Hailing from St. John’s Road, St. Augustine, Trinidad, musical genius, music educator, ace pannist, innovator and steel pan arranger, Anthony “Juggy” Rose was born on July 4th, 1958 in the beautiful twin island Republic of Trinidad and Tobago. Rose was born into a very humble musical family to Yvonne and Carlos Rose, a stone’s throw away from Flamingoes Steel Orchestra. Rose is the first of five siblings, Paula, Pauline, Claude and Carlosa Rose. He commenced his academic pursuits at St. Benedict Roman Catholic Primary School, St. Augustine, Trinidad. He spent his secondary school years at St. Joseph College, St Joseph, Trinidad. Rose was always exceptional in his academics and sport. He played table tennis, football and basketball and always looked for positive avenues to aid in his holistic development
After constantly observing his father and uncle who were the captain and co-founder of Flamingoes Steel Orchestra respectively, Rose’s love for the steel pan blossomed exponentially. Although Rose accompanied his father to Flamingoes daily, his father was always opposed to him playing the steel pan at an early age. However, Rose was determined to learn to play the steel pan and emulate his father. Rose narrates that one evening upon returning home from primary school, his father and the rest of the Flamingoes’ players were preparing for a band performance at the Trinidad Hilton. Rose pleaded with his father to attend the performance, but was told, “NO”. Rose refused to take ‘No’ for an answer and remained resolute that he would attend the performance. Unapologetically and clandestinely, Rose hid in father’s vehicle. Resulting from Rose’s inadvertent whistling, his father and the band’s secretary discovered Rose’s presence in the car approximately Twenty (20) minutes into the journey. Rose recalls how angry his father became, but it was too late to turn around. Thus, they all had to proceed. Observing the band’s performance that night transformed Rose’s life forever. His curiosity peaked. Rose’s tenacity got the better of his father and his father finally capitulated. At the age of Nine (9) years, Rose formally started to play the double guitar pans, on which he learnt his very first song, “Summer Wine”. Rose recalls how elated he felt that Sunday evening when he finally became a “full-fledged Flamingoes player/member”. This was a move that would transform Rose’s life forever and forge his new musical trajectory. Rose opines that from very early, he knew his life will be indelibly intertwined with music and the steel pan.
Rose’s first official steel pan training was at age Twelve (12) years when he attended a Two (2) week course by the Steel Band Association of Trinidad and Tobago. Rose played the steel pan for breakfast, lunch and dinner. At this course, Rose interacted with Everton Smith, Jerry Jermott and Anthony Prospect. At the age of Sixteen (16), Rose was the youngest arranger of Flamingoes Steel Orchestra. Later, Rose became a member of the Flamingoes’ stage side and was thrilled every time they had to split the stage side in Three (3) ‘mini stage sides’ to perform at simultaneous gigs. Additionally, as an invaluable musical constituent of St. John’s Road and even Flamingoes Steel Orchestra, Rose cupped the coveted “Best Village” as a steel pan soloist from 1974-1976.
ROSE AND HIS DOUBLE SECONDS
In 1974, he started playing the double second steel pans. Rose has been playing the double second pans for Forty-Five (45) years. Rose boasts about his inseparability with his double second pans or any national competition. Moreover, Rose credits this pan for its versatility, range and its ability to play the melody and accompaniment simultaneously. His inseparability and musical patriotism were first demonstrated in 1978 when Rose was injured in a motor cycle accident Two (2) days before the National Panorama competition. Rose ensured that he performed. Rose went on to stage with his hand in a sling and performed since his wrists were not injured. His self-motivation, enthusiasm, stick-to-itiveness and tenacity led him to pursue both theory and practical music with greater intensity.
Immediately after high school, Rose spent Four (4) years of his life practising his double seconds from 7:00 am- 10:00 pm at Flamingoes. This was his “unofficial degree” in the steel pan. He began to develop his prowess on the instrument and expanded his repertoire. These Four (4) mesmerizing and majestically memorable years were curtailed after his parents insisted that he should find a formal job. Rose worked and continued his study of music. Subsequently, Rose attended Pan Pipers on Wilson Street, St. Augustine. One of his greater musical influences was his tutor, the principal, Ms Louise Mc Intosh. Rose pursued up to Grade Eight (8) in theory music with Royal School of London, where he performed creditably.
In 1990, Rose later became the first Trinidadian student to attend Akron University, Ohio, United States of America where he undertook undergraduate courses in Music Education after receiving a partial scholarship. In 1996, Rose attended the Edna Manley School of Music, Jamaica for Nine (9) months where he studied Jazz. These courses were interesting and invigorating. During his stint in Jamaica, Rose also arranged for Two (2) bands namely: Hummingbird and the UWI Panoridim Steel Orchestra of the University of the West Indies, Mona Campus.
Rose articulates that it is important for a musician to communicate effectively utilizing the language of his craft. Rose posits “A musician must be able to speak (play through his instrument or hands or voice) and read the language of his craft (sight reading music). Therefore, that musician will be well rounded and be able to effectively communicate with the only universal language, music.” Rose enjoys sight reading all types of scores as he believes it gives a player control over his environment. To Rose, all citizens of Trinidad and Tobago should master the steel pan, because it is the national instrument of Trinidad and Tobago.
Rose’s early musical mentors were musical luminary, Robert Greenidge and exceptionally skilful, Kenrick Headley. These two played the double second pans. Thus, Rose was exposed to their extraordinary styles of playing and improvisation. Rose continues to be enthralled by legendary Len ‘Boogsie’ Sharpe, Tyrone Noreiga, Bob James and George Benson whose soulful styles continue to captivate Rose. There is an indelible place etched in Rose’s heart for Pelham Goddard, musical director of Exodus Steel Orchestra. Rose has worked with Goddard for many years, Goddard is always willing to explain his arranging techniques, experience in arranging, harmonic structures, voice leading and rhythmic concepts.
BAND ENGAGEMENTS/ ROSE AND EXODUS
Rose has performed with Flamingoes (1967-1982), Desperadoes (1983-1986 (where he experienced his first National Panorama victory)), Birdsong Steel Orchestra (1984), Jewell 22 and Exodus.
Rose has been a foundation member of Exodus. Rose was present at its very first meeting dealing with the formation of what was known as the “Unknown Band” which was later called Exodus in 1981 till present. He served as a captain of Exodus from 1985 to 1990, where he taught all the stage side music. Rose currently plays with Exodus and serves as the vice-captain, committee member and an integral member of its stage side. Rose credits the strength and resilience of Exodus to its core values, team spirit and the excellent management of its manager, Ainsworth Mohammed.
Rose has experienced countless years of bliss with Exodus where he travelled the world including: Caribbean countries (Antigua, Barbados, Grenada, Jamaica, Martinique, St. Kitts and St. Lucia ) North America, Europe (England, Ireland, Germany, France, and Spain) North Africa (Morocco), Asia more specifically Japan (where they toured Twenty-Six (26) cities in 2014).
MUSIC EDUCATOR AND ARRANGER
Rose has tutored innumerable students in music theory and practical throughout Trinidad and Tobago. Rose taught in schools such as Tunapuna Government Secondary, St. Augustine Senior Comprehensive; St. Joseph Convent, Port of Spain; St Augustine Girls High School and privately. Rose commenced his teaching of music theory and the steel pan in 1986 with students of the Tunapuna Government Secondary School at the Exodus Steel Orchestra. This was for one year. Concomitantly, in 1986 Rose tutored at a Twenty-Five (25) week steel pan course for the University of the West Indies, St. Augustine Campus, Extramural Department held at Exodus Steel Orchestra. From 1998 to 2005, Rose also served as tutor and arranger of the National Steel Orchestra of Trinidad and Tobago.
In 2002, Rose alongside with Kenneth Clarke arranged for a rookie band, Arima Graduates Steel Orchestra at the Pan Trinbago Pan Parang Competition Championship and won the competition with a Fifteen (15) point lead with Daisy Voisin’s ‘Alegria Alegria’ and ‘God Rest Ye Merry Gentlemen’. In 2003, the Arima Pan Graduates reclaimed its title as Pan Parang Champions. From 2005 to 2009, Rose served as a Music tutor at Metal Industries Company Limited (MIC). In 2009, Rose started teaching at Charis Private School where he currently teaches.
In 2011, Rose released two songs, “Sailors in the Road” and “Jam Meh”. Generally, Rose’s musical style is easy on the air. In 2012, Rose journeyed to Arizona in the United States of America where he conducted several musical workshops with high school students. Subsequently, Rose performed with his brother-in-law, Richard Noel in the Tucson October Music Festival under the name of “Sticks and Fingers”. Between 2013 and 2016, Rose taught music theory and practical to students from infants to standard Five (5) at Febeau Boys Government Primary School. In 2016, Rose started arranging stage side music for Moods Steel Orchestra. He has also served as the musical director and panorama driller for Moods from 2016 to present. In 2016, Rose drilled Moods alongside with their arranger, Professor Ken Philmore (deceased). Rose relished working with Philmore who was always vivacious and effervescent. From 2017, Rose began tutoring at Exocubs (junior arm of Exodus) and later became the principal/musical director in 2018.
Rose prepares scores of students for Royal School exams, as well as Music Festival in Trinidad and Tobago. Many of his students perform commendably. Rose continues to exude exuberance and humility anytime he is called upon to teach or perform music and enjoys working with local music sensations like charismatic, Chris Garcia and venerable Mungal Patasar. Currently, Rose facilitates a musicianship and Jazz Improvisation Six (6) week short courses sessions on aspects of the steel pan with Mungal Patasar and Marlon Charles (a pannist and foundation member of Mungal Patasar’s band ‘PANTAR’).
Rose continues to educate students throughout Trinidad and Tobago and invites all persons (from ages Eight (8) years) interested in learning theory and practical music to join his August Music Camp 2019 at Exodus Steel Orchestra.
CULTURAL AMBASSADOR OF TRINIDAD AND TOBAGO
In 1985, Rose toured Antigua for their Carnival. This was his first ever tour with Exodus. This experience started to expand Rose’s horizons. In 1988, Exodus played in Lincoln Centre in New York. The layout of the Lincoln Centre, its magnitude and the size of the viewing public gave Rose a new perspective of the world and its appreciation for music. In 1990, Rose toured and performed in Tokyo, Japan showcasing his skills as a soloist and in a small ensemble. This was his first tour to Japan. Rose spent Nine (9) months employed and sponsored by the Suntory Beer Company. These months were bitter sweet for Rose as his father passed away the same year. His love for Japan grew exponentially and it served as his stumping ground for many more years. Rose’s acclaimed adroitness and competence on the instrument continues to be showcased.
After brainstorming one day about avenues to make the steel pan a more financially profitable option for pannists outside of the Panorama season, Rose and Cary Codrington saw the need for small ensemble competition akin to “Five aside football”. After expanding their thoughts and utilizing the resources and expertise from players in Exodus, the “Pan Ramajay” competition was conceptualized.
Rose is an advocate for the national development of the steel pan. In 1996, while on tour in Jamaica Rose heard about the formation of the National Steel Orchestra of Trinidad and Tobago, an initiative of the Ministry of Culture and Gender Affairs. Sparkling with enthusiasm and excitement, Rose returned home because it was always his dream to be a part of such a national movement for the national instrument. Rose was part of the initial Twenty-Three (23) member band of cultural ambassadors who were official musical employees of the state. Even then, Rose embraced the opportunity to teach music theory to the players when necessary.
Rose has performed all genres of music as a soloist for innumerable functions on the island of Trinidad. Rose boasts of a repertoire of over Two Hundred (200) songs which encompasses all genres of music. This is as a result of advice given to him by Robert Greenidge who enunciated that it was important for a pannist to have a wide repertoire of at least One Hundred (100) songs of various genres. Additionally, between 2016 and 2017, Rose performed for a year on the ‘Adriana Cruise ship’ as part of the Chris Garcia Band. He resigned in 2017.
Quiet, persistent, humble and unassuming, Rose continues to be an advocate for spreading his knowledge of the music theory and the steel pan. Rose appreciates all genres of music from Classical, Jazz, Dance Hall, Soca, Reggae, Zouk and Spiritual to name a few. Rose continues to be guided by his personal mantra, “Positive thinking for future progress”. Rose lives to serve and he enjoys serving. Rose constantly postulates that in all his endeavours, he gives service above self. Rose’s philosophy is that he wants to leave the earth empty knowing that he has contributed toward human development, given back to his society and passed on all the gifts and talents that God has bestowed upon him. Consequently, he grasps at every opportunity to teach music theory and practical with the steel pan as the instrument. Rose believes that it is vital to connect the world through the musical vehicle of the steel pan and embraces every avenue for him to showcase his talents and his country. When one mentions music theory and the steel pan music in Trinidad and Tobago, Rose is confident that his contribution would be recognized. Rose remains assured that his legacy will be extraordinary because of the many lives he has touched and his yeoman service to the citizens of Trinidad and Tobago in the realm of music.
I grew up with "Juggie" in St. John Village (Flamingoes), He was always involved in some form of steelpan development. A prolific player, arranger and more importantly a generally good guy. Keep up the great work Juggie.