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A passage WORTH READING from KHUENT ROSE -- but I don't think that too many on THIS FORUM will get the message!!!

1. stylistically, the 'sound of the steelband' is not particularly concerned about innovation as much as marketability [LIMITED LOCAL MARKETABILITY]. As a result, most musical direction of steelbands leans towards being a 'cover band' to be viable for frequent performance.

While this is perfectly in line with the history of pan in general, to the point of "out-growing" I argue that we are 'desensitized'. The factor of 'remaining marketable' often holds musical direction to produce orchestration and music tropes people like over developing the language of the instrument; especially if the audience has to think.

After reading a book or hearing a phrase with the same expected intensity for a long time, it loses its effect. Much panorama-style music is evident of this.

2. There is a noticeable lack of originally composed work in most steelband repertoires. To my first point, they play what is likely to keep the band paid and ambulant.

I have asked and searched for concerts of originals by trini pannists. I habitually land on non-Caribbean composers - who's music I enjoy, but that wasnt the 'voice or dialect' I wanted to hear.

Shadow (iba e) singing #Dingolay over me singing it, will have totally different experience for the listener. Once you've heard Shadow sing it for 20 years, it can be refreshing to hear an original voice. In that light, to hear an original from me may have a comparable effect- merely because it is new.

The true difference is that his experience against mine is likely to make his music better executed, developed and crafted.

Without (1) the experience of an authentic voice (2) the challenge of presenting that voice to a potential unreceptive audience, of course it would seem like we are "out-growing".

really were tired of the same "khaki pants":

"ah hearing a lot of t'ings
but I dont see a lot of t'ings".

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"I have asked and searched for concerts of originals by TRINI pannists. I habitually land on non-Caribbean composers - who's music I enjoy, but that wasn't the 'voice or dialect' I wanted to hear."

And this is why I have been asking on THIS FORUM for almost a decade: WHERE IS THE MUSIC?

Of course I know the answer to that question -- and I think that MR. KHUENT ROSE knows the answer also!!!

I'm waiting for all the young panist to utilize the technology that's at their disposal today and come up with some music.It's not about the steelband, it's the pan musician stepping up.

Cecil Hinkson: I am glad that you PULLED OUT Khuent Rose with your topic and got him to give the response above. Some months ago I read one of his postings and he HINTED at the "COVER BAND" classification and I was intrigued by where he might have been going with the observation.

Well he made his point GRANDLY with his response to you!!!

MUSIC DEGREES floating around like rain. And then you have the E-PAN and the PHI and the G-PAN and INDIGISOUNDS and the PANKAT and 5000 players spending THOUSANDS of HOURS practicing for PANORAMA and NOBODY doh walk out the PAN YARD and HEAR NOTHING but the song that they are covering -- that doh seem possible to me.

The vibrations from the PAN YARD; the bustle of the streets; the sounds of the waves; the echos from the Carnival; the wafting strains from a distant STEELBAND; and don't talk about the PAN PLAYER and the pain and  pathos that could be extracted (and expressed musically) from his exploitation by both BAND and BEVERLEY.

Not to mention all the CROSSOVER POSSIBILITIES.

As somebody said recently: Thousands of PAN PLAYERS but very few PAN MUSICIANS.

Imagine a TRINIDAD COMPOSER -- born and bred in PAN and CALYPSO -- going down this ANDY ROAD with a little more free-spirited joy (and not so much thought) delivering touches of bold authentic calypso licks flavoured with sprinklings of R&B and JAZZ.

The WORLD BOUND TO LISTEN!!! I could almost hear it in MY HEAD!!!

Claude, for a moment ah taught ah was reading a piece from Dalton Narine "delivering touches of bold authentic calypso licks flavoured with sprinklings of R&B and JAZZ." Kudos to you...

David Rudder - Chocolate Fog

Andy Narell - Chocolate Fog

Where would Ray Holman be considered  in this discussion. For original compositions and variety of genres in composing I think he is probably the most underutilized of our pan music composers. Just a thought.

Ray Holman - Bazodee

Ray Holman, Robbie Greenidge, Liam Teague, Duvone Stewart, 2 Leff, the Late Professor, just a few of the brilliant pan musicians with established international careers and a mobaton of original compositions  between them. All are adepts at innovation and experimentation, but none are wizards of self promotion. The pan scene needs consistent ,professional, international marketing.  Making music and marketing music are separate and distinct skills. Having said that, Khuent Rose needs to search a little wider and dig a little deeper before making the " same khaki pants" judgement call, which could be better summed up as:" ah seeing a lot of t'ings, but ,ah cyan hear nutten".


Lilian: I always respect your admiration for and your staunch defense of the THE STEELBAND WORLD. And I will always give you CREDIT for being THE FIRST  to recognize and BROADCAST the VAST TALENTS OF DUVONE STEWART!!!

No, this was certainly not worth reading. One load of rubbish.
Whoever wrote this has absolutely no clue as to the reality of any TT steelband.

Sorry sport, you fell into the water before you even made it to these islands.

Try a different boat next time!



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