Some time back in the EARLY EIGHTIES, a Trinidad fellah named KAREEM called me up and said that he wanted to take me to see a show. He expanded by saying that it was a WHITE AMERICAN who was playing the PAN. He went on to qualify that the player WAS NOT AS GOOD as the TRINIDAD PLAYERS and that he did not know HOW TO ROLL.
At that time, there was very little PAN in the SAN FRANCISCO BAY AREA so I was excited to go see ANYBODY play the PAN; especially since the show was at the GREAT AMERICAN MUSIC HALL which was a popular performance hall at that time in mid-town SAN FRANCISCO. And to hear a PAN in THERE was a bit of an achievement for PAN.
So we got to the show, close to FRONT ROW SEATS, and on the stage there was a PIANO and a DRUMSET and a PAN sitting at the FRONT of the STAGE -- basically a JAZZ SET. So the show began and this WHITE FELLAH sits down at the PIANO and the other three or four players take their places and they start playing some JAZZ. Eventually, about three songs later, the PIANO FELLAH leaves the PIANO and walks over to the PAN and introduces the instrument with the "INVENTED IN TRINIDAD" line.
(Well, as some of you on this FORUM may already know, that did not sit too well with me because he never bothered to tell me where the PIANO was from or the DRUM SET was from or the BASS was from -- well, you got my picture.)
Plus I did already know where the PAN was from, anyway!!!
Eventually, ANDY started to PLAY THE PAN. And I tell you: That was the most confusing musical experience I ever had in my life. Because the way he was the playing the PAN -- I never heard anybody PLAY A PAN like that in my life. I am not saying that it was THE GREATEST PAN I EVER HEARD IN MY LIFE. I am saying that it had an appealing and confusing difference to someone who knew NOTHING about MUSIC and was just an ordinary listener.
I walked out of that show a little dizzy because in my heart, I knew PAN WAS IN DANGER!!!
In my state of confusion, it so happened that I had access to some AFRICAN-AMERICAN JAZZ MEN (of great repute in SAN FRANCISCO) and I asked them: Who is this ANDY NARELL GUY?
The response was kind of amusing but not educating. The SAXOPHONIST said that Andy Narell was a good JAZZ PLAYER -- but he was TOO CEREBRAL in his musical expression.
Poor me!!! Is now I really confuse. (Just like when DOCTOR De LITE come on this FORUM and start using all these BIG WORDS and writing in SPANISH and dropping all that LOGIC and PHILOSOPHY on me.)
Anyway, I walked away with that FIRST EXPERIENCE (which is still imprinted in my mind) and I knew THAT MAN WAS GOING PLACES WITH THE PAN ....
The next time I had a vaguely similar experience was not at a LIVE SHOW. Years later, I was scrubbing the internet looking for PAN MUSIC and I ran into JONATHAN SCALES. And the same instinct told me: LORD HAVE MERCY ... TRINI PAN MEN IN BIG TROUBLE.
My journey continues!!! And as soon as I find a TRINI PAN MAN who I (instinctively) recognize as GLOBAL PAN TALENT -- I will come on the FORUM and DECLARE MY HAND!!!
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Andy Narell and his brother Jeff are original players from Trinidadian soil. They didn't learnt pan as grownups or even teenagers from Trinidadians or foreigners living in Trinidad or abroad. Their story is unique. They learnt directly from one of the main pillars of pan-Ellie Manette. Ellie is their master in this art form. Not an ordinary Trinidadian pan player Especially Andy's touch on the pan is from Ellie. Both brothers will not play pans produced by someone else especially if they are giving a show. It is was a special gift given to Andy and his brother. They are indeed "Trinidadian" by adoption and by love for the pan. Any where the pan is, there is Trinidad and Tobago spirit. Andy especially is gifted in being a producer and a sound engineer as well. In studying music especially in the US, all musicians must learn the fundamentals of the piano. One may then specialize in an instrument of their choice to perform with. They are both fully qualified musicians. Jeff also has some tuning skills as well which he learnt directly from Ellie. They started as boys really. They are in the class of prodigies. Their playing of T&T's instrument are as good as any other Trinidadian and in some cases better than. They are not to be confused with a "white person taking up the pan" from some other player. They are special and that is what we hear when they command the instrument. They are then the standard for foreigners of all colors of skin. That is why the universe arranged it like that. In this way they have become masters of the pan.
Claude, Your friend mislead you when he told you that Andy couldn't roll.
https://www.youtube.com/watch?v=PBCNtC5AauA
More rolling skills
https://www.youtube.com/watch?v=h0vG6dm-NBY
GLENROY JOSEPH should be NOMINTATED for a NATIONAL AWARD for the TIREDLESS EFFORT he has put into PROMOTING CALYPSO AND STEELBAND on the INTERNET and BEYOND.
Maybe I can give this ASSIGNMENT TO THE CIP as a test of their ADMINISTRATIVE SKILLS. And since they are ON THE GROUND and could deal with all the RESIDUAL COLONIAL BACK AND FORTH that it takes to get ANYTHING DONE down in LAX.
This could be a SMALL NOTCH on the BELT of the CIP to show their LEADERSHIP SKILLS.
More rolls and pan musicians trained by the master himself Andy Narell. I would submit he was from Trinidad in his past life. Be careful folks. Life is greater than we think.
https://www.youtube.com/watch?v=k0Zyn5Tq_Hk
Do you hold that opinion at this time ?
Cecil: Since you mentioned the STUDIO. There are TRINI PAN MEN in TRINIDAD and NEW YORK and TORONTO and LONDON who could be taken to the STUDIO and could come out with some TOP CLASS PAN MUSIC. But you have to have a HIGH END PRODUCER.
You have to have AN AMERICAN PRODUCER and THE PAN MAN has to know something about MUSIC (for purposes of communication with the producers and musicians). And MOST OF ALL, the PAN MAN must be able to humble himself and follow instructions from the PROFESSIONALS IN THE ROOM.
Actually, with INDIGISOUNDS you don't even need to hassle with THE PAN MAN. You get a good producer and a good sound engineer and a good music technician and some good studio musicians and you select the right SONGS and that music will FLY AROUND THE WORLD!!!
But the integration of the PAN into the music is the key to success. And the TONALITY of the PAN is CRITICAL.
Yea, the same guy they run of town.
No one produces steelband music like Andy, he works magic in the studio, he has the ability to compose and arrange beautiful music, most definitely one of the best. So far he is the most innovative of the lot, a key player of the art-form.