the term and reference to a "steel drummer" as an individual /musician who plays the instrument. He explains, "Trinidadians' use of the term pannist to refer to a steel drummer shows a lack of understanding of the development and marketing. A concerted effort should be made to educate the younger players so they have the knowledge and appreciation of what was done in the past. In addition, changing a well established name of a product, in this instance, a steel drum is poor marketing strategy and shows a lack of respect for the instrument." The term 'steel drummer' is understood internationally, can be translated in most languages and recognized in the arts and entertainment field.

As Molineaux ponders over the frequent use of the vernacular pannist, he knows that the term 'steel drummer" will esist in the future. He indicates that he will raise this nomeclature issue with his colleagues. There will be little disagreement about reference to steel drummer among Molinbeaux's contemporaries. While older musicians refer to themselves as steel drummers and younger players refer to themselves as pannists, the latter define a narrow expression of this instrument invented this century and tend to discredit the instrument's ethnic significance.

Molineaux was born in Londonville, Trinidad and came to the island's attention as a child prodigy winning a scholarship to secondary school at age 10. His education included six years at Fatima College and Queen Royal College specializing in music theory. It is not surprising that his musical talents go beyond the steel drum; he plays the piano, congas and bass. He explains that his musical background contributed to customizing his steel drum by expanding the range and adding six extra notes to his tenor pan. Leroy Williams makes and tunes his steel drum.

During his 45-year musical career, Molineaux was more active as a jazz musician, composer and arranger than a conductor of a steel orchestra. He debuted as a talented musician when he organized his first steel band, "Wonder Harps" at age 15, but has focused on playing jazz. Molineaux reminisces about his arranging and conducting experiences with six steel bands of Trinidad and Tobago: Laventille Serenaders, Valley Harps,Tripoli, East Side Symphony, Nevados and Tobago Starlift. More recently, he has undertaken another challenge, that of a conductor, arranger with a steel orchestra in the islands.

In 1998, he conducted the Pamberi steel orchestra of Trinidad and Tobago for the National Steel band Panorama competition. This competition, held during the carnival period provides an opportunity for steel drummers to conduct large steel orchestras. With Molineaux leading a group of one hundred steel drummers, Trinbagonians will have an annual occasion to relish Molineaux's orchestral imagination and emotional fulfilment.

As he finishes a captivating performance with Ahmad Jamal, he is surrounded by his friends and admirers. But then, Molineaux is no ordinary steel drummer. The audience can't seem to have had enough of this quartet's jazz standards; they connected with the music. Jamal works the group well as he allows brief solos. They know how to entertain and take the audience to a higher level; they make the music interesting while projecting high energy and zest.

Molineaux has set high standards for the instrument in the jazz idiom in both Japan and the U.S.A. When he teams up with Ahmad Jamal or works as a solo composer, producer, performer of his music, he entertains us with simple melodies along with profound expressions which are harmonious.

He offers harmony through a "new" medium and knows the post-bop and plays it well. Molineaux will continue to explore and provide us with an appreciation of an intense consciousness of the notes and sounds of this percussion instrument. This is where he wants to be; increasing his affinity for the instrument and his musical self certainty.

Caroline DeWitt
Trincan Music, 2000

Point .........Counterpoint

Where did the steel drum originate? In the Beginning....

by Oscar Pile

"No one can take claim that he or she invented the steel drum instrument. The steel band was discovered by coincidence, by coincidence it just happened.

In 1935, during the carnival period it was during this carnival when this discovery took place. The guys from Gonzales used to beat the tambu bamboo in a yard and whilst practicing in Tante Willie's yard there was an old car. A guy used to be there beating an old car chassis.

By coincidence on a Boxing day, Victor "Tote" Wilson was playing the tambu bamboo but there was a split in the bamboo and he wanted something to continue playing, 'beating' ; in the heat of the rhythm he dashed around the corner and picked up this pan and started beating. He discovered this pan gave a more melodious sound than the bamboo.

The guys started using old dustbins and old utensils to beat out the rhythms. Then came the dustbin band the main steel band was not yet invented.

The typical West Indian was a copy cat, a group of guys just want to hear something or see something and every man: East, West, North and South would follow.

Because these guys were from the ghettos they were poor, economically they could not buy a steel wash tub or drum, therefore, they used to steal the drum. The biscuit company lost a lot of biscuit drums. Eventually, this started a revolution using the biscuit drum. Then there was a move from the biscuit drum into the 45 gallon oil drum.

In 1939, war was declared. Americans came into the country to construct a base in Chaguaramas and money started to spin. The country was poor. Prostitution was rampant. Government proclaimed there would be no carnival from 1940, but this did not stop the steel band man. It made the steel band develop more.

The men were not given a chance to parade on the streets. Instead, the men took their instruments to the bed of the East Dry River because the police were not coming there. It was a safe place to play the music. The guys continued beating and playing the instrument on the bed of the river.

On Victory Day over Japan (V-J) 1945, every steel band from every part of the Trinidad took to the streets and it was no more the ping pan they were using the 45 gallon steel drums. It was during this carnival period, clashes and riots started among groups of steel bands men from different areas as "Behind the Bridge" or St James."

Oscar Pile was the leader of Casablanca steel orchestra; he lives in Belmont, Trinidad. This is an except from a 1993 interview.

Caroline DeWitt
January, 2000

New CD Releases
Spring/summer 2000

• Othello Molineaux



• Andy Narell



• Russ Henderson