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The world is waiting for us to sprout wings and fly while keeping an honest respect and reverence for our history and culture... Ansel joseph

From Rudy Smith, Ray Holman, Len "Boogsie" Sharpe, Othello Molineaux, Andy Narell, and Robert Greenidge to Duvone Stewart, Garvin Blake, André White and Khan Cordice among others - Ansel Joseph asks, do they not bring back influences from around the world, to pan?

With thoughtful observation, critical analysis and keen understanding - Ansel Joseph brings his over sixty years of dedication to the steelpan artform and culture as a skilled panist, lecturer, touring musician, steelpan craftsman, tuner and manufacturer. Moreover, through his vast experiences and encounters he raises the pertinent issues to the way forward and meeting the challenge of growing the Art form. 

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Ansel: Yuh looking real good, boy. Talk about growing old GRACEFULLY!!!

Eh eh! I stopped eating meat! LOL bro. And no dairy. 

APOLOGIES!!!! I left out Anise "Halfers" Hadeed, one of the youngest players of the modern era of bebop that was introduced by Emmanuel "Jack" Riley who could real play and was a huge influence. I acutally had his name in the article but somehow it was left out (hint: my editor!) We had so few real players back in the day to listen to and learn from in terms of improvisation. Today there are many influences but are they being listened to? studied? Again, Halfers, my apology. Ansel

Ansel: After reading your article, I have two suggestions for you.

I think that you should contact DR. KIM JOHNSON and discuss the possibility of a UWI SYMPOSIUM ON PAN inspired by this article and contributions from OTHERS who LOVE THE PAN.

But as regards to "...Tuning can be taught in the old-fashioned way with an interested party observing a master at work and gradually taking on more and more aspects of the process. Or it could be a major offered in College and University studying with the best in the country with an extensive lab covering ALL aspects of producing a finished pan ..." I would suggest that you contact the GOVERNMENT OF GUYANA and offer this proposal to them. You have all the PAN CREDENTIALS in the world to implement THIS PAN PROGRAM!!!

Over the next 20 years they are going to be the BEST POSITIONED to ADVANCE PAN in the fashion that you are designing.

Ellie Mannette went to AMERICA to PROGRESS THE PAN -- I suggest that you go to GUYANA to DO THE SAME!!!

Claude, Thank you for the compliments. I have connections in Guyana actually! I will consider your suggestions. Ansel

I love the advice you gave to young players, most young local players are guilty of what you spoke of..More dialogue is needed about the Steelband and Carnival. 

Cecil Hinkson: You are THE BIGGEST PAN LOVER IN THE WORLD -- what is your ACTION PLAN for this document?

Claude it is not about MY Action Plan, but those who run the pan movement in the Mecca. I believe for us to move forward we must address how it was in the past. Our future depends on what we do today.

"Instrumentalists, composers, and arrangers can get their education in the same way: in the panyard at the feet of the greats or in the classroom or a combination of both. It is my opinion that every aspiring arranger should be made to study the great Clive Bradley and how his contributions changed the format of Panorama arrangements."

Despers - The Jammer (slow Jamz)

odw, Earl Rodney, Beverley Griffith, Pelham Goddard and Clive Bradley all arranged for brass bands, I often wonder if this contributed to their success.

The answer is a definite YES from me. Orchestrating for different instruments definitely gave them insight into thinking of each type of pan as an individual voice in the arrangement and not simply part of a whole steel band. Often we hear the term "panorama arranger." These gentlemen used their wider experience in arranging and orchestratrating and were brought into a panorama competition situation. They were musicians who applied their previous knowledge into the panorama. They were way ahead of the game to begin with in terms of how to use an individual voice in the band. They were used to having different timbres and families of instruments to work with. A steel band does not have those individual unique sounds so they had to find a way to make them stand out and they did that through the arrangement. Ansel

"Western classical music is represented in the form of a Panorama arrangement to this day. Classical style endings are standard at the coda of Panorama tunes."

... I have clipped out these two sentences and saved them here so that I can easily find them whenever I come on THE FORUM ... now I will not have to go back and search the entire article to find THIS GOLDEN BULLET for my PANORAMA GUN!!!


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