What is a Pan Tune?
When Steel Talks was recently contacted by a well-known steelpan music academic who expressed some concern over certain tunes which have been listed in the 2011 Pan Tunes lineup.
The heading "Panorama Tunes for 2011" simply means the composer of the tune sent us written confirmation, with the submission of their music work(s), that they wanted their tune to be considered by steel orchestras for the global panorama seasons of said year.
As to what constitutes a panorama tune, that is still up for debate. Is it musical content and/or layout? Is it lyrical content? Is it historical content that relates to pan? Is it a tune written by the band's arranger? Or is a "pan tune" simply a tune that a band has chosen to play at panorama - no matter what the reason?
If Desperadoes had chosen "Discount" instead of Benjai's "Trini" would it (Discount) now be considered a legitimate panorama tune? In 2006 Exodus Steel Orchestra chose the popular soca jam "Max It Up" by Destra Garcia, and by all accounts were severely punished, because "Max It Up" was considered to not be a 'legitimate' tune for panorama. However, Zanda took Siparia Deltones with the very unconventional, "I'm Not Drunk" to the panorama finals.
The late Clive Bradley, made a name for himself particularly in New York by choosing tunes no one would dare to use or think about using - for panorama. The result was some of the greatest music arrangements ever done for the steelpan family of instruments. On the short list, those that come to mind are - Shadow's "Dingolay", "Horn" and "Stranger", Andre Tanker's "Ben Lion", Carl Jacob's & David Rudder's "Trini to D Bone", Destra's "Celebrate", Johnny King's "Darling". And just one panorama season ago, Yohan Popwell took New York by storm with the globally popular arrangement of Miguel Reyes' "Bandoleros." None of these songs can be considered traditional "pan tunes".
Incidentally, Clive Bradley expressed to When Steel Talks on numerous occasions, how much he appreciated the 'openness' and 'freeness' of New York which did not limit him, but instead allowed him to arrange music he knew was not considered "pan tunes" in Trinidad, but - however brought out the passion of the New York pan players, the true potential of the steel orchestra phenomenon, and the beauty and majesty of music played by PAN.
One of Trinidad & Tobago's young soca stars who is herself passionate about the steelpan art form, L'il Bitts, submitted to When Steel Talks for the 2011 panorama season "We Own the Night" offering is probably considered not a traditional pan tune -but it is firmly written solely about the Panorama competition itself!
Having said all this, until - or if ever - there are some definitive rules or criteria agreed upon by all the major "parties" concerned - When Steel Talks will not eliminate any person's submission, within reason. To do so, could artificially hinder the natural evolution of the Pan Tune Genre.
What do you think?
When Steel Talks
Replies
In my youth, when I was really into music, I'd take a popular tune and, in my head I'd change the phrasing and tempo, and play it out in my head as if it was being played on pans.
I'd actually be "beatin pan" in my head.
Many pop tunes fit the mold. For example. Presley's "Love me Tender", Abba's "Fernando".
There are some classical pieces that fit the pans as if written for them - "Eine Kline Nachtmusik", and the "Hallelujah Chorus" comes to mind.
If we are to use the term "Pan tune" it should be extended to include music from any genre, be it jazz, classical, pop or calypso that smoothly and easily adapts to the pan, not just a hastily written panorama tune.
Let's face it Pan Times,
The day someone or a group decides what constitutes a Tune to be considered as a "Pan Tune" is the day the music has died.
Only the arranger and the players can decide what is right for them.
One only has to look at the calibre of Judging in Trinidad Panorama or indeed any musical competition at carnival time to know that many of those on the judging panel don't know a sharp from a flat, they have never played a note in their lives, let alone been in a pan yard or gone to a calypso tent and listened.
For them it is all about their prestige, never mind the music they were there and were given an important role, they passed judgement.
The reason most of us who grew up in the 50s and 60s are so nostalgic is because we were part of an era when music in general formed a major part of our entertainment and upbringing. We did not have the dumbing down experiences of today. Things did not have to be simple so our tiny brains could grasp what's going on. The few hours of TV a day was not yet able to influence our thoughts and did nothing to dampen our need to be part of something, to entertain not just ourselves but those not fortunate enough to participate.
Many would have us believe that Soca today has moved on, has progressed. I say no it hasn't. It has been commercialised to the point where it is not necessary to compose a tune but just have the rhythm and a repetitive riff so those whose concentration levels are challenged to the point of 1 minute is too long, can jump an wine an wave and tell themselves they enjoy it. We all know the pace of life has accelerated to the point now that most people's attention span has fallen so much that even gold fish can give them a run for their money.
All of these things have conspired to bring us to the depths we are at this point in time.
Please don't give people like Gypsy the idea that they can influence what steelbands can play for Panorama. If that happens, there'll be no more Boogsies, Holmans, Jits, Griffiths or Philmores to lift our spirits and satisfy our musical souls.
Whoops Sorry I forgot to mention Goddards.
Randi Curvan
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Hello Mr. McQuilkin
Please re post your complete comments. Only a portion of your post showed up in the wall. There must have been a technical glitch.
is it pan tune or is it panorama tune, there really is no such thing as a pan tune, in the early developments of the pan the late great Ziglilee said in an interview when asked about what he thought about "spree Siomon playing the first song on pan, he corrected the interviewer by letting him know that spree was the first panman to play a popular song, but pan were invented to play songs that were made to play on pan, the grundig came out playing " they want fe come kill me" (correct me if I am wrong) mouth bands came up with lil ditties, like the popular "gimme lil water please come quench mih thirst" after the steelbands were established several bands played songs made specifically for playing on the pan, Ray Holman, Anthony Williams and others did it in their bands, the piece played by Kelvin Hart that became the wake up call for radio Trinidad was written by a piano teacher, pan arrangers liking Lord Kitchener's style vistted him before his record release for songs to play on pan Steve Achaiba was one I went by kitch with him a few times, Ray Holman was the first arranger to enter the Panorama with a song that he made specifically to play in panorama, and pan folks called it "own tune" Boogsie followed and for 40 years he played his own tune, that is a panorama tune, "one made for the panorama, Trini sang "curry Tabancca" and asked All Stars to play it they did that's a panorama song , the same all stars played a song that even the composer in his wildest dreamsdid not expect a band to attempt it in panorama, it was called "trinidad oil" basically Alvin is right in the days when Steel bands helped to decide Road marches a ballad "que sera sera or the happy wanderer became the road march and in panoramas in some of the island the songs in the early days were not allways calypsoes
Only one correction here....no accusation, but the wording sounds like All Stars was influenced to play Curry Tabanca because Trini asked them too. This is absolutely not true. It is a fact that it is an honour for a band like All Stars to play any composer's tune (ask Carwash, he is a member in here). However, to imply that Trini's request actually influenced the time-proven selection process, would be erroneous. Other than that, I agree with what you said.
Thank goodness someone has at last opened up this subject. I have HATED the classification "Pan tune" since it began even though at the time - I supposed there was a temporary valid reason. Forgive me for denoting my age but I remember as a child hearing Invaders playing "I've got a lovely bunch of coconuts" (can't remember the title) and that was the roadmarch that year when STEELBANDS chose the road march. What about "Vala-ree..Vala-ra" again a road march due to steelbands playing this song. Crossfire from St. James playing Connie Francis's "Who's sorry now". They were wonderful songs and the steelband of the day made them masterpieces. I am all for homegrown content but one must never "throw out the baby with the bathwater" . Steelbands should be allowed to play whatever they feel moves them and not be regimented by outside administrators who have no FEEL for the melody and the music as a whole.
@Char Burgess, if you remember Invaders playing "I've got a lovely bunch of coconuts", you've got to be old :)
The first steelband I remember seeing as a child was playing that tune!
This may have been at a place called "Tollgate" in San Fermando (I'm not sure, I was a small child).
I remember them singing some smutty lyrics to the tune, and then being chased by the police.
The song was sung by Danny Kaye, and was popular around 1950.
It made a fine "pan tune", i might add.(Like Valdaree Valdarah)
I have thought about this 'pan tune' crap for a long time. The great Kitchener said in one of his master pieces that 'Pan could play anything' So there is NO such phenomina as a 'pan Tune' If you want to distinguish a tune that was especially composed for pan I have no problem with that. Wvwn if an arranger composes his or her own tune for his or her band.
This to me is the only time you can use the term "pan tune' because it was especially composed for pan. Apart from this all music is 'pan tune' "A chicken stewing in the kitchen, pan can play' Thank you kitch!!! NUFF SAID
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