More Panorama 2011 Notes by Dalton Narine
Trinidad & Tobago, W.I. - Now that I can see things more clearly since eye surgery, allow me to avail readers with more material from the 2011 Panorama. And, yes, I trust my ears.
Raf Robertson, musician: Trinidad is not a music place. When people hear me talk like that, they say, “How you say that. People does be in the panyard for hours...” I say, “Whoa, whoa, listen, Trinidad is a fete place, of which music is a component of that.’’ I used to go by Tower Records in New York after midnight, and I would see people there looking for music. That is an example of music. And if I want, I could be very acidic in saying that, sometimes, Trinidad could be the place where they send people in the music world who behave bad. Banished to Trinidad. read more
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“....Fonclaire’s “A Raging Storm” carries a bold line that surely resonates both in the Grand Stand and The North Stand, which sits one-third empty in stark contrast to an arty light show playing all night on the ceiling, sometimes matching colors with uniforms of panists assembled at mid-stage, squarely in front of the judges. “Dey tief we ‘Pan by Storm’ in 1990.” Perhaps to underline that sentiment, players are dressed to the nines - in black. Maybe they plan to put that horrible experience to rest once and for all.”
Replies
Mr. Robertson is probably correct in what he stated, but I feel his sentiments may have been perceived as having more merit had he been the winning panorama arranger for the the year in which the statements were made.
Somebody reading them now is bound to think it is a case of simple sour grapes having been eliminated from the competition.
Very perceptive remark. But I think that is to our credit.
Music that is too abstracted from a cultural and social context soon becomes boring for being self-absorbed. I speak as one who is neither musician, nor musicologist, but as one who grew up in Trinidad, and lived 2-3 years in New Orleans.
Music in T&T is a very practical thing. For a musician to succeed, he has to make the people want to get up and dance. If he fails at that, then he fails. It is the music-school musician, e.g. any graduate of Juilliard, who takes music to a more abstract and refined level.
One such example is Miles Davis. Yes he can wow and amaze with his absolute precision, artistry, craft, and control. But he won't make you want to get up and dance, just sit up and take note. No disrespect, it's a purely factual observation, in the same vein as Raf Robertson's. I'm just putting a value on it.
Miles Davis is so absorbed in the music, that he even turns his back to the audience, and by and large those who are there for the music, take no offence. If you look at the front line of Trinidad All Stars, they're the anti-thesis of a Miles Davis. They too play for themselves, but they are conscious of the audience, and play for them. And Smooth Edwards is very clear that he plays to and for the crowd.
Even the very idea that a music *competition* is the highest expression of the steel pan art form is indicative of the factual truth of Raf Robertson's statement. No doubt he meant it as a criticism, but the flip side of that aesthetic actually imposes a practical rigor that a Miles Davis performance may well lack.
I remember attending a performance in New Orleans by soca calypsonian Swallow. He hired his horn section locally. I guess he thought how hard could it be for two accomplished jazz musicians to do what Roy Cape and his band do seemingly so easily. Who tell him do dat! They just couldn't nail the "accent" of soca music. And so they couldn't connect with the mostly West Indian audience. As a practical matter, they failed as musicians. I'm sure they were excellent musicians in their own right. But they wouldn't make it in a Trini fete in the days when I was coming up with the likes of Joey Lewis, Ron Berridge, Dutchy Bros., Ed Watson and etc. So I don't disparage the musicianship of the brothers, only that a Miles Davis would be a total failure if he had to fit in with say Roy Cape.
So I agree with the factual truth of what Raf Roberston is saying, but I would disagree completely if that truth is taken to be a criticism of the music we produce. I'm truly glad that we produce practical music. It is the rigor of producing practical music that leads to the accomplishment of a Smooth Edwards or Boogsie Sharpe.
There are music experts and musicologists who just don't "get" it. Some fall between two stools. They would somehow be ashamed to do what Smooth does. They think they ought to "play" pan instead of "beat" pan. They get themselves all confused with musical concepts, but left to lay down a good jam or lavway, they just are too musically limited by their own aesthetic sense, as Swallow found out in New Orleans.
Just my two cents!
- Big Sid
Three cheers for that terrific observation. But you forgot one thing. In addition, Fonclaire also clearly won in 1989 with "Fire down below "by Len "Boogsie" Sharpe. But I guess you just can't play the composer's tune and beat him at the same time. Or can you?
Nevertheless, I must commend The professor and Fonclaire for an outstanding performance this year. They should have placed second or even tied with All Stars for first. Don't shoot me down yet, fellas. I am an old Trinidad All Stars baseman. They're still my number one band.
I have been saying for many years, MUSIC IS PARALLEL TO FOOD, it depends strictly on the individual's taste. If I don't like pepper in my food, doesn't mean that mine is not good. The same can be said for music, some like thrills, speed, jams, etc. just to mention a few.
I've often heard arrangers say this and I totally agree with them that judges should not tell an arranger how to arrange his music. They are there to respond to what they hear only.
I would like to re-visit this year's Panorama, and I can foresee a new precedent stepping into the arena come next year. American Blues received all the judges nod this year, how can the Spirit of Carnival be demonstrated in such an offering? What's to tell a band next year or beyond, we don't accept Classical, Waltz, Bolero, Rap, or even Reggae in arrangers' offerings. Please Pantrinbago, once and for all, PLEASE, PLEASE CLEARLY DEFINE A MORE SPECIFIC GUIDE TO "A PANORAMA PIECE". We already have Jazz, and Latin strongly influencing our Panorama Renditions.
I've often been told by friends and relatives all over the world that they don't ever hear music referred to as Trinidad & Tobago Music, and my response is that we are the world's greatest copycats, as you can expect to hear everyone else' music fused into ours, therefore our music has no true identity.
"American Blues received all the judges nod this year, how can the spirit Carnival be demonstrated in such an offering?"
I agree.....
Is true!! T&T is NOT a music place -- only a people that customarily listens to the broadest genre of music can possibly consider themselves part of a "music place". That is why the Japs, French amd others have already surpassed T&T in music appreciation, even in pan appreciation -- because they LISTEN to music! - Latin music, South African music, Ju Ju from Nigeria, yambu and guaguanco from Cuba, etc., etc.
We grow up on Reddifusion!
Just 2 more cents! Peter Gray
Like most people. we Trinis have a hard time dealing with criticism, but I understand exactly what Mr Robertson said.
I quote" Trinidad is not a music place. When people hear me talk like that, they say, “How you say that. People does be in the panyard for hours...” I say, “Whoa, whoa, listen, Trinidad is a fete place, of which music is a component of that.’’".
Take the recent Panorama, for instance.
Ask yourself this question, once we get past the hardcore pan fans and band supporters, how many people attended Panorama for the music, and how many attended it to "Fete"?
As our musical preferences have changed we've come to prefer rhythm and noise to music. I remember when young people knew who the best saxaphonists, guitarists, keyboard players, trumpeteers etc. in the land were, and their skills were highly appreciated.
I doubt that is the case today.
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