As I listen to Kim Loy Wong's Hylanders of 1957, and Bertie Marshall's Hylanders of 1964, I'm blown away by the incredible advancements made by the steelband in a relatively short time span of seven years.
Many others may have contributed to the growth and popularity of the pan, but none deserve more credit than the tuners, innovators and inventors of this incredible musical instrument.
Some may argue as to who did what and when, but no one can deny that tuners and innovators like Spree Simon, Ellie Mannette,Kim Loy, Bertie Marshall, Tony Williams, Rudolf Charles and many others, sung and unsung, deserve special recognition for their work in creating this incredible musical instrument, and making it what it is today.
(Though I can't name everyone, I must also mention the name Neville Jules)
As I read the interview with Bertie Marshall, I was struck by his expertise as a metallurgist and audio technologist. It is as if he instinctively had an understanding of technical stuff that many spend years in institutes of higher learning trying to acquire.
It also struck me how little support he and other inventors got from government officials, even though they always liked to bask in the glory of the pan, and claim it as their own.
Much Respect to the inventors, tuners, innovators and creators of this magical instrument.
Replies
Hi, Can someone inform me if Hilanders started in back road Laventile, or in Mango Rose,or better yet at 109 laventile Road,facing the top of Jackson Hill?I ask this question, because most people know the Hi landers that played Armed Forces but do not know the Hi Landers that played Red Indians.If the history of the Steelband is to be written, we have to talk about,and document some of these discussions.
Thanks, Glenroy, for acknowledging the pan tuner as the innovator supreme in the pan world -- and for recognizing the critical role of metallurgy in the process not just of tuning a pan but of all phases of pan preparation [from sinking to grooving and even burning].
Peter
Back in the 80's I remember taking my double seconds to Charlo to get a blend, and he bought out some very technical books about metallurgy and the science of sound, etc., which blew me away. Also having the good fortune to have spent many hours hanging out with Ellie, as he offhandedly explained everything he was doing to the various notes. But amazingly he credited Bassman with a lot of the finer techniques of tuning. Also, the first year Phase 2 came out, Tony Williams made some big tenors for us (free of charge), but we (the players) had to go to his yard and sink the drums. Another set valuable lessons. Hanging with Kim Loy was another school in and of its self.
It's time for some serious documentation, before we allow people who weren't even there rewrite our own history for us.
BTW, no one ever remembers tuners/bandleaders like Cata Nose, who used to hang with Spree, and Beak and Sacky (two of the first guys I ever heard soloing on tenor and double tenor.